Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

OPERA TODAY ARCHIVES »

Performances

Javier Camarena as Count Ory and Liliana Nikiteanu as Ragonde [Photo by Jef Rabillon courtesy of Opernhaus Zürich]
06 Feb 2011

Randy Rossini Romp in Z-Town

If proof were needed, the Swiss capital’s heady new Le Comte Ory cements the notion that super-star Cecelia Bartoli certainly seems to have found an ideal home at Zurich Opera.

G. Rossini: Le Comte Ory

Count Ory: Javier Camarena; Countess Adele: Cecilia Bartoli; Isolier: Rebeca Olvera; Ragonde: Liliana Nikiteanu; The Governor: Carlos Chausson; Raimbaud: Oliver Widmer. Conductor: Muhai Tang. Stage Direction: Moshe Leiser and Patric Caurier. Set Design: Christian Fenouillat. Costumes: Agostino Cavalca. Ligthing Design: Christophe Forey and Martin Gebbhardt. Chorus Master: Jőrg Hämmerli.

Above: Javier Camarena as Count Ory and Liliana Nikiteanu as Ragonde

All photos by Jef Rabillon courtesy of Opernhaus Zürich

 

And like everything else about her meticulously managed career, La Bartoli has chosen her house wisely since this jewel of a theatre is a perfect size to showcase her prodigious vocal skills. She exudes star quality to be sure, and her acting is fearless and assured, but she also sings up a perfect storm with some of the best damn’ coloratura (rhymes with bravura) fireworks to be heard in this (or any other) galaxy.

The Divine Miss B knows her assets, and her limitations, well and she unerringly maximizes the former and beguiles us into ignoring the latter, by which I mean…the voice is not large. It will never pin us in our seats like Gabriela Schnuat in full Geschrei (Gott sei dank…). But Cecelia is crafty enough not to try, concentrating instead on dazzling with the afore-mentioned pyrotechnical melismas, and by making every phrase supremely meaningful. Some find her minute attention to detail and nuance irritatingly over-reaching and mannered. Not so.

For an example of truly fussy calculations I invite you to listen to the late (late) Schwarzkopf recordings where every syllable has a different life and color (make that “lah-EEF an-duh Cuh-LOoooouuur”). To my ear, our Ms. Bartoli invests each phrase with subtext, and finds exactly the right dramatic modulation within the context of the overall musical moment. As she has matured, her pliable upper voice seems to have become even more flexible all the while it has gotten a little darker, more bronzed now than silvery. The chest tones remain rich, the lower-middle full and responsive, and the role of Countess Adele was superbly realized by a diva in full command of all her resources.

Call it another triumph by this treasurable artist who has gifted the company with another definitive performance. Zurich Opera has repaid our star in kind by surrounding her with a cast of highly talented colleagues and a scintillating production.

Young tenor Javier Camarena was almost all one could wish for in the title role. He sports a secure and easy top, solid technique, decent heft in mid-range, good agility in the florid passage work, and a willingness to throw himself into the stage antics with abandon. True, his forte high notes get quite straight-toned, but they never miss. And he sings very musically with arching line, projecting his well-focused slender voice to the furthest reaches of the house, no matter what comic business he may be doing simultaneously. Mr. Camarena is a highly valuable asset to the repertoire, and he is needed. But damn Juan Diego Florez! Anyone who has experienced JDF in one of these Rossini roles has had the bar of expectation raised impossibly high, not only vocally, but also because he is gorgeous and. . .he can be effortlessly funny. Javier works a little too hard to get har-de-har-laffs and thus distances himself from us. And it has to be said when he peels off his shirt, well, the moment is more Pillsbury Doughboy than Casanova.

Rebeca Olvera was such a secure, perky Isolier and she had such a spot-on delivery that I wanted to love her even more than I did. But I kept thinking what a wonderful Oscar she would make, and wondering if I should be thinking that while she was in front of me essaying the meatier role of Isolier. She strutted and prowled the environment with great conviction, and everything about her crystal-clear bell-like soprano was absolutely first rate. Her duets, singing often in thirds with Bartoli, were among the evening’s most sublime moments. But ultimately, for all her talent and conscientious music-making, we ended up with Isolier-Lite.

ory-81590.gifJavier Camarena as Count Ory and Cecilia Bartoli as Countess Adele

Not so with the plummy mezzo contribution from Liliana Nikiteanu as Ragonde. Her tone is like a rich cream sauce, and her grounded vocal character was a perfect foil for the other two high flying ladies. Oliver Widmer was a dramatically involved, vocally secure Raimbaud, and he made the most out of his lengthy celebration of wine’s virtues. The ageless veteran Carlos Chausson made his usual solid effort, his ripe bass rolling out securely as the Governor. What a wonderful career he continues to have.

