28 Dec 2011
Leoncavallo’s I Medici
Ruggero Leoncavallo’s name is forever tied to that of Pietro Mascagni.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
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.