28 Dec 2011
Leoncavallo’s I Medici
Ruggero Leoncavallo’s name is forever tied to that of Pietro Mascagni.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s Die Fledermaus several debuts are notable to both American and Chicago audiences.
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Ruggero Leoncavallo’s name is forever tied to that of Pietro Mascagni.
Both composers found early acclaim with one-act operas, and to this day the pairing of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci serves as a popular mainstay of most opera houses. The sad shadow of that imposing success also falls on both composers, as neither ever managed to create another work as loved or esteemed. Leoncavallo, in fact, would have much preferred his name be linked, as unlikely as it may seem, with that of Richard Wagner. Leoncavallo considered himself to be better educated than his Italian contemporaries, including Puccini, who famously refused to acknowledge Leoncavallo’s prior claim to a novel about life among poverty-stricken hipsters in 19th century Paris — with Puccini’s La Bohéme driving Leoncavallo’s work into obscurity.
Leoncavallo would love to have created a multi-part epic along the lines of Wagner’s Ring cycle, and he actually completed the first of a planned triptych set in the Italian Renaissance — I Medici. In 2007 Deutsche Grammophon assembled some first-class artists to record this rare score. The booklet notes of DG’s handsomely produced set don’t attempt to peddle the opera as a long-lost masterpiece, offering the politely conditional, “If his opera ultimately does not work as drama ” while praising the highlights of the composer’s musical efforts. But there is more memorable melodic material in any fifteen minutes of Leoncavallo’s famed one-act work than in all four acts of I Medici.
The libretto complexly fails to provide any meaningful portrayal of the Renaissance or the political and cultural power of the two Medici brothers, Lorenzo and Giuliano. Other than a few lines at the beginning and end, the deeper issues Wagner would have dug into are ignored for a prosaic love triangle, with Giuliano in love with the sickly Simonetta, who would reciprocate if she weren’t so unwell she faints routinely. So Giulaino enjoys himself with her closest friend, Fioretta. Even as a love story, I Medici fails to satisfy, as Simonetta dies in act three almost as soon as she becomes aware of Giuliano’s dalliance with her friend, and before she can warn him of a conspiracy she has overheard to kill him and his brother. Giuliano falls victim to the assassins, while Fioretta mourns him and Lorenzo escapes. Lorenzo stays on the sidelines, making his shout of triumph at the end a bizarre non-sequitur. A menacing figure named Montesecco hangs on the outside of most of the drama yet has nothing pertinent to do in the action. The plot has more dead ends than a corn maze, but less suspense.
As a listening experience, however, I Medici shouldn’t be slighted. From the bray of hunting horns heard in the prelude through the song contest and dance sequence of act two up through the church music heard before the violence of act four, Leoncavallo stretches himself as an orchestrator. Why his lyric gift failed him can only be ascribed to the composer’s acknowledgement of his librettist’s (himself) failure to create any truly worthy inspiration.
The score finds worthy exponents in conductor Alberto Veronesi and its two male leads, Plácido Domingo and Carlos Álvarez. In 2007 Domingo still had a tenor’s silver in his vocal coloring, and he is caught in fine voice. Álvarez lacks the start tenor’s glamour and unique profile, but he has strength and nobility. As the perpetually ailing Simonetta, Daniella Dessi sounds very healthy, except for some harshness at the top. Renata Lamanda can’t make much of the dreary Fioretta, while Eric Owens lends his smoky bass in the negligible role of Montesecco.
For collectors of rare repertoire, this is an obvious “must-buy.” Otherwise, the appeal of this set is probably limited to devoted fans of either male lead.