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 Performances

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Siegfried in San Francisco

We discover the child of incestuous love, we ponder a god’s confusion, we anticipate an awakening. Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

A culinary coupling from the Guildhall School of Music and Drama

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvanovsky as Amelia and Frank Lopardo as Gustavo [Photo by Dan Rest courtesy of Lyric Opera of Chicago]
05 Jan 2011

Un ballo in maschera at its roots

In its production this season of Verdi’s Un ballo in maschera Lyric Opera of Chicago has staged the work in its original locale at the royal court of Sweden.

Giuseppe Verdi: Un ballo in maschera

Gustavo: Frank Lopardo; Amelia: Sondra Radvanovsky; Ulrica: Stephanie Blythe; Oscar: Kathleen Kim; Samuel: Craig Irvin; Tom: Sam Handley Silvano: Paul La Rosa. Conductor: Asher Fisch. Director: Renata Scotto. Lighting Designer: Christine Binder. Chorus Master: Donald Nally.

Above: Sondra Radvanovsky as Amelia and Frank Lopardo as Gustavo

All photos by Dan Rest courtesy of Lyric Opera of Chicago

 

Stage director Renata Scotto has achieved a believably dignified and fluid progression of scenes leading up to the tragedy of misunderstandings. The role of King Gustavus III of Sweden is taken by Frank Lopardo, while that of Amelia his beloved features soprano Sondra Radvanovsky. Baritone Mark Delavan sings Count Anckarström, husband of Amelia as well as close friend of the King. The travesti role of the page Oscar is sung by Kathleen Kim and Mme. Arvidson signaled the debut at Lyric Opera of Stephanie Blythe. Through a sensitive approach to tempos Asher Fisch conducted a meaningful account of one of Verdi’s most lyrical scores.

Ballo_Chicago02.gifMark Delavan as Renato

The principals in the first scene of Act I establish themselves immediately in the movements and dramatic interchange of this production. The ballo of the final scene is, of course, foreshadowed now by means of a list of invited guests for the event of the present evening. As the curtain opens on the reception room of an eighteenth-century court, both supporters and detractors of Gustavus give vent to their feelings. The page Oscar, so often in this work a dramatic hinge, announces the King’s arrival with the famous line, “S’avanza il Re.” [“The King approaches”] In the role of Oscar Ms. Kim moves nimbly and projects her lines with a delighted urgency. The event of this evening’s ballo is now used as a means to stir the King’s emotions in the first of that character’s arias. When Gustavus sees in the list his beloved Amelia’s name, he sings rapturously of expecting her presence that night. Mr. Lopardo’s introductory declamation and performance of “La rivedrà nell’estasi” [“what ecstasy to see her again”] are exemplary: in both parts of the scene he demonstrates an assured skill in legato with effective touches of vocal color on significant phrases, such as “E qui sonar d’amore.” [“and music of love.”] When the petitioners are instructed to leave, Oscar shows in Count Anckarström who now advises the King on matters of the court. As he warns Gustavus of a plot against his life, Anckarström’s lines rise upward with dramatic force. A similar vocal technique is needed in the baritone Anckarström’s first solo piece, “Alla vita che t’arride,” [“To your life so promising”], which occurs before Oscar reenters. It is in such transitional moments that Mr. Delavan’s interpretation falls short. His reach to an upper register becomes noticeably detached from the preceding lines so that dramatic effects do not match his intended goal. The conclusion of this scene, devoted to varying opinions of the fortuneteller Mme. Arvidson, highlights both individual and ensemble work. Once the judge declares that Mme. Arvidson should be banished because of witchcraft, Oscar issues a spirited defense of the woman in that character’s first solo aria, “Volta la terrea” [“the sallow one turned”]. Ms. Kim tosses off this piece with secure vocal agility, while she acts out the noted appeal of the sorceress with movement and dramatic gesture. Gustavus resolves to visit her hovel despite the protestations of individual courtiers, the plan for this adventure being affirmed in a rousing conclusion.

