19 Mar 2012
Don Pasquale, San Diego
You can’t keep a good opera buffa down. And Gaetano Donizetti’s Don Pasquale is about as good as opera buffa gets.
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.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
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’.
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.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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 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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
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.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
You can’t keep a good opera buffa down. And Gaetano Donizetti’s Don Pasquale is about as good as opera buffa gets.
So here it is once again at San Diego Opera in its “spaghetti western” guise — the David Gately production that the opera company premiered in 2002. Happily for the opera company’s patrons it signals the end of their mourning period for poor, demented Salome and for the unfortunate crew in Moby-Dick. There’s nothing but rollicking operatic fun ahead for them.
Danielle de Niese as Norina
Not having previously seen this production, the Western “shtick” promotions for the work - ladies in corsets and cowboys in bubble baths — stirred old puritanical impulses and elicited my deepest fears. Of course transpositions of time and place are common in opera productions. In fact it happened to this very opera, Don Pasquale, just a few years after its 1843 premiere at the Italian Theater in Paris. Donizetti and his librettist Giovanni Ruffini had set the work in contemporary time. “But,” says the old Grove Dictionary of Music, “the singers and audiences considered there was a little absurdity in prima donna, baritone and basso wearing the dress of every day life; and it was usual for the sake of picturesqueness in costume to put back the time of the incidents to the 18th century.”
I needn’t have worried about sinful excess. As in that early Don Pasquale, picturesqueness in costume and sets is primarily what this clever production is about. Six-guns and horses notwithstanding, the most admirable element of Gately’s production is the restraint he showed in not allowing wild West gags and horseplay to overpower the essential commedia dell’ arte formula at the heart of this opera buffa.
Charles Castronovo as Ernesto
Don Pasquale was the last of the great opera buffas. At the heart of all of them were fairly formulaic commedia dell’arte plots, acted out by stock characters, behaving in satisfyingly predictable ways. There was usually a rich, old miser, a wily “dottore”, a shrewder-than-everyone servant. One or two of these had to be a bass or a baritone, who would likely sing a dizzying patter song. There were young lovers kept apart by some multifarious plot. She might be a soprano or a mezzo-soprano, but he most likely was a tenor. The plots were generally filled with intrigue involving love affairs, money, inheritances, mistaken identity and the like. It made no difference how complicated the machinations of the first two acts were. By the end of the third act everything will have worked out perfectly and audience and characters went home happy.
In Don Pasquale, miserly rich old Pasquale plans to marry Norina, a young and beautiful woman, who loves a young and penniless man, Ernesto, Pasquale’s nephew. Norina and Ernesto scheme with a wily dottore, Dr. Malatesta, to outwit Pasquale. Pasquale schemes with the same wily Dr. Malatesta to outwit Norina and Ernesto. Confusion. Who’s doing what with whom and where? But fear not! Don Pasquale is fooled into letting Norina go. Norina ends up with the Ernesto. Ernesto ends up with both Norina and Don Pasquale’s money. What could be better? The great music with it. Donizetti had an enormous gift for melody from the coloratura of emotional highs to lyrical, love-lorn laments. And better still, he wrote humor into his music - rollicking, rhythmic, playful music that can get you bouncing in your seat.
Jeff Mattsey as Dr. Malatesta, Danielle de Niese as Norina and Charles Castronovo as Ernesto
San Diego Opera was fortunate to have bass-baritone John Del Carlo as Don Pasquale. At this time in his career, Del Carlo is the very essence of Don Pasquale. His ringing voice and skilled acting allow us to see both the humor and pathos of the man. Tenor Charles Castronovo sang Ernesto, the young man in love with Norina, whom Pasquale wants to marry. Castronovo, whose sweet legato singing is always a pleasure, swaggered about appropriately in cowboy hat, chaps and boots. But I still can’t shake my recollection of him as the postman in Catán’s Il Postino. Lyric soprano Danielle de Niese, who recently performed the role of Ariel in the Met’s new The Enchanted Island, made her San Diego Opera debut in the role Norina. She’s one of the new wave of slim, young, athletic sopranos with lovely voices, who can sing bel canto arias while sitting, standing, lying down, or leaping from bed to chair. Baritone Jeff Mattsey in the role Dr. Malatesta, didn’t seem quite warmed up in the first act, but got his voice in the saddle by the second. His “cheti, cheti” with Del Carlo delighted the audience. Marco Guidarini, making his conducting debut with the company, led an uneven performance. There were some lovely passages and some sprightly playing, but there were moments when the orchestra lacked the vivacity with which the singers were performing. The chorus sang its one big number splendidly.
There is spaghetti served and eaten in this opera, but that’s not where the term “spaghetti western” comes from. If you don’t know its origin, look it up. It adds an interesting twist to the production.