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.
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.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.