The production was cleverly directed by Moshe Leiser and Patric Caurier, the duo who also scored with Ms. Bartoli’s Clari in this house. Here are two people who know how to direct singers. They know where to place them on stage to be heard. They know how to keep them still (or still enough) to be able to sing well. And they know how to group the chorus and move them so they can maintain good ensemble singing. And…dramatically they know how to use placement of characters and meaningful blocking to properly focus a scene. And Messrs. Leiser and Caurier have created inventive and personalized business while still trusting the material. Sadly, on the international circuit, this is not all that common.

The piece has been set in post-war France and it works surprisingly well. Of course, having the plot hinge around ladies anxiously awaiting their troops coming home from the war invites bitchy comments about not realizing the French ever actually fought in that war…but perhaps that is a little Swiss in-joke. The lovely realistic village setting from designer Christian Fenouillat includes an upper street level that accommodates a number of vehicles to drive across it including a jeep for Isolier and the Governor, and a Citroen for the Countess. A steep set of stairs center stage brings performers to the main level where the Hermit (Ory) is hiding not in a cave, but in a white trash trailer. It later spins and unfolds like a dime store pop up greeting card to reveal a leopard skin and red lamé campy camper interior.

Act Two’s palace interior was a brilliantly detailed drawing room with overstuffed sofas and chairs, dining table, copious noveau light fixtures, a balcony, and even a grand piano (which Ory ‘plays’ to accompany himself at one point) . The goof of having the women taking their tea as only one sewed during the ‘sewing chorus’ was charming. Indeed, as Ragonde sloooooooowly threaded the needle while the rest of the ladies hung suspended in silence until the deed was done (to great general relief) , it was an inspired moment of comic invention. And having the chandelier sway during the storm, and various light bulbs “explode” and blow out was one of the many deft touches from lighting designers Christophe Forey and Martin Gebbhardt. The choice of period also allowed for a color-riot of ‘busy’ costumes: day dresses, uniforms, business suits and, of course drag nuns, all of which were lovingly devised by Agostino Cavalca.

ory-81830.gifCecilia Bartoli as Countess Adele and Rebeca Olvera as Isolier

All of the plot points and machinations were extremely well presented, not least of which is Ory’s attempted false seduction of the Countess (in the guise of Isolier). Having the Countess on the floor down stage of the chaise that bears Isolier, the both covered with a blanket, and having Ory approach from upstage was absolutely the right placement, and it allowed good variety in the lengthy scene to boot. The team worked hard and well at filling the repetitive arias (especially Raimbaud’s and Governor’s) with meaningful movement and varied positioning.

The one miscalculation in the concept was that of the character of Count Ory himself. He is sexually adventurous and somewhat insatiable, clear. And he is focused on his pursuits. But he is not a perverted, promiscuous boor with a constant erection. Here, the Count came off as the obnoxious frat boy who was the bane of every party, ogling buttocks, pawing penitents, and even looking up the Countess’ skirt. Mr. Camarena was also oddly costumed in flip-flops, cargo pants and a tee shirt (when he wasn’t the blind hermit). A little finesse would go a long way in fine-tuning Javier’s considerable efforts. A little heart would make him the heart of the show. How ‘bout it, guys? Please?

Conductor Muhai Tang elicited wonderful ensemble playing from the orchestra, finding real rubato and dramatic personality in the odd little overture. He partnered his singers with great aplomb, and the solo work, especially from the winds, was demonstrative and effervescent. Jőrg Hämmerli’s chorus was polished to a fare-thee-well and the many Opera Studio soloists distinguished themselves, notably young tenor Ilker Alcaryűrek, a talent to watch.

What a joy it was to see such a seriously well crafted mounting of this seldom encountered comic piece. Rare Rossini, well done!

James Sohre

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):