Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

Marco Vratogna as Rigoletto and Albina Shagimuratova as Gilda [Photo by Cory Weaver courtesy of San Francisco Opera]
28 Sep 2012

Rigoletto in San Francisco

Four Rigolettos in nine days (for this critic), of twelve Rigolettos in 24 days (are these world records?).

Giuseppe Verdi: Rigoletto

Rigoletto: Marco Vratogna; Gilda: Albina Shagimuratova; The Duke of Mantua: Arturo Chacón-Cruz; Maddalena: Kendall Gladen; Count Monterone: Robert Pomakov; Sparafucile: Andrea Silvestrelli; Borsa: Daniel Montenegro; Marullo: Joo Won Kang; A Page: Laura Krumm; Countess Ceprano: Laura Krumm; Giovanna: Renée Rapier; Count Ceprano: Ryan Kuster; An Usher: Jere Torkelsen. Chorus and Orchestra of the San Francisco Opera. Conductor: Nicola Luisotti; Stage Director: Harry Silverstein; Set Designer: Michael Yeargan; Costume Designer: Constance Hoffman; Lighting Designer: Christopher Maravich; Choreographer: Lawrence Pech. War Memorial Opera House, San Francisco, September 19, 2012.

Above: Marco Vratogna as Rigoletto and Albina Shagimuratova as GildaBr/>
Photos by Cory Weaver courtesy of San Francisco Opera

 

Major support for this San Francisco operatic extravaganza is provided by, among others, the Great Interpreters of Italian Opera Fund. Hyperbole, or not?

It is a qualified answer. That conductor Nicola Luisotti may join the ranks of, let us say, Toscanini and von Karajan (et al.) is yet to be determined. Luisotti is however Italian and this alone endows him with integrity as an interpreter of Italian opera. Based on the September 19 performance the maestro did indeed achieve some greatness.

Rigoletto may be the quintessential Italian opera sitting on the cusp between the glories of bel canto and the agonies of Romantic realism. Formally it is pure bel canto, the individual blocks (“numbers”), arias and duets are interrupted, then capped with a fast, determined “cabaletta.” The trios and quartets are vocally splendid and dramatically static. Finales (when things get done) are brief and to the point.

But add to bel canto the pathos of a cripple’s love for his daughter, the philosophic examination of love and the malevolence of fate. Francesco Piave’s libretto uses Monterone’s curse to close each act and explain why. It is rapid and violent melodrama.

Maestro Luisotti knows that Rigoletto is about beautiful singing, and he gives his singers all needed support based on the supposition that any aria is really a duet — for him and the singer. At its most dramatic were paroxysms of podium involvement in Gilda’s stunning Caro nome, and in the next act Rigoletto and Gilda’s wrenching duet that ends with Rigoletto’s Sì! Vendetta, tremenda vendetta. All this, needless to say, elicited paroxysms of instrumental involvement (the oboe obbligato in Gilda’s Tutte le feste al tempio as example). Tempos, always slower or faster than anticipated, served to generate genuine emotional immediacy obliterating the suspicion of conductorial willfulness. And hardly to be outdone in bel canto by the stage, the maestro imposed an full-voiced orchestral lyricism that took unrelenting flight throughout the evening.

Houston trained, Russian soprano Albina Shagimuratova without qualification is a great interpreter of Gilda. While she has gained her international fame as Queen of the Night, her vocal endowment well encompasses much of the lyric repertoire. The facility and agility of her voice is enriched by a sizable palette of color and delivery that matches her dramatic concentration. Rarely has a singer so completely embodied the Gilda character. Time stood still in the adolescent musings of the young girl who had just had melismatic sex with the Duke (yes, the second act love duet was mesmerizing).

05-Rigoletto.gifArturo Chacón-Cruz as The Duke of Mantua and San Francisco Opera dancers

San Francisco trained, Mexican tenor Arturo Chacón-Cruz was the over-sexed, heart-throb Duke of Mantua. With a voice that resides in color somewhere between the French and Italian repertoire and a technique that belies his youthfulness, he constructed Verdi’s vocal lines with precision and the hint of spinto that make tenors desirable lovers, ably seducing the splendidly drawn Countess Ceprano of Adler Fellow Laura Krumm as well as the production’s sympathetic, sexually ripe Maddalena, former Adler Fellow Kendall Gladden.

