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

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

OPERA TODAY ARCHIVES »

Performances

A scene from Don Pasquale [Photo by Dan Rest courtesy of Lyric Opera of Chicago]
16 Jan 2013

A Noteworthy Chicago Revival of Don Pasquale

In its recent run of Gaetano Donizetti’s Don Pasquale Lyric Opera of Chicago has taken the 1973 production from Covent Garden, via Dallas Opera, and revivified it with the efforts of an excellent cast and the local directorial debut of British bass-baritone Sir Thomas Allen.

A Noteworthy Chicago Revival of Don Pasquale

A review by Salvatore Calomino

Above: A scene from Don Pasquale

Photos by Dan Rest courtesy of Lyric Opera of Chicago

 

The title role and Doctor Malatesta were sung by Ildebrando D’Arcangelo and Corey Crider respectively, each making his role debut in these performances. Soprano Marlis Petersen performed the role of Norina and her beloved Ernesto was taken by tenor René Barbera. Stephen Lord conducted the Lyric Opera Orchestra with the Chorus prepared by Martin Wright.

During the orchestral prelude to the performance the lines delineating melodies associated with individual characters were nicely shaped. Don Pasquale’s opening monologue, in which he comments on his imminent meeting with Malatesta and plans for his nephew Ernesto, could have been fully appreciated if the orchestra had played its accompaniment less forte. From the start D’Arcangelo’s demeanor and conception of the role of Don Pasquale were not only dramatically but also vocally convincing. Equally suited to his part on both grounds is Corey Crider as Dr. Malatesta. When he describes the bride whom he has found for the aging gentleman, Mr. Crider inflects the word “angelo” with a rich, baritonal resonance while further executing accomplished runs in his aria “Bella siccome un angelo.” Both performers show an inborn sense of comic timing in their delivery of lines and interaction. When left alone Pasquale reveled in the prospects of his “angelic” bride, while Mr. Crider’s Malatesta watched through a curtained window in self-satisfied approval of the forthcoming masquerade. In a subsequent exchange Pasquale’s nephew Ernesto refuses to abandon his beloved Norina although he faces the prospect of disinheritance by the old gentleman. When Ernesto now learns of his uncle’s plan to marry, with the unexpected assistance provided by Dr. Malatesta, his disappointment is unleashed in the aria “Sogno soave e casto.” Barbera demonstrated a sure sense of legato in his approach, whereas individual pitches could be softened in order to express the fervor of Ernesto’s plight.

05.-DON-PASQUALE-RST_5550-c.gif

The following lengthy scene of Act One offered both Ms. Petersen and Mr. Crider the opportunities to delineate their characters through musical decoration. After Norina’s introductory “So anch’io la virtù magica,” which Ms. Petersen embellished with exquisite, light touches, Malatesta introduces his plan to fool Don Pasquale. Malatesta quiets her initial misgivings due to Ernesto’s emotional quandary and wins Norina over to the masquerade. As she agrees to play the part of Malatesta’s sister and supposedly marry Pasquale in a contrived ceremony, Norina declares “Pronta io son” at the start of their duet. Petersen and Crider here joined in a bel canto synthesis with Malatesta’s declarations of “Brava” ringing out in decorative anticipation of the comedy to be staged.

At the start of Act Two Ernesto’s well-known scene beginning “Povero Ernesto” was touchingly sung by Barbera. Since he has not yet been informed of the ruse, the nephew laments his loss of Norina and plans to leave Rome forever. Barbera invested his line with a graceful piano on “sorte,” then sang his cabaletta with a spirit of determination. At the entrance of Malatesta with the bride, now named “Sofronia,” Don Pasquale is eager to impress the naïve maiden. In this production Sofronia concealed herself demurely behind a screen, a hiding place to which Pasquale will later have access when fleeing his bride whom he can no longer control. The trio “Fresca uscita di convento” was used to enhance the comedic exchange and to tempt Don Pasquale yet further. Here Petersen’s runs were especially well executed, in this way using her voice to add to the character’s attractiveness. At the start of the marriage ceremony Ernesto’s arrival nearly spoils the ruse until he is warned off by the clever Malatesta. From this point until the start of the final scene in the opera comedy is paramount for among the principals only the duped Pasquale will continue to take his altered domestic life seriously. The quartet concluding the act showed a transformed Sofronia already making extravagant orders to improve the household, while Mr. Crider’s excellent passagework continued to guide the charade with masterful vocal control.

RST_5522.gif

As Act Three begins the chorus of servants issues its comments on the new lifestyle in Don Pasquale’s domain. Throughout this scene D’Arcangelo showed his talents especially at acting and singing the part of an emotionally wounded signor without resorting in the least to buffo cliché. The confrontation between alleged spouses leads to Sofronia proclaiming her momentary dominance with a slap to Don Pasquale’s face. At this point the screen provided refuge to D’Arcangelo’s Pasquale as he sought escape from the wife whose acquaintance he now regrets. The final chapter in the charade is set in motion by Sofronia: upon leaving the house after the altercation with her husband, she drops a note intentionally from a presumed lover in which an assignation at night in the garden is suggested. Don Pasquale, no longer cowed and now furious, seeks out Malatesta for counsel, as the chorus, here quite effectively prepared, comments further on the house gone topsy-turvy. During the meeting between Pasquale and Malatesta, in which the gentleman is once again prepared unwittingly to be fooled, D’Arcangelo and Crider sang a model example of the challenging duet “Cheti, cheti, immantinente.”

The final scene indeed rights relationships as Petersen and Barbera sang an especially moving duet, “Tornami a dir,” in which their voices combined in a rush of emotional commitment. Don Pasquale appears and is compelled, again at the instigation of Malatesta, to give his blessing and financial support to the young couple. Yet in the finale relief and joy were palpable for all, including the now transformed Don Pasquale, at the close of this delightful production.

Salvatore Calomino


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):