27 Aug 2011
Mosé in Egitto and Adelaide di Borgogna in Pesaro
It was a no-brainer. The Old Testament Egyptians had to become today’s Palestinians.
One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
It was a no-brainer. The Old Testament Egyptians had to become today’s Palestinians.
Well, the politics of the Graham Vick production were a bit confusing at first as Moses implored God to restore light to Egypt and He did in the most magnificent chorus of Andrea Leone Tottola’s azione tragico-sacra that ultimately parts the Red Sea and then drowns the Egyptians.
Sonia Ganassi as Elcia
But back to Egypt bathed in glorious light with the Egyptians confused about who was going to clean up the ostentatious palaces growing out of decayed reinforced concrete structures if the enslaved Jews were released. So they did not free the Jews after all to the relief of the scion of the ruling family who had fallen in love with an Hebrew maiden.
Moses, betrayed, implores God to rain fire on the Egyptians, and the Hebrews to a man, woman and child strap bombs onto their bodies while singing a most magnificent chorus. And, uhm, was that really Osama Bin Laden’s beard on Moses? We now fully understand that Graham Vick’s dramatic vocabulary is not politically literal. It is the storybook tragedy of the Old Testament magnified onto the now massive tragedy of Western Asia and the entire world.
Alex Esposito as Faraone
The enormity of the subject and its realization was full force in this sleepy seaside town, the birthplace of the great Rossini. Its 15,000 seat sports palace, the Adriatic Arena is now home to one of the three major productions of this August festival (the other two are in the 19th century Teatro Rossini). But wait! Walls and a ceiling (new this year — that nasty echo is no more) are installed, those 15,000 seats are reduced to 1200. A huge space remains for a scenic installation.
The drafty, leaky Adriatic Arena has become surprisingly one of the world’s most exciting opera venues. Opera there is out-of-the-box so to speak, and has been for several years, notably the scenic installations of Zelmira (2009) by Italian director Giorgio Barberio Corsetti (critics attacked its political illiteracies) and Cenerentola (2010) by Italian director Luca Ronconi. There are no directors more in-the-box than Graham Vick (the stage housings of the Met, San Francisco War Memorial, etc.). Maybe it should have been no surprise that he can ascend to the heights of the great Italian theater directors, but it was.
Rossini’s exquisitely beautiful third act prayer by Moses, Aaron, Elcia and chorus of Hebrews was punctuated by invisible sniper fire executing the Egyptian eldest sons (its sound mute, its victims’ fell sharply echoing the suddenness of the gunshot). Special forces commandos stormed the Adriatic Arena pursuing the Jews (some audience fled in terror [yes, this really happened]) for whom the sea parted for their crossing into the Promised Land. The Egyptians are destroyed but for one lone surviving boy. He straps a bomb onto his body as a lone Israeli soldier climbs out of a tank and offers him a detonator.
Conductor Roberto Abbado had propelled the Zelmira to plateaux of lyric delirium as he had the Ermione (2008), a brilliant Adriatic Arena installation directed by his cousin Daniele Abbado. But this was another Rossini, the delirium replaced by lyric solemnity, much like the tone of the Rossini Stabat Mater, but with extended dramatic scenes for soloists. Bass Alex Esposito, the Egyptian pharaoh, exploded in his Cade dal ciglio il velo, terrifying in its runaway machismo. Tenor Dimitry Korchak, the pharaoh’s son and soon lover of the Hebrew girl Elcia lamented her loss in clumsy, brutal moves of male domination. Soprano Sonia Ganassi as Elcia tore at our hearts in her supplication to him to release Moses.
Sonia Ganassi as Elcia and Dmitry Korchak as Osiride
New at the Rossini Festival productions this year were supertitles. Tottola’s text however is virtually incomprehensible in the archness of its style and the richness of its archaic vocabulary that fit the perceived gravity of a biblical subject. Never mind that the supertitles were washed out by the crescendo of brilliant light during the Eterno! immenso! incomprensibil Dio!, Maestro Abbado simultaneously effected a spine tingling choral crescendo that took us into and beyond the text, and kept us there until the opera’s final moment.
Ovations at the Rossini Festival are usually reserved for a singer who has executed a difficult aria with finesse, and these ovations are extended often over several minutes. Here these extended, very extended ovations occurred only at the ends of the acts, the astonished audience unwilling to leave its seats.
The individual performances were subsumed into the Graham Vick production of this Rossini masterwork. Nonetheless besides the flashy performances of brilliant singing mentioned above Riccardo Zanellato as Moses captured the anger and passivity of this complex personage with exceptional beauty of voice and delivery. Young Chinese Ylhe Shi as Aaron continues to mature as a Rossini tenor, here showing a new confidence that propelled this secondary character to unexpected emotional stature. The chorus of the Teatro Comunale of Bologna rose to unprecedented glory in its huge role as the Hebrews when not as the Egyptians.
