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.
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.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
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.