Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Performances

Giacomo Meyerbeer
06 Mar 2011

L’Africaine, OONY

Eugène Scribe and Giacomo Meyerbeer were in the business of creating proto-cinematic spectacles of drama and music, the formula being to take a historical incident in some exotic country or era, put in a tormented love story to hold our attention, and resolve the whole in catastrophe.

Giacomo Meyerbeer: L’Africaine

Sélika: Chiara Taigi; Inèz: Ellie Dehn; Vasco da Gama: Marcello Giordani; Nélusko: Fikile Mvinjelwa; Don Pedro: Daniel Mobbs; Grand Inquisitor: Djoré Nance; High Priest: Harold Wilson. Opera Orchestra of New York and New York Choral Ensemble conducted by Eve Queler. Performance of March 2.

Above: Giacomo Meyerbeer

 

Hollywood’s historical style, especially the epics with spiritual content, took its cue from Scribe, and the idea of accompanying the pageant with a thrilling but shallow score may also derive from these operas. In any case, the Scribe-Meyerbeer firm achieved this very well; their operas, expensive as they were to produce properly, were much loved for a hundred years. Changes in the style of singing, the onset of highfalutin Wagnerian music-drama, which outclassed grand opera, and the sheer cost of putting this grandeur on stage (six or seven leading singers were not the least of it—but ballets of ice skaters or ghostly nuns, sixteenth-century bathing beauties with pool, a full-rigged galleon overwhelmed by a typhoon—don’t none of it come cheap) fell victim to the Crash of 1929.

Revivals of their four grandest collaborations, not to mention the lesser ones, have been so rare since World War II that it is easy to keep track (and own pirates) of most of the grandest (the Sutherland-Corelli-Simionato Gli Ugonotti in Milan, the Ramey-Anderson Robert le Diable in Paris, the Leech-Lorengar Des Hugenotten in Berlin, the Horne-McCracken Prophète at the Met, the Verrett-Domingo L’Africaine in San Francisco). L’Africaine, the final (and posthumous) Scribe-Meyerbeer creation (premiere 1865), was last staged in New York in 1934 with Rethberg, Martinelli and Pinza. It was last heard here in concert in 1972, when the brand new Opera Orchestra of New York gave it for Richard Tucker to show off his stalwart ut de poitrine as Vasco da Gama. Eve Queler, who is standing down as maestra for the company she has steered through so many shoals past so many Capes of Good Hope, presented it again last week as her farewell to the podium.

Marcello Giordani [Photo by Dario Acosta]

L’Africaine has everything—except Africa or Africans. (The plot changed over years of rewriting but they forgot to change the title, and both men had died before the premiere.) L’Africaine certainly had everything Meyerbeer’s audiences expected: big arias and loud duets for singers with range and staying power, orchestral variety, insane stage effects, local color run riot, chorale, ballet. There are so many characters in Act I that we are relieved when a catastrophe in Act III reduces the story to manageable size, their stage-filling Portuguese galleon having hit a reef (thanks to an invocation of a god of the winds) where bloodthirsty savages overwhelm the crew. This still leaves two acts of romantic mayhem, oriental religious rituals and the opera’s most famous aria, “O Paradis” before a bittersweet conclusion: The savage but noble queen sends her adored Vasco and his Portuguese sweetheart home, then eats poisoned crimson flowers on a cliff overlooking the sea. (Yes, this situation was borrowed for Aida and Gioconda.) Unfortunately for the peoples of the Orient, the lovesick queen also gives Vasco navigational secrets with which to found a colonial empire, but in 1865 that was just what all the opera-loving countries wanted to do. “O Paradiso” (as it was sung in Italian, by Caruso, Gigli, Martinelli et al.) became, in a way, the theme song of the age.

