27 Jul 2011
Rigoletto, Miami Lyric Opera
There’s hell to pay for profligate publicity; Giuseppe Verdi and Francisco Maria Piave knew this to be true.
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.
There’s hell to pay for profligate publicity; Giuseppe Verdi and Francisco Maria Piave knew this to be true.
Wanton rankling may start off with high ratings and a spike in tickets sales but can easily degenerate into opprobrium and murk an artistic work’s essence. The opera Verdi and Piave set out to complete for Teatro La Fenice was on course for such an ignoble providence were it not for the duo’s imagination, and discretion. La maledizione was the working title for the opera almost cursed with the sort of attention that would dull its artistic merits.
Distilled from a Victor Hugo play with a checkered performance past, the opera would meet with its own curses before its premiere in 1851. The play (Le roi s’amuse) and the opera (Rigoletto) revolve around such a curse, something Miami Lyric Opera Director Raffaele Cardone reminded of when he addressed the audience pre-performance on opening night June 23rd. Placing the context of Rigoletto directly on, and finding its dramatic pole in, the curse teased the imagination as to what was to come, holding out the suspense of the grist for Rigoletto’s mill: La maledizione.
This performance marks a whole new set of standards for MLO. Sets (designed by Carlos Arditti), still on the main backdrops, were more suggestive of the piece (in this case, 16th century Mantova) and redolent of specific scenes: there were columns and archways at the party and a nicely lit (in blue) background, the alley where the sanction was dealt was as an hallucination - a dark and muggy picture; Rigoletto’s domicile was depicted by a patently different scene (turning a bit cheeky when a flimsy wall shook terribly as the jester set the ladder on it). The curtain rose for the final time to a tavern that any assassin might find a suitable safe house.
Artistic expression and sensibility in staging too have improved for the small company. A soft screen hazed the view of the opening scene, the ballroom at the Ducal palace; courtiers held their dance poses for the length of the overture. Movement in the room thereafter was well-planned, with varied exchanges as members of the court came in contact with each other. Blocking and shifting of positions was thoughtful too for the Act Three gathering of Gilda’s abductors. Adequate effects (strobes/lighting by Kevin Roman) in that final scene at the tavern saw to a turbulent tempest.
Musically, including in the singing, those heading the company have much to be pleased with. Conductor Doris Lang Kosloff and players seemed to work well together, resulting in nice string articulation (with fine violins in Cortigliani), sweet flute phrasing (in the work’s echoed themes) and well-modulated dynamics. Miguel A. Raymat beat clear, accurate, and powerful sounds on the kettle drum, supporting the overture, the storm, and the finale.
Cuban baritone Nelson Martinez first appeared with MLO in a Gala concert in the spring of 2007; Martinez sang a Rigoletto later that same season. With the company he as appeared as Rossini’s Figaro, Escamillo, and Giorgio Germont. Locally, Martinez is considered a tested talent; his proved to be the most schooled voice — technically and stylistically — in this cast. As far as size (and heartiness) and the ease of its use in high tessitura, Martinez’s voice does well by Verdi. It is hard to forget the force of the high note he held out to close ‘Pari siamo’.
MLO went out of town for the Gilda. Gina Galati is an American soprano that has studied in a Verdian Academy at Bussetto; she has the voice — its flutter fitting for ‘Caro nome’ — and looks of a soubrette. This was Galati’s first singing engagement with MLO; she shared Gilda with local Susana Diaz (the Gilda on June 25th). As the cad, the vehicle through which Verdi’s opera gets interesting, the Duke of Mantua, Aurelio Dominguez had some laudable moments in this tricky role and his first outing with MLO (two other tenors sang on subsequent performance evenings). The difficult recitative and aria that opens Act Two, where the Duke implores the heavens over the snatching of Gilda, was a triumph for the tenor. Dominguez ducked few obstacles, meeting Galati for the high note in their duet.
MLO returnee Diego Baner made a fine Sparafucile vocally — the rapid vibrato of his bass an interesting change of pace. On the stage, Baner distracted with his tendency to look downward. Graduating from the Florida Grand Opera chorus to a critical role here, Monterone, Cuban bass-baritone Armando Naranjo clearly understands the importance of the curse; Naranjo communicated anger with constant fervor in his singing. Lisseth Jimenez was a saucy Maddalena of darkish tone and Jesse Vargas and Mathew Caines did good work in their brief moments as Borsa and Marullo. Ketty Delgado (Giovanna) and Erica Williams (Paggio) appeared for the first time with MLO.
Pablo Hernandez (Chorus Master) did not put his group to work for the storm and the singers were musically rough here and there (in the second act, the men were at odds over entrances and the text). In the case of costumes, Pamela De Vercelly is credited for colorful work. Vercelly will not be faulted for hosiery (a few with Swiss cheesy wear) unflattering to male cast members whose best features are not their legs. One could be cursed with much worse.
La maledizione would also be a dummy title meant to throw authorities off the scent of Verdi and Piave and their busy redactions of Hugo’s Le roi s’amuse. Hugo encountered trouble mounting the play in France due to its content and the opera was meeting with similar obstructions in Italy some twenty years later. As it went, La maledizione went through a number of textual alterations as Verdi and Piave tried to satisfy censors that feared the reprisal of royals over their less than stately depiction. La maledizione wound up retaining its place in the story; the hunchback also remained and was renamed, as was the opera, Rigoletto.