Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

Major new international singing competition launched by Glyndebourne

The Glyndebourne Opera Cup - the international competition for opera singers is designed to discover and spotlight the best young singers from around the world, offering a top prize of £15,000 and a platform for launching an international opera career.

OPERA TODAY ARCHIVES »

Reviews

Cosi fan tutte (Salzburg Festival, 2009) (Blu-ray, Full-HD)
28 Dec 2010

Mozart at Salzburg Festival: Don Giovanni and Così fan tutte

Once a preserve of opulent traditional productions, the summer Salzburg Festival has become a destination for viewing more cutting edge stagings.

Wolfgang Amadeus Mozart: Così Fan Tutte

Fiordiligi: Miah Persson; Dorabella: Isabel Leonard; Guglielmo: Florian Boesch; Ferrando: Topi Lehtipuu; Despina: Patricia Petibon; Don Alfonso: Bo Skovhus. Vienna State Opera Chorus (chorus master: Thomas Lang). Vienna Philharmonic Orchestra. Adam Fischer, conductor. Claus Guth, stage director. Christian Schmidt, stage design. Anna Sofie Tuma, costume design Olaf Winter, lighting design. Recorded at the Haus für Mozart, Salzburg Festival, 2009.

Euroarts 2072538 [2DVDs]

$33.99  Click to buy

Perhaps the best-known of such from recent seasons is the Willy Decker take on Verdi’s La Traviata, a contemporary classic of a production that will soon debut at the Metropolitan Opera. The operas of Wolfgang Amadeus Mozart have a special history for Salzburg (one of these DVDs has a title card that states “From the House of Mozart”). Director Claus Goth brought his updated vision of Don Giovanni to the Festival in 2008, and his Così fan tutte was recorded for performance in 2009. Both productions are in contemporary dress, with grim chuckles in place of any buoyant cheer produced by former Salzburg productions. This is Mozart as misanthrope, pouring out his melodious commentary on the sad and/or despicable characters of Lorenzo da Ponte’s librettos. Well sung, sharply acted, impeccably staged — both DVDs present classy performances. Just be prepared for a distinctly chilly atmosphere.

Christian Schmidt’s stage design for the Così offers the clean white walls, metal railings and glass panels of a cliched contemporary loft home. An ironic intent makes itself felt as the story of the two pairs of young lovers manipulated into deceit by a cynical older man proceeds — the attractive veneer of the set complements the good looks of the younger leads, and an emptiness behind the good looks of both the surroundings and the characters also makes itself felt. That doesn’t take away the culpability of Don Alfonso and even Despina; the Don seems more cruel in his scheming than ever, and that rubs off on the sour comedy of Despina’s antics.

The quartet of young lovers submit themselves almost too well into this scheme, with not much personality in Miah Persson’s Fiordilgi, Isabel Leonard’s Dorabella, Florian Boesch’s Guglielmo, or Topi Lehtipuu’s Ferrando. They sing cleanly, manage the Mozartean line well, and look their parts. Mozart does give each of them at least one major set piece to bring to life, and here is where the director’s clinical vision may have inhibited the singers’ ability to “stand out.” Bo Skovhus, on the other hand, gets to camp it up a bit as Guth choreographs as much as directs the Don and Despina — there’s a lot of mock dancing and posing. Skovhus lets a scratchiness in his production loose a little too often, however, for a character probably intended to be a bit more seductive in his wheedling. Patricia Petibon’s Despina reigns in the cuteness for a sort of hyperactivity, more ominous than charming. In her recorded recital discs she is a more interesting singer than indicated here — Despina offers no real challenges.

One unmitigated strength of the performance comes from Adam Fischer’s muscular, propulsive direction of the Wiener Philharmoniker. The score comes across with a youthful energy appropriate to the characters while suggesting the aggression behind the Don’s gambit. Guth’s direction may not age well — at times it already feels self-conscious — but as one alternate vision of Così, it is effective in context.

Euroarts_2072544.gifThe Don Giovanni Guth stages is stronger overall than the Così, at least partly because it has a more high-powered cast than that of the Così. Set designer Schmidt here provides a very realistic pine forest, the only discernible reason for which seems to your reviewer to center on differentiating Guth’s setting from the famous Calixto Bieto one (preserved on DVD in a performance at Barcelona's Liceu). Bieto used modern dress (as does Guth) and elements of an organized crime mileux to highlight the libretto’s potent and dangerous mixture of violence and sexuality. Guth has the same concern, and most of his “big ideas” come across as vaguely desperate efforts to make his vision distinct from Bieto’s. So in the action under the prologue, we see Christopher Maltman’s Don get shot by the Commendatore, a grievous stomach wound that seems to bother the Don from time to time during the rest of the action, until he finally succumbs with the Commendatore’s reappearance at the end — but propelled into hell by Leporello and a syringe of heroin. To underscore the darkness of his vision, Guth chose an edition of the score without the “happy ending” ensemble, which Bieto memorably used to underlay the victorious “good guys” mutilating the Don’s corpse.

A vocally strong, physically seductive group of singers work hard for Guth. Maltman apparently spent as much time in the gym as in the rehearsal hall, if not more, and if not as muscular as his physique, his voice still ripples with strength. Erwin Schrott’s Leporello is no sad sidekick, but almost as dangerously sexy as his master. Nonetheless, Schrott also has the comic chops to portray the character’s frustration and barely contained resentment. In a wimpy suit and glasses, Matthew Polenzani could have been yet another feckless Don Ottavio, but his expert singing gives his character some needed backbone. In an imaginative touch, Guth has Ottavio dig out his cell phone when the car he and Donna Anna are riding in “breaks down” in the forest.

The women are a bit less distinctive. Annette Dasch in particular lacks the full armory for Donna Anna , a difficult role that requires ample strength and beauty. Dorothea Röeschmann doesn’t portray Donna Elvira as a harpy, thankfully; on the other hand, her interpretation is almost too neutral for a role that should have some edge. Ekaterina Siurina as Zerlina and Alex Espositio as Masetto are modestly effective (the booklet credit list amusingly assigns each of these singers to the other’s role!).

Bertrand de Billy is the conductor here, leading an entirely professional performance. In spots the rather spare piano used for recitatives seems anachronistic.

Salzburg’s tickets have the reputation of being both scarce and expensive, so for those who would like a great view of the stage and to keep their wallets full, these DVDs are to be appreciated. Neither one of these stagings may become classics such as the Dexter Traviata, but they both have much to reward the attentive viewer.

Chris Mullins


W. A. Mozart: Don Giovanni

Don Giovanni: Christopher Maltman; Il Commendatore: Anatoli Kotscherga; Donna Anna: Annette Dasch; Don Ottavio: Matthew Polenzani; Donna Elvira: Dorothea Röschmann; Leporello: Erwin Schrott; Zerlina: Ekaterina Siurina; Masetto: Alex Esposito. Vienna State Opera Chorus(chorus master: Thomas Lang). Vienna Philharmonic Orchestra. Bertrand de Billy, conductor. Claus Guth, stage director. Christian Schmidt, stage and costume design. Olaf Winter, lighting design. Recorded at the Haus für Mozart, Salzburg Festival, 2008.

Euroarts 2072548 [2DVDs]


 

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):