Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

Utah’s New Moby Dick Sets Sail

It is cause for celebration that Jake Heggie and Gene Scheer’s epic Moby Dick has been realized in a handsome new physical production by Utah Opera.

OPERA TODAY ARCHIVES »

Performances

Eleonora Buratto as Susanna [Photo by Maurizio Montanari]
07 Jul 2011

Scenes from Two Marriages

By 1825, as Rossini’s operatic vein was approaching exhaustion, the Neapolitan Saverio Mercadante ranked as a front-runner for his succession alongside Bellini and Donizetti; much more so, however, in the field of serious drama than in opera buffa.

Saverio Mercadante: I due Figaro, o sia il soggetto di una commedia (1826, libretto by Felice Romani)

Conte di Almaviva: Antonio Poli; Contessa: Asude Karayavuz; Inez: Rosa Feola; Cherubino: Annalisa Stroppa; Figaro: Mario Cassi; Susanna: Eleonora Buratto; Torribio: Anicio Zorzi Giustiniani; Plagio: Omar Montanari Orchestra Giovanile “L. Cherubini", Vienna Philharmonia Choir. Emilio Sagi, director. Riccardo Muti, conductor. Teatro Alighieri, Ravenna, Italy. Performance of 26 June 2011.

Above: Eleonora Buratto as Susanna [Photo by Maurizio Montanari]

 

His nine titles sparsely revived so far since the 1910s, starting from Il Giuramento through La Vestale and Il Bravo to Caritea regina di Spagna and Elena da Feltre (to quote only the most successful), seemed to confirm that old judgment. Mercadante, a learned composer and a pious man who atypically devoted a large share of his output to both church and purely instrumental music, was hitherto construed as unfit for the comic.

Thus I due Figaro, whose original manuscript was recently unearthed in Madrid’s Biblioteca Histórica Municipal by the young Italian researcher Paolo Cascio, may appear a big surprise. It certainly was to Riccardo Muti who, on recalling his first reading of a few samples from the critical edition (later published by the same discoverer in collaboration with Víctor Sánchez Sánchez), declared: “I was unaware of [Mercadante’s] knack for comedy. Those pages came to me like a bolt from the blue.” To the Maestro’s credit goes the decision of presenting such an unknown score both at the Whitsun Festival in Salzburg and at his proprietary Ravenna Festival, if only for a short run of two nights each time. Next comes Madrid’s Teatro Real in 2012, but one may comfortably guess that many an opera house is already queuing for joining in. Our TV-oriented culture is so much dependent on prequels and sequels that success cannot lack.

The same was true also for early 19th century Madrid, not a provincial backwater at all, rather a flourishing colony of Italian opera outside Italy as much as it was during Farinelli’s tenure of the court theatres a century before. Mercadante, appointed as resident composer-cum-conductor at the Teatro del Príncipe, wrote there his I due Figaro, on a libretto by the starring poet Felice Romani previously set to music in 1820 by Rossini’s pupil Michele Carafa. The completed score was signed by Mercadante on October 26, 1826, but under the reactionary rule of Fernando VII the local censorship was unhappy with the representation of empowered women and gullible husbands, so the premiere was cancelled. It was only in 1833 that the opera crept its way on the Spanish stage, although the exact whereabouts are unknown; then an equally obscure revival took place in 1836, then nothing more.

To put it in a nutshell, the ‘scandalous’ story is about how, twelve years after Figaro’s marriage with Susanna, life goes on in Almaviva’s castle. In competition with Beaumarchais’ own nondescript sequel as La mère coupable (1791), the actor Honoré-Antoine Richaud Martelly produced in 1795 his Les deux Figaros, where Cherubino, now a colonel in the Spanish army, is in love with Inez, the daughter of Count and Countess Almaviva. Figaro number one entices the Count into having the girl married with Torribio, a servant disguised as a nobleman, in order that both accomplices can share her dowry fifty-fifty. Yet Susanna, Inez and the Countess finally defeat their home tyrants as Cherubino, entering the Count’s service as a self-styled Figaro number two, outwits the original with a salvo of tricks and succeeds in exposing his schemes. Inez and Cherubino are allowed to marry, while Figaro barely escapes being fired.

