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

Bartók’s Duke Bluebeard’s Castle at the Barbican

Two great operas come from the year 1911 - Richard Strauss’ Der Rosenkavalier and Bela Bartók’s Duke Bluebeard’s Castle. Both are masterpieces, but they are very different kinds of operas and experienced quite asymmetric performance histories.

Puccini’s Tosca at the Royal Opera House

Now on its ninth revival, Jonathan Kent’s classic Tosca for Covent Garden is a study in art, beauty and passion but also darkness, power and empire. Part of the production’s lasting greatness, and contemporary value, is that it looks inwards towards the malignancy of a great empire (in this case a Napoleonic one), whilst looking outward towards a city-nation in terminal decline (Rome).

ROH Return to the Roundhouse

Opera transcends time and place. An anonymous letter, printed with the libretto of Monteverdi’s Le nozze d’Enea con Lavinia and written two years before his death, assures the reader that Monteverdi’s music will continue to affect and entrance future generations:

London Schools Symphony Orchestra celebrates Bernstein and Holst anniversaries

One recent survey suggested that in 1981, the average age of a classical concertgoer was 36, whereas now it is 60-plus. So, how pleasing it was to see the Barbican Centre foyers, cafes and the Hall itself crowded with young people, as members of the London Schools Symphony Orchestra prepared to perform with soprano Louise Alder and conductor Sir Richard Armstrong, in a well-balanced programme that culminated with an ‘anniversary’ performance of Holst’s The Planets.

Salome at the Royal Opera House

In De Profundis, his long epistle to ‘Dear Bosie’, Oscar Wilde speaks literally ‘from the depths’, incarcerated in his prison cell in Reading Gaol. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty.

In the Beginning ... Time Unwrapped at Kings Place

Epic, innovative and bold, Haydn’s The Creation epitomises the grandeur and spirit of the eighteenth-century Enlightenment.

The Pearl Fishers at Lyric Opera of Chicago

For its recent production of Georges Bizet’s Les pêcheurs de perles Lyric Opera of Chicago assembled an ideal cast of performers who blend well into an imaginative and colorful production.

New Cinderella SRO in San Jose

Alma Deutscher’s Cinderella is most remarkable for one reason and one reason alone: It was composed by a 12-year old girl.

La Cenerentola in Lyon

Like Stendhal when he first saw Rossini’s Cenerentola in Trieste in 1823, I was left stone cold by Rossini’s Cendrillon last night in Lyon. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.

Messiah, who?: The Academy of Ancient Music bring old and new voices together

Christmas isn’t Christmas without a Messiah. And, at the Barbican Hall, the Academy of Ancient Music reminded us why … while never letting us settle into complacency.

The Golden Cockerel Bedazzles in Amsterdam

Nikolai Rimsky-Korsakov’s fairy tale The Golden Cockerel was this holiday season’s ZaterdagMatinee operatic treat at the Concertgebouw. There was real magic to this concert performance, chiefly thanks to Vasily Petrenko’s dazzling conducting and the enchanting soprano Venera Gimadieva.

Mahler Das Lied von der Erde, London - Rattle, O'Neill, Gerhaher

By pairing Mahler Das Lied von der Erde (Simon O'Neill, Christian Gerhaher) with Strauss Metamorphosen, Simon Rattle and the London Symphony Orchestra were making a truly powerful statement. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message.

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

OPERA TODAY ARCHIVES »

Performances

Dimitri Platanias as Rigoletto [Photo © ROH 2012 / Johan Persson]
12 Apr 2012

International HD Broadcast of Rigoletto by Royal Opera House

The Royal Opera House started doing opera and ballet broadcasts before many other houses, and is now expanding its schedule. On April 17th, Verdi’s Rigoletto is being streamed live in over 600 cinemas in 21 countries.

Giuseppe Verdi: Rigoletto

Rigoletto: Dimitri Platanias; Gilda: Ekaterina Siurina; Duke of Mantua: Vittorio Grigolo; Matteo Borsa: Pablo Bemsch; Count Ceprano: Jihoon Kim; Countess Ceprano: Susana Gaspar; Marullo: ZhengZhong Zhou; Count Monterone: Gianfranco Montresor; Giovanna: Elizabeth Sikora; Page: Andrea Hazell; Court Usher: Nigel Cliffe; Maddalena: Christine Rice. Royal Opera Chorus. Orchestra of the Royal Opera House. Conductor John Eliot Gardiner. Stage Director David McVicar. Royal Opera House, London.

Above: Dimitri Platanias as Rigoletto [Photo © ROH 2012 / Johan Persson]

 

This Rigoletto is the well-known David McVicar production from 2001, but this time the conductor is John Eliot Gardiner. He’s one of the great specialists in baroque and early music. This was not his first Verdi opera, but his first Rigoletto, so he was an inspired choice as conductor. Yet those who know period instrument practice know how rambunctious it can be. Gardiner’s Rigoletto is vigorous, capturing the turbulence of the Renaissance.

