Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

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.

Purcell: A Retrospective

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.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

OPERA TODAY ARCHIVES »

Performances

Richard Strauss
14 Aug 2011

Ariadne auf Naxos, Dell’Arte Opera Ensemble

Today’s general public labors under the unfortunate misconception that in order to enjoy opera, one needs to be educated and at ease with mobility in social circles largely consisting of decrepit old rich people.

Richard Strauss: Ariadne auf Naxos

Click here for cast information.

Above: Richard Strauss

 

What the general public doesn’t understand is that this very same question has been debated for centuries within the realms of opera itself. The question of high-brow versus low-brow entertainment goes back at least to the creation of Italian opera buffa, which dates from the Enlightenment. The comic, and consequently unflattering, portrayal of the aristocracy which has come to define opera buffa set the genre at odds with opera seria, which attempts to depict the aristocracy as noble human beings who tragically suffer for the good of the state. This binary, which epitomizes the adage that tragedy shows us our betters, while comedy scoffs at the misfortune of others, has defined opera ever since. However, by integrating operas buffa with opera seria, Richard Strauss’s opera-within-an-opera, Ariadne auf Naxos, carried the tradition of opera buffa into the 20th century.

Dell ‘Arte Opera Ensemble’s recent production of this bubbling comedy should be commended for an all-around stylish performance which captures the wit and the lyricism of this work. The term “Mozartian” has been applied to other Strauss comedies like Die Liebe der Danae and Der Rosenkavalier; however, this assessment sometimes seems implausible simply because Strauss was working with an orchestra of Wagnerian force. An orchestra of this size was simply not available to Mozart. This explains my fear on seeing that the orchestra was considerably smaller than the normal forces required. However, I was pleasantly surprised. Conductor Christopher Fecteau struck a noteworthy balance between humor and aesthetics, bringing a classical precision to the trio of the nymphs in the opera proper was certainly reminiscent of Der Rosenkavalier.

Mezzo Sarah Heltzel was utterly compelling as the Composer (played by Juli Borst on August 18 and 20). The blind devotion to music as an art form that she injected into the character made the themes of the opera, the conflicts between what a composer wants to write and what his audience wants to see, more tangible than in Strauss’s last opera, Capriccio where the question that was debated was whether, when writing an opera, were words or music were more important. Like soprano Mary Ann Stewart, who played the prima donna, (who is played by Jane Shivick on August 18 and 20) the commitment that Heltzel brought to the role served as fodder for the contrast between their idealized view of art and the more realistic view of opera, as personified by the commedia dell’arte troupe and soprano Jennifer Moore, who played Zerbinetta (played by Jennifer Rossetti on August 18 and 20). Stewart sang warmly, yet when called for, she could also sing powerfully.

Jennifer Moore was delightfully girlish as Zerbinetta. Her portrayal strengthened the parallels between Strauss and Mozart, as her Zerbinetta could be a modern-day Zerlina or Despina. It should be said, however, that in the Prologue, despite her glorious high notes, the body of her voice was slightly heavier than other Zerbinettas, such as Elisabeth Schwartzkopf’s. That said, she could be lyrical when called for. More importantly, Act II was her time to shine. She clearly relished her showpiece; her cadenzas were simply stunning. At the same time, her singing highlighted the implied mockery of the proverbial bel canto scena, which coloraturas love to lose their minds to.

As the Dance Master, Edwin Vega (played by Andrew Klima on August 18 and 20) obviously had fun, and his light tenor was always a joy to hear. In the second act, he vocally outshone the other the singers in the commedia dell’arte troupe. That said, the troupe worked cohesively as a team and created immensely comical portrayals of each character throughout. The trio of the nymphs was in splendid vocal form as well. On the whole, the only rough spot in the second act was Shawn Thuris’s rendition of Bacchus, which was a little understated compared to that of his partners on stage. Even so, there were moments where his singing shone through.

Dell’Arte Opera Ensemble is one of a number of organizations, such as Wolf Trap Opera Company, that is dedicated to providing young singers with the tools they need to succeed in the extremely competitive world of opera. However, this company is still unique insofar as it performs in a Greenwich Village loft, allowing the audience to be quite literally feet away from the actors. I even had the honor of shaking hands with Zerbinetta. In this way, Dell’Arte Opera Ensemble provides an invaluable experience not only for its singers, but to its audiences as well.

Gregory Moomjy

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):