I_Due_01.gifRosa Feola as Inez and Annalisa Stroppa as Cherubino [Photo by Silvia Lelli]

Despite a necessary suspension of disbelief, the French comedy (and the Italian libretto derived from it) is less a farce than a semi-serious drama, a study in characters where psychological depth is not missing. Both veteran couples, the masters and the servants, seem worn-out and complain about the ephemeral nature of romance; moreover, the Countess is aware that Almaviva is still attracted by Susanna, so that the general reconciliation in the finale seems highly perfunctory. Is there such a thing as a happy marriage in the long run, and will the brand-new couple escape what seems a general fate? A further sequel was perhaps in sight, but none has written it so far.

Mercadante’s music adheres to the subject matter with admirable cleverness, if not with a particularly idiomatic style. One tastes now and then Mozart’s subtle characterization of both vocal and instrumental color, but more often the model is provided by Rossini, up to quotations or paraphrases of individual themes. Intoxicating accelerandos and crescendos in the large-scale multisectional ensembles were rather commonplace at that time, as were extended cantabile arches or abrupt dramatic twists in the harmony. Summoning such names as (again) Rossini, or Bellini, or Donizetti would seem unnecessary, were it not to avow that in most instances Mercadante can well stand up to the paragon.

I_Due_10.gifEleonora Buratto as Susanna and Mario Cassi as Figaro [Photo by Silvia Lelli]

Everything as expected, except for a decided vein of local color: not only the fandango once so dear to Mozart, but a regular orgy of rhythms and forms from Andalusia (after all, the action takes place in the castle of Aguas Frescas near Seville). Bolero, cachucha, polo and tirana keep infiltrating over and over the principals’ cavatinas and even the overture, while the large Italian-style arias, studded with virtuosic coloratura, demand vocalist with considerable natural gifts, technical skills, and style awareness.

Eleonora Buratto, whom I recently heard in Modena as a model Cleopatra in Handel’s Giulio Cesare, towered here in the role of Susanna, with all the remaining ladies accompanying her in triumphal procession: witty Asude Karayavuz as the Countess, mellow Rosa Feola as Inez, and Annalisa Stroppa as a Cherubino already eligible for the toughest Colbran roles. Among the gentlemen, duels of both physical and vocal energy between Mario Cassi as Figaro number one and Omar Montanari as Plagio, the playwright in distress much in the mould of Prosdocimo in Rossini’s (and Romani’s) Il Turco in Italia. Passion and melancholy in store from the high tenor Antonio Poli as Almaviva; Anicio Zorzi Giustiniani, a promising Baroque specialist, seemed underutilized in the cameo role of Torribio. Incredible but true: within such a brilliant company, hand-picked by Riccardo Muti, none exceeds the age of thirty; the same is more or less true for the youth orchestra “Luigi Cherubini”, another brainchild of Muti’s.

I_Due_13.gifAnicio Zorzi Giustiniani as Torribio, Mario Cassi as Figaro and Omar Montanari as Plagio [Photo by Silvia Lelli]

Emilio Sagi’s stage direction kept the action revolving within and around a patio decorated with eight columns in white plaster and lots of flowers. Everything, including costumes, as Spanish, rural and historically informed as one could wish. To be sure, Ravenna Festival is not the proper place for Eurotrash. The audience, having to face a complex plot without any subtitles to help them, seemed to appreciate, but the loudest applause was as usual for the local darling Muti, the man who is bringing Ravenna back on the international map of opera.

Carlo Vitali

I_Due_14.gifEleonora Buratto as Susanna and country lasses [Photo by Maurizio Montanari]

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):