06 Mar 2011
Così fan tutte, Palm Beach
Little is known about the extent to which Mozart and Da Ponte collaborated on the libretto for Così fan tutte.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
Little is known about the extent to which Mozart and Da Ponte collaborated on the libretto for Così fan tutte.
There is no mistaking the Austrian musical polyglot’s imprint on the story’s sarcastic similes, sharp allusions, and knowing winks however. Yet, for all his life, Mozart experienced the world in a musical bubble; how did he develop the keen sense of insight into human behavior that would lead to producing works like Così?
Though we have a picture of a child with a sensitivity to music that was awe-inspiring, there is also a gestalt view of a child extraordinarily observant and attentive, with the instincts of a savant. This is probably the way Mozart experienced the social world, through the lives of others. If Così is any indicia, he found great amusement in what he witnessed.
Joel Prieto [Photo by Felix Broede courtesy of Universal Music Classical Management & Productions]
In his adult life, Mozart was at the receiving end of vicious political jockeying and nasty pettiness he had no interest in mirroring. He still had an unquenchable thirst for living, seeking outlets for his energies and potential. In music, he found the only muse that would woo him. That tireless love for music probably killed him, but before it did, he would have his fun attending to and making it.
Mozart has gotten more attention recently from Palm Beach Opera. Così fan tutte, last seen here in 1998, completes PBO’s “Mozart-Da Ponte trilogy”; Le Nozze di Figaro and Don Giovanni were part of the company’s 2009 and 2010 seasons respectively. Two United States debuts highlight PBO’s second cast opening of Così on February 26th.
In his first opera conducting assignment in North America, Gianluca Martinenghi and orchestra distinguished themselves right from the overture with playing of the utmost delicacy, and sensitivity to Mozart’s score. This pattern held and generalized to the vocal department, buoying up and stimulating singing. A regular in some top theaters in Italy, the conductor’s pacing gave singers the prerogative to explore Da Ponte’s text. The playing did fall cold at the odd moment, but at the bridge to “Un Aura Amorosa” and for Fiordiligi’s second act aria, there was sufficient musical heat. Bruce Statsyna provided not simply chords, but accent notes, arpeggios, and runs underneath the vocal line on a healthy harpsichord.
Dorabella (Patricia Risley), Fiordiligi (Caitlyn Lynch) and Don Alfonso (Matteo Pierone)
Joel Prieto had regular work in Europe before winning Operalia in 2008. His breakout came after that competition though, as he has appeared at Covent Garden, the Liceu, Stuttgart, and the Salzburg Festival. In his North American opera debut here, the Spanish born, Puerto Rican bred tenor left one wanting more. Prieto is building a characterization of Ferrando as that of a shy but curious fellow, one for which Mozart’s music is especially suited. Of the music, Prieto’s performance tended toward caution; “Un Aura Amorosa” was unexceptional but for the shading of the second stanza; at that point, and occasionally later, he sang with the kind of affinity for this music that has garnered him (much-too-early) comparisons with golden age aristocratic tenors. His tenor’s quality — amber hued and full, with an attractive fresh sheen — and size were bare in “Ah! Io veggio quell’anima bella.”
Caitlyn Lynch also took some time to warm up to Fiordiligi, achieving a “Per pieta, ben mio perdona” of unexpected commitment and feeling. Comedic points were hers (and Steven Lawless’) for departing the stage after the first part of “Come scoglio” and then reentering grandly for its concluding verse. PBO favorite Patricia Risley has the sort of creamily textured mezzo — however gummy the diction — and alluring physical presence that can shift the axis of focus in any performance; in this case the axis of Così’s “school for lovers” turned often to her Dorabella. The Guglielmo of Andrew Schroeder was especially susceptible to fading into the background in this production, though his resonant baritone would not go unnoticed. Matteo Pierone’s Don Alfonso began to take shape in the quintet — the highpoint of this Così’s ensemble singing — that closes Act One. From there on, his Alfonso played narrator, observing and commenting from the wings. As Despina, Abigail Nims’ impact was felt as a mysterious, masked dottore and later as a twitchy notary.
Fiordiligi (Caitlyn Lynch), Despina (Abigail Nims) and Dorabella (Patricia Risley),
PBO’s chorus, under the direction of Greg Ritchey, created rich and sonorous music from offstage, emerging only for the civil ceremony.
Stephen Lawless’ permutation on Così’s magnet-as-poison-antidote theme was a kite-and-key electric conductor that had Ferrando and Guglielmo writhing and shuddering. Lawless moved the action upstage, in front of a scrim curtain of clouds as Alfonso re-pontificated to Ferrando and Guglielmo — their backs to the audience — “così” across Ferrando’s ear, “fan” across Guglielmo’s and “tutte” out into the theater. It is in the civil ceremony that Lawless’ stage direction hit a high-water mark that stayed mostly unbroken through much of Act Two. The scene included an action-stopping moment and then scurrying chorus members as the marriage contracts were signed. To close the opera, Fiordiligi and Dorabella crossed each other in confusion over which swain to go to in “Fortunate L’uom.”
Despina (Abigail Nims), Fiordiligi (Caitlyn Lynch) and Dorabella (Patricia Risley)
On loan from Atlanta Opera, Peter Dean Beck’s sets remember Classical Roman civilization and Naples; there are statues and columns and the sorelli are transplanted from their room to tanning on lounge chairs under an umbrella at a sun-soaked beach (Lighting by Michael Baumgarten). For a model of costume (owned by Atlanta Opera also) pragmatism we go to the final scene — designers at Malabar Ltd. cloak the “Albanians” in desert-beige trench coats, have them switch to floor length soldier uniforms, and back to the original desert gear, all in a flash.
This performance of Così will go down as an example of competent Mozart casting from PBO.