Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

OPERA TODAY ARCHIVES »

Performances

Plácido Domingo as Simon Boccanegra [Photo by Robert Millard courtesy of Los Angeles Opera]
29 Feb 2012

Simon Boccanegra, LA

Sometime everything seems to go right. Just as the Los Angeles Opera Company did last fall, it opened its spring season with a baritonal eponymous opera; this time, Giuseppe Verdi’s Simon Boccanegra.

Giuseppe Verdi: Simon Boccanegra

Simon Boccanegra: Plácido Domingo; Amelia: Ana María Martínez; Jacopo Fiesco: Vitalij Kowaljow; Gabriele Adorno: Stefano Secco; Paolo Albiani: Paolo Gavanelli; Pietro: Roberto Pomakov. Conductor: James Conlon. Director: Elijah Moshinsky. Set Designer: Michael Yeargan. Costume Designer: Peter J. Hall. Lighting Designer: Duane Schuler.

Above: Plácido Domingo as Simon Boccanegra

Photos by Robert Millard courtesy of Los Angeles Opera

 

The production, like the fall’s Eugene Onegin, was not only a first for the company, but happily, starring the company’s director, Plácido Domingo, an even greater artistic success; proving that baritones can be thrilling too.

sbc4185.gifVitalij Kowaljow as Fiesco

Verdi wrote Simon Boccanegra in 1857. Its libretto is based on a play by Antonio Garcia Guttiérrez, which in turn was based on the life of the Genoese plebeian, who was elected first Doge of Genoa in 1339. Verdi’s opera was not well received. However, nearly twenty-five years later the composer revised its music and used a new libretto created by Arrigo Boito. Boito, a writer and genius of another cut, had already composed Mefistofeles, his only opera. Subsequently he wrote the librettos for Verdi’s last and greatest works, Otello and Falstaff.

Simon Boccanegra’s story involves complicated personal and political intrigues. Like Verdi’s other political operas, Macbeth, for example, it is a dark work whose plot is not driven by romantic love. Five of its six major roles are for male voices. Two duets between bass and baritone are extraordinarily powerful. Like Macbeth, even the revised Simon Boccanegra has never achieved the popularity of other Verdi operas. However, it’s a favorite of mine. Its darkness comes not merely from the essentially male cast, its nasty intrigues, or its minimal romance. Musical darkness pervades the entire work from its key signatures, to its melodic lines, to its orchestration. Heartbreak and sorrow permeate the soul of Simon Boccanegra. And Verdi knew that soul intimately. Like Boccanegra, Verdi had lost a wife and daughters almost on the eve of his ascent to power and fame.

Simon Boccanegra begins with a prologue in which the major characters are introduced. Boccanegra is a young corsair, who is inveigled to accept the newly created post of Doge of Genoa by his manipulative power hungry friend, Paolo. We meet Fiesco, the father of Maria, the young woman Boccanegra loves, who has borne his daughter out of wedlock. Fiesco will forgive Boccanegra for this sin, if the corsair can produce that child. But he cannot. He tells Fiesco that little girl has disappeared. Moments later (and we are still in the prologue) just as Boccanegra discovers that Maria is dead, a joyous crowd arrives to declare him the newly elected Doge.

sbc4180.gifAna María Martínez as Amelia

The first act begins 25 years later. Now Boccanegra and his daughter, Amelia discover each other. Unhappily, Amelia is in love with a tenor named Adorno. who along with Fiesco and Paolo, each for his own reasons, have united as sworn enemies of Boccanegra. The dramatic highlight of Simon Boccanegra is the magnificent Council Chamber scene with its thundering confrontation between Boccanegra and Paolo. Later, Paolo poisons the Doge. Nevertheless, the opera concludes with just punishment and reconciliation. Paolo is executed. Boccanegra tells Fiesco that Amelia is his granddaughter, and in an extraordinarily moving duet, the two old men, Boccanegra and Fiesco are reconciled. Amelia and Adorno marry. Adorno becomes the new Doge of Genoa. And the dying Boccanegra will find his Maria in heaven. If you can get to the pre-opera talk, Maestro Conlon does a marvelous job of unraveling this sleeve of tsouris, and with music, no less!

The darkness of its preceding scenes make our introduction to Amelia, with its brief moment of joy and high notes the only truly bright moment of the work. Interestingly in Amelia’s first aria of love and longing,”Come in quest’ora bruna” sung as she awaits Adorno, Verdi harks back to the rolling oom pah pah bass of his earlier operas. James Conlon warned his audience that they would cry at the recognition scene and sure enough, I did. But I don’t at every performance of this opera. As I said, sometimes everything seems to go right. And this scene certainly did that Sunday afternoon.

The very strong cast of male singers led by Domingo made this possible. The knock on the state of 71-year old singer’s Boccanegra: that his voice is not deep enough for the role, and raspy besides, may be true, but for the performance I saw, all that was irrelevant. With a dark wig and slimming costume, he strode and sang vigorously as the young Boccanegra. As the gray haired Doge, he was a commanding presence. Domingo has always been an excellent actor, and is unsurpassed in the subtleties his voice whether as tenor or baritone, can express in dramatic roles. The Ukrainian bass Vitalij Kowaljow, who sang Fiesco was a joy to hear if like me you thrill to clear, legato bass singing and long held last low notes. Baritone Paolo Gavanelli and bass Robert Pomakov were equally compelling. Stefano Secco, making his LA debut as Adorno, has a bright tenor voice and happily, his Italian could be understood. Anne María Martínez, a Grammy winner for an album she recorded with Domingo, has a rich lyric voice and produced a genuine trill. Kudos for the chorus, which has a large role in the opera. Maestro James Conlon, who confessed a particular affection for this opera, kept a limpid performance rolling at a brisk tempo.

sbc6167.gifPlácido Domingo (right) as Simon Boccanegra, with Stefano Secco (left) as Gabriele Adorno

Well, maybe there were two things that weren’t so right: the lighting and the sets created originally by lighting designer Duane Schuler and Michael Yeargan, respectively, for Covent Garden. They seem to have taken the “darkness” of the opera too literally. Both the prologue and final scene were entirely too dim and shadowed. During the prologue it was sometimes difficult to know who was singing. And I found the depth of the sets troubling. Both the prologue, which takes place in a public square and the Council chamber scene, which employ large choruses, were set on comparatively shallow sets, whereas the intimate scenes: the love scene, the recognition scene and Boccanegra’s death were performed with open depths behind them.

But these are quibbles. A great opera, whether joyous or sorrowful, is foremost about music that enters one’s heart and moves it. And Verdi’s Simon Boccanegra does just that.

Estelle Gilson

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):