Recently in Reviews
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
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.