The premiere of Adelaide di Borgogna was in December, 1817, the premiere of Mosé in Egitto in March, 1818, thus the two works were composed back to back and performed just now in Pesaro back to back. Both works chronicle the fall of a father and son, both works explore human relationships in politically charged atmospheres, and both end in hollow political victories.
The librettist, Giovanni Federico Schmidt had written the libretto for Armida (upcoming at the Met) earlier the same year. Adelaide di Borgogna was the wife of Lotario, the last Carolingian king of most everywhere in those days, though Schmidt is quite confused about dates and happenings. Never mind, as opera is about opera and not about history as Rossini and Graham Vick know.
In Schmidt’s libretto the widowed Adelaide is told by Lotario’s successor, Berengario that she must marry his son, thereby legitimizing the succession, You can imagine the rest of the story. And yes, she finally marries Ottone, making him Otto I, the first Holy Roman Emperor while Berengario and his son Adelberto are taken away in chains. The operatic problem is that Adelberto truly loves Adelaide, and that maybe Berengario did not murder Lotario after all.
Daniela Barcellona as Ottone
Italian avant-gardiste of the 1980’s Pier’Alli was the stage director. He also did sets, costumes, video projections and lights. He did not have Graham Vick’s good luck — no pregnant political metaphor comes to mind nor does the challenge of the Adriatic Arena present itself. But he did have video to play with, and that can be pretty cruel too.
The Teatro Rossini stage is small, challenging some contemporary metteurs en scéne to overcome this perceived limitation. Mr. Pier’Alli explored the digital technology that has exploded in theatrical scenic applications. Apparently no one informed Mr. Pier’Alli that you cannot watch a movie of a mud puddle and live opera at the same time, that moving images, particularly geometric images in absolute synchronization with musical architecture gets old fast, and that fast visual information (image stimuli) is not consistent with fast musical stimuli (Rossini, for example). Not least, Mr. Pier’Alli who trained as an architect is visually imprisoned by absolute structural symmetry. His mise en scéne was suffocating, if at best sort of pretty.
Against Schmidt’s strange account of historical happenings and this mise en scène Russian conductor Dmitri Jurowski deployed a score that is not one of the Rossini masterpieces, and maybe not all composed by Rossini anyway. The orchestra of the Teatro Comunale of Bologna responded with warmth of tone and obvious sympathy for the maestro whose tempos were indeed sympathetic to the needs of the singers. This maestro however did not connect with the Rossini ethos, and in this opera maybe Rossini does not either.
Mezzo soprano Daniella Barcellona is one of the Rossini Festival’s greatest treasures. Though she is surely the world’s prima donna assoluta of Rossini pants roles, even she could not make Ottone, the cardboard savior of poor Adelaide into a sympathetic hero. Our sympathies were with young Romanian tenor Bogdan Mihai as Adelberto whose vocal and histrionic innocence won us over to his father’s side. Australian soprano Jessica Pratt as Adelaide was the prize but her mannered piano singing and stolid presence captured none of the Rossini flash that could have made her operatically desirable to either suitor.
Mme. Pratt did know enough to hit her high E forte so she drew wild applause from an audience susceptible to the high is hard fallacy. On the other hand solid performances in high style were delivered by Italian baritone Nicola Ulivieri as a sympathetic Berengario and by Italian mezzo soprano Francesca Pierpaoli as Adelaide’s protector Iroldo, performances greatly appreciated by all of us Rossinians from around the globe.
N.B. Graham Vick’s Mosé in Egitto was cheered and wildly booed at its first performance, probably because Mr. Vick took a bow. Earlier that evening real riot police were brought in to quell a fight among spectators that broke out in the auditorium. At this second performance above the audience was enthralled, though perhaps there was one lone boo heard amidst the solid, extended applause.
Adelaide di Borgogna
Ottone: Daniela Barcellona; Adelaide: Jessica Pratt; Berengario: Nicola Ulivieri; Adelberto: Bogdan Mihai; Eurice: Jeannette Fischer; Iroldo: Francesca Pierpaoli; Ernesto: Clemente Antonio Daliotti. Orchestra e Coro del Teatro Comunale di Bologna. Maestro del Coro Lorenzo Fratini. Direttore: Dmitri Jurowski. Regia, Scene, Costumi, Progetto Video e Luci: Pier'Alli.
Mosè in Egitto
Faraone: Alex Esposito; Amaltea: Olga Senderskaya; Osiride: Dmitry Korchak; Elcia: Sonia Ganassi; Mambre: Enea Scala; Mosè: Riccardo Zanellato; Aronne: Yijie Shi; Amenofi: Chiara Amarù. Orchestra e Coro del Teatro Comunale di Bologna. Maestro del Coro Lorenzo Fratini. Direttore: Roberto Abbado. Regia: Graham Vick. Scene e Costumi: Stuart Nunn. Progetto luci: Giuseppe Di Iorio.