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 Performances

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.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

OPERA TODAY ARCHIVES »

Performances

Eglise Gutiérrez as Amina [Photo by Bill Cooper courtesy of The Royal Opera House]
05 Nov 2011

La sonnambula, Royal Opera

Bellini’s La sonnambula does not have the most gripping or convincing of opera plots: a young girl sleepwalks into a stranger’s room, where she is discovered by her fiancé; disbelieving her pleas of innocence, he jilts her and plans to wed another; but, she is vindicated when she is spied on a nocturnal wander, and the lovers are reconciled.

Vincenzo Bellini: La sonnambula

Elvino: Celso Albelo; Amina: Eglise Gutiérrez; Lisa: Elena Xanthoudakis; Count Rodolfo: Michele Pertusi; Alessio: Jihoon Kim; Teresa: Elizabeth Sikora; Notary: Elliot Goldie. Director: Marco Arturo Marelli. Conductor: Daniel Oren. Orchestra of the Royal Opera House. Royal Opera Chorus. Set designs: Marco Arturo Marelli. Lighting designs: Marco Arturo Marelli. Costume design: Dagmar Niefind-Marelli. Royal Opera House, Covent Garden, Wednesday, 2nd November 2011.

Above: Eglise Gutiérrez as Amina

Photos by Bill Cooper courtesy of The Royal Opera House

 

However, the wafer-thin text is more than compensated for by the composer’s ravishing score and reams of gorgeous melody.

SONNAMBULA ©BC20111029238 - KIM AS ALESSIO (C) COOPER.pngJihoon Kim as Alessio

It’s a simple tale and needs a light touch. Sadly, in this revival of Marco Arturo Marelli’s 2002 production, both the presumptuous direction and Daniel Oren’s sluggish tempi weigh down the proceedings, and the result is narcotic.

Not trusting the music itself to provide depth and insight, Marelli has given the opera a ‘psychological makeover’. Thus, the Swiss village setting is replaced by an Alpine sanatorium (intended, we are told, to suggest the world of Thomas Mann’s The Magic Mountain) where Elvino – no longer a local landlord but a composer – has been undergoing treatment since the traumatic death of his mother. Bellini’s orphaned maid, Amina, to whom Elvino is betrothed, is now a waitress at the sanatorium. So, we have no gentle pastoral woods and byways, rather a sublime mountain-scape panorama, visible through vast atrium windows; sublime, that is, until an avalanche crashes through the windows and ruins the grand piano! And the site of the opera’s only really dramatic event – the narrow bridge over the rushing mill stream upon which the villager’s witness the precarious exploits of the sleepwalking, thereby proving her innocence – is also dispensed with. Instead, Anima has to navigate her way across the wreckage of the piano. Nineteenth-century village yokels are replaced with bustling nurses in crisp uniforms and wheelchair-bound patients sporting modern evening dress. It’s enough to send us all to the asylum.

SONNAMBULA ©BC20111029200 - PERTUSI AS COUNT RODOLFO, GUTIERREZ AS AMINA (C) COOPER.pngMichele Pertusi as Count Rodolfo and Eglise Gutierrez as Amina

But, bel canto is all about the singing, so perhaps some high-class performances could rescue this production from insanity and inanity? Sadly, our Elvino, Spanish tenor Celso Albelo, could not provide the stature and presence required. While his diction was good and his tone sweet and pure, some incredible high notes and considerable vocal agility could not compensate for a total lack of charm. Albelo’s acting was leaden, and he needs to use his face more expressively to ensure a fully convincing sense of style.

As Amina, Eglise Gutiérrez demonstrated a beautifully tender pianissimo, floating, delicate upper notes, and an expressive vibrato. Crucially, however, her Italian is very poor, and occluded diction destroyed the inherent line of the melodies whose elegance is so intimately rooted in the language. Gutiérrez also adopted an overly fussy approach to the demanding coloratura. The florid passages stretched her technique to its limits, and she simply didn’t have the notes, especially in the final aria, in which she celebrates her lover’s return. Gutiérrez wasn’t helped by Marelli’s decision to bring the curtain down at the very moment she wakes, swap her demure, white nightgown for a plunging, scarlet velvet gown, and force her to stand on a table to deliver this fiendish number. With soloist and conductor wildly adrift, it made for an anticlimactic ending.

The rest of the cast were solid. Elena Xanthoudakis did a good job of conveying Lisa’s bitter jealousy, and mastered the stratospheric pyrotechnics (though why is she costumed as a lusty barmaid?); and as Count Rodolfo, Italian bass-baritone Michele Pertusi was appropriately authoritative and resonant. Elizabeth Sikora sang the role of Teresa, Amina’s foster mother, most impressively, making much of her powerful interjections. Jihoon Kim (Alessio), a Jette Parker Young Artist, and Elliot Goldie (Notary), a member of the ROH chorus, were reliable in their minor roles.

SONNAMBULA ©BC20111029261 - ALBELO AS ELVINO, XANTHOUDAKIS AS LISA (C) COOPER.pngCelso Albelo as Elvino and Elena Xanthoudakis as Lisa

Bellini composed the opera after a holiday in Como, where he admired the landscape and simple pastoral lifestyles of the inhabitants; the folk music he heard inspired him to create the beautiful, quite substantial, choruses which abound in the score. The Royal Opera chorus were a bit ragged, but they did have to endure Marelli’s silly stage antics; the instrumentalists of the ROH orchestra fared better, despite Oren’s uninspiring, tentative guidance.

But, although Marelli’s sweeping scenic designs are pleasing to look at, the production’s psychobabble is pretty unpalatable.

Claire Seymour

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):