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 Performances

Guillaume Tell, Covent Garden

It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.

Aida, Opera Holland Park

With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.

Death in Venice, Garsington Opera

Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.

La Rondine Swoops Into St. Louis

If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.

Emmeline a Stunner in Saint Louis

Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.

Luminous Handel in Saint Louis

For Opera Theatre of Saint Louis, “everything old is new again.”

Two Women in San Francisco

Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?

Les Troyens in San Francisco

Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.

Dog Days at REDCAT

On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.

Opera Las Vegas Presents Exquisite Madama Butterfly

Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.

Yardbird, Philadelphia

Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.

Giovanni Paisiello: Il Barbiere di Siviglia

Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.

Princeton Festival: Le Nozze di Figaro

The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.

Die Entführung aus dem Serail,
Glyndebourne

Die Entführung aus dem Serail was Mozart’s first great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.

German Lieder Is Given a Dramatic Twist by The Ensemble for the Romantic Century

The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.

Hans Werner Henze: Ein Landarzt and Phaedra

This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.

Dido and Aeneas, Spitalfields Festival

High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.

Intermezzo, Garsington Opera

Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’

Cosi fan tutte, Garsington Opera

Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.

The Queen of Spades, ENO

Based on a play, Chrysomania (The Passion for Money), by the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.

OPERA TODAY ARCHIVES »

Performances

A Cartoon of Italo Montemezzi
10 Nov 2012

The Resurrection of Italo Montemezzi’s Epic La Nave

Italo Montemezzi’s great “lost” epic opera, La Nave, was heard on 31 October for the first time since 1938, leaving an enthusiastic New York audience wondering why on earth it had been neglected for so long.

The Resurrection of Italo Montemezzi’s Epic La Nave

A review by David Chandler

Above: A Cartoon of Italo Montemezzi

 

Critics who wrote about La Nave in the past were given to playing on the title (La Nave = The Ship), and talked of launchings, sailings, dockings, calm seas, anxious sailors, and so forth. Extending that tradition, Hurricane Sandy almost left La Nave high and dry, for Teatro Grattacielo’s performance scheduled for Monday 29 October had to be cancelled on account of squalls, and only some heroic behind-the-scenes efforts allowed it to be put on two days later instead. It was not undamaged by the weather, for the chorus was slightly below strength and the Rose Theater full of empty seats reserved by those who sadly couldn’t make it. But those who could gave every sign of feeling very fortunate to be there.

Montemezzi (1875-1952) has gone down in operatic history as the ultimate “one work” composer, that work being L’Amore dei Tre Re (The Love of Three Kings) of 1913, an opera which enjoyed enormous international success and acclaim for about three decades after its premiere. As Alan Mallach found occasion to state in The Autumn of Italian Opera: From Verismo to Modernism, 1890-1915 (2007), “While even moderately serious opera buffs know of Mascagni’s L’amico Fritz and Iris or Leoncavallo’s Zazà, it is hard to imagine anyone but a true specialist who can name another Montemezzi opera, or proffer even the most minimal information that might illuminate who he was, and how this shadowy figure came to write this one notable opera.” Yet Montemezzi himself considered La Nave of 1918 to be his masterpiece, and his close friend Tullio Serafin, who conducted the premieres of both operas, agreed. Montemezzi wrote in 1931, “La Nave … is my major work. I insist: my major work. I shout it to the rooftops so that I may be heard.” It was a source of great frustration to him that he continued to be associated almost wholly with the earlier opera.

When La Nave was premiered at La Scala in 1918, the Italian critics had a number of reservations. They found Montemezzi’s choice of a play by Gabriele D’Annunzio, Italy’s most famous and notorious living writer, both unsuited to operatic treatment and (in many cases) not very well handled. And they found the music too heavily Germanic, too saturated with Wagner and Strauss — the First World War had, unsurprisingly, hardened attitudes to German music in Italy — and insufficiently tuneful. By 1938, when there was a very important revival of La Nave at the Teatro Reale dell’Opera in Rome, Mussolini’s showpiece opera house, the force of these criticisms had abated considerably, and the general attitude was surprise that such an obviously major opera had been neglected for so long. But in 1943 all the performance materials were destroyed by allied bombing, putting an end to the opera’s stage career. The manuscript full score survived, however, and from this new parts have been generated which allowed the historic revival of La Nave on 31 October. The opera is now generally available for hire again.

