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 Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Cecilia Bartoli as Cleopatra [Photo © Hans Jörg Michel courtesy of Salburger Festival]
05 Oct 2012

Cecilia Bartoli Comes, Divides and Conquers

Cleopatra, one of few female seductresses in operatic history to emerge not only alive but empowered in the final act, is a fitting role for Cecilia Bartoli in her first season as artistic director of the Salzburg Whitsun Festival.

G F. Handel: Giulio Cesare in Egitto

A review by Rebecca Schmid

Above: Cecilia Bartoli as Cleopatra [Photo © Hans Jörg Michel courtesy of Salburger Festival]

 

She has assembled a dynamite new production of Handel’s Giulio Cesare in Egitto, which premiered in May and returned to the Summer Festival, with the early music ensemble Il Giardino Armonico under the Italian singer’s old friend Giovanni Antonini alongside a handpicked cast and the French-Dutch directing team Moshe Leiser/Patrice Caurier. The opera, which premiered at the King’s Theater in 1724, was one of Handel’s most popular in its time and still stands out from his other operas for its stylistic variety and gripping drama. A libretto by Nicola Francesco Haym adapts the story of Caesar’s amorous and political alliance with Cleopatra after his arrival in Egypt in 48-47 BC but changes historical details freely. He also packs in a high concentration of da capo arias in keeping with the taste of Londoners in the 18th century.

Handel’s writing for Cleopatra includes some of his most beloved numbers, and Bartoli meets expectations in this production (seen at the Haus für Mozart on August 27) with natural charisma and authority. Although her giggling first entrance bordered on kitsch in Leiser and Caurier’s bold vision of a modern-day Egypt occupied by the European Union, she managed to pull off their tongue-in-cheek direction as she pranced onstage in a leopard jacked and boots during her first aria “Non disperar, chi sa?,” playing with her unrivalled technique to manipulate coloratura passages for clear dramatic purpose. This ability made itself most apparent in the firework runs and carefully timed turns of “Dal Tempesta,” sung under an oil tower as the future pharaoh resolved her energy anew in the third act. Bartoli amused without affectation as a disguised servant, teasing the blue-suited bureaucrat, Caesar (Andreas Scholl) after her aria “V’adoro, pupille” in which takes off on a missile. Her slow aria “Piangero la sorte mia,” which she sings in captivity by her ruthless brother, Ptolomeo (Christoph Dumaux), brimmed with devastated emotion as she spun out silver threads of coloratura

Scholl, who sings as many arias as his female counterpart, impressed equally with the clear timbre and refined phrasing of countertenor as well as his caricature-like dramatic portrayal of the role. “Dall’ondoso periglio,” in which the Roman emperor prays to God to be reunited with the woman for whom he has grown so much affection, featured pearly cascades and pianissimi that floated sumptuously to the back of the theatre. The singing of acclaimed mezzo Anne Sofie von Otter was a model of legato and inner expression as Cornelia, the widow of Pompeo whom Ptolomeo has beheaded. Her chemistry with the rising star Philippe Jaroussky in the role of Cornelia’s son, Sestus, who slays the Egyptian pharaoh in revenge, was as touching as the musical polish they both brought to every moment onstage. Jarsoussky revealed impeccable taste in the ornamentation of the da capo to his aria “Cara speme, questo core.”

The voice of Dumaux was slightly less penetrating, but he gave a powerful account of his aria “Domero la tua fierezza” in which he declares that he will curb Cleopatra’s pride, his rival for the throne. He also executed some very athletic moves in his vindictive aria “Si, spietata, il tu rigore.” The baritone Ruben Drole was a strong-voiced Achilles, Ptolomeo’s advisor, and the alto Jochen Kowalski brought comic flair to the role of Nirena, Cleopatra’s maid. Peter Kalman made for a valiant Curio, Caesar’s tribune. The idiomatic articulation and richly nuanced performance of Il Giardino Armonico nearly asserted the ensemble as a character in its right. Antonini maintains a strong bass that nevertheless allows every instrument to sing. The musicians cried with Bartoli in her pleading aria “Se pieta di me non senti.”

Leiser and Caurier also deserve much credit for a staging that ingeniously updates the mix of comedy and tragedy in Handel’s opera, casting a critical eye toward modern European politics while allowing the singers to indulge in just the right amount of slapstick. I found myself laughing with the production rather than at it even through the most gregarious of gestures, when as when Caesar is given a pair of 3D glasses during the prelude to “V’adoro, pupille,” casting Cleopatra’s appearance as a scene within a scene. The burning tires, Christmas-lit oil tower, and final scene of a tank rolling onto the recreation of a cobblestoned street in Salzburg (sets by Christian Fenouillat) made for a biting but riotously amusing commentary on the current state of affairs. Even the dancing soldiers (choreography by Beate Vollack), whose classical moves contrasted paradoxically with their rifles, were perfectly in place. Costumes by Agostino Cavalca reflected the imaginative scope of the directors, with corn rows for Ptolomeo and a series of sexy costumes for Cleopatra in which the Intendantin still managed to preserve her class.

Rebecca Schmid

Click here for cast and production information.

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):