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Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
10 Mar 2011
Cecilia Bartoli in Halévy’s Clari
A key measure of operatic star power is the ability to get an obscure work staged — think Joan Sutherland and her run in Massenet’s Esclarmonde, an outlandish wallow in orchestral excess ladled over a libretto of unfathomable goofiness.
No matter how dubious the chosen work may be, it is sure to have one undeniable virtue for the star — a leading role that encompasses all the singer’s vocal strengths.
Although her performances in staged operas have not been numerous in recent years, there’s no bigger star in classical singing than Cecilia Bartoli. The mezzo-soprano has shown, in a series of best-selling CDs, a comprehensive interest in baroque and early Classical composers, both well-known and lesser-known. In 2008 she brought to Opernhaus Zürich a long-forgotten work of Jacques Fromental Halévy, who is best known today for La Juive, a grand opera with a showcase role for a lead tenor (Neil Shicoff has been that work’s foremost proponent in recent years). Halévy’s Clari, to a libretto by Pietro Giannone, is a very different work — more Mozartean in musical language, and with a simple story that walks an uncomfortable line between comic underpinnings and deeper emotional currents.
The title character, before the stage action begins, has been induced to leave her farm family by an attractive Duke. She expects marriage, but he ensconces her at his home and presents her as his “cousin.” As Clari begins to doubt that she will ever be the Duke’s wife, she slips toward an emotional breakdown. Finally she flees to her home, where she fears her family will no longer accept her. Indeed, her father feels she has shamed the family, but when the Duke follows her to her home, realizing at last what she means to him, the expected happy ending makes its appearance.
Bartoli’s appealing stage manner does not extend to her being a convincing actress, and in the context of the cartoonish production of Moshe Lisher and Patrice Caurier, this staging doesn’t treat Clari’s emotional predicament with sensitivity or insight. Bright colors and broad gestures dominate, as if the creators fear that the audience will grow bored if asked to concentrate on the actual libretto and score. Indeed, Halévy’s music is Mozart-lite, with anodyne recitatives and superficially appealing but quickly forgettable melodies. Apparently, Bartoli herself did not have full confidence in the score, since at key moments she performs a Rossini aria from Otello and a cavatina from an entirely different obscure work of Halévy (La tempesta). Nonetheless, the show is a pleasant enough distraction. An act two chorus sung to an ailing Clari is a beautiful little piece, and an aria sung by a minor character (Bettina, performed by Eva Liebau) struck your reviewer as better than anything Clari gets to sing. The tenor lead, Il Duca, has a nice number or two. John Osborn takes a while to warm up, sounding a bit thin in his first number, with suspect intonation. Even warmed up his voice can’t be called beautiful, but he has real vocal agility and is a scrupulous musician. Unfortunately, as costumed by Agostino Cavalica, he looks less like a handsome libertine of a Duke than an overgrown pubescent boy. The shorts are truly unfortunate.
Adam Fischer and the La Scintilla band enjoy the unchallenging score, keeping things as interesting as possible with sharp rhythms and tight pacing.
Decca offers handsome packaging, although one can’t help but suspect the show is spread over two discs just to offer the set at a higher price point. The expansive booklet features a cartoon-panel version of the synopsis (parts of which also appear in the production as a clever bit of exposition), along with an essay on the opera, a note on the production, and a “Conversation with Cecilia Bartoli,” which is about as conversational as any document emanating from a public relation’s office.
Whether or not this production actually serves as the best representation of the opera Clari, it is very likely to be the only one available, indefinitely (if not infinitely). Bartoli’s vocal charms are on full display, and the show passes the time pleasantly enough.