20 Jun 2011
Don Pasquale, Opera Holland Park
As it turned out, it was a mild and mainly dry evening.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
As it turned out, it was a mild and mainly dry evening.
Opera festivals — indeed, all outdoor or semi-outdoor activities — in the UK are in thrall to the vagaries of the weather, and as I write this review in early June I am sitting in my living-room, listening to the rain battering on the window and hoping it might clear up by the time I have to go to Glyndebourne in two days’ time.
For Opera Holland Park, whose theatre is ultimately a tent (albeit a highly sophisticated one) in which the sounds and light quality of the outside world are an inevitable part of the show, director Stephen Barlow has harnessed the characteristic changeable gloom of the British summer to create a modern and very British Don Pasquale that will resonate with anybody used to taking seaside holidays in this country. It is an ingenious treatment, finely honed by the work of lighting designer Mark Jonathan, which I cannot imagine would work as well in any other theatre. It almost made a virtue of the frequent noises-off from aeroplanes passing overheard and children playing elsewhere in the park.
The opera is sung in the original Italian, and Pasquale’s drab, tatty beach café is arbitrarily Italian (in the surtitles, Pasquale refers to it throughout as his ‘casa’). Its menu, however, consists of fish and chips or pie and mash, and there is no question that we are on the British coast — a world of striped awnings, deckchairs for hire, pensioners picnicking on benches with home-made sandwiches and a Thermos. Crucially, it’s the world of another phenomenon with its roots in Italian culture but adopted by the British as their own — the end-of-pier Punch and Judy show, an idea which, while never overtly suggested, Barlow recreates in spirit with a staging which served this peculiarly mean-spirited opera well with a combination of broad visual comedy and vicious humour.
None of the characters in Don Pasquale are obviously sympathetic. Even Ernesto, for all he’s been given the best of Donizetti’s lyrical melody to in which to bewail his uncle’s attempt to disinherit him, is ultimately a lazy freeloader who has grown too used to taking advantage of his old uncle’s generosity. While Pasquale is unquestionably in need of being taught a lesson in respect of his view of women, the bullying he suffers at the hands of everybody else in the cast goes much too far and you can’t help but feel sorry for the old man. It’s cynical, cruel and unashamedly selfish.
The visual humour was plentiful, with some laugh-out-loud moments. The fresh-from-the-convent “Sofronia” whipped off a full nun’s habit to reveal a sexy scarlet number, and in Act 3 was “revealed” in a more grotesquely extravagant get-up still, draped across the counter of her newly refurbished “Café Corneti” like a swimwear model across the bonnet of a sports car.
Donald Maxwell as Don Pasquale and Richard Burkhard as Dr Malatesta
Meanwhile, a series of peripheral gags involving walk-on characters from the chorus further highlighted the general tone of the production. Don Pasquale’s outdated attitudes are underlined by his gleefully lascivious reaction to the sight of two scantily-clad young lady joggers, and disapproving glances towards a male gay couple with a baby (they are later revealed not to be a couple at all, but the partners of the joggers). Meanwhile, a casual user of a coin-operated telescope on the seafront has his gaze distracted by the sight of the snazzily-attired Norina provocatively applying sun lotion to her décolleté, much to the annoyance of his long-suffering pregnant wife.
Top vocal honours went to the Ernesto, the South African tenor Colin Lee who is now deservedly enjoying a high-profile international career. He has a personable stage presence, and a voice at the more substantially rounded end of the flexible bel canto tenor spectrum, with bright liquid tone which pings right to the back of the auditorium. In the title role, opera buffa veteran Donald Maxwell was highly entertaining when the action demanded, but on the whole he was more sympathetic and genuine than most, offering a rare degree of balance. Richard Burkhard’s Malatesta had a well-schooled voice and engaging personality.
Majella Cullagh as Norina
I have admired Majella Cullagh in numerous Donizetti roles in the past, but sadly felt that she was miscast as Norina; her light, vinegary soprano did open up somewhat as the evening progressed, but she remained overpowered by her colleagues during the ensembles. And as spirited and entertaining as her performance was, she made rather a matronly heroine — believable perhaps as the scheming merry widow (there’s no reason at all why Ernesto’s lover shouldn’t be somewhat older than him), but hardly convincing as the nubile young bride who the lecherous Pasquale believes is the embodiment of his fantasies.
In the pit was bel canto’s supreme champion, Richard Bonynge, looking spry and conducting with poised lyricism.
All in all a strong, entertaining and memorable opening to Opera Holland Park’s 2011 season, and one which turns this unique theatre’s many idiosyncrasies to its advantage. One of next year’s operas is Falstaff, which has immense potential in a theatre which loses natural daylight as the performance progresses; let us hope the director makes the most of it.
Ruth Elleson © 2011