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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Reviews

Scene from Ciro in babilonia
28 Aug 2012

Rossini Opera Festival, Pesaro 2012

Ciro in Babilonia Matilda di Shaban and Il signor Bruschino in Rossini land.

Rossini Opera Festival, Pesaro 2012

By Michael Milenski

Above: Scene from Ciro in babilonia

Photos courtesy of Rossini Opera Festival

 

A couple of years ago the Rossini Festival staged the very first Rossini opera, Dimitrio e Polibio. It is on a serious subject (a father finds his long lost son and reconciles with an old enemy as well). Rossini was 15 years old. It was five years later that he discovered his comic muse with L’equivoco stravagante, followed the very next year (1812) by four more comedies, plus what the Festival considers his first opera seria, Ciro in Babilonia (forgetting that Dimitrio e Polibio is an opera seria). The rest is history.

The Festival had entrusted the staging of Dimitrio e Polibio to Italian director Davide Livermore who gave us enough lazzi (little visual tricks) to amuse ourselves mightily and make the opera itself as incidental to the evening’s entertainment as it is to the Rossini oeuvre. Ciro in Babilonia ossia La caduta di Baldassare is pretty thin material as well. It was another opportunity for Mr. Livermore!

Though thrust between Rossini and Mr. Livermore (lee-vehr-more-aye, no accent one assumes) was former enfant terrible New York Times music critic Will Crutchfield, now a conductor and coach of bel canto at the Caramoor Center for the Arts (64 kms north of New York City). Conductor Crutchfield is a strange mixture of erudition, musicality, and limited musical charisma who seems possessed by the operatic ideal of collaboration.

Meanwhile there was some singing too, most notably by 62 year-old Polish contralto Ewa Podles as lovesick Ciro. At this point in her career Mme. Podles is most often reverentially cast as a celebrated singer in a character role (the evil aunt in San Francisco’s Suor Angelica as example). The surprise is that Mme. Podles can still do a coloratura trouser role with plenty of voice and dazzling aplomb. Rossini’s Ciro is however a decidedly pale character to host such force of voice and personality.

Mme. Podles did indeed make this unlucky Persian king (he lost a battle plus his wife to Belshazzar) into a character well beyond the possible imaginings of Rossini. This only succeeded in rendering Australian soprano Jessica Pratt less convincing as the Rossini heroine Amira, his Rossini imagined femme fatale wife. Mlle. Pratt possibly could have approached the vocal ideal of such a creature as she is a fine Rossini singer, popping off interpolated stratospheric notes in shimmering coloratura.

Baldassare, the lovesick ruler of Babilonia (yes, like Handel’s Xerxes) loses in the end. Ciro wins a battle and gets his wife back and everyone lives happily ever after, though of course all this is pure fantasy. Baldassare too, Missouri born tenor Michael Spires, was no match for Ciro. He cut a good figure, his very long lament Qual crudel, qual trista sorte made a case for the greatness of the Rossini-to-come, and earned him a real ovation (real ovations are long and loud in Pesaro).

Mr. Livermore took on Rossini’s opera seriaand cleverly did away with it knowing that we would find its superimposition onto a silent film epic imitation more amusing. Surely we did (though an opera seria every once in a while does hit the spot). That its transformation was thorough is beyond question, including the suppression of supertitles so we could not know really what was being said or thought (these singers did not project the Italian text as did, for example, the singers in Mathilda di Shabran to a remarkable degree). So it was opera without words, though we all know opera has words, and some of us, probably many of us ached for real opera.

Mr. Livermore made constant reference to the silent film era with video techniques effected by Torino’s D-Wok (an enterprise that offers “multi-sensory creativity recipes”). These effects were brilliantly and sensitively used to goose up Rossini’s incipient greatness, like the moving background film images slipping into judder for the serious moments in the Ciro/Amira recognition duet, plus the scratches on the film (thin streaks of light) increasing in intensity and frequency as Rossini’s music intensified at the opera’s conclusion. Not to ignore the close-up shots of melodramatic faces in sepia tinted frames, and (whew!) the absolutely stunning early film-art epic costumes designed by Gianluca Falaschi.

bruschino2012programma_1_64.gifScene from Il signor Bruschino

Mr. Livermore was a singer before he became one of Italy’s most gifted and interesting stage directors. Well aware of the needs of singers he and his designer Nicolas Bovey provided a moving platform stage layout that propelled the singers to positions of direct communication with the conductor (and therefore the audience) for the big arias. In fact Mo. Crutchflield seemed more interested in his singers than in the fine orchestra of the Teatro Comunale di Bologna even though a splendid violin solo rang out in forceful melodramatic pathos with Mlle. Pratt’s Deh, per me non v’affliggete (don’t beat yourself up on my account).

