Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Kurt Weill’s Street Scene

Kurt Weill’s “American opera,” Street Scene debuted this past weekend in the Kay Theatre at the Clarice Smith Performing Arts Center, with a diverse young cast comprised of students and alumni of the Maryland Opera Studio (MOS).

Handel's Brockes-Passion: The Academy of Ancient Music at the Barbican Hall

Perhaps it is too fanciful to suggest that the German poet Barthold Heinrich Brockes (1680-1747) was the Metastasio of Hamburg?

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

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):