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.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.