Davide Livermore’s production was smart indeed, too smart for what Rossini had to say.

Well, enough with opera seria, let’s get back to comedy. The very next year, a big one, Rossini first dashed of a one-act farce, Il signor Bruschino before composing his first great tragedy, Tancredi, and his first great comedy, L’italiana in Algeri. The Festival entrusted the staging of this incidental farce to Teatro Sotterraneo, a Florentine group comprised of dancers, actors, performance artists, singers, etc., who collectively create and perform theater.

At first the suspicion was that this was in fact the case, that the stage manager, his assistant, the dresser, etc., who rushed about the stage doing schtick before, during and after the overture were Teatro Sotterraneo, that a couple of old guys (Bruschino and Gaudenzio as we later learned) putting on strange costumes and sort of coxcomb like plastic wigs were Teatro Sotterraneo, and that Florville and Sofia who sang about their problems were Teatro Sotterraneo actors and not really Rossini singers.

The sets and costumes, the issue of the Accademia di Belle Arti di Urbino which was part of this opera-by-committee committee, were a crossroads somewhere, maybe Pesaro, or in the unlikely case that you (and the far more likely case that these talented kids) had been to a Disneyland in Anaheim, Tokyo, Orlando or Paris in the recent past, maybe a theme park somewhere. Probably it was just the Lungomare in Pesaro — in fact there was even a sign announcing that we were in Rossiniland with arrows pointing to La Gazza Ladra and other such attractions.

What would Disneyland/Rossiniland be without you and me to wonder and marvel at what we found there? So what looked like the youth cult that surely must be Teatro Sotterraneo, plus a few more seasoned tourists like us, timidly interfaced with Bruschino, Florville and Filiberto there in Rossiniland (the Cinderella, Daffy and Donald Ducks, etc., of Disneyland). That is when we were not distracted by a sudden parade chasing after William Tell (yes, Rossini’s late, great opera was quoted).

So it was a farce within a farce, one dumbly brilliant farce, make that brilliantly dumb farce within another. A stroke of genius. Anything went to sabotage the integrity of one of Rossini’s lesser efforts, efforts that in fact gave it the vibrantly casual artistic life it deserves.

With due respect to the singers, they were appropriately neither Teatro Sotterraneo nor were they the cast you would dream of for a Pesaro Italiana or Tancredi. They were wonderful singing actors who brought Rossini’s farce alive in high art that was well beyond mere opera. Roberto de Candia and Carlo Lepore supplied experience and savoir faire as Bruschino and Gaudenzio, Andrea Vicenzo Bonsignore as the innkeeper Filiberto, David Alegret as Florville the young lover, and Maria Aleida with her amazingly high notes as Sofia the ingenue supplied the promise. Young Italian conductor Daniele Rustioni was a lively participant in the proceedings as were members of the Orchestra Sinfonica G. Rossini.

Much magnificence was added to the Rossini oeuvre over the next ten years, like all of the more recognizable Rossini titles (the operas in French were still to come), including Matilde di Shabran ossia Bellezza e cuor di ferro in 1821, a very strange piece. Like Handel’s Xerxes it is either a tragedy or a comedy, and in the best of all possible worlds it is both.

It was a revival of a 2004 production erected in the limited stage housing of the 600 or so seat Teatro Rossini that made its way to Covent Garden in 2008 where the two concentric floor to rafters circular staircases, the sum total of its scenery, were presumably resized to a considerably larger dimension. Back now in Pesaro at the Adriatic Arena in this (or yet another) enlarged version it did not come close to making the startling scenic impressions that have marked Adriatic Arena productions in recent years (like Mose in Egitto, Zelmira, and Ermione).

However it did have Juan Diego Flórez and that seemed enough to bring the audience to an a priori delirium. The twenty-three year-old Juan Diego made his Pesaro debut in the role of Corradino the Iron Hearted back in 1996, in a resurrection of Matilde di Shabran after 175 years of oblivion. Needless to say it was Mr. Flórez who sang it in London at age 35, and may it suffice to say that the role still belongs to him alone at age 39. Possibly this is because he may be the only one who can sing it. Or maybe wants to.

matilde120804_1_480x360crop.gifScene from Matilda di Shabran

Corradino the Iron Hearted has a lot to sing about. The peace and quiet (save for an occasional battle) of his chateau has been disturbed by the arrival of two women who are chasing him. He hates women. So there are a lot of high “C”’s and more than a few elaborate rages. Corradino is head-strong and not too smart (well, he is a tenor). Though of course Juan Diego is nothing if not smart, and very famous for his high “C”‘s. This combination of character and singer is exploited to perfection by Mr. Flórez in minimal moves and maximal voice and musicianship.

