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.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
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.