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 Performances

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

Cosi fan tutte in Salzburg

This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.

OPERA TODAY ARCHIVES »

Performances

Juan Diego Flórez as Count Ory (disguised as the Nun) [Photo by Marty Sohl courtesy of The Metropolitan Opera]
28 Mar 2011

Le Comte Ory, Metropolitan Opera

Rossini’s penultimate stage work, Le Comte Ory, belongs to the tradition of sexy scoundrel operas, along with such works as Don Giovanni, Zampa, Fra Diavolo, Barbe-Bleu, Les Brigands and Threepenny Opera.

Gioachino Rossini: Le Comte Ory

Comtesse Adèle: Diana Damrau; Isolier: Joyce Di Donato; Comte Ory: Juan Diego Flórez; Ragonde: Susanne Resmark; Tutor: Michele Pertusi; Raimbaud: Stéphane Degout. Production by Bartlett Sher. Metropolitan Opera chorus and orchestra conducted by Maurizio Benini. Performance of March 24.

Above: Juan Diego Flórez as Count Ory (disguised as the Nun)

All photos by Marty Sohl courtesy of The Metropolitan Opera

 

You could make a case for adding supernatural scamps like Der Vampyr and Tannhäuser to the list. The hero may be a rogue—in fact, rogue is his job description—and may even be a cutthroat or worse, but he’s a lovable fellow for all that. And he almost never gets to home plate with the ladies whose hearts he flutters; the censors wouldn’t have stood for it. Thus the joke of Gilbert and Sullivan’s spoof in The Pirates of Penzance: Their chorus-full of reckless rogues lust “to be married with impunity” to the bevy of helpless females they are about to abduct. (Is it coincidence that most of the sexy scoundrel operas are French? No.)

COMTE_ORY_Pertusi_as_Tutor_.gifMichele Pertusi as The Tutor

The censors wouldn’t have stood for it then, but there are no censors now, and opera directors are all for full disclosure. This mars Bartlett Sher’s colorful if bare-bones staging of Le Comte Ory for the Met. Consider the final trio: Ory, our scoundrel, has disguised himself as a nun in order to enter Countess Adèle’s bed in her darkened chamber. Unbeknownst to him (but obvious enough to us), Adèle’s young suitor, Isolier, is also present, and in fact the Count is embracing Isolier as Isolier embraces Adèle. If this seems a bit racy for 1828, even in Paris, ne vous-inquiètez pas: Isolier is played by a mezzo soprano. Audiences didn’t mind watching a man fiddle with a boy so long as the boy was obviously a woman. (The first time I saw this opera, Lucky Pierre—sorry, Isolier—was played by a countertenor; he seemed to be enjoying the situation.)

But in Sher’s production, all three persons scramble around each other among the bedclothes as if this were just an ordinary three-way with no story to tell, and it is impossible for the Count not to be aware that he is in bed with two other people. Adèle, too, should not be aware of what is going on; here she’s a merry participant. It may seem a small point, and everybody around me found the slapstick hilarious, but the premises of farce must be taken seriously for the mad machine to work properly. Either Joyce DiDonato is a man or she isn’t; if she isn’t, why does Adèle hope to marry her? If she is, why does the skirt-chasing Count enjoy being in bed with him? It’s as if Lucy schemed to divorce Desi and demanded custody of his band: It violates the clear farcical contract for which we have been so carefully set up.

COMTE_ORY_Degout_as_Raimbau.gifStéphane Degout as Raimbaud

Sher, as in his previous Met shows, Barbiere and Hoffmann, is always willing to dump the plot to insert a dumb joke; this was also true in his disastrous staging of Women on the Verge of a Nervous Breakdown. He only seems capable of theatrical discipline if the piece is, like South Pacific, sacrosanct, guarded by those who can keep him in line. He has no theatrical clarity of his own. Is this sort of anything-for-a-laugh mayhem what Peter Gelb means when he refers to a “new realism” in the opera house?

The singers have been encouraged not to play this charming piece straight. I would find the evening pleasanter (and probably funnier) if Diana Damrau, a fine singer as well as a fine comic actress, sang the dizzy Countess’s fruity tunes with a bit more attention to proper line and with fewer wildly mugged high notes, and if Juan Diego Flórez’s nasal tenor, never the most sensuous of instruments, were not quite so dry. He is choosing roles lately that do not exhibit his extraordinary virtuosity, and his is not an instrument to make it in bel canto otherwise. There are many far prettier tenor voices around.

COMTE_ORY_Damrau_Florez_DiD.gifDiana Damrau as Countess Adle, Joyce DiDonato as Isolier, and Juan Diego Flórez as Count Ory

What, I wonder, would Rothenberger and Gedda have made of the bedroom trio? With, say, Teresa Berganza as Isolier? I can’t help thinking they’d have each contrived to keep one foot on the floor, in old-time Hollywood fashion, but they would still have been funnier than Sher’s staging, and they would have sounded like a glimpse of heaven.

Joyce DiDonato, as Isolier, is a lovely performer who does not let her farce-making get in the way of torrents of beautiful Rossini, as heartfelt as they are pure. She is the reason to visit Le Comte Ory and the reason to linger to the very end. Susanne Resmark revealed a most attractive alto voice with more to display than was evident here in the Margaret Dumont-like housekeeper role. Michele Pertusi was all that could be desired as the Tutor and Stéphane Degout filled our grateful ears with dark baritone during his drinking song. Maurizio Benini kept the orchestral sound low so as not to interfere with singers’ audibility, though as Sher (as usual) pushed them all to the edge of the stage apron, this was probably unnecessary. In the old days, and not so very old either, singers could fill the Met from mid-stage and revel in the filling.

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):