11 Jan 2011
Il barbiere di Siviglia in Montpellier
There is more than one way to skin a cat.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
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Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
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These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
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"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
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Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.
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Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
There is more than one way to skin a cat.
Montpellier’s old Comedie would have been a perfect venue for Rossini’s most famous comedy, but this fine, late-nineteenth century Italian style theater is closed for renovation. This left the huge, ultra-modern Théâtre Berlioz, a barn-of-a-theater that the Opéra National de Montpellier often makes work against all odds.
The solution for presenting Le Barbier de Seville in this vast space was to import an existing production from another barn-of-a-theater, the Deutsche Oper Berlin. The Deutsch Oper had some solutions of its own for blowing up Rossini’s diminutive masterwork to sufficient size to fill up its vast space.
To wit, performing it as a sort of commedia dell’arte on a stage wagon pulled by a tractor onto a beachfront esplanade in front of a lively square that was perhaps Seville. Though of course Seville is nowhere near any sea. There was a beach, and we presumably sat on it to watch the show, together with various little families, lovers, same-sex lovers and a donkey all of whom from time to time were doing their own thing.
It is Berlin after all, where artistic choices are sometimes questionable though usually amusing. The Deutsche Oper had hired Katharina Thalbach, a protégé of Brecht’s theatrically chic Berliner Ensemble, to stage the opera. Thus Rossini’s hyper-sophisticated early nineteenth century opera would have the gloss of hyper-sophisticated mid-twentieth century theater. It was simply the old-hat trick of a play within a play.
If you are getting the idea that all this could not possibly work you are absolutely right. And worse placing Rossini’s opera within quotation marks distanced us from Rossini’s inimitable musical immediacy. The theatrics were indeed clever (and there were abundant antics by the crowd watching [or not] the silly play to keep us amused). The great Rossini was reduced to a small stage on the stage. And the pit.
The Opéra National de Montpellier had made its choices too. A big theater demands a big conductor, and the Italian maestro Stefano Ranzani was an obvious choice, with credits of the biggest repertory in the biggest theaters. A lot of big music resulted, and of course some weird tempi. And there was even some Rossini to be heard though this was perhaps the first Rossini this maestro ever conducted — no Rossini credits were listed in his program biography.
There were even a few times when a modest Rossini boil was achieved, but those were moments when the maestro was aided by the two veteran Rossinians in the cast, Simone Alaimo as Basilio and Alberto Rinaldi as Bartolo. It was a hint of what Rossini can be but almost never is in great big theaters.
Bartolo’s ward and intended bride Rosina was Georgian mezzo soprano Ketevan Kemoklidze, a recent winner of the Placido Domingo competition (among many other competitions). Appropriately for winning competitions and for Rossini’s Rosina, Mlle. Kemoklidze exhibited boundless confidence. She possesses an unusually bright mezzo voice, a winning stage presence and obviously sings quite well.
Her lover Almaviva was Italian tenor Filippo Adami who sang very well too, and attacked Rossini’s fioratura with cool bravura. Mr. Adami possesses a voice with a fine edge and not much sweetness, attributes that would be more appreciated in productions with specific Rossini musico-dramatic values.
If Mlle. Kemoklidze and Mr. Adami came across as sophisticated performers, young French Canadian baritone Etienne Dupuis, the Figaro, presented himself as a consummately charming performer, but one who does not yet possess the finesse and bravura to fully anchor Rossini’s comedy.
These three young performers are representative of a fine new generation of opera singers, well prepared vocally and musically, and willing and able to fit themselves into whatever directorial visions may occur. This Montpellier staging was obtuse, complex and demanding. These performers made all possible effort to pull it off, and they did. Bravo!
The mid-winter holidays are festive, and entertainments are meant to be festive. If nothing else Le Barbier de Seville in Montpellier was just that. Unlike Berlin, there are actually fine beaches not far away where we will soon find ourselves. All said and done this production was maybe right at home in Montpellier.