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

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

OPERA TODAY ARCHIVES »

Reviews

Kate Royal as Euridice [Photo by Marty Sohl courtesy of Metropolitan Opera]
18 May 2011

Orfeo ed Euridice, Metropolitan Opera

Gluck’s Orfeo is, intentionally, free of clutter. If you cut out the scenes of balletic rejoicing just before the finale (and I can’t think of any good reason not to do so), it’s less than ninety minutes of music.

Christoph Willibald Gluck: Orfeo ed Euridice

Orfeo: David Daniels; Euridice: Kate Royal; Amore: Lisette Oropesa. Metropolitan Opera chorus and orchestra, conducted by Antony Walker. Performance of April 29.

Above: Kate Royal as Euridice

All photos by Marty Sohl courtesy of Metropolitan Opera

 

Gluck’s intention was to isolate the story in three individual voices, as no opera treating the story of Orpheus had done before. He could even have made it a monodrama, and in some ways it is one: The roles of Euridice and Amor are neither large nor intricate in the original Vienna version of the score. (Euridice’s aria was a Parisian afterthought, as was Orfeo’s coloratura showpiece in Act I, which may not even be Gluck’s work. Neither is performed at the Met.)

ORFEO_Daniels_as_Orfeo_1307.gifDavid Daniels as Orfeo

The Metropolitan Opera production, directed by Mark Morris, seemed, when it was first mounted, to be mostly about Isaac Mizrahi’s distracting costumes for the chorus (some idiot tale about “all the famous people in history witnessing the story”) and, secondarily, Morris’s jazzy choreography, almost the only scene-setting we have for Tartaros or Elysium. There was some story about a guy who goes to the Underworld to bring back his dead wife, but that came a poor third. On its latest revival, those miserable costumes are still around, but the chorus do not rush about on their catwalk portraying furious Furies; they stay sedately in place, out of the spotlight. The lighting is seldom upon them anyway, and one can ignore their egregious intrusions and just listen to the way they sing. (Beautifully, with very precise diction.) Morris’s choreography also seems less to clutter matters and (I could be wrong here) there may have been cuts in the celebratory dances. So at last the opera is about Orpheus and Eurydice, a pleasant, nearly Ovidian, metamorphosis.

ORFEO_Oropesa_as_Amor_0293.gifLisette Oropesa as Amor

Antony Walker, an Australian, made an excellent, brisk debut in the pit, and even at its most languid moments, the musical tension never let up all night: an energetic performance informed, one suspects, by a background in the current, danceable Early Music style of doing galant music. He plays well with singers, too—this staging requires the chorus to keep time, beating their hands on the rails of their bleachers, at certain moments.

David Daniels is now 45, and countertenors’ voices do not last as long as, say, Wagnerian sopranos’ do. I hear less of the thrilling sensuality in his alto that had me gaga in earlier years, less control at the edges of individual notes, but he has always been a superb musician and a passionate actor, and his Orfeo is a memorable, ardent portrait. When he stands alone, bereft, at the center of the stage (vertically as well as horizontally) for the climactic “Che faro senza Euridice,” a clear and simple statement of anguish, he has earned our total attention and repays it richly. This is what Gluck’s clarifying reform of opera was all about.

ORFEO_Daniels_and_Royal_188.gifDavid Daniels as Orfeo and Kate Royal as Euridice

Lisette Oropesa made a pleasing god of love, the voice pure and clear, filling the hall, the gestures a minimum of cute excess. Kate Royal made her Met debut as Euridice, with a voice of distinct color and beauty and an attractive stage presence, but she did not make terribly much of this pallid character’s awkward situation, as Danielle de Niese, in striking contrast, did, and for some reason she had lost her vocal footing for the final triumphal duet and was unable to regain it.

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):