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

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Reviews

Ruggiero Leoncavallo: I Medici
28 Dec 2011

Leoncavallo’s I Medici

Ruggero Leoncavallo’s name is forever tied to that of Pietro Mascagni.

Ruggero Leoncavallo: I Medici

Giuliano de’ Medici: Plácido Domingo; Lorenzo de’ Medici: Carlos Álvarez; Simonetta: Daniella Dessi; Fioretta: Renata Lamanda; Montesecco: Eric Owens. Orchestra and Chorus of the Maggio Musicale Florentino. Conductor: Alberto Veronesi.

DG 0289 477 7456 3 GH 2 [2CDs]

$35.99  Click to buy

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.

Chris Mullins

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):