14 Jun 2011
L’amico Fritz, London
Think verismo and one imagines melodramatic, often violent plots which peer unflinchingly into the soul of every character.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
Think verismo and one imagines melodramatic, often violent plots which peer unflinchingly into the soul of every character.
We expect the white-hot intensity of passion, bloody vendettas, blazing fury, recklessness and danger.
It’s therefore surprising to find Pietro Mascagni, the composer of one of the classic examples of this naturalistic genre, following up the trail-breaking Cavalleria rusticana just one year later with L’amico Fritz, a gentle bucolic tale of unrequited love … not a flashing dagger or bloody assassination in sight! Moreover, realism seems not to have been a priority: the setting is ‘somewhere’ in Alsace, the period ‘some time’ in the nineteenth century, and any contemporary political tensions between Christians, Anabaptists and Jews are overlooked in the interest of a happy ending.
In an interesting programme article, Robert Thicknesse reveals that it was actually Mascagni’s intention to write a work that was as different to Cavalleria as possible: “I want to take a different toad, particularly seeing that too many newspapers, praising Cavalleria, attributed all its success to the libretto. For that reason, l I want a simple libretto, something almost insubstantial, so the opera will be judged entirely on its music.”
In the event, the text by Nicola Daspuro, with additions by Giovanni Targioni-Tozzetti (based on the French novel L'ami Fritz by Émile Erckmann and Pierre-Alexandre Chatrian) was judged by Verdi to be “the worst libretto I’ve ever seen”, while composer Antonio Camps declared that the opera was sure to fail as, lacking passion, it would never enrapture its audiences. However, after performances in 1891 in five Italian cities, it was successfully exported to Hamburg (conducted by Gustav Mahler), Berlin, Vienna, Prague, arriving at the Royal Opera House, London in 1892 and evening travelling to Australia in 1893.
Certainly, it’s a slightly daft affair with little dramatic tension, the favourable denouement never in doubt. Confirmed bachelor, Fritz Kobus, a wealthy landowner, professes a disdain for marriage; but, his rabbi friend, David, suspects that Fritz is developing amorous feelings for Suzel, the daughter of one of his tenants, and suggests to his friend that she would make a good bride. Protesting that she is too young to marry, Fritz bets David on of his vineyards that he himself will never marry.
When Fritz visits Suzel in the countryside, the idyllic spring air and floral scents begin to work their erotic magic, but tentative romantic leanings are interrupted by the arrival of Fritz’s friends who ask Fritz to show them the farm, leaving Suzel and David alone. Suzel is embarrassed by the rabbi’s suggestion that she should marry; later, when David intimates to Fritz that he’s found the perfect husband for Suzel, the two men argue.
By now Fritz has realised that he has fallen in love; he returns to town but cannot banish thoughts of Suzel — even the songs of his gypsy friend, Beppe, fail to lift his spirits. Suzel too is in despair, despite David’s reassurances that all will be well. But after further intrigue and machinations by David, a passionate declaration of love ensues. Fritz has lost his wager; but, David announces that he is going to give his prize — Fritz’s vineyard — to Suzel as a wedding present.
This delightful Opera Holland Park production clearly demonstrated why Mascagni was right to have faith in this simple, sentimental divertissement. Verismo was never a merely dramatic genre, but also a musical one, characterised by passionate declamation by solo voices, emotionally charged melodies, and affecting harmonies and modulations. And, in Mascagni’s score glorious melodies tumble one after the other in an endless stream of beautiful lyricism, coloured by imaginative harmonic twists and turns, enriched by instrumentation.
Sensibly, director Annilese Miskimmon resisted the temptation to tamper unnecessarily with the wafer-thin libretto, transferring the action to the 1950s — Fritz is a property developer, marketing domestic tranquillity and bliss: “The perfect home for your perfect wife” . In so doing, she emphasises the fresh charm and exuberance of the opera. The retro designers by Nicky Shaw are both enchanting and clever. Dividing the Act 1 stage into a typists’ pool, reception and boss’s office is a neat trick which allows for some effective juxtapositions and asides. And, the slick transformation from corporate office to rural idyll, as the recorded nightingale trilled, fully deserved its round of appreciative applause.
Moreover, whatever the work’s dramatic or musical merits, it’s worth seeing this Opera Holland Park production just to hear Anna Leese as Suzel, as she flawlessly captures the coy grace of the naïve peasant girl. From her first appearance, tentatively clutching a bouquet of violets for the birthday boy, Fritz, it was clear that Suzel’s gauche simplicity, so incongruous among the sharp office suits and Mondrians, would triumph. Leese’s soprano soared creamily and effortlessly above the fairly large orchestral forces — no mean feat in this auditorium. And, her transformation from inexperienced country lass to flourishing young woman was totally credible.
The ‘cherry duet’ between Fritz and Suzel in Act 2 is the opera’s pièce de résistance; if the plot is a sort of ‘vengeance-free’ Romeo and Juliet, this duet is suggestive of the mystery and enchantment of A Midsummer Night’s Dream:
“So we grew together,
Like to a double Cherry, seeming parted,
But yet a union in partition;
Two lovely berries moulded on one stem.”
Eric Margiore certainly looked the part of the gallant, handsome bachelor, and brought a strong stage presence to Fritz; but, despite his pleasing lyric tenor, he didn’t quite have the stamina required. Though he phrased the lines intelligently, he occasionally sounded strained and rather rough-edged, especially in the Act 3 homage to Love, ‘O amore, o bella luce del core’.
David is an ambiguous role, at times a comic schemer, elsewhere a surprisingly hostile meddler. David Stephenson’s interpretation was engaging and convincing, and his Act 2 duet with Fritz dramatic and compelling. Patricia Orr sang the en travesti role of the gypsy fiddler Beppe with panache; her birthday song to Fritz is preceded by an extended offstage violin solo — here rendered with character and flair by Iwona Boesche — and the quick switch between the two performers was deftly done. In the smaller roles of Federico and Hanezò, Fritz’s friends, Robert Burt and Simon Wilding provided strong support.
Conducting an alert and precise City of London Sinfonia, Stuart Stratford made much of the score’s expressive details. In particular, the orchestra relished the both the sweetness and the drama of the Intermezzo which precedes Act 3.
The happy ending may never be in doubt, but what it lacks in dramatic tension is more than compensated for by the opera’s glorious, irresistible music. This romantic fable set in an idyllic rural world is just the thing to beguile one’s cares.