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

Schoenberg's Gurrelieder at the Proms - Sir Simon Rattle

Prom 46: Schoenberg's Gurrelieder with Simon Rattle and the London Symphony Orchestra, Simon O'Neill, Eva-Maria Westbroek, Karen Cargill, Peter Hoare, Christopher Purves and Thomas Quasthoff. And three wonderful choirs - the CBSO Chorus, the London Symphony Chorus and Orfeó Català from Barcelona, with Chorus Master Simon Halsey, Rattle's close associate for 35 years.

Dunedin Consort perform Bach's St John Passion at the Proms

John Butt and the Dunedin Consort's 2012 recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service.

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.

A new La clemenza di Tito at Glyndebourne

Big birds are looming large at Glyndebourne this year. After Juno’s Peacock, which scooped up the suicidal Hipermestra, Chris Guth’s La clemenza di Tito offers us a huge soaring magpie, symbolic of Tito’s release from the chains of responsibility in Imperial Rome.

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

OPERA TODAY ARCHIVES »

Performances

Patrizia Ciofi as Marie and Colin Lee as Tonio [Photo © ROH 2012 / Bill Cooper]
25 Apr 2012

La Fille du Regiment, Royal Opera

The regiment marches onwards!

Donizetti: La Fille du Regiment

Marie: Patrizia Ciofi; Tonio: Colin Lee; Sulpice Pingot: Alan Opie; La Marquise de Berkenfeld: Ann Murray; Hortensius: Donald Maxwell; La Duchesse de Crackentorp: Ann Widdecombe; Corporal: Jonathan Fisher. Conductor: Yves Abel. Director and Costume Design: Laurent Pelly. Revival Director: Christian Rath. Dialogue: Agathe Mélinand. Set Design: Chantal Thomas. Lighting Design: Joël Adam. Choreography: Laura Scozzi. Royal Opera House, Covent Garden, London, Thursday 19th April 2012.

Above: Patrizia Ciofi as Marie and Colin Lee as Tonio

Photos © ROH 2012 / Bill Cooper

 

Having conquered operatic stages in Europe and the US during the past five years, Laurent Pelly’s Tyrolean troopers/troupers have tramped back to London, with a sway and a swagger; the company’s stalwarts demonstrate their stamina while some of the leaders take a breather and make way for new recruits.

In particular, Natalie Dessay has resigned from the brigade. In 2010, on the occasion of the first ROH revival, I remarked that the role “is fast becoming a signature role — and indeed it is hard to imagine this production without Dessay”. However, Patrizia Ciofi more than proved me wrong: lacking Dessay’s manic agitation — a gamine hyperactivity that was often achieved at the expense of vocal finesse — Ciofi’s Marie is an altogether more rounded, and composed, character: an energetic, at times unreasonable adolescent, yes, but also a burgeoning young woman with hopes and dreams with which we can identify. Ciofi’s diction at times lacks lucidity; and her wide vibrato — especially at the top where it frequently forces the pitch upwards — is unfortunate in more sustained, ensemble passages.

La_Fille_ROH_2012_03.gifAnn Widdecombe as La Duchesse De Crackentorp and Donald Maxwell as Hortensius

But, Ciofi has the high tessitura and breathtaking coloratura easily under her belt — or should I say braces — and has a rich, creamy tone. Hers is a Marie who makes us laugh and cry. Whether wobbling determinedly across the stage, buried beneath laundry mountains, or leaping aloft a potato bucket to entertain the troops, or being violently hoisted upside down or horizontal as she is ‘abducted’ by her newly found aunt, Ciofi retained her equanimity. Overall, she may lack some of Dessay’s hard-hitting punch but hers is a more genuine bel canto idiom.

Colin Lee has taken progressive but unceasing strides to the front lines: as Juan Diego’s understudy in 2007, he shared the role in 2010 and now stepped into the full glare of the spotlight. Certainly Lee has the vocal gifts and musical temperament to dispatch the infamous high Cs in ‘A mes amis’ — the last relished and sustained to substantial applause. And, in the yodelling leaps he revealed a heroic timbre to counter his previous hapless, bumpkin-esque persona, revealing the sincerity of Tonio’s affections. Although Lee may not possess the physical and vocal appeal of his predecessor in this production, he does have a confident, controlled elegance: his superbly shaped, long, legato lines pay detailed, intelligent attention to phrasing, and the effect is complemented by a focused vibrato, which was put to superb effect in his tender declaration of love, the Act 2 aria, ‘Pour me rapprocher de Marie’.

