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 Reviews

Don Giovanni, Bavarian State Opera

All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.

A dance to life in Munich’s Indes galantes

Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

OPERA TODAY ARCHIVES »

Reviews

Eva-Maria Westbroek as Giorgetta and Aleksandrs Antonenko as Luigi [Photo by Bill Cooper courtesy of The Royal Opera]
21 Sep 2011

Il Trittico, Covent Garden

What do a ferociously violent melodrama, an ecstatic spiritual revelation and an ironic black farce have in common?

Giacomo Puccini: Il Trittico

Royal Opera House, Covent Garden, London, Wednesday 14th September 2011.

Above: Eva-Maria Westbroek as Giorgetta and Aleksandrs Antonenko as Luigi

All photos by Bill Cooper courtesy of The Royal Opera

 

This is the question which faces directors and composers who determine to stage in its entirety Puccini’s infrequently performed triptych of one-act operas, Il Trittico.

Is there a ‘unifying factor’? Should one even attempt to look for one? Perhaps it is the contrasts between the Il Tabarro, Suor Angelica and Gianni Schicchi that produce maximum theatrical effect and musical impact?

SUOR ANGELICA - BC20110908179 - JAHO AS SISTER ANGELICA (C) BILL COOPER.png Ermonela Jaho as Sister Angelica

Il Tabarro, in director Richard Jones’ and conductor Antonio Pappano’s conception builds effectively from the leaden, repetitive melancholy of the opening scenes to a central moment of passionate ecstacy before falling terrifyingly and inexorably to its shocking, vicious conclusion. That Pappano has a masterful appreciation of the Puccinian idiom and unsurpassed ability to match musical structure to dramatic denouement, is apparent from the first: the latent violence of the riverside community suggested by disturbing and startling surges in dynamic and melodic compass which disrupt the hypnotic rhythmic repetitions of the lapping waters.

Jones presents an appropriately naturalistic stage picture, designer Ultz delivering looming brick walls, narrow alleyways and grimy barges which depressingly conjure the colourless world of the stevedores, dockers and rag-pickers who work on or beside the Seine. Popular song melodies - Ji-Min Park’s (Song Seller) street ballad, Alan Oke’s (Tinca) drinking song — provide both realism and variety.

The bleakness is broken by the Giorgetta’s outburst of yearning, the soaring warmth of Eva-Maria Westbroek’s gleaming soprano, revealing the stark contrast between feminine ideals and dreams and the wretched reality of the enchained lives s of those who make their pitiful living from the river. She is joined by Aleksandrs Antonenko’s Luigi in a rapturous paean to romantic imaginings. The only unfortunate aspect of Westbroek’s performance was a tendency for her physically voluptuous movements and exhibitionism to remind one of her last ROH incarnation, another girl longing for the city lights, Anna Nicole.

IL TABARRO - BC201109090183 - GALLO AS MICHELE, WESTBROEK AS GIORGETTA (C) BILL COOPER.pngLucio Gallo as Michele and Eva-Maria Westbroek as Giorgetta

Antonenko’s Luigi possessed a masculine swagger which was matched by a lustrous tone; together they conveyed his commitment both to revolutionary ideals and to human love. After a slightly over-blown opening, Antonenko relaxed and revealed his huge vocal capacity and glossy warmth. His affecting and appealing sound were complemented by confident, convincing acting.

Michele was sung by Lucio Gallo, whose slightly dry vocal timbre and physical rigidity successfully communicated his resignation and endurance, before stoicism was finally overwhelmed by self-destructive bitterness and frustration.

The set was effective cast by evocative shadows, literal and metaphorical, capturing the grey misery which will ensue for all the protagonists. Lighting designer, D.M. Wood, exploited similarly sombre shades in Suor Angelica, to convey a quieter loneliness; while in Gianni Schicchi contrasting flashes of brightness and darkness suggested the deceitful twists and turns of the plotting relatives.

Suor Angelica presents another enclosed world, but here the desire to escape is not represented by an aspiration to return to the bright lights of Paris in search of earthly pleasures, but rather by a longing to transcend earthly preoccupations and discover eternal salvation and bliss. The Catholic message perhaps has little resonance with many modern opera-goers and Jones has made a brilliant decision to replace religious institutionalism with secular rituals, to dispense with convents and cloisters in favour of the hospital ward of a children’s hospital, the nuns exchanging their habits for the uniforms of a nursing order. The re-location is inspired, and wonderfully realised in Miriam Buether’s arresting set.

SUOR ANGELICA - BC20110908355 - LARSSON AS THE PRINCESS (C) BILL COOPER.pngAnna Larsson as The Princess

In the title role, Albanian Ermonela Jaho, making her debut in the role after replacing German soprano Anja Harteros at short notice, did not always surmount the rich orchestral fabric, but her sound is attractive, and she often attained the requisite long-phrased melodicism.

In the libretto, recognising that her decision to commit suicide is a mortal sin, Angelica is overcome with guilt and prays for salvation; she is rewarded with a redemptive final vision of the Virgin Mary and her son, before she dies, presumably transfigured. Jones replaces this spiritual vision with a more mundane one: immobile, Angelica stares piercingly, transfixed by one of the young boys she has been nursing, a painful reminder of her own loss and culpability. Some critics have accused Puccini’s religious apotheosis of vulgarity and tastelessness, but in Jones’ hands, any sense of kitsch Catholicism is transformed into a tragic realism more commonly associated with Il Tabarro. If Jaho tired slightly towards the close, this only served to emphasise that any notion of transfiguration is, in Jones’ eyes, delusory.

