Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

OPERA TODAY ARCHIVES »

Reviews

Lorenzo Regazzo as Don Alfonso [Photo by Robert Millard courtesy of LA Opera]
10 Oct 2011

Così fan tutte, Los Angeles

The Los Angeles Opera Company’s charmingly understated new production of Così fan tutte will please your eyes and delight your ears, but its story might grieve your romantic soul.

W. A. Mozart: Così fan tutte

Ferrando: Saimir Pirgu; Guglielmo: Ildebrando D’Arcangelo; Don Alfonso: Lorenzo Ragazzo; Fiordiligi:Aleksandra Kurzak; Dorabella: Ruxandra Donose; Despina: Roxana Constantinescu. Conductor: James Conlon. Original Production: Nicholas Hytner. Director: Ashley Dean.

Above: Lorenzo Regazzo as Don Alfonso

All photos by Robert Millard courtesy of LA Opera

 

Its libretto was written by Lorenzo Da Ponte, who despite the fact that he was both a priest and a professor at Columbia College (not at the same time) had attained notable fame in his youth for licentiousness. The opera’s title means “all women are like that” and its subtitle “La scuola di amante” means “school for lovers.” Ostensibly an education in love, in Da Ponte’s and Mozart’s hands the opera’s lesson is that all women are fickle.

coz6065.gifRoxana Constantinescu as Despina

Guglielmo and Ferrando, two handsome young men engaged to sisters Fiordiligi and Doraballa, swear to Don Alonso, their old philosopher friend that the girls will be faithful to them forever. The cynical Alonso’s assertion that the girls will take new lovers in less than 24 hours if the men follow his instructions, results in a bet. Don Alonso elicits the help of the young women’s maid servant, Despina. The women are told that their heroes have been called to war, and shortly thereafter the two men disguised as “Albanians” appear to declare their passionate, (and sometimes comical) love — but to each other’s girl. Torn by conscience and tempted by the joys of love, the girls suffer a few pangs, but soon give in, each to her sister’s fiancé, whereupon to their mortification, the treacherous scheme is revealed. Then somehow — maybe Mozart didn’t like unhappy endings — there’s a cheerful sextet in which all the characters agree, “let’s get over this and look at the sunny side of things.” But who did the girls go home with? Their first lovers or their second? Mozart and Da Ponte don’t tell us! And if women study this “school’s” lesson a little deeper, they may wonder, “Are all fiancés like that?”

This is an attractive well-matched cast. Happily, the two male leads resemble each other enough to muddle their identities while in disguise, so there’s no little worm to gnaw at your aching-to-believe brain saying, “How could the girls not recognize them?” The production that Nichols Hytner, originally created for Glyndebourne with its tawny sets and blazing blue Neapolitan skies are crisp and elegantly restrained.

coz4180.gifSaimir Pirgu as Ferrando, Ruxandra Donose as Dorabella, Aleksandra Kurzak as Fiordiligi and Ildebrando D’Arcangelo as Guglielmo

But it’s the music that triumphs. Maestro Conlon personally chose the cast of European singers for their facility with Italian recitative, as well I am sure, for the quality of their voices. Bass Lorenzo Ragazzo, delivered a cheerful, perhaps not cynical enough Don Alfonso. Bass-baritone, Ildebrando D’Arcangelo as Guglielmo, pranced agilely when required — what a “Mefistofole” he would make! Saimir Pirgu’s Ferrando’s “Un’aura amorosa”and Aleksandra Kurzak’s “Come scoglio” hit their difficult marks. While the tessitura of Fiordiligi’s role unquestionably requires a soprano, the roles of Dorabella and Despina, here mezzos Ruxandra Donose and Roxana Constantinescu, respectively, are not as clearly defined in terms of range and can be sung by sopranos. Most frequently, it is Despina (think saucy Susanna in the Marriage of Figaro) who is cast as a soprano. Constaninescu, however, is perhaps too young to make a properly worldly-wise and arch Despina. The similarity of her sound to Donose’s Dorabella’s reduced the impact of her role and had me wishing for a bright soprano sound.

The essence of this Così is the sense of ensemble: the balance between orchestra and voice, and the clearly visible rapport between the singers and Maestro Conlon. When Conlon stretched past his score with this arms high over his head, and looked directly at his singers, it seemed as if the baton in his hand was a magic wand eliciting spontaneous song.

And did they all have fun with their curtain calls!

Estelle Gilson

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):