28 Dec 2011
Leoncavallo’s I Medici
Ruggero Leoncavallo’s name is forever tied to that of Pietro Mascagni.
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.
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.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
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.
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.
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.
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.
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.
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.
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.
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
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!
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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
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 (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 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.
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.