As Angelica’s harridan aunt, The Princess, Anna Larsson was suitably haughty and viciously Machiavellian. The scene in which she compels Angelica to acknowledge her shame (she has given birth to a child outside marriage), not to save her niece’s soul but to manipulate her into signing away her inheritance, was chillingly cruel; most effective too was the way in Buether re-configures the set, creating a separate corridor for the desolate struggle between the two women.

Upon learning of her son’s death, Jaho delivers her aria, ‘Senza mamma’, with disturbing concentration, although her physical trembling, while painfully affecting, did result in an unfortunately exaggerated vibrato.

GIANNI SCHICCHI - BC201109091221 - SEE PHOTOGRAPHS LIST FOR CAPTION (C) BILL COOPER.pngFrom Left To Right - Rebecca Evans as Nella, Alan Oke as Gherardo, Francesco Demuro as Rinuccio, Robert Poulton as Marco, Elena Zilio as Zita, Gwynne Howell as Simone, Marie Mclaughlin as La Ciesca and Jeremy White as Betto Di Signa

Anna Devin, a Jette Parker Young Artist, had a busy evening, impressing in all three roles. Highly competent as Sister Genovieffa, and as one of the Lovers in Il Tabarro, she subsequently stood in for indisposed the Ekaterina Siurina as Lauretta in Gianni Schicchi. Elizabeth Woollett as the Nursing Sister and Eryl Royle (Sister Osmina) also pleased.

Pappano grasped the way in which the ritualistic repetitions of the score accrue emotional meaning, building to a concentrated lyricism of escalating intensity. The ROH orchestra was the embodiment of instrumental refinement, particularly in the orchestral intermezzo.

GIANNI SCHICCHI - BC201109091373 - GALLO AS GIANNI SCHICCHI (C) BILL COOPER.pngLucio Gallo as Gianni Schicchi

However, the rushing chords which open Gianni Schicci — seen here in a revival of Jones’ 2007 staging — immediately swept aside the constrained ambience of the preceding opera, in a breathless dance of irony and wit.

For once Pappano perhaps didn’t quite always garner the requisite fleetness of foot but there was much zany zippiness, with visual humour provided by staging and costumes which recall the cardboard shabbiness of 1960s sit-com set.

The comic know-how of Gwynne Howells, returning to the role of Simone — one of the avaricious, grasping heirs of the declining Buoso Donati — provided some stability and focus among the comic capers. Rebecca Evans, making her debut in the role of Nella, relished the vulgarity of the role; while in the title role, Lucio Gallo seemed at times to find it hard to break free from the dark shadows of Il Tabarro, offering a sardonic but not ineffective interpretation.

Other strong performances came from Francesco Demuro, who demonstrated a fervent tone as Rinuccio — although in the set-piece, ‘Firenze è come un albero fiorito’ he perhaps tried a bit too hard — and Elena Zilio (Zita).

GIANNI SCHICCHI - BC201109091393 - SIURINA AS LAURETTA AND DEMURO AS RINUCCIO (C) BILL COOPER.pngEkaterina Siurina as Lauretta and Francesco Demuro as Rinuccio

So, is the whole triptych greater than the sum of its parts? In the final reckoning, it probably doesn’t matter either way: Jones and Pappano revealed the affective power of each of these three divergent and complementary works — no musical detail was overlooked, and each was made to cohere within an impressively paced whole, the varying spatial dimensions of each of the three operas perfectly judged. It truly was an evening when there was something for everyone.

Claire Seymour


Il Tabarro

Michele: Lucio Gallo; Giorgetta: Eva-Maria Westbroek; Luigi: Aleksandrs Antonenko; Tinca: Alan Oke; Talpa: Jeremy White; Frugola: Irina Mishura; Song Seller: Ji-Min Park; Lovers: Anna Devin, Robert Anthony Gardiner. Set Designs: Ultz. Costume Designs: Nicky Gillibrand. Lighting Design: D.M. Wood.

Suor Angelica

Monitress: Elena Zilio; Two Lay Sisters: Melissa Alder, Kate Mccarney; Mistress of the Novices: Elizabeth Sikora; Sister Lucilla: Anne Osborne; Sister Osmina: Eryl Royle; Sister Genovieffa: Anna Devin; Sister Angelica: Ermonela Jaho; Nursing Sister: Elizabeth Woollett; Two Alms Sisters: Gillian Webster, Kathleen Wilder; Abbess: Irina Mishura; The Princess: Anna Larsson. Set Designs: Miriam Beuther. Costume Designs: Nicky Gillibrand. Lighting Design: D.M. Wood.

Gianni Schicchi

Buoso Donati: Peter Curtis; Simone: Gwynne Howell; Zita: Elena Zilio; Rinuccio: Francesco Demuro; Betto di Signa: Jeremy White; Marco: Robert Poulton; La Ciesca: Marie McLaughlin; Gherado: Alan Oke; Nella: Rebecca Evans; Gerardino: Noah Scoffiedl; Gianni Schicchi: Lucio Gallo; Lauretta: Anna Devin; Maestro Spinelloccio: Henry Waddington; Ser Amantio di Nicolao: Enrico Fissore; Pinello: Daniel Grice; Guccio: John Molloy. Associate Director: Benjamin Davis. Set Designs: John Macfarlane. Costume Designs: Nicky Gillibrand. Original Lighting Design: Mimi Jordan Sherin. Revival Lighting Design: D.M. Wood.

Conductor: Antonio Pappano. Director: Richard Jones.

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):