Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

Billy Budd in San Francisco

San Francisco Opera’s Billy Budd confirms once again that Britten’s reworking of Melville’s novella is among the great masterpieces of the repertory. It boasted an exemplary cast in an exemplary production, and enlightened conducting.

Vaughan Williams: The Song of Love

From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.

OPERA TODAY ARCHIVES »

Reviews

The Boy Mozart [Source: Wikipedia]
21 Oct 2012

Mozart and Salieri — Young Artists at the Royal Opera House

Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.

Wolfgang Amadeus Mozart : Bastien and Bateinne, Nikolia Rimsky-Korsakov, Mozart and Salieri

Bastien and Bastienne : Colas: Jihoon Kim, Bastien: David Butt Philip, Bastienne : Dušica Bijelić, Factory Owner's wife : Justina Gringyte, Conductor : Michele Gamba, Continuo : Paul Wingfield, Mozart and Salieri : Salieri : Ashley Riches, Mozart : Pablo Bemsch, Conductor : Paul Wingfield, Keyboard : Michele Gamba, South Bank Sinfonia, Chorus : Dušica Bijelić, Justina Gringyte, Hanna Hipp, David Butt Philip, Michel de Souza, Jihoon Kim

Linbury Studio Theatre, Royal Opera House, London, Wales, 17th October, 2012

Above: The Boy Mozart [Source: Wikipedia]

 

Salieri is jealous because Mozart makes composing look easy. He poisons Mozart but weeps, since he’s reading the score for the Requiem, presumably overwhelmed by its beauty. We know the plot is fiction, but the text is by Alexander Pushkin, who lifts it above maudlin melodrama. Salieri can kill Mozart but he can’t kill his art. In destroying his rival, Salieri has compromised his integrity. “Can crime and genius go together?” he asks himself, and consoles himself with the thought that Michelangelo killed his model for the crucified Christ to get a better likeness for death. Does art justify murder? Pushkin and Rimsky-Korsakov possibly knew the tale was untrue, making Salieri’s excuse highly ironic.

Mozart and Salieri is unusual. The part of Salieri so dominates the work that it is more psychodrama than opera. Mozart and Salieri barely interact. Mozart isn’t a character so much as the embodiment of music. The real protagonists here are Salieri and the orchestra. At critical moments, Rimsky-Korsakov adds apposite musical quotations. Moments of Cherubino’s “Voi che sapete” convey Mozart’s youthful impudence. Fortepiano melodies are played, and shrouded figures sing excerpts from Mozart’s Requiem. References to Salieri’s opera Tarare and to Beaumarchais and Haydn are embedded into text and orchestration, expanding Salieri’s monologue. He can “hear” but he can’t create like Mozart can. The Southbank Sinfonia was conducted by Paul Wingfield, with Michele Gamba playing the keyboard Mozart is seen playing invisibly on stage, his hands lit with golden light. A magical moment.

Ashley Riches sang the demanding role of Salieri. His experience and skill come over well, even though he’s been a member of the Jette Parker Young Artists programme for barely a month. Later this year, he’ll be singing parts in The Royal Opera House Robert le Diable, Don Carlo and La rondine, and covering the title role in Eugene Onegin. In this opera, Mozart isn’t given much to sing, and the range in the part is limited, but Pablo Bemsch developed the role purposefully through his acting. Salieri thinks Mozart is skittish: Bemsch with sheer personality shows that Mozart is a stronger character than Salieri could ever fathom. Bemsch is a second-year Young Artist and has been heard extensively. He’s covering Lensky in February 2013.

The Jette Parker Young Artists Programme isn’t just for singers but focuses on theatre skills. This production was one of the most sophisticated I’ve seen for a group with these relatively limited resources. Sophie Mosberger and Pedro Ribeiro designed an elegantly simple set, which suggested that Salieri, despite his wealth and status, was a fundamentally isolated man. The little puppet figure buffeted by figures in the darkness suggested that both Mozart and Salieri were victims of forces greater than themselves. Exquisite lighting by Warren Letton, colours changing as mysteriously as the music. A stunning finale, where the dark figures singing excerpts from the Requiem move around lighted candles. Since financial problems will haunt the opera world for a long time to come, this restrained but poetic minimalism may be the way ahead. This production was intelligently thought through, and musically sensitive.

Before Rimsky-Korsakov’s Mozart and Salieri, we heard Mozart’s Bastien and Bastienne, written when the composer was twelve years old. It’s a slight piece about a courtship between shepherd and shepherdess. Staging this literally would expose its weaknesses. Ribeiro and Mosberger set the Singspiele in a vaguely industrial landscape, which added much needed good humour and gave the singers more material with which to develop character. The trouble is, neither Bastien or Bastienne are much more than stereotypes. David Butt Philip, another new Young Artist, generates interest with his voice though the part is shallow. Dušica Bijelić sings sweetly but needs to project more forcefully. Jihoon Kim made a much more convincing portrayal of Colas, the wise older man who sorts things out. He was a striking Hector’s Ghost in the Royal Opera House Les Troyens in June 2012, and will be singing in several ROH productions in the 2012/13 season.

Anne Ozorio

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):