Teatro Grattacielo put on concert performances, which have the benefit of focussing attention firmly on the music, though in this case the ballet sequence in the second “Episode” was enacted by the I Giullari di Piazza Dancers, which brought some curious visual diversion half way through. How well La Nave would stand up dramatically today it is hard to say: it is a strange story concerned with the foundation, or rather the promise of the foundation, of Venice as a great maritime power; the plot is permeated with Italian nationalism, and contains a good deal of obscure motivation. But the music is magnificent from start to finish, and the opera certainly deserves to be staged, so the full grandeur of Montemezzi’s conception can be appreciated. Almost all the critics of the opera in the past agreed, whatever their other objections, that Montemezzi’s orchestration and treatment of the choir were extraordinarily impressive, and the New York performance showed they were right. The orchestration, clearly akin to that of L’Amore dei Tre Re, is Wagnerian, yet the Wagnerianism is refracted through an Italian sensibility, with a gripping nobility, sweeping, cinematic quality, lyrical voluptuousness, and restless play of instrumental textures. The sheer lushness of the score was beautifully brought out by Israel Gursky’s passionate conducting of the Teatro Grattacielo orchestra, and his timing seemed to me faultless — he let the music breathe, but also drove it along with irresistible momentum. The opera was shorter than I had expected, the Prologue and three “Episodes” adding up to a little over two and a quarter hours of music. Perhaps Montemezzi had learned from Mascagni the danger of making epic operas too long.

The complete assimilation of the chorus into the structure of the opera was Montemezzi’s major technical advance in La Nave. Apart from a lengthy section in the first “Episode,” where the epic tone of the work is relaxed, the chorus, representing the early Venetians, is almost constantly involved in the unfolding story, shaping as well as responding to events. Matteo Incagliati (reviewing it in 1938) was right to categorize La Nave as a “choral opera” and to see it as akin to Boris Godunov. Montemezzi, like Mussorgsky, believed that he could distil the longing, lyrical essence of his people in music, and the Teatro Grattacielo chorus did full justice to his inspiration, singing with resounding force that never turned harsh or descended into mere noise.

By far the biggest role in the opera is that of Basiliola, an alluring, cruel, capricious and vengeful woman whom D’Annunzio originally imagined as touched by madness and into whom he poured all his great love and hatred of women. It is an incredibly demanding role, and Tiffany Abban told me afterwards that it was the most difficult thing she had ever done: “as difficult as the title role in Aida, but much more unrelenting.” Yet she made it look and sound, if not easy, at least comfortable, and gave an assured, commanding performance with a thrilling voice which seemed capable of anything. Her Basiliola was more gentle and sympathetic then I had imagined the character sounding, and perhaps that was, in part at least, because the nature of a concert performance tends to limit the full expression of character — this Basiliola did not need to kill people on stage! But clearly Montemezzi’s musical portrayal of the character allows some freedom of interpretation, and for anyone directing a stage performance one of the big questions would be how sympathetically Basiliola should come across.

The next biggest role, again by a wide margin, is Marco Gratico, the tenor. Robert Brubaker sung with exhilarating power, and made Marco sound thoroughly heroic — whether the character should sound quite that heroic is another interpretative issue a staged production would need to consider, for Marco, who is incited by Basiliola to kill his brother, is a seriously flawed hero. From a purely musical point of view, however, much could be said for Brubaker’s decision to simply concentrate on bringing out the soaring beauty of Montemezzi’s vocal writing. Most of the other solo roles are comparatively small, though by no means easy, and were generally very ably filled, Ashraf Sewailam, who sung the part of Orso Faledro, Basiliola’s blinded father, and Kurt Dougherty, taking three of the minor roles, being particularly outstanding. The only disappointment was Joseph Flaxman as Traba, the monk, a character who appears to sternly denounce Basiliola’s immoral goings on in the first “Episode.” He is a vital character in the opera, for he is the only one who holds Basiliola’s behaviour up to something like objective examination, and he reveals her infidelity to Marco. Yet Flaxman sang sweetly, with no hint of moral outrage. Here, perhaps, the limitations of a concert performance were most acutely felt.

Altogether Teatro Grattacielo made a triumphant case for an opera that must, in any historical or artistic point of view, count as one of the major Italian operas of the 1910s. All credit to them for their ambitiousness and ability to instil enthusiasm in supporters and performers that makes such projects possible. If there were a prize for the operatic revival of the year La Nave would be a strong contender. Let’s hope that other companies will now take it up.

David Chandler

David Chandler has edited a book of Essays on the Montemezzi-D’Annunzio “Nave” (Durrant Publishing, 2012).


Cast and Production:

Basiliola: Tiffany Abban; Marco Gratico: Robert Brubaker; Sergio Gratico: Daniel Ihn-Kyu Lee; OrsoFaledro: Ashraf Sewailam; The Monk Traba: Joseph Flaxman; The Stonecutter Gauro / The Miller / The Survivor: Kurt Dougherty. The Teatro Grattacielo orchestra and men’s chorus with the Dessoff Symphonic Choir. Conductor: Israel Gursky. Production Director: Duane D. Printz. Rose Theater, Jazz at Lincoln Center’s Frederick P. Rose Hall, New York, 31 October 2012.

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):