Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

OPERA TODAY ARCHIVES »

Reviews

Scene from Gianni Schicchi [Photo by Stofleth courtesy of Opéra de Lyon]
08 Feb 2012

Il trittico in Lyon

All the important directors pass through Lyon, so it was just a matter of time before British director David Pountney would be invited to stage a production. It was Puccini’s triptych.

Giacomo Puccini: Il trittico

Il tabarro — Michele: Werner Van Mechelen; Giorgetta: Csilla Boross; Luigi: Thiago Arancam; La Frugola: Natascha Petrinsky; Il Tinca: Wynne Evans; Il Talpa: Paolo Battaglia.

Suor Angelica — Sister Angelica: Csilla Boross; La Tante Princesse: Natascha Petrinsky; L'Abbesse: Anna Destraël; La Soeur zélatrice: Françoise Delplanque; La Maîtresse des Novices: Wilkinson; Soeur Geneviève: Ivana Rusko; La Soeur infirmière: Elizaveta Soina; Soeur quêteuses: Ivi Karnezi and Jessie Nguenang.

Gianni Schicchi — Gianni Schicchi: Werner Van Mechelen; Lauretta: Ivana Rusko; Rinuccio: Benjamin Bernheim; Zita: Natascha Petrinsky; Gherardo: Wayne Evans; Nella: Agnes Selma Weiland; Betto: Lynton Black; Simone: Paolo Battaglia; Marco: Wolfgang Newerla; La Ciesca: Kathleen Wilkinson; Le notaire: Maxim Kuzmin-Karavaev.

Opéra Nouvel. Chorus, Orchestra and Soloists of the Studio de l'Opéra de Lyon. Conductor: Gaetano d’Espinosa; Mise en scène: David Pountney. Scenery: Johan Engels. Costumes: Marie-Jeanne Lecca. Lighting: Fabrice Kebour. February 3, 2012.

Above: Scene from Gianni Schicchi [Photo by Stofleth courtesy of Opéra de Lyon]

 

So here is the Trittico he gave the Lyonnais (note that this difficult Puccini work is three little horror stories, very loosely and ironically structured as hell, heaven and purgatory):

Mr. Pountney’s point of departure was to relate the three stories each to the next. Michele’s murder of Luigi seemed to be among the presumed serial murders of young dock workers seduced by Giorgetta, ritual killings that somehow purged their horror at the death of their young son. Sister Angelica consumes the body and blood (bread and wine) of the son of God in a sort of sacrificial black mass that excites a vision of her dead son during her final moments of life. And, well, Frugula and Talpa from Tabarro reincarnate themselves in Gianni Schicchi as Gherardo and a pregnant Nella with a baby in a carriage and an annoying seven year-old son on roller skates.

Maybe you prefer Puccini’s shock and awe versions of the same stories.

The mise en scène fortified the thematic unification. In Tabarro there was a box that was supposed to be a ship container, in Suor Angelica the same box became a tabernacle and in Gianni Schicchi it was a coffin though it had multiplied itself into many more boxes that were safes filled with boxes of spaghetti and cans of tomato sauce. Colors too brought things together conceptually. The Tabarro container was within a huge stage box of small shiny black bricks (hell). The Suor Angelica box was in a stage box cloister of small shiny white bricks, thousands of them (heaven). In Gianni Schicchi the little bricks of the visible side walls seemed the color of pasta al pomodoro.

Of the three operas Il Tabarro was the most successful for a number of reasons, the first of which was that the top of the ship container box had cables and a hook that suggested it would disappear after that act. At first there seemed no reason to think that this little théâtre guignol piece was not being taken at face value, and even Mr. Pountney’s little twist at the end seemed fun. All the nuns in Suor Angelica disappeared under identical massive white habits so they all looked exactly alike. Therefore Sister Angelica seemed to have no personality whatsoever but that did not really matter once we understood that the opera was not about her but about a play on the Catholic mass.

Things fell apart in Gianni Schicchi where Mr. Pountney displayed his sense of fun in runaway character expositions that dwarfed Puccini’s own idea of his comedy. Specifically the campy antics of a very fey Marco (son of Simone), not to mention the fellatio and cunilingus enacted by Rinuccio and Lauretta. Then there were the witnesses to the writing of the new will who upstaged the whole scene by busily and noisily eating, yes, spaghetti al pomodoro.

Even a stellar cast could not have saved this production. As it was the Opéra de Lyon assembled a number of promising young singers and a few (but not enough) seasoned performers who mostly held things together on the stage. Of particular notice was the Brazilian born, Italian nurtured tenor Thiago Arancam who allowed Luigi’s passions to burst forth with tenorial flair and dramatic reality. Hungarian soprano Csilla Boross sang securely and acted Giorgetta with conviction but did not find the ultimate rapture of Sister Angelica, victim of the production. Bass-baritone Werner Van Mechelen is an accomplished artist who made both Michele and Gianni Schicchi into vocally and dramatically vivid characters. Wynne Evans and Paolo Battaglia were appropriately cast as Tinca and Talpa, and carried age and experience to Gherardo and Simone in Gianni Schicchi.

Of notice as well was Austrian born, Israeli nurtured mezzo soprano Natasha Petrinsky who is not yet an accomplished enough artist to bring Frugola alive, nor old enough and complicated enough to impersonate Suor Angelica’s evil aunt, and not grand enough to make Zita a comic force. She is a very promising artist. Neither tenor Benjamin Bernheim nor soprano Ivana Rusko, both house singers at Zurich Opera, are sufficiently finished artists to have been asked to take on the roles of Rinuccio and Lauretta in Gianni Schicchi.

Young Sicilian conductor Gaetano d’Espinosa made natural and convincing verismo in the pit, aided by the naturally harsh sound of the Opéra Nouvel and its fine orchestra. Il Tabarro was his best effort, perhaps motivated by the splendid vocal force of the principals (Mlle. Boross, messieurs Arancam and Van Mechelen). Suor Angelica too seemed driven with sensitivity and understanding though he missed reaching its emotional heights. His choice of tempi (sometimes unusually slow) in Gianni Schicchi was beyond the capabilities of his some of his young, inexperienced artists.

Michael Milenski

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):