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It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
28 Sep 2011
Lucrezia Borgia in San Francisco
Bad news travels fast. Though you are about to read another version of how American diva Renée Fleming failed to bring Lucrezia Borgia alive, let us begin by discussing a few other things you already know.
Venetian facades are marble, not brick, thus it takes more than blue light rippling on red brick walls to evoke Venice. Lucrezia’s new home Ferrara was not towering walls of Styrofoam bricks painted red, plus it is obvious that all of Lucrezia’s evil machinations did not occur in a strong, golden sunset sidelight.
Rolex is not spelled Borgia, even though the golden insignia that hung over the stage seemed to advertise luxury watches, and the B wrenched from the Borgia name (that somehow found itself inscribed on a tomb in Ferrara) was a dead ringer for the serifed first letter of Bulgari.
Amazingly Mme. Fleming’s second act, stupendously rich gown upstaged both red Styrofoam and gold gel (the transparent film that colors stage lights), and the ridiculousness of her third act soldier disguise (revealing ample décolletage under a bouffant wig) upstaged her maternal anguish (she had had to poison her son).
Michael Fabiano as Gennaro and Elizabeth DeShong as Maffio Orsini
Mme. Fleming has carefully nurtured the image of American artistic luxury. Her porcelain persona was everywhere evident on the War Memorial stage. Mme. Fleming is at the same time a very intelligent artist who possesses a unique talent and a beautiful voice. Perhaps if this production had presented her as a real person we might have perceived a full, beautifully voiced character of brutal mind and twisted integrity.
Donizetti and his librettist’s idea of Lucrezia Borgia is as a bel canto heroine — no matter how horrible a person she may be, and how terrible her circumstances become, the music must always be beautiful, her voice soaring gloriously. Bel canto titillates its acolytes (willing audiences) with this contradiction. In the artificial atmospheres of this production that set out solely to beautify Mme. Fleming she read as dramatically and vocally insipid. And, well, the opera is all about her.
Lucrezia Borgia boasts sensational subject matter beyond infanticide. Her son Gennaro has sworn eternal love to his friend Maffio Orsini, who is actually a girl because it is a pants role. So a guy loves a guy who is actually a girl. Unfortunately this production precluded any resulting sexual titillation by casting diminutive mezzo Elizabeth DeShong as Orsini who read as Gennaro’s belligerent baby sister.
Even so the B in bel canto did succeed somewhat in forcing its way into the theater. Italian conductor Riccardo Frizza provided a solidly idiomatic if uninspired reading of Donizetti’s score, perhaps in reaction to the production. American tenor Michael Fabiano gave great pleasure, as a singer he is stylish and correct as evidenced in his splendid “Di pescator ignobile," and he glowed as an accomplished actor in scenes with his no affect mother. Ukrainian bass Vitalij Kowaljow made a big impression as Lucrezia’s third husband, Alfonso d’Este, tearing up the stage with his showpiece "Vieni, la mia vendetta!"
Vitalij Kowaljow as Duke Alfonso and Daniel Montenegro as Rustighello
While Mlle. DeShong did not physically measure up to Orsini she proved herself to be a strong singer. Among the smaller roles the Rustighello of Adler Fellow Daniel Montenegro was effectively drawn.
The libretto by Felice Romano is undeserving of ridicule. It accomplishes what a bel canto libretto sets out to do — create situations that can only be resolved by beautiful singing. But Lucrezia Borgia is like a carefully constructed short story where there is not one word too many, and in fact Donizetti revised the opera several times so maybe there is not one note too many either. It is this stark minimalism that shunts this blunt opera from masterpiece status.
Stage direction, sets and costumes are all by English producer John Pascoe, a production he created for Mme. Fleming at the Washington Opera in 2008.