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 Reviews

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

Major new international singing competition launched by Glyndebourne

The Glyndebourne Opera Cup - the international competition for opera singers is designed to discover and spotlight the best young singers from around the world, offering a top prize of £15,000 and a platform for launching an international opera career.

OPERA TODAY ARCHIVES »

Reviews

Jacques Fromental Halévy : Clari
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.

Jacques Fromental Halévy: Clari

Clari: Cecilia Bartoli; Il Duca: John Osborn; Bettina: Eva Liebau. Orchestra La Scintilla of the Opernhaus Zürich. Conductor: Adam Fischer. Stage production by Moshe Leiser & Patrice Caurier.

Decca 074 3382 [2DVDs]

$34.99  Click to buy

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.

Chris Mullins


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):