Italian baritone Marco Vratogna too achieves status as a great interpreter of Rigoletto, given that this twisted human is more, and in Mr. Vratogna’s case much more than a big voice who rages at the cortigiani. Mr. Vratogna’s Rigoletto is small in scale but, and maybe therefore, large in insinuation that more than a victim, Rigoletto is indeed an ugly soul in an ugly body. This compromises the blatant pathos that might be awarded a big voiced Rigoletto who will seem righteous by sheer volume. Mr. Vratogna uses his medium scaled voice of many colors and much Italianate style to make Rigoletto sinister, unsympathetic, maybe pitiful.

And very interesting.

On the other hand Canadian bass Robert Pomakov as Monterone roared his curses, quivering with rage, well anchoring the conciseness of the drama by sheer volume, abetted by Italian bass Andrea Silvestrelli as the honest murderer Sparafucile, incomparable casting in both cases.

This San Francisco Opera production, designed by veteran American scenographer, now Yale professor, Michael Yeargan, debuted in 1997. Mr. Yeargan too assumes stature as a great interpreter of Italian opera with a set that echoes the conciseness of the dramatic action of Rigoletto in an abstracted, classically forced-perspective Italian street. Hard edge, repeated porticos are obsessive, sinister and overwhelming. Colors are saturated, basic and bright when not cast as dim, sinister washes on the buildings. The set is minimal, no props (save one chair in the third act). The set functions with almost machine-like precision. Like Verdi’s Rigoletto.

Michael Milenski

Post Script

Because of the number and proximity of performances San Francisco Opera must provide two sets of principals. On September 11 I saw Serbian baritone Zeljko Lucic as Rigoletto, Polish soprano Aleksandra Kurzak as Gilda and Italian tenor Francesco Demuro as the Duke. Mr. Lucic is a big voiced Rigoletto whose well focused tone did not waver over the course of events resulting in a hunchback of little interest, though Cortigiani, vil razza dannata was hurled with maximum vehemence. Mme. Kurzak is a brilliant singer whose musicianship is abstract rather than dramatic, and while she did make music with maestro Luisotti she made no attempt whatsoever to impersonate Verdi’s vulnerable heroine. Mr. Demuro is an ideal Duke, good looking with a bona fide tenorial swagger. He possesses a light voice that too easily negotiates the Duke’s high tessitura with little of the vocal excitement that makes the Duke musically and dramatically alive.

At this performance the brilliant colors of the set seemed abrasive, the costumes seemed ridiculous and the staging by Harry Silverstein seemed to try too hard to make something out of nothing. In retrospect this reaction was caused by the non-involvement of the principals in their characters.

On September 12 I saw the cast described in the body of this review. At this performance the staging by Mr. Silverstein redeemed itself as a totally competent management of the chorus scenes, if more complicated than Verdi’s direct story telling ideally requires. The principal scenes seemed more detailed than the incipient realism of middle-period Verdi provokes (but, hey, opera these days is supposed to be “acted” — the exception was Mr. Vratogna’s Rigoletto effected with minimum gesture and maximum vocal physicality). In particular the Gilda of Mme. Shagimuratova seemed artful rather than felt in her final scenes.

On September 15 the Lucic/Kurzak/Demuro cast was again on stage at the War Memorial opera house and on the scoreboard of the local ball park, home of the SF Giants, where 27,000 spectators and I braved the cold for the duration (other years have been far warmer in temperature and far warmer musically). The format requires much focus on faces and acoustical manipulation of voices exposing the limitations of this cast. Mr. Demuro however seemed a natural born TV actor, to the degree that there was the suspicion he might be playing himself.

On September 19, above, it was all pure magic. Go figure. There are four more performances but I’m stopping while I’m ahead.

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):