Recently in Reviews
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.
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.
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.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
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
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.)
David 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
Lisette 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.
David 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.