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

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Performances

Nino Machaidze as Juliette and Vittorio Grigolo as Romeo [Photo by Robert Millard for LA Opera]
09 Nov 2011

Roméo et Juliette, LA

Love and gloom at the Los Angeles Opera.

Charles Gounod: Roméo et Juliette

Romeo: Vittorio Grigolo; Juliet: Nino Machaidze; Mercutio: Meseup Kim; Friar Laurence: Vitalij Kowaljow; Lord Capulet: Vladimir Chernov; Tybalt: Alexey Sayapin; The Duke of Verona: Philip Cokorinos; Stephano: Renée Rapier; The Nurse: Ronnita Nicole Miller; Gregorio: Michael Dean; Benvolio: Ben Bliss; Count Paris: Daniel Armstrong; Friar John:Erik Anstine. Conductor: Placido Domingo. Director: Ian Judge. Scenic Designer: John Gunter. Costume Designer: Tim Goodchild. Lighting Designer: Nigel Levings.

Above: Nino Machaidze as Juliette and Vittorio Grigolo as Romeo

Photos by Robert Millard for LA Opera

 

Though love and gloom permeate Gounod’s Roméo and Juliette — the opera opens with a melancholy choral prologue and ends with a tear provoking death duet — it was love that won the day when the curtain came down at the opera’s November 6th opening performance at the Dorothy Chandler Pavilion. But this was not the love of the young protagonists for each other, rather it was that of the audience for the opera, its principle performers, and its conductor Placido Domingo. The moment the curtain fell, applause overwhelmed the last orchestral sounds. And the instant it rose again to reveal the singers and set, bodies shot forth from their seats as one.

The current production is a revival of the 2005 presentation of the work directed by Ian Judge. As it did six years ago, Roméo and Juliette brought together two young singers at the thresholds of their operatic careers, Georgian soprano, Nino Machaidze, and Italian tenor, Vittorio Grigolo. More about them in a moment.

Shakespeare’s play, shaped for Gounod by librettists Jules Barbier and Michel Carré into five acts that focus exclusively on the lovers, gave the composer abundant opportunity write music filled with love and with dread. When it was produced in Paris in 1867, the work immediately won the hearts of French audiences. Its first Metropolitan Opera performances in 1884 were sung in Italian. Its reappearance in the Met repertory at an 1891 performance in Chicago marked the first time the company sang a French opera in French. It was as quickly a success here as well, and why not? Those early performances featured the De Reszke brothers and Emma Eames.

Who knows what the De Reszkes and Mme. Eames, swathed in their their multilayered costumes would have made of this slick production delivered in two acts, featuring slim young lovers romping in bed half nude, and set nowhere in particular? The essentially unit set with movable sections, is a skeletal iron structure which recalls old Parisian arcades, or the base of Eiffel Tower. However, the set changes were fairly rapid and effective. Costumes were dark and restrained. The beautifully constructed gowns for the First Act ball never lit the scene, perhaps to help us keep us in mind of impending doom. My major grievance relates to the direction after Mercutio’s death. Ian Judge has our hero fighting dirty. After hand to hand pushing and shoving and a brief duel with knives, Romeo suddenly has a gun in his hand and unhesitatingly shoots Tybalt point blank. If you heard someone exclaim. “that’s that not fair,” you were sitting near me.

RJb4242-1.gifAlexey Sayapin as Tybalt and Museop Kim as Mercutio

Neither Machaidze or Grigolo, who was making his LA debut, is new to French opera. The soprano was Juliet in Salzburg in 2008 and in Verona this past July. She and Grigolo performed their roles together in June at La Scala. Grigolo has also sung Hoffmann and scored an enormous success as Des Grieux in his Covent Garden debut.

Machaidze was a charming Juliet, though her voice, noticeably edgier than in her Salzburg Juliet, was occasionally shrill at the top. Grigolo, known in his youth in Italy as il Pavarottini, has a dark robust almost baritonal voice with a gravelly buzz in mid range that opens to a clarion clarity at the top. Slim and handsome, he is also remarkably agile and scaled the gates and ladders keeping him from his beloved with the litheness of a cat burglar.

RJb6354-1.gifVladimir Chernov as Capulet and Nino Machaidze as Juliette, with Ronnita Nicole Miller (in black) as Juliette's Nurse, and Daniel Armstrong (at right, in rear) as Count Paris

Museup Kim as Mercutio and Renée Rapier, making an unexpected LA opera debut as Stephano, were outstanding in this large cast. Vitalij Kowaljow was a sonorous Friar Laurence. Alexey Sayapin debuted as Tybalt. Baritone Vladimir Chernov sang the thankless role of Count Capulet, and Ronnita Nicole Miller had little to sing about as Juliette’s nurse.

Maestro Domingo’s conducting, while responsive to Gounod’s long melodic lines, whether instrumental or vocal, lacked the rhythmic thrust that keeps a repeated waltz beat buoyant. Perhaps his rehearsal time was limited. But no one cared. With the production staff, performers, conductor and chorus on stage, and the energetic Grigolo pulling them forward for yet another bow, all was love Sunday afternoon at the Los Angeles opera.

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):