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

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

Oxford Lieder Festival 2017: Gustav Mahler and fin-de-siècle Vienna

Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Garsington Opera Announces Extended Season: 1 June to 30 July 2017

For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.

Glyndebourne Festival 2017: White Cube artist Rachel Kneebone to exhibit new work

New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

OPERA TODAY ARCHIVES »

Reviews

To Rome With Love Poster
19 Oct 2012

To Rome With Love: A Woody Allen film

What might a Woody Allen treatment involving opera read like? Tosca, third act — the firing squad lets loose shrapnel from a malfunctioning prop carbine, verily cutting into the Cavaradossi.

To Rome With Love: A Woody Allen film

A review by Robert Carreras

Above: To Rome With Love Poster

 

Cut to a hospital somewhere in Italy — an anxiety-ridden voice is heard recounting, to anyone within earshot, of how he’d dreamt about this happening, that the shirt he wore for this performance — a present from his mother-in-law — was now ruined, and that the soprano probably put her boy toy supernumerary up to taking him out. And finally, “Is the doctor Jewish, you know cause, cause…I’d prefer if he were kosher since, since I had a club sandwich today and, and, that’ll kind of balance things out.”

Some of you might recognize part of the above as non-fiction. In1995, tenor Fabio Armiliato went through the ordeal of hospitalization and recovery after this exact unfortunate improvisation became part of a production of Tosca. The rest of this, to the best of my knowledge, is fiction, dialogue invented by me as an ode to the painfully self-examining and incessantly loquacious director’s filmmaking style. There need no longer be a wondering of how Allen might handle the subject of opera in film.

Checking out reviews of To Rome With Love (in theaters as of June 22), two stood out for their specific contrasts. One was a rave, from a publication not solely specializing in classical music, but from an opera newsy. The less complimenting piece centered on Allen’s relationship to the arts and how that influenced the construct of the film. The rave set aside particular positive attention for an opera singer by the name Armiliato. To Rome With Love, then, is a convergence of Allen and opera, as it is a convergence of Allen and Armiliato and their two characters.

Fabio is one of two Armiliatos to leave an imprint in opera today. Marco is a conductor that has had great success leading major orchestras at major theaters, through major opera assignments the world over. Fabio’s career has progressed so that he has become one of the premiere exponents of the dramatic repertory. Aside from a Tosca experience (and a Carmen one involving a sword and an Armiliato extremity) that would be difficult to make up, there is little indication why he would appear in Allen’s film. It turns out that Armiliato is a natural in Allen’s nearly probable satirical environment; I appear to have enjoyed Armiliato more than the reviewer that appraised his presence “charming.”

F. Armiliato singing at ‘red-carpet’ event promoting To Rome With Love

Genoese Armiliato plays Giancarlo, the owner of a funerary home shoppe in a strip mall. He is what you’d expect from a caricature of this persona and as the film gets underway, Armiliato gets lost in it. He is sullen and dry and flat, that is until he cleanses off embalming fluid and rigor mortis at the end of the work day and produces those big, operatically-trained sounds of Armiliato’s in the shower.

Setting the character’s temperament aside, Armiliato is warm and appears comfortable on camera. He also has a way with playing the ridiculous smoothly, and with having humor and irony fade into one another. If Allen has a gift for writing in absurdities that are nevertheless easy for actors to identify with, opera singer Armiliato seemed to easily find that place in the “filmy” climate. In opera, Armiliato’s reception steers sharply in the direction of physique (“tall, dark and handsome”), presence (“animal-like magnetism”) and greater still towards his voice — style and taste. Of his dramatics on stage, the general consensus is, well, quiet. This is a good thing in opera. It worked to an advantage in To Rome With Love.

There is nothing left to be desired from this soundtrack (per Armiliato) stacked up against the best recorded material of Del Monaco. The miking and its exposure tells us more about what Armiliato does vocally. It is a hearty, if a bit thick, and well-supported sound that rises fully through the range. It is singing that sets itself apart in knowing the music and for a strong sense of the style (mostly versimo). On the opera stage, Armiliato’s tone sounds like it falls short of the pitch in the very lower parts of the range but the middle and high range singing, squillante e potente, is from a voice opera-special and movie-star handsome.

This absolutely startles (even if your expecting it) and begins Allen’s character’s mind to churn when he visits his daughter (played by Alison Pill) and her boyfriend (played Flavio Parenti) — son of mortician. Allen’s character (Jerry) is a bit change of pace for him. He still has lots to say, and says it with the tense and torn interlocution that we’ve come to expect. But the direction of the message is “out of character.”

As a more careful than wise elder-statesman (a funny turn in it’s own right), he is less believable pinning the label of communist revolutionary on his daughter’s beau. As a cutting-edge opera-director, the kind that seeks to reinvent, update and upset all things traditional in opera, he is at least theoretically more in his element. The story doesn’t play like it’s about him anyway, or even like the ideas are bounced off him as happens in Allen’s early works.

The convergence of opera and Allen in film is poetic for the director, a convergence of fortune and the fantastic: an extraordinary talent (Ginacarlo’s) that only surfaces in the shower and a director (Jerry), in an outside-imposed professional asylum, that has no qualms about fitting this into the plot twist of Pagliacci in a major opera house. But before anyone is aware of the limitations of this talent, Jerry seeks the advice of others. The first to object is Michelangelo (Giancarlo’s son), with loud warnings of his father becoming a product, a cog and bourgeois puppet. His son sees him as fine as he is.

Giancarlo strongly agrees at first. And before you know it, the film turns to an audition, with presumably opera-elites in jury. Here we get to probably the funniest moment with regards to singing in the film. “Nessun Dorma” is already going badly, hacked up, strained high notes, no signs of the enormously gifted voice heard coming from the shower of the Giancarlo home. Then, the final note arrives. In mid-scream, Armiliato contorts his face to match, sticking-out his tongue in, possibly, a last ditch effort to loosen his voice. Or, possibly, Armiliato is sticking it out at us, the audience.

Allen’s To Rome With Love goes only so much farther into opera than many a film, and other parts of the ensemble set pieces that are the director’s forte also play to the world of opera, to love, infatuation, and the fickle nature and folly of fame.

Judy Davis (Phyllis) is again an Allen wife, less frustrated by the predicaments he has for her this time around. Roberto Benigni (Leopoldo) is a nobody who has celebrity suddenly thrust on him for no apparent reason. A young man (played by Alessandro Tiberi) loses his girlfriend (played by Alessandra Mastronardi) but gains Penelope Cruz (Anna), a lady-of-the-night that knocks on the wrong hotel door (“sono tutta tua,” she says to him, things have been paid for). This leads to some of the best comedic moments of the film. Jesse Eisenberg, Greta Gerwig, and Ellen Page (young Jack, Sally, and Monica) help Alec Baldwin (older Jack) relive an after-college year in Italy, with Baldwin meeting that younger Jack struggling to make sense of the world.

To open and close the film, this world is directed by a polizia (Pierluigi Marchionne). From the pedestal of a traffic circle in “every street” Rome, this character muses to the audience of the events and world that pass around, this world where Allen, opera, and Armiliato, meet.

Robert Carreras


Click here for additional information regarding this film.

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):