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

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

A culinary coupling from the Guildhall School of Music and Drama

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

Iestyn Davies and Fretwork bring about a meeting of the baroque and the modern

‘Music for a while/Shall all your cares beguile’. Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern.

OPERA TODAY ARCHIVES »

Performances

Giselle Allen as Tosca and Jesus Leon as Cavaradossi [Photo courtesy of NI Opera]
08 Apr 2011

Tosca, NI Opera

“Show goes on despite fresh bomb scare”. Not exactly the sort of headline a new opera company might have dreamt of for its inaugural production.

Giacomo Puccini: Tosca

Floria Tosca: Giselle Allen (31st March/2nd April) Lee Bisset (1st April matinee performance); Mario Cavaradossi: Jesus Leon; Scarpia: Paul Carey Jones; Sacristan: Brendan Collins; Angelotti: John Molloy; Spoletta: Andrew Rees. Director: Oliver Mears. Conductor: Nicholas Chalmers. Designer: Simon Holdsworth. Lighting Designer: Kevin Treacy.

Above: Giselle Allen as Tosca and Jesus Leon as Cavaradossi

Photos courtesy of NI Opera

 

It’s what happened to Northern Ireland Opera, however, on day two of its Tosca staging, when a device planted by dissident terrorists (the second in five days) forced the rapid abandonment of St Columb’s Cathedral in Londonderry, the Act One venue in this site-specific staging. The show did indeed go on: Act One as a concert performance, Acts Two and Three in the city’s Guildhall and St Columb’s Hall, as scheduled. “We were prepared and decided we were going to go ahead with it anyway”, commented conductor Nicholas Chalmers stoically. “We will not be beaten”.

Artistically the production was a triumph. Its keynote was the studious avoidance of all the blowsiness and bombast which can reduce Tosca to the “shabby little shocker” of operatic legend. Oliver Mears’s staging had shock without shabbiness: in calm, clinical fashion he cut to the political quick of the drama, the raw ingredients of political struggle, state oppression, torture, murder, suicide and religion starkly anatomised in a city where for the thirty years of “The Troubles” (Northern Ireland’s vicious sectarian conflict) they were the lingua franca of everyday existence. A Tosca with contemporary relevance? Just a little…

Oliver_Mears_head_shot.gifOliver Mears

Act Two’s extended confrontation between Tosca and police chief Scarpia was in this respect seminal. Belfast-born Giselle Allen, in her first Tosca, delivered an already sharply modulated and nuanced reading of the part, unleashing fulsome waves of tone in the most straitened outbursts, retaining poise and focus in quieter, self-confessional passages. No surprise to learn that she is already an acclaimed Jenůfa. The Scarpia, Paul Carey Jones, was a study in restrained menace, cold, icy, vocally unhistrionic — and pretty scarifying. Mears utilised the given space (the sober wood-panelling and civic symbols of Derry City Council’s building) superbly: the attempted rape happened within touching distance of the front-row spectators, blood spurted graphically in front of their noses from the stabbing, and audience members filed past the still visible body of the butchered Scarpia, prostrate on a committee table at floor level, to get their interval refreshment. “Strong stuff”, a man next to me commented, adding a pointed reference to a notorious police interrogation centre in Northern Ireland. I said nothing.

Tosca_pic-1.gifGiselle Allen as Tosca and Paul Carey Jones as Scarpia

Earlier Mears had used a completely different logistical lay-out for Act One in St Columb’s Cathedral, the orchestra deployed in a side chapel and behind the altar, the aisle a conduit for the arrival of the dramatis personae and the excellent choir of local schoolchildren who intoned the “Te Deum” lustily, encouraged by the vividly comic and firmly voiced Sacristan of Cork baritone Brendan Collins. Mexican tenor Jesús León, slightly stiffer and less stage-confident than his Tosca, had handsome features and a pleasingly sappy upper voice going for him. His Cavaradossi was brooding, perhaps a touch too interiorised for effective projection. He rose to Act Three’s “E lucevan le stelle” (in English), sung in a cramped, grubbily-tiled police execution chamber where Mears had earlier staged a shockingly literal dumb-show shooting over Puccini’s lengthy orchestral introduction. I wondered what my interval interlocutor might be thinking.

The production as a whole was the very opposite of opera as commodification: there was no desire evident to cushion the rawness of the narrative content, no truck with the idea of opera as plush, comfortable middle-class entertainment. This was Tosca as riveting political drama, visceral without being in any way artificially pumped-up or gimmicky. It made the work seem like a truly great opera, rather than one which is merely massively popular. The audience stood as one at the end, noisily acclaiming what was undoubtedly a momentous evening for Northern Ireland Opera, in a part of the United Kingdom which has been on short (often non-existent) rations operatically throughout its ninety-year history. The new company’s first full (2011-12) season is awaited with the keenest interest.

Terry Blain

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):