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

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Janáček, The Makropulos Case, Bavarian State Opera

Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

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):