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 Reviews

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

OPERA TODAY ARCHIVES »

Reviews

16 Nov 2012

Alagna sings Nemorino - L'elisir d'amore at the Royal Opera House, London,

One of the main reasons for interest in the Royal Opera’s latest revival of Donizetti’s L’elisir d’amore was that tenor Roberto Alagna had chosen to return to the role of Nemorino. Though he had sung Nemorino earlier in his career, he had never sung the role at Covent Garden. The other cast members were of a high order too, with Alexandra Kurzak as Adina, Ambrogio Maestri as Dulcamara and Fabio Capitanucci as Belcore. So plenty of reasons for seeing the revival, which I caught on opening night 13 November 2012.

Gaetano Donizetti: L’elisir d’amore

Roberto Alagna: Nemorino, Alexandra Kurzak: Adina, Abrogio Maestri: Dulcamara, Fabiano Capitannucci: Belcore, Susana Gaspar: Giannetta, Laurent Pelly: director, Daniel Dooner: revival director, Chantal Thomas: set designs, Donate Marchand: associate costume designer, Bruno Campanella: conductori

Royal Opera House, London, 13th November 2012

 

Laurent Pelly’s production had been revived by Daniel Dooner, the results in Chantal Thomas’s designs looked handsome and it was all charmingly entertaining without being heartless. Pelly and Thomas had chosen to set the opera in a small Italian farming town in the 1950’s. Wheat and straw bales were a big feature of the set, with a wheat-field as part of the backdrop and piles of straw bales used extensively in large stacks as the location for much of the action. The other significant visual effect was the use of transport. The chorus moved around on bicycles, vespas and mopeds, Dulcamara arrived in a huge truck and Nemorino appeared driving a tractor (whilst drunk) towards the end of act 2.

Neither the set nor the production really pushed the 1950’s setting too far, which meant that the piece worked very well. Donizetti’s opera is about a small town farming community and Pelly’s lovely detailed observation ensured that we were drawn into the doings of this particular one. The chorus were very much part of the action, and helped create the mis-en-scene for the soloists. The entire performance had the feeling of a group enterprise, an ensemble piece despite the presence of star names; it was all the better for it.

Alagna can no longer sing Nemorino with the grace and beauty of tone that he once could. But his determination to sing Nemorino whilst also singing Radames and Enee is rather admirable and has the feel of an earlier age when these roles were often taken by singers with larger voices. Of course, all this would be as naught if Alagna could not still sing the role. Granted, his voice was at times slightly louder than ideal, but he negotiated all the passagework deftly, if not ideally neatly. His voice did not always quite behave as he wanted, a couple of high notes were compromised, but he still produced some lovely tone and his account of Una furtiva lagrima was still a thing of beauty on its own terms. If you accepted that stylistically he was channelling Puccini, then there was a great deal to admire.

But it was Alagna as an actor, as a stage creature, who made the performance. From the outset he was completely charming, with a winning manner and an extreme physicality to the performance (to the extent of even losing his clothes) which could have turned into a stunt but in fact became part of his delightful characterisation of Nemorino. I have to admit that I went into the performance a little dubious, but came away entranced. Alagna’s performance was very much team work, he worked with his other performers and was clearly having a whale of a time.

It helped, of course, that he had such a strong team around him. Alexandra Kurzak has sung in the production before and remains a complete delight in this repertoire. Her capabilities in singing elaborate bel canto roles is astounding, but she is not just a technical delight she uses her technical abilities to create a real character. Her Adina was wonderfully pert and flirtatious, but even from the outset it was obvious that she felt something for Nemorino, and Kurzak allowed us to see this and developed it.

There were plenty of vocal delights on the way as well, but everything combined superbly in her account of her act 2 aria Prendi, per me sei libero where her feeling for Nemorino is displayed, combined with technical finesse.

Dulcamara was played by Ambrogio Maestri with rotund good humour. He was more the loveable rogue than the edgy character in some versions of this opera and I understand that the satire was more pointed when Pelly’s production was new. Maestri is very adept at using his bulk to devastating comic effect, but his account of the role was also very finely sung. It was buffo, but with a very clear musical line and very good it was too. Maestri also had a number of delightful tricks, such as interpolating little whistling noises when singing the comic duet with Adina during the wedding scene in act 2. But you felt that Maestri was less interesting in comic business for its own sake, and more intent on using it to create character.

Fabio Capitanucci (last seen here as Chorebe in Les Troyens) was finely fatuous Belcore, but one with a creditable swagger who would clearly be of interest to the ladies. Much of the humour came from the fact that his troops consisted of just two recruits, two mismatched boys one tall one small, both in ill-fitting suits. The way that, at the end he smoothly transferred his affections to Giannetta (Susana Gaspar) made it clear that Belcore was a survivor.

Gaspar (currently one of the Royal Opera’s Jette Parker Young Artists), was announced as suffering from a cold, but there were thankfully no audible effects and she made a charming Gianetta.

Bruno Campanella conducted; he got off to a slow start, and there were one or two hiccups in ensemble between pit and stage in the more complex choruses. But as Campanella got into the swing of things, there was much to enjoy in his performance. I have to confess, that I do rather prefer this opera in a smaller opera house, but he managed to get a nicely sparkling performance from the orchestra.

This was a joyous evening in the theatre, just what L’elisir d’amore should be.

Robert Hugill

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):