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

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

OPERA TODAY ARCHIVES »

Reviews

09 Jan 2013

In the Shadow of the Opéra

Graham Johnson chose the title "In the Shadow of the Opéra" for his recital at the Wigmore Hall, London, with Lucy Crowe and Christopher Maltman. Given the renaisaance in French opera, it's good that we should be thinking of the nature of French song and its relationship to French opera and culture.

In the Shadow of the Opéra - French song and opera

Graham Johnson, Christopher Maltman, Lucy Crowe

Wigmore Hall, London, 4th January 2012

 

This was an extremely ambitious programme. A friend, who has been going to the Wigmore Hall for 40 years, exclaimed "Some of this material we don't know!" There was so much to take in that it will take time to fully sink in.

Johnson divided his recital into four main themes : On Wings of Song (Love in flight), Mélodies and arias, Vers le sud (Exoticism) and Seascapes and Landscapes. The first two sections focussed on form, the last two on subject matter.

First, he focussed on lyrical mélodies like Charles Gounod's Tombez mes ailes! The image is of a butterfly in joyful flight, but to protect her offspring, she must tear off her own wings and die. It's a metaphor for the artist who must struggle and sacrifice in order that art might grow. The gravitas of the final line undercuts the flightiness that's gone before. Christopher Maltman sang the final line "Il faut vieller, et travailler" with great force. Just as Maltman's voice is dark, Lucy Crowe's voice is every light and sweet, good for a 19th century heroine. In this section she sang light-hearted uieces like Massenet's Le sais-tu? and Reynaldo Hahn's Si mes vers avaient des ailes. This made Maltman's songs have stronger impact : Georges Bizet's La Coccinelle (to a poem by Victor Hugo) gave Maltman a chance to show his skills as a character actor. The ladybird has such personality she could become a role in music theatre. Songs like Lucien Hillemacher's Villanelle lay too high for him, but the point was made : there's more to singing than getting the notes right.

Théodore Dubois (1837-1924) was one of the most successful composers of his day, but was despised by the young Gabriel Fauré, one of Pauline Viardot's inner circle. Johnson pertinently laced Dubois's Madrigal with Fauré's Fleur jetée. Dubois' delicate lyricism outclassed by Fauré's pounding rhythms. Ironically, Madrigal is more conventionally a piece for the theatre and Maltman dramatized it well. Dubois's poet, Henry Murger, inspired Puccini's La bohème. Fleur jetée, however, is by far the more distinctive piece in musical terms, which is why it's fairly well known and a favourite of many high sopranos. But it's not really a piece for big houses, and Lucy Crowe's voice was challenged by the loud crescendo in the final line. Johnson followed the song with Fauré's La chanson du pêcheur, which Maltman delivered in an almost conversational style. This you could imagine embedded in a larger work. Debussy's Apparition (Mallarmé), with its watery imagery and sparkling piano textures, suggested Pelléas et Mélisande, though it was written as early as 1884. It's even less sympathetic to voice, set extremely high in the style of the time. Massenet had the last laugh though, with a splendid duet Horace et Lydie (1886) to a poem by Albert de Musset. Mélodie or aria? The song describes Horace and Lydie's past romance, the voices deftly cutting across each other. At the end, they resolve their dilemma and sing in harmony.

One of the key themes in French culture is Orientalisme. It was a means of exploring "unknown territory" in many ways. Orientalism garbed ideas in strange, alien ways, so artists could express unusual thoughts in dramatic context. Strangely, there was no Délibes in this recital but we had Hector Berlioz Zaïde (1845) a florid narravtive song set in Granada and the palace of Aladdin "qui vaut Cordovie et Séville!" More Gounod, too. Maltman sang Maid of Athens (1872) partly in English because the text is Lord Byron, but the chorus is in Greek, reflecting Byron's passion for Greek independence. Two "exotic" languages in one song. Giacomo Meyerbeer's Mina (1837) is a jolly piece, fine for music theatre. Perhaps I'm the only person to have discovered Meyerbeer through his songs (excellent recording by Thomas Hampson) but at least that made me appreciate how interesting his work can be.

Xavier Leroux (1863-1919) was a new discovery for me, because Le Nil (1890) is a gorgeous song, intensely atmospheric. Lucy Crowe sang the mysterious introduction quietly, just above a whisper, so we could imagine we were floating along the Nile at night in a small boat. The poet, Armand Renaud, contrasts the bacarolle with the image of the Great Sphinx and the wide plain beyond the river. Thw lovers and their moment of happiness dwarfed by vast historic forces, A beautiful song I'd like to hear again. Two songs about guitars completed the section - Eduard Lalo's Guitare (1885) and Camille Saint-Saëns Guitarres et mandolines.

Operas on the grand scale can evoke huge panoramas of time and space. But so can song. Bizet's Douce mer (1867 )(Lamartine) and Fauré's Les Bercaux (1879) (Proudhomme), are charming mood pieces, the former embellished with an exotic cry which suggests that the Mediterranean setting might even be North Africa. Debussy's Nuit d'étoiles was perhaps the best known song in the recital, pleasantly done, if the phrasing and intensity wasn't quite up to the standards of, say, Véronique Gens or others who have made it a trademark. Massenet's Joie (1868) (Camille Distel) ended the evening on a cheerful note, but Johnson and his singers wisely chose to repeat Saint-Saëns Viens! (1855) (Victor Hugo) as an encore. It's an enjoyable duet where the voices intertwine rather like traditional rounds. So perhaps folk song got its way into this programme after all.

Anne Ozorio

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):