This is mature Rossini who masterfully constructs huge ensembles, a quintet in the first act bringing iron hearted Juan Diego together with German formed Russian soprano Olga Peretyatko as Matilda, the pushy ingenue who lets nothing get in her way (like Rosina) and Italian mezzo Chiara Chialli as the pushy Contessa who, after four hours [!] of conniving, was the sore loser. Young Italian buffo Nicola Alaimo as the wise doctor Aliprando and Italian baritone Paolo Bordogna as the opportunistic Neopolitan poet Isidoro (gifted Pesaro regulars) finished the five who lined up across the stage and let it rip.

The staging of the opera was limited to the principals running up and down the spiral staircases when not forming a line to sing together. The quintet was joined in the extended first act finale by the two additional principals, young Russian mezzo Anna Goryachova as Edoardo, captured son of the Iron Hearted’s arch enemy, and excellent Spanish bass Simon Orfila as Ginardo, the castle gatekeeper.

Holding all of this together with the orchestra of the Teatro Comunale di Bologna was young Italian conductor Michele Mariotti, a graduate of the Conservatorio Rossini di Pesaro who has gone to the top fast. Mo. Mariotti brought unusual elegance to the opera’s overture, and coaxed continued suavity and a far more than usual or expected orchestral participation in the complex musical proceedings without foregoing his responsibilities to the stage.

Without the participation of a real production conception (Italian film director Mario Martone’s production was more or less costume opera, at least as seen from row 14), the performance missed achieving the magical Rossini operatic delirium that has been the hallmark of recent Adriatic Arena productions. Not that this lack was lamented by the audience who responded to Rossini’s magnificent ensembles with huge, really huge, foot stomping ovations.

Olga Peretyatko, Matilda, had the last word in an extended solo scene at the end of the opera in which she unleashed torrents of brilliant coloratura bragging about her conquest of Juan Diego, the real Rossini diva she has become over the past several years in Pesaro.

Michael Milenski


Program:

Ciro in Babilonia

Baldassare: Michael Spyres; Ciro: Ewa Podles; Amira: Jessica Pratt; Argene: Carmen Romeu; Zambri: Mirco Palazzi; Arbace: Robert McPherson; Daniello: Raffaele Costantini. Teatro Rossini, Pesaro. Orchestra and Chorus of the Teatro Comunale di Bologna. Conductor: Will Crutchfield; Stage Directoro: Davide Livermore; Scenery and projections: Nicolas Bovey; Videodesign: D-WOK; Costumes: Gianluca Falaschi. (August 13, 2012)

Il signor Bruschino

Gaudenzio: Carlo Lepore; Sofia: Maria Aleida; Bruschino father: Roberto de Candia; Bruschino son / Commissario: Francisco Brito; Florville: David Alegret; Filiberto: Andrea Vincenzo Bonsignore; Marianna: Chiara Amarù. Teatro Rossini, Pesaro. Orchestra and Chorus of the Teatro Comunale di Bologna. Orchestra Sinfonica G. Rossini. Conductor: Daniele Rustioni; Stage Director: Teatro Sotterraneo; Sets and Costumes: Accademia di Belle Arti di Urbino; Lights: Roberto Cafaggini. (August 15, 2012)

Matilda di Shabran

Matilde di Shabran: Olga Peretyatko; Edoardo: Anna Goryachova; Raimondo Lopez: Marco Filippo Romano; Corradino: Juan Diego Flórez; Ginardo: Simon Orfila; Aliprando: Nicola Alaimo; Isidoro: Paolo Bordogna; Contessa d’Arco: Chiara Chialli; Egoldo: Giorgio Misseri; Rodrigo: Ugo Rosati, Luca Fisani. Adriatic Arena, Pesaro. Orchestra and Chorus of the Teatro Comunale di Bologna. Conductor: Michele Mariotti; Stage Director: Mario Martone; Scenery: Sergio Tramonti; Costumes: Ursula Patzak; Lights: Pasquale Mari. (August 14, 2012)

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):