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 Reviews

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 »

Reviews

Pierre Augustin Caron de Beaumarchais (1732-1799)
30 May 2011

Les Noces de Figaro in Paris

This is the one by Giorgio Strehler that opened at Versailles in 1973 and since has endured twenty-three incarnations, first at the Garnier and later at the Bastille.

W. A. Mozart: Les Noces de Figaro

Christopher Maltman, Il Conte di Almaviva; Dorothea Röschmann, La Contessa di Almaviva; Julia Kleiter, Susanna; Erwin Schrott, Figaro; Isabel Leonard, Cherubino; Ann Murray, Marcellina; Maurizio Muraro, Bartolo; Robin Leggate, Don Basilio; Antoine Normand, Don Curzio; Zoe Nicolaidou, Barbarina; Christian Tréguier, Antonio/ Dan Ettinger, Conductor; Giorgio Strehler, Stage director and lighting; Humbert Camerlo, Realisation; Ezio Frigerio, Sets and costumes; Jean Guizerix, Choreography; Marise Flach, Movement assistant. Paris Opera Orchestra and Chorus.

Above: Pierre Augustin Caron de Beaumarchais (1732-1799)

 

Anyone who is anyone in the pantheon of Mozart interpreters over the last forty years has gone through the paces of this Strehler masterpiece.

It did have a brief respite during the Gerard Mortier five year reign of terror. To everyone's relief it is back now ostensibly as a tribute to Rolf Liebermann (the celebrated progressive impresario who succeeded in staying in conservative Paris for seven years in the nineteen-seventies) but actuality it is an appeasement to Parisian audiences for whom it has become, purely and simply, the Mozart masterpiece.

Based on its current edition at the Bastille it is a Marriage of Figaro none of us should go without. Not to worry if you have missed it so far. It will surely be back, and with whoever are the stars of the moment. The Strehler Noces is as Parisian as is, well, the Opéra or for that matter the Tour Eiffel. It is the embodiment of the elegance, refinement and grace that define La Ville-Lumière.

Its roots are in mannerisms, the little movements of physical comedy that were sculpted by the comedians of the Italian renaissance, then refined by Italy's eighteenth century dramatists, and finally distilled by Giorgio Strehler. It is like the theatrics of the French royal courts that have become elaborated over the centuries into French politesse, haute couture, cuisine, etc. Simply to say that the ultra controlled, hyper refined theatrics of Giorgio Strehler very well mirror an idealized French spirit.

Though strange to say it was the musical refinement of the current production that very nearly upstaged the Strehler elegance. Israeli conductor Dan Ettinger unleashed the lyricism Mozart lavished on the individual instruments of the orchestra that brought this familiar music to new plateaux of delicate pleasures. The horn duet in Se vuol ballare, the oboe solo in Dove sono, the resonant pizzicato strings in Deh vieni leap out as examples, but the overwhelming orchestral lyricism was everywhere and always.

The cast was perfection. The program bio of Uruguayan bass Erwin Schrott unabashedly declares him to be the Figaro of the moment, a claim well proven by his distinctive dark voice, physical agility and sympathetic authority. His nearly speech-like delivery of recitative was remarkable. The Susanna of German soprano Julia Kleiter was physically, even vocally well matched to the Countess of German soprano Dorothea Röschmann to make Strehler's very presentational staging of the disguises far less tiresome than usual.

Both sopranos are no-nonsense artists, penetrating the heart of the music and letting it naturally flow to the obvious great pleasure of the maestro who melted Mozart's eloquent orchestra to their voices. It was extraordinary music making. British baritone Christopher Maltman brought bark and bite and unusual fun to the Count, plus new, sly insight into his often tiresome aria that perceptibly deepened his character and enlivened the denouement of Figaro's financial predicament.

4584_-ND31569.gif

American mezzo Isabel Leonard may now compete with Federica von Stade as the Cherubino of your dreams, combining easy postures with consummate charm, upholding the impeccable musicianship that validates this travesty. The there-can-be-no-opera-in-Paris-without corps de ballet crashed the wedding scene, and the intrusion only gained validity when Mlle. Leonard leapt into the balletic fray with a virtuostic display of dance that conclusively proved her manhood (one did wonder how la Von Stade and all the others pulled this scene off).

The Marcellina of British mezzo/comedienne Ann Murray was exemplary. The Bartolo of Maurizio Muraro and the Basilio of Robin Leggate were rendered less present than usual in this production by the persuasive musicality of the five principals.

The extant members of the original production team were said to be involved in mounting this latest incarnation — Ezio Frigerio (sets and costumes), Franca Squarciapino (costumes), Marise Flach (movement). The actual credit for this and perhaps many other incarnations of the Strehler Noces belongs to Humbert Camerlo, an original member of the Libermann directorial staff who will have adapted the individual personalities of its current interpreters to the original Strehler conception.

Michael Milenski

4582_-ND30976.gif

Click here for a video clip.

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):