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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.
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.
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.
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.
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