Ballo_Chicago03.gifFrank Lopardo as Gustavo and Stephanie Blythe as Ulrica

The second scene of the act introduces both the characters Mme. Arvidson and Amelia. In her interpretation of the fortuneteller Ms. Blythe uses all facets of her rich vocal range. Her hushed, piano intonations in the first part of her incantation to Lucifer are followed by excitingly ringing top notes, while she signals her enhanced communication with the forces beyond. As she concludes with a thrilling and extended chest note on “Silenzio!”, Ms. Blythe’s disheveled persona looks truly possessed. She prophesies riches and rank for the sailor Cristiano, who is convincingly sung and acted in this production by Paul La Rosa. After he is sent off — the entire scene being observed from a distance by the disguised King Gustavus — Amelia enters and solicits the intercession for her part of Mme. Arvidson. She begs for a solution to her emotional attraction to Gustavus, which has distracted her from duty. Mme. Arvidson tells her to pick at night a magic herb growing at an isolated gallows outside the city. Even in this relatively brief exchange Ms. Radvanovsky communicates in her liquid vocal lines a sense of urgency, hinting at her extended prayer in the subsequent act. The trio which now follows indeed features her first prayer to God, while Mme. Arvidson encourages her daring to find the herb and Gustavus, still unseen, simultaneously promises to follow. [“Consentimi, o Signore” (“Grant to me, o Lord”)]. Here Ms. Radvanovsky’s voice soars in her appeals for help, such that she effectively binds the trio into a crescendo of determination. In the final part of the scene following Amelia’s departure Gustavus emerges and demands that the fortuneteller predict his future. When Mme. Arvidson sees the sign of death in his palm, the reaction “Presto morrai” [“Soon you will die”] is delivered by Ms. Blythe with chilling certainty in her intonation. Gustavus laughs off the divination and clasps the hand of Anckarström, hence sealing the prediction that he will die by the hand of the next person whom he thus greets.

In the constellation of beloved and spouse which makes up the shorter second act of Un ballo the emotions and conflicts introduced earlier develop into a turning point for the principals. After appropriately fast and bright tempi under Fisch’s direction, Amelia enters at the isolated gallows while snow falls. As she reaches for the herb, she recoils in fear, which Radvanovsky emphasizes with a distinct intonation on “terrore.” In her following aria, “Ma dall’irido stelo” [“But when from the dry stem”], she sings with great pathos, her tone moving from lament to self-encouragement and ending in the touching prayer for divine support. Throughout the aria, and notably in the final ascent and following “Miserere,” Radvanovsky exhibits the ideal Verdian soprano range, assured middle and upper registers bound seamlessly with admirable breath control. When Gustavus enters and declares “Teco io sto” [“I am here with you”], the subsequent duet allows both to admit their love. At first Amelia protests that the King should leave her, a line that Radvanovsky sings with telling diminuendo on “Mi lasciate.” During the well-known scene Lopardo’s voice blooms in lyrical abandon as Gustavus is transported by the assurance of Amelia’s love. Lopardo’s tasteful performance of top notes in the duet is matched by Radvanovsky’s line as the two singers blend vocally toward each other. Soon after the declaration of love a warning alerts the King of Cout Anckarström’s approach. Gustavus entrusts the veiled Amelia to Anckarström and asks his friend to accompany the unnamed woman back to the court. Although Anckarström had come to warn the King of a plot against his life, loyalties soon shift: Amelia’s veil drops when she tries to protect her husband and the latter perceives his wife’s emotional betrayal. In the final ensemble, at which the Count is mocked by the courtiers returning to court, Amelia’s final notes, as here performed, give expression to her sense of an undeniable love with a tragic outcome.

Ballo_Chicago05.gifSondra Radvanovsky as Amelia and Frank Lopardo as Gustavo

In Act III the Count gives vent to his anger as the two arias of the first scene reflect on the couple’s marriage. When the Count threatens to have Amelia killed, she begs for the opportunity to see her child one last time. Radvanovsky’s approach to the aria, “Morrò, ma prima in grazia,” [“I shall die, but first in mercy”], evinces a number of vocal touches that blend ideally with the orchestra to express her character’s suffering. Once she leaves, the Count sings of his own anguish and the betrayal he feels at the King’s behavior. In Delavan’s approach to “Eri tu” [“It was you”] an admirable sense of legato is marred by an attack stronger than necessary at the beginning of lines. The conspirators now enter and the Count throws in his lot with them against the King. When Amelia returns, she is forced to choose the name of the one privileged to slay the King. As the scene ends with the Count’s name selected and the venue of the ball announced, the vocal ensemble rises in excitement to the fateful evening.

In the final scene before the ball, when the Count indeed shoots the King fatally, Gustavus performs his last aria alone, while musing on his devotion for Amelia yet his resolve to send the couple away from court. As his voice moves here through successive phrases with an exquisite sense of line, Lopardo echoes the love expressed in his earlier scenes but now with an appropriate foreboding on “del nostro amor” [“of our love”]. His inevitable death at the hands of the Count is accompanied by a moving declaration of Amelia’s innocence, her own voice then rising expressively in horror at the turn of events.

Salvatore Calomino

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):