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

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

OPERA TODAY ARCHIVES »

Performances

Susana Diaz [Photo courtesy of Daroca Artists International]
29 Aug 2011

L’elisir d’amore, Miami

“The number of recordings testify to the continuing popularity of Donizetti’s melodrama in two acts [L’elisir d’amore], which rivals Don Pasquale among his comic operas and is often rated the better on account of its superior libretto by Felice Romani.”

Gaetano Donizetti: L’elisir d’amore

Adina: Jessica Slatkoff Arteaga / Susana Diaz; Nemorino: David Pereira; Dulcamara: Oscar Martinez; Belcore: Daniel Snodgrass; Gianetta: Rebekah Diaz / Daisy Su; Notaro: Jesus Gonzalez. Miami Lyric Opera. Conductor: Beverly Coulter. Director: Raffaele Cardone. Chorus Master: Pablo Hernandez.

Above: Susana Diaz [Photo courtesy of Daroca Artists International]

All other photos courtesy of Miami Lyric Opera

 

Noel Goodwin’s observation is as topical today as it was in the early 1990’s: L’elisir shared the rank of sixth most produced opera in 2010 according to records compiled by Opera America; another resource that is gaining more credibility from opera scholars, OperaBase, finds that Donizetti’s bel canto comedy placed 12th on the list of most performed operas in the world from 2005-2010. In the recording (audio and video) annuls, L’elisir has a steady hold as each new generation of star singers commits their artistry to posterity in the work.

Pereira.gifDavid Pereira

Note that Goodwin ascribes credit for L’elisir ‘s hold in the repertoire to Romani’s text. Felice Romani was a librettist’s librettist. He wrote nearly 100, collaborating most notably with Bellini, Rossini, and Donizetti. L’elisir , with a musical surface — from its melodies — best described as lightweight and a base — from Donizetti’s chords — best described as solemn, will transmit its meanings best through words. Perhaps more than in any other opera, the means of its exposition can confuse — L’elisir’s story is primed to be misunderstood. That said, it’s a good thing that Romani’s text for L’elisir is playful, sarcastic and worldly. And, it’s a good thing that supertitles are up and running at Colony Theater for Miami Lyric Opera.

Individual performances brought this L’elisir to life despite listless stage action and sets (by Carlos Arditti) that did little, and indeed this is often the case in this opera’s productions, to lift la commedia. Belcore probably just pulled the weeds he so sloppily shoved in Adina’s hands; she, taking one look at the dry shrubs and, with some annoyance delivered her, “well, isn’t he modest”; Nemorino, packing a few extra pounds after his drinking binge, was a nicely engorged fellow that seemed genuinely altered pitching the line, “I’ve had plenty of this elixir”; the blueprints for laughter were sketched but the whole performance was missing jocular bite in the theater.

On its own, Donizetti’s music for L’elisir is peppered with “shiny happy people” quality, but the feel of the music can suggest a graver situation as it did on the night of August 13th, MLO’s second and final showing of L’elisir. It is not surprising that the orchestra sounded as polished as it did given that MLO music director and conductor Dr. Beverly Coulter was at the baton. A staunch promoter of and regular fixture in the classical music scene in south Florida, maestra Coulter is a musician’s musician. Coulter is the head of an opera program at a small university, having had the likes of soprano Elizabeth Caballero in her studio. Soprano Coulter has a singing CV herself; for MLO, she will repeat the lead in Marina (the Arrieta zarzuela) in a free outdoor concert presented by the company in November.

MLOElisirTrio.gifDavid Pereira (Nemorino), Susana Diaz (Adina), and Belcore (Daniel Snodgrass)

Coulter’s approach leans toward the technical, and she keeps a close watch over the stage; L’elisir’s many ensembles were models in keeping time with singers. The volume produced from instrumentalists was heavy (so much so that crescendos were hard to come by), the orchestral mechanics were tight. The playing included lustrous solo flute (Robert Billington) and harp (Ana Maria Bolivar) playing in the overture. Secco recitatives came from an electronic harpsichord behind the stage.

One factor that helped this evening was the chemistry that built up between principals Susana Diaz (Adina) and David Pereira (Nemorino). Diaz the distant “realist,” Pereira the defocused naïve — they became more involved, more comfortable, and by the end of the first act their teaming turned pleasing. In Adina, Romani created a wily fox. Though easier sung than portrayed, Daiz managed a bit of that in scoffing at Nemorino’s one-woman ways, “try my way, change lovers every day.” Program posters like the exotic good looks that Diaz has and, on the vocal front, she displayed control up to and over high C in a sweet “Prendi, per me sei libero.”

Pereira began the night with a shaky “Quanto è bella, quanto è cara.” Before long though, the light lyric tenor’s timbre warmed and his singing was more secure, although pinched acuti hung about. Lighting specialist Kevin Roman put a spotlight on Pereira to an otherwise darkened stage for “Una furtiva lagrima;” the tenor was hesitant through the first few bars, then getting a hold of the familiar aria, gave it with personal touch.

MLOSnodDiaz.gifBelcore (Daniel Snodgrass and Adina (Susana Diaz)

MLO sported a good singing Belcore and a strong singing-actor as Dulcamara — done spiritedly, either of these roles can easily run away with this show because of the rhyming verse that Romani supplies them. “A woman is a creature who defies understanding,” bemoaned Daniel Snodgrass, whose sound might be confused for a tenor’s. Not a problem for Belcore, whose music Snodgrass sings with strict passage work. Snodgrass gets much work in this area and has been with MLO since its first season. Of all the performers this evening, Oscar Martinez (Dulcamara) appeared to enjoy himself most. His knowledge of the role, and with the buffo aesthetic, is firm. Gianetta sets the tone early in this opera with her words, “what’s so funny?” A past MLO contributor, Daisy Su as Gianetta — Adina’s close friend — did well in her moments at center stage.

Another strength of this L’elisir was the MLO chorus — they sang clearly and strongly and took advantage of their conspicuous presence in the Donizetti opera. Entranced with Adina, they sang out Romani’s Italian for, “let us hear what you are reading.” Congratulations chorus master Pablo Hernandez.

A recent high school graduate with operatic aspirations, Jesus Gonzalez came off as a parody of the notary — the costume (by Pamela De Vercelly), and moustache, hung over Gonzalez a few sizes large. Chorus member Jared Peroune was an high-spirited fez-wearing spotter for Dulcamara.

MLOElisirDulcamara.gifDulcamara (Oscar Martinez)

If Donizetti’s part in L’elisir leaves listeners puzzled vis a vis the point of the story, Romani’s libretto activates the morals to be extracted. That charlatano, that slippery-wise Dulcamara brings you a big one: “It is risky business to try to buy or sell love.”

Robert Carreras

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):