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 Reviews

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

OPERA TODAY ARCHIVES »

Reviews

Mazeppa [Monte Carlo]
04 Mar 2012

Mazeppa in Monte-Carlo

Tchaikovsky’s Mazeppa is not everyday repertory, nonetheless here in the south of France the Monaco production follows fairly closely (a couple of years) on the heels of the Peter Stein Mazeppa in Lyon.

Pyotr Ilyich Tchaikovsky: Mazeppa

Mazeppa: Tómas Tómasson; Maria: Tatiana Pavlovskaia; Kotchoubeï: Paata Burchuladze; Lioubov: Elena Manistina; Andreï: Dmitro Popov; Orlik: Gerard O’Conner; Iskra Vadim Zaplechni; Drunken Cosaque: Laurent Chauvineau. Salle Garnier. Choeur de l’Opera de Monte-Carlo. Orchestre Philharmonique de Monte-Carlo. Conductor: Dmitri Jurowski. Metteur en scène: Dieter Kaegi. Scenery: Rudy Sabounghi. Costumer: David Belugou. Lights: Laurent Castaingt. (24 February 2012)

 

If Mr. Stein was preoccupied with the larger political implications of this ignoble moment of Russian history, metteur en scène Dieter Kaegi in this co-production with Opera Ireland dwells on the sordid personalities of its protagonists. Peter Stein’s Ukraine was its expanse, in Dublin and now Monaco the Ukraine became a small drawing room where a treacherous general seduces a gullible adolescent whose simple father naively tries to wreck revenge.

Peter Stein’s cast could not have descended to this basic humanity had it wanted to, but Mr. Kaegi’s cast was indeed able and maybe a bit too willing. Bass-now-baritone Tómas Tómasson made a handsome, just-graying Mazeppa whose intrinsic masculinity could not help but awaken the sensibilities of the gullible young Maria, the lithesome Tatiana Pavlovskaia.

The parents of Maria are quite comfortable, bass Paata Burchuladze was the very picture of bourgeois contentment together with mezzo Elena Manistina as his wife. Both are quite comfortable artists with fine, well used rich voices, and unobtrusive stage mannerisms. Maria’s intended, the plain, uncharismatic Andreï was Dmitro Popov who compensated with quite ample vocal charisma.

You get the idea, a great cast, all nurtured in Russian vocalism and style (though Mr. Tomasson is in fact Icelandic). Add Russian conductor Dmitri Jurowski for a clean sweep. Mo. Jurowski is perhaps a new breed of Russian conductor, all business, little pleasure in the smaller musical gestures that color Tchaikovsky’s more personal moments. The battle scenes roared, the confrontations howled, and finally Maria’s madness was relentlessly driven by the obliging Orchestre Philharmonique de Monte-Carlo. The only thing lacking was poetry.

Mr. Kaegi (general director of Opera Ireland) together with designer Rudy Sabounghi and costumer David Belugou (both frequent contributors to Monte-Carlo productions) updated the action from Peter the Great’s reign to the 1930’s or so, a transposition it did not wear well. But never mind, the wigs, costumes and room furnishings were visually engaging (handsome and colorful indeed), and provided absolutely no sense of rural Ukraine in what must have been a fairly austere period (the 1930’s).

Unfortunately the supertitles, maybe faithful to Tchaikovsky’s text, often belied the staging, making a gap in the credibility of either. Like, for one example, the festive picnic at the execution of Maria’s father and the massive hammer and sickle banner that oversaw the scene. Orlik, Mazeppa’s thug aptly portrayed by Opera Ireland bass Gerard O’Conner, motivated his mutilation of Maria’s father by first shaving himself in the prison cell — evidently he just happened to have a straight razor that could have other uses.

This reduction of Mazeppa to a melodrama with all the trappings of a 1940‘s movie might have worked with a tighter theatrical technique. As it was the inconsistency of the staging with the libretto and the heavy handed use of staging leitmotifs prevented an effective realization of the concept. Mr. Tomasson’s over-acting and Mlle. Pavlovskaia’s mannered presence added a touch of soap opera caricature to production.

It was a festive evening in Monte-Carlo, the performance well appreciated by an international audience, the automotive artillery guarding the entrance to the opera house cum casino included an orange Koenigsegg CCX and a splendid vintage Mercedes Benz roadster.

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):