Be shocked by the licentiousness you see in the First Act. But McVicar’s not out to titillate, but to make us feel revulsion. For the Duke of Mantua, sex is a weapon, like any other abuse of power. We’re not supposed to approve. Listen to how Gardiner’s tight, disciplined approach challenges the depravity of this Court. At the first performance in this run (review here), Gardiner showed how Verdi builds moral purpose into the orchestra. Gardiner’s strong sense of structure, which undercuts any attempt at sentimentality. Listen out for small details, such as when flutes cut through the broad swath of strings. Small, individual voices that stand up to the mass. Gilda is powerless, but proves to be the most heroic person of all. Verdi tells us this even before she makes her sacrifice. Gardiner’s period background also shows in the way horns, trombones and cimbasso can be used to create 16th century colour even if the instruments are modern. This is a Rigoletto to listen to, as pure music.

Vittorio Grigolo sings the Duke of Mantua. He, too, is a good reason for catching this broadcast, as the emphasis on the Duke, rather than on Rigoletto brings out deeper perspectives on the role and on the opera. Grigolo and Gardiner contrast extremely well, one taunting the other, as should be, in this highly principled interpretation.

Grigolo makes an impact the moment he enters. “Questa o quella” is thrown like a gauntlet. Grigolo has the showmanship to create the Duke, strutting with arrogant machismo. The Duke luxuriates in his flashy image, and Grigolo glories in the flamboyance of his singing. This is no defect, but an accurate reading of the role. Grigolo’s Duke swaggers, for it’s his way of keeping control, of the courtiers and perhaps, of himself. There’s no room for subtlety. Thus, when the Duke falls for Gilda, it’s even more poignant when he almost reveals his inner fragility.

It’s then when Grigolo shows the depth of his characterization. With Gilda, he can play the man he might have been had he not been born to a crown. The duet with Gilda is genuinely tender. In “Ella mi fu rapita”, Grigolo lets the Duke’s mask drop for a moment, singing with genuine tenderness. In many ways this is the heart of the opera for it touches on the Duke’s inner psyche. Yet it’s not something the Duke can be comfortable with. Significantly, Verdi keeps cutting “La donna è mobile” so the sections don’t connect. Gardiner emphasizes the disjoint, for by this stage, the Duke is back to his old tricks, morally disintegrating once more. Grigolo’s voice gradually fades, for now the Duke is running away, blaming everyone but himself. Grigolo is a consummate actor and creates the part better than he’ll get credit for. The problem is that the Duke himself isn’t sympathetic and is a difficult character to portray.

Ekaterina Siurina sings Gilda with great personality, and Dimirtri Platanias sings Rigoletto. American audiences may recognize Matthew Rose, who sings Sparafucile, and ihas appeared at the Met, Santa Fe, Los Angeles, Houston and at the Mostly Mozart series in New York. He’s very unusual in that he’s a British singer whose career took off in the United States. This gives him a unique perspective.

Discovered by the British baritone Benjamin Luxon, Rose won a place at the Curtis Istitute and received his early training in Philadelphia. Because the opera faculty at Curtis is compact, unlike London, a singer gets more intensive experience at a fairly early stage. “It was wonderful”, says Rose, because he was able to sing good roles with well established singers. “It was like being on a top football team. When you’re working with stars, it raises your own game”.

Rose speaks of Curtis fondly, but decided to return to Britain where he started again as a Young Artist at the Royal Opera House. Moving back to Europe expanded his repertoire. He made his Royal Opera House debut in 2003 and is also a regular at Glyndebourne. He’s enterprising, too, and runs a music festival in Sussex and plans a Britten series in Berlin next year. He’s worked with the Britten-Pears Foundation. He’s also very experienced in oratorio, and has worked with John Eliot Gardiner many times.

Watch how Rose sings Sparafucile. He’s imposing. While the Duke of Mantua is immoral, Sparafucile is amoral. Rose doesn’t need to invest the part with histrionics. To Sparafucile, murder is a business transaction without emotional meaning. Rose’s detachment is chilling in itself. In his exchanges with Christine Rice’s Maddalena, Rose’s sibilants cut with suppressed sexual violence. They’re not “brother and sister” in the modern sense of the term, but pimp and whore. Rose makes you wonder how Sparafucile came to be who he is. He’s brutal, but is it personality or circumstance?

More people will experience opera on film than will ever attend live performances, so film is an essential part of the business. Filming opera is an art in itself. Whoever directs a film of an opera needs to understand the opera, and also how the cast, production and music express its meaning. Film is the next frontier. Kaspar Holten, the new Director of Opera at the Royal Opera House, is a movie buff as well as an opera professional, and directed his Juan (see the review in Opera Today here). But that was a film for it’s own sake, not a film of the opera as such. By far the majority of filmed operas will be attempts to capture live performance as it happens in the theatre. Good opera filming is a skill that requires musical knowledge as well as film technique, and above all, sensitive response to relevant detail. Fortunately, the Royal Opera House has the resources and commitment to do it well. For more information, please see this link to the Royal Opera House cinema page.

Anne Ozorio

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):