Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

OPERA TODAY ARCHIVES »

Reviews

Claire Rutter as Lucrezia Borgia [Photo by Stephen Cummisky courtesy of English National Opera]
04 Feb 2011

Lucrezia Borgia, ENO

Donizetti’s Lucrezia Borgia at the English National Opera, London, is an interesting hybrid. The opera is performed “straight” so to speak, but encased in a frame of short filmed passages that add background and depth. These films don’t intrude, but enhance.

Gaetano Donizetti: Lucrezia Borgia

Lucrezia Borgia: Claire Rutter; Alfonso d'Este; Duke of Ferrara: Alastair Miles; Gennaro: Michael Fabiano; Orsini: Elizabth DeShong; Liverotto: Tyler Clarke; Vitellozzo: Jonathan Stoughton; Petrucci: Gerard Collet; Gazella: James Gower; Rustighello: Richard Roberts; Gubetta: Matthew Hargreaves; Voice: Michael Burke. Director: Mike Figgis; Set Designer: Es Devlin; Costumes: Brigitte Reifenstuel; Lighting: Peter Mumford. Conductor: Paul Daniel; Chorus master: Martin Merry. English National Opera; Coliseum, London, 31st January 2011.

Above: Claire Rutter as Lucrezia Borgia

All photos by Stephen Cummisky courtesy of English National Opera

 

At last the ENO experiment of using directors from fields other than opera has been vindicated. Mike Figgis is not an opera director so the opera, which proceeds with minimal intervention. But Figgis is an innovative film-maker, so he knows what makes good drama. This production at the Coliseum, London operates on two parallel levels: film and opera, which done together expand the experience.

Few stories could have more dramatic potential than the legend of Lucrezia Borgia. Incest, violence, political intrigue, orgies. Even Anna Nicole Smith, subject of Mark-Anthony Turnage’s new opera, doesn’t come close. Yet Donizetti seems less interested in Lucrezia than in her supposed son, Gennaro. Cesare Borgia and Pope Alexander VI don’t even appear in the opera. Yet the plot predicates on the fact that the Borgia clan cause extreme fear and hatred. Surely Lucrezia alone can’t have been solely responsible for their terrible reputation? There are other loose ends in the drama. Gennaro fixates on his mother but doesn’t wonder who his father might be. His friends are out for bloodthirsty vengeance. Yet they’re easily distracted when invited to a party. Even when Gennaro is fleeing for his life after escaping from the Duke of Ferrara, he stops to join his friends carousing. So much for dramatic logic! Donizetti’s aim was to write lovely arias fto showcase his singer’s abilities, and in that sense he succeeds. But apart from the bel canto displays, it’s psychologically and dramatically inert.

Significantly, Figgis is under no delusions that anyone can become an opera director overnight. That’s refreshingly honest, since good opera direction requires some musical nous. (In fact, Figgis is a musician). But because he understands drama, he adds to the production in the way he does best, by making films that encase the opera, adding commentary and background without impinging on the stage action itself.

The films are sumptuously lavish, shot on location in Italy. The extravagant Renaissance settings dazzle, but Figgis knows that the reality behind this glamour was brutal. The Borgias operated in an era of depravity and corruption. Figgis’s films start quietly, with the actresses discussing the period while getting into costume. They speak of horrific things, like prostitutes being brutalized and Jews being castrated. You flinch, but you should, for the world Lucrezia lived in wasn’t pretty. Then the actresses transform into role, like savage animals. A metaphor for the times.

Donizetti presents Lucrezia without much explanation, so her evil deeds seem to spring from nowhere. Thus the films act as reminders of Lucrezia’s past. Wealthy and powerful as she is, she’s been abused herself, and grew up surrounded by treachery. In the films, she witnesses how ruthless her father and brother can be when they murder a servant in cold blood, thinking he’s her lover. Lucrezia relives the birth of her son, who is taken from her. This brings Gennaro into the story, for he didn’t exist as historic fact. Before she marries the Duke of Ferrara she’s got to prove she’s a virgin, which everyone (including the Duke) knows is a humiliating farce. The films give psychological depth to Lucrezia’s character. Donizetti, for whatever reason, may have avoided this, but modern audiences are more accustomed to dramatic nuance.

Borgia_ENO_2011_01.gifClaire Rutter, Elizabeth DeShong, James Gower, Gerard Collett, Jonathan Stoughton and Tyler Clarke

Frames are a recurring theme throughout. Gennaro (Michael Fabiano) and Orsini (Elizabeth DeShong) converse under a proscenium arch. Later Lucrezia (Claire Rutter) and her husband Alfonso d’Este, Duke of Ferrara (Alastair Miles) appear on an ornate, golden throne. It’s stunning. But look carefully, it’s a giant version of the tabernacle on a Catholic altar, which opens to reveal sacred objects. Lucrezia’s father was the Pope. When Gennaro and his friends celebrate, they’re shown seated in a line around a long table. It’s a direct reference to The Last Supper, In fact, it is their last supper as soon they’ll all die. The audience gasps at the audacity, but it reminds us that the Borgias were far more blasphemous.

Because the films are so luscious, the opera itself appears one dimensional. Movements are static. Apart from the main images on stage, backgrounds are flat, no attempt at realism. Since this looks like opera without direction, those who hate directors ought to love this. Though Figgis is not an opera man, he’s telling us that image and substance are never quite the same. Donizetti’s Lucrezia Borgia is art, not reality.

Innovative as this approach is, it probably wouldn’t work with a less stylized opera. Nor, perhaps, one more expressive orchestrally. Donizetti wrote the opera as vehicles for the singers off his time to display their vocal prowess. The soprano part is a delight, and Claire Rutter sings it with radiant richness. Her part is easily the most rewarding and she makes her presence felt. Michael Fabiano, as Gennaro, also sings more convincingly than his role allows. Elizabeth DeShong, Alastair Miles and supporting singers are good, too, but this isn’t the most demanding of operas, despite moments of beauty.

Borgia_ENO_2011_04.gifMichael Fabiano, Elizabeth DeShong, Tyler Clarke, Jonathan Stoughton, James Gower and Gerrard Collett

Translation into English doesn’t help, though. At times it felt that the singers were obeying their natural sense of line and intonation, but drawing back to fit the text. That’s a problem with English in general, which isn’t as melodic as Italian. The overall sound of an opera communicates, not just words. There were some horrible rhymes that tried to be funny but weren’t. Orsini’s lines, on the other hand, were so wacky that they worked in an anarchic way. “Let’s respect the protocol, and not indulge in alcohol” and “Chianti! the wine of Dante!”. DeShong’s delivery was so lively that I realized at last what Orsini’s role in this opera might be. The silliness is deliberate, like whistling in a graveyard. Oddly enough, it makes sense of the idea that theatre can be divorced from drama. Donizetti may not have done much to develop Lucrezia Borgia as a personality in her own right, but thanks to Mike Figgis and ENO, we can approach her story in parallel ways. Presumably the films and opera could be experienced separately, but together they enhance each other.

For more details refer to the ENO website.

Anne Ozorio

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):