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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

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.

OPERA TODAY ARCHIVES »

Performances

Zeljko Lucic in the title role and Diana Damrau as Gilda [Photo by Marty Sohl courtesy of The Metropolitan Opera]
29 Apr 2011

Rigoletto, New York

Rigoletto is the perfect opera. Even Verdi, who wrote so many wonderful scores, never created anything more flawless.

Giuseppe Verdi: Rigoletto

Rigoletto: Željko Lučić; Gilda: Diana Damrau; Duke of Mantua: Giuseppe Filianoti; Sparafucile: Stefan Kocán; Monterone: Quinn Kelsey. Metropolitan Opera Chorus and Orchestra conducted by Fabio Luisi. Performance

Above: Željko Lučić in the title role and Diana Damrau as Gilda

Photos by Marty Sohl courtesy of The Metropolitan Opera

 

Each melody is lovely in itself (except, perhaps, for the court dances of the first scene, which are supposed to seem shallow in any case, and do), but more important each one fulfills its dramatic moment and enhances our understanding of the character who sings it. The dramatic movement is steady and inexorable—and pitiless. Step by step, each important element of the drama takes place before our eyes—nothing is concealed except the Duke’s rape of Gilda, and in some modern stagings we even get to watch that. But the current Met production, thank heavens, designed by Otto Schenk and somewhat vulgarly directed by Gregory Keller, happily spares us that particular debauch. It is a handsome, old-fashioned job, with fine architectural elements and a street in medieval Mantua that, damn it, looks like a street in medieval Mantua. The costumes are rich and attractive. It does the job.

Its third cast this season gave signs, on April 26, of insufficient rehearsal time. This was most clear in Fabio Luisi’s conducting, which throughout the first scene and on several other occasions (notably the murderers’ trio in Act III) raced along far too swiftly for the ability or the experience of the singers. Luisi just didn’t seem to be giving a thought to their vocal situations; a link that should go both ways was only open in one direction. It is not necessary for a conductor to follow his singers, but a certain degree of interaction, of appreciation of the way they are handling their roles and when they are in difficulties, is something one can hope for of a conductor leading a repertory opera of this familiarity.

Rigoletto-Met-2011-02.gifGiuseppe Filianoti as the Duke

The three leading singers all have excellent reputations to which they all, in part, lived up—the performance hit somewhere around the A-minus, B-plus range. How would this cast sound in a smaller theater, or in a studio with a more relaxed atmosphere? I suspect they’d all have done better.

Željko Lučić has one of the Met’s most beautiful baritone voices just now, but he occasionally sang flat just when one wanted to relax and enjoy it. Still: His “Cortigiani, vil razza” was a jeweled display of Verdi singing, elegantly produced. One might not have noticed, however, that this is a passionate aria, sung in an extreme situation. As an actor, Lučić has much to learn, and the Met might with profit bestir itself to teach him, and not merely how to sing a make-or-break aria with the proper intensity. For one thing, Rigoletto’s hump is not a figure of speech—he’s supposed to be visibly crippled, to have lived all his life with taunts and ill treatment for his condition, to have turned against the human race for this very reason. To stand sturdily upright while those around you mime a cripple to insult you is to miss a big point, and yet this was Lučić’s attitude all night. (His Barnaba in Gioconda omitted personality in the same way.) His joking in Act I lacked point or fury, his behavior in Act II lacked pathos. The courtiers did not toss him about, either—he never seriously tried to break through. One could admire the vocalism; one was never inspired to weep or cringe at the tragic figure. Rigoletto is one of the supreme roles of the baritone repertory; I hope Lučić, who sings it so well, will coach it with someone knowledgeable, or undertake a production with a really inspiring director.

Diana Damrau, in contrast to Mr. Lučić, can act a role and does. She’s studied the libretto as well as she’s studied the music, and she lived every shade of it: Girlish with her father, alarmed and then yielding when alone with her suitor, embarrassed and terrified by the crowd of strange men in Act II, unable to tear her unhappy eyes away, in Act III, from the Duke’s seduction of Maddalena. Her singing, too, was entirely at the service of her dramatic conception—there were vocal fadeouts, muddinesses, thinnesses that I suspect would not have been heard in a rehearsal, the product of her concentration on being Gilda. It was possible to enjoy her “Caro nome” without noticing it was—had ever been—a famous coloratura showpiece, for she made its breathless phrases an expression of girlish ecstasy. She took none of the role’s optional high E’s—which Verdi did not compose—but she also omitted the trills, which he did. Those accustomed to more power at such moments as “Si, vendetta” might also have been disappointed.

Where Rigoletto should be (but Lučić wasn’t) busy, uneasy, concocting and reflecting, the Duke should be graceful, sensuous, at home in his vicious element. Giuseppe Filianoti was a Duke who could not sit still. His pleasing tenor was all over the place, heavily stressed in the first scene, suave and pleasing in the seduction duet, hoarse in the quartet (where the direction demanded far too much activity to permit high notes), and cracking unattractively in his post-coital encore of “La donna è mobile.” He basked in his own and the audience’s affection, so that it was easy to think him a ladies’ man, more difficult to see him as the self-indulgent daydreamer of “Parmi veder.” He often ended phrases with a serene high note, only to be brought up breathlessly short. Was it the unaccommodating conductor or a graceless vision of the part that gave him pause?

One of the most impressive things I’ve ever beheld on any stage was the sight of Ruggiero Raimondi as Sparafucile, singing his lines while holding, over his shoulder, a sack containing Joan Sutherland. After he sang (and he sang well), he slid the sack ever so gently to the floor, where Sherrill Milnes did not even try to lift it, but hauled it to center stage, kicked it a few times, and—out popped Joanie, trilling away! At the next performance I attended, Ivo Vinco did not attempt to carry the sack—an assistant ruffian stood behind him to hold it. Sparafucile in this latest Rigoletto was Stefan Kocán, who sang decently and looked very sporty (hired assassins outdress courtiers in this Mantua, evidently), but whose threats I cannot take seriously—an assassin who needs an assistant to help carry petite Diana Damrau can’t be much good at his job. Kathryn Day, the substitute Giovanna, sang her few phrases with lovely clarity. Someone has told Quinn Kelsey, the Monterone, that this is the Jonathan Miller production set in Little Italy; he sings well but his moves and gestures are those of a low-class Sicilian thug. Monterone is a gentleman at a ducal court and should behave with outraged dignity, a very different thing, at least on the stage.

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):