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

Il turco in Italia at the Aix Festival

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.

First Night of the BBC Proms : Elgar The Kingdom

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.

Le nozze di Figaro, Munich

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.

Winterreise and Trauernacht at the Aix Festival

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.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

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):