L’Africaine’s rare full revivals (most recently, in this country, in San Francisco in 1988, with Shirley Verrett, Plácido Domingo, Ruth Ann Swenson and Justino Diaz, a production available on video) never fail to delight those audiences who like their opera grand, with big tunes, big voices, long nights and manic spectacle. Its repute (both good and bad) pretty much guarantees an audience of the curious, and Avery Fisher Hall was packed to the rafters on the present occasion, despite the lack of well-known singers other than Marcello Giordani. Just, you know, to hear the thing. Most of us were still hanging on three and a half hours after Maestra Queler raised her baton (and there was only one intermission). And as soon as we heard a massed basso chorus threatening violence in the name of intolerant religion (a familiar Scribe trope), accompanied by a piccolo, we knew we were in Meyerbeer country. (Scribe gets it twice in L’Africaine—the raging basses are Catholics in Act I, when they wish to kill Vasco for attempting to circumnavigate Africa, and they’re bloodthirsty Brahmins in Act IV, when they want to kill him lest he go home and reveal the secret route.)

Taigi.gifChiara Taigi

Eve Queler has been running this show for forty years and her conducting style isn’t going to change. How dancers would follow her languid beat through Meyerbeer’s exotic ballets is hard to imagine, but happily this is not a requirement in concert performances; the singers had merely to stand out and declaim. The pace of the evening did not flag, the climaxes and confrontations were a thrill. For example, the xenophobic Brahmins inserting cries of “No!” into Vasco’s pleas for mercy were a nice Meyerbeerian touch, though of course stolen from Gluck’s Orfeo, which the Opéra had recently revived for Pauline Viardot. The tenor-bass duet in Act III, as Vasco and slimy Don Pedro nearly come to blows over the lovely Inèz, is even more exciting because we know the typhoon is blowing up. The soprano-mezzo battle over the tenor (again: Verdi and Ponchielli were paying heed) enlivens Act V while the conclusion is still in doubt. It was an evening of crowd-pleasers.

Besides showing off scores we are unlikely to encounter staged, Opera Orchestra’s other great function has been to introduce New York to singers we may not otherwise encounter. OONY’s alumni are quite a roster. That last L’Africaine, for example, paired Tucker with Antonietta Stella. OONY’s Les Huguenots, a triumphant occasion and a rare performance of nearly the entire score, gave us not only the New York debut of Krassimira Stoyanova as Valentine but the superb Raoul of Marcello Giordani. Giordani, for whatever reason, never sounds so good, so heroic, at the Met (where he sometimes sings the same roles) as he does when performing with OONY, and L’Africaine showcased his Vasco da Gama, some of the noblest, most robust singing he has given New York in many years, though not without an occasional bobble.

Giordani was joined by a curious roster of strangers and familiar faces in unusual roles. Among the strangers was Chiara Taigi, an Italian soprano of striking looks and high melodrama in the acting department, showing off three different costumes to suit Sélika’s three roles of lovelorn slave girl, restored queen and suicidal abandoned lover. The role is as juicy as, well, a Meyerbeer heroine, but sits awkwardly for the voice, mostly high mezzo with some soprano extension. Rosa Ponselle, whose voice ran precisely there, had a tremendous success with it, but no one living has the technique, much less the gift, of a Ponselle. Taigi’s top notes were rough and the joints sometimes showed, but it is a prima donna-sized instrument with some very beautiful material in it. I’d be curious to see her in more basic repertory, but I’m not sure which—the list of roles in her bio is all over the map, and her emoting may not suit the modern “realistic” school. In an OONY evening, she was just what we wanted.

Ellie_Dehn.gifEllie Dehn [Photo by Dario Acosta]
Ellie Dehn, who sings an odd assortment of parts at the Met (I loved her in Satyagraha), sang the role of Vasco’s girlfriend, Inèz, with some brilliant color but imperfect coloratura. A South African baritone named Fikile Mvinjelwa—short, barrel-chested, dark-skinned, a voice to reckon with and an actor to his fingertips—took advantage of all the quirks of Nélusko’s sinister-heroic personality without reticence and brought down the house with his “Adamastor, roi des vagues.” (He’s been covering roles like Rigoletto at the Met; I say: Turn him loose to sing them.) Daniel Mobbs, ever reliable and elegant, sang selfish Don Pedro suavely. Ezio Pinza was wont to sing both the Grand Inquisitor and the High Priest in the old days—more Scribean commentary on the universality of religious intolerance—but Queler gave them to sturdy rival basses.

It was a performance to make us all hope to be around the next time L’Africaine comes back—and more eager still to hear a Robert le Diable or Dinorah or Crociato in Egitto.

John Yohalem

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):