Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

OPERA TODAY ARCHIVES »

Reviews

Patricia Petibon as Susanna, Malin Byström as the Countess and Kate Lindsey as Cherubino [Photo by Pascal Victor / Artcomart, courtesy of the Aix Festival]
18 Jul 2012

Le Nozze di Figaro in Aix-en-Provence

You pay your money, you takes your chances — that is festival life at its best. Sometimes it pays off and sometimes it doesn’t. The fun is in the risk, so the riskier the better.

W. A. Mozart: Le Nozze di Figaro

Almaviva: Paulo Szot; Countess: Malin Byström; Susanna: Patricia Petibon; Figaro: Kyle Ketelsen; Cherubino: Kate Lindsey; Marcellina: Anna Maria Panzarella; Bartolo: Mario Luperi; Basilio: John Graham-Hall; Don Curzio: Emanuele Giannino; Barbarina: Mari Eriksmoen; Antonio: René Schirrer. Orchestre: Le Cercle de l’Harmonie; Chorus: Les Arts Florissants. Conductor: Jérémie Rhorer; Mise en scène: Richard Brunel; Dramaturg: Catherine Ailloud-Nicolas; Scenery: Chantal Thomas; Costumes: Axel Aust; Lighting: Dominique Borrini. Archevêché Théâtre, Aix-en-Provence. (July 7, 2012)

Above: Patricia Petibon as Susanna, Malin Byström as the Countess and Kate Lindsey as Cherubino

Photos © Pascal Victor / Artcomart, courtesy of the Aix Festival

 

Yes, it was risky indeed for the Festival’s umpteenth production of Le Nozze di Figaro by the Festival’s signature composer, W.A. Mozart (that’s Mose-art in French by the way). Richard Brunel, director of the Comédie de Valence (a small city south of Lyon), re-conceived Beaumarchais’ testy little comedy to take place in a contemporary notaire’s office, or maybe it was an avocat’s office or some sort of corporate office where Barbarina was the receptionist (it was confusing), with grand doors embedded into the stage left wall leading into, we later learned, a large room with two sewing machines.

LE-NOZZE442-Acte-2,-Kate-Li.gifKate Lindsey as Cherubino

It seems that there was to be an office wedding with Susanna and Marcellina arguing who was going to wear the wedding veil (Via, resti servita), a long white filmy thing that was on stage most of the opera. The count, who was a lawyer or something, sometimes brought his dog to the office as if he had just been hunting and still had his gun with him. His dog was really smart and sniffed out the door behind which Cherubino was hiding and guarded it while the Count, strangely lacking janitorial staff, went to get some tools. Later when things got out-of-hand between the Count and Countess the dog barked in just the right place, the only moment he could get a bark in.

A court room appeared on stage right, abutting the count’s office. Everyone soon gathered for various reasons and then the Countess wandered in too and sang her Dove sono (translation: Where am I?). In the end the Countess wore a wedding gown to disguise herself as Susanna, and Susanna wore black with a high grey turban to hide the Countess’ long blond hair (we had been amazed earlier by this strange coiffure on the Countess ). The sterile (no plants) garden seemed to be behind some featureless house in a French banlieue (suburb) parts of which kept sliding eerily about the stage making everyone even sleepier (it was 1:30 AM by then).

LE-NOZZE431-Acte-1,-Patrici.gifPatricia Petibon as Susanna, Kyle Ketelsen as Figaro and Paolo Szot as the Count

The curtain fell (well, a large flat thing slowly descended) and when it rose for the artists to take their bows the star of the show appeared alone on the stage. Yes! The dog.

Some very good singers then made their way onto the stage to accept applause. Figaro, American baritone Kyle Ketelson, of course had the final bow. Mr. Ketelsen had a huge success two years ago in Aix as Don Giovanni’s cheeky sidekick, a very physical Leporello. He is a vivid performer who projects text to perfection but dressed in a suit and tie his cheek did not find character in Figaro. The biggest ovation went to Cherubino, American mezzo Kate Lindsay, dressed in a suit and tie who fussed with the Countess’ bra (the libretto says ribbon) and sang breathlessly making Mozart’s young lover quite fun and real.

Brazilian baritone Paolo Szot who was to have appeared in Aix’s Nose but did not was the Count. Mr. Szot has a quite beautiful voice, beautifully used. He is often strangely type miscast in big houses (because he is South American i.e. latin) as Escamillo in spite of a soft, pretty presence. He did not read as a bonafide sexual predator, and made Almaviva seem even sympathetic and misunderstood in his garden escapade.

LE-NOZZE4131-Acte-4,-John-G.gifJohn Graham-Hall as Basilio, Mari Eriksmoen as Barbarina, Kyle Ketelsen as Figaro and Patricia Petibon as Susanna

These were the big house singers. Things got risky with French soprano Patricia Petibon as Susanna and Swedish soprano Malin Byström as the Countess. Mlle. Petibon gave Susanna a quite saucy “ina” (Zerlina, Despina) character in a quite smokey voice that precluded any text projection. At first it seemed Mlle. Byström might be a Swedish dramatic soprano in training, but it became apparent that she is a lovely, quite beautiful singer who does not project strong character. Both women boast important credits in early music so perhaps the attributes that made their performances pale on the Archevêché stage are valuable in other circumstances. The singers in the supporting character roles were swallowed up in the concept.

The evening’s conceit seems to have been to juxtapose hard edge contemporary dramaturgy and design with real, old, decorative music, a conceit that in some circumstances might spawn better results. The risky orchestra in Aix was Le Cercle de l’Harmonie, a group based in Deauville (Normandy) led by violinist/conductor Jérémie Rhorer, a protégé of William Christie. This orchestra has been specifically built to perform the music of the late 18th century (i.e. Mozart and Hadyn). As it was from row M in the Archevêché the music seemed long ago and far away, a bit like an old reed organ without sufficient air supply. Conductor Rhorer’s tempi seemed appropriate for the occasion.

Maybe you had to be French.

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):