Returning as the Marquise de Birkenfield, Ann Murray relished the comic potential of her partnership with Donald Maxwell’s emasculated Hortensius. Her Act 1 account of the loss of her sister’s child is in danger of taking on an air of Miss Prism-esque farce — one half expects Lady Bracknell to pop up pompously pronouncing about perambulators and handbags. Indeed, one of the disadvantages of repetition is that wry comedy can become brutish slapstick: more Loony Tunes than Napoleonic rom-com. That said, as in 2010 Murray’s ‘singing lesson’ with Marie and Sulpice produced some of the finest musical and theatrical moments in the performance. And, Alan Opie’s Sulcipe was the warm embodiment of paternal indulgence — even when his feisty ‘daughter’ disowns him and declares her intent to find a regiment of ‘nicer daddies’.

La_Fille_ROH_2012_04.gifPatrizia Ciofi as Marie and Alan Opie as Sulpice Pingot

Stepping into Dawn French’s shoes as the Duchesse de Crackentorp, Ann Widdicome shares little with her predecessor except her girth — or rather, French’s former girth, given that the latter has recently revealed a new svelte figure. Hot from her Strictly and panto successes, Widdicome is clearly riding a popularist wave — rather surprising for one who made her name as a bastion of Tory/Victorian principled intolerance. However, politics aside, those who witnessed Widdicome’s Strictly ‘triumph’ will be aware that rhythm is not one of her fortes; she possesses none of French’s insouciant comic timing or improvisatory invention. Indeed, it even seemed quite a challenge for her to remember her lines. That said, self-referential surtitles — a bellowing ‘Order, Order!’, and many Strictly references — raised hilarity among the audience, so presumably the ROH management consider this casting well done. I probably deserve censure for failing to appreciate Widdicome’s willingness to laugh at herself and her ability to add to the frivolous fun.

Most pleasingly, the chorus are truly regimented, kept on a tight rein vocally and visually, relishing the mixture of musical self-discipline and the threat of dramatic — and military — mishap.

There is a lot of dialogue to get through, and thus the staging and visual appeal plays an important role in sustaining the audience’s attention: Chantal Thomas’s cartographical collage is both witty and engaging, while the distorted perspective of the Marquise’s château in Act 2 emphasises the bizarre nature of the dramatic development. Balletic dusting routines and a coup de théâtre tank for Tonio’s rescue mission help to overcome any potential dramatic longeurs.

Conductor Yves Abel leads the regimental company on a careful but precise campaign. There was much lovely playing from the ROH orchestra: in the introduction the horns were wonderfully warm and touching, complemented by well-shaped, emotive woodwind and string sectional playing. But, Abel’s tempi were, on the whole, rather slow and conservative — not quite right for the wild abandon on stage; and, he seemed to feel the need to signpost every comic moment with a knowing gesture.

Many chuckles derived from Agathe Mélinand’s surtitles. Indeed, the current Eurozone tensions gave an added frisson to the notion of an Italian soprano cast as a French girl, mangling an Italian aria, written by an Italian for a nineteenth-century French audience, performed in franglais-laden production, directed by a Frenchman, and translated for an English audience.

La_Fille_ROH_2012_02.gifAnn Murray as La Marquise De Berkenfeld and Patrizia Ciofi as Marie

In this context, the contemporary reception of Donizetti’s work is interesting: only two major composers of the age, Mendelssohn and Verdi, genuinely admired him, the former professing, in response to criticism of La fille, “I am afraid I like it. I think it very pretty — it is so merry! Do you know, I should like to have written it myself”. But others, notably Bellini and Berlioz, were less charitable, perhaps in awe and afraid of Donizetti’s prodigious output and adaptability. Indeed, Berlioz accused Donizetti “of treating us like a conquered country; one can no longer speak of the opera houses of Paris, but only of those of M. Donizetti”.

Pelly’s winning production has similarly conquered foreign stages, and there are undoubtedly many deserved victories ahead.

Claire Seymour

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):