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

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.

Cav/Pag at Royal Opera

When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.

Verdi Giovanna d'Arco, Teatro alla Scala, Milan

Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.

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):