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

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

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):