Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

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.

Bethan Langford, Wigmore Hall

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’.

Tansy Davies: Between Worlds (world premiere)

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.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

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.

Il turco in Italia, Royal Opera

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.

The Siege of Calais
——
The Wild Man of the West Indies

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).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

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.

St. John Passion by Soli Deo Gloria, Chicago

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.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

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.

The Tempest Songbook, Gotham Chamber Opera

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.

San Diego Opera presents Adams’ Riveting Nixon in China

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.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

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.

An Ideal Cast in Chicago’s Tannhäuser

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.

Madame Butterfly, Royal Opera

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.

Tosca in Marseille

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.

Poetry beyond words — Nash Ensemble, Wigmore Hall

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.

Arizona Opera Presents Magritte Style Magic Flute

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.

Henry Purcell: A Retrospective

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.

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):