The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere.
‘Beauty is the one form of spirituality that we experience through the senses.’ In Thomas Mann’s, Death in Venice, Plato’s axiom stirs the hopes of the aging, intellectually stale poet, Gustav von Aschenbach, that he may rekindle his creativity.
There is a sense in which it all began in London, Puccini having been seized in 1900 with the idea of an opera on this subject after watching David Belasco’s play here.
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
Tucked away somewhere in the San Francisco Opera warehouse was an old John Cox production of Così fan tutte from Monte Carlo. Well, not that old by current standards at San Francisco Opera.
Rossini's Maometto Secondo is a major coup for Garsington Opera at Wormsley, confirming its status as the leading specialist Rossini house in Britain. Maometto Secondo is a masterpiece, yet rarely performed because it's formidably difficult to sing. It's a saga with some of the most intense music Rossini ever wrote, expressing a drama so powerful that one can understand why early audiences needed "happy endings" to water down its impact
I suppose it was inevitable that, in this Britten Centenary year, the 66th Aldeburgh Festival would open with Peter Grimes.
Die Entführung aus dem Serail at Garsington Opera at Wormsley isn’t Mozart as you’d expect but it’s true to the spirit of Mozart who loved witty, madcap japes.
What a pity! On a glorious — well, by recent English standards — summer’s day, there can be few more beautiful English countryside settings than Glyndebourne, with the added bonus, as alas much of the audience appears to understand it, of an opera house attached.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
“I wrote it almost without noticing.” So Verdi declared when reminded of his eighth — and perhaps least frequently performed, opera, Alzira. One might say that, since he composed the work, no-one else has much noticed either.
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
When is verismo verily veristic? Or what is a virginal girl dressed in communion white doing in the two murderous acts of the Los Angeles Opera’s current production of Tosca? And why does she sing the shepherd's song?
Wagner’s Lohengrin is not an unfamiliar visitor to the UK thanks, in the main, to Elijah Moshinsky’s perennial production at Covent Garden.
Philip Glass's The Perfect American at the ENO in London is a visual treat, but the libretto is mind-numbingly anodyne.
Jonathan Dove's Mansfield Park, with libretto by his regular collaborator Alasdair Middleton, has the remarkable distinction of being the first completed operatic adaptation of any Jane Austen novel to be staged.
London’s two principal opera companies have offered a baffling near-silence as their response to Wagner’s two-hundredth anniversary.
If a recent trio of musically superlative performances at Canadian Opera Company is indicative of their norm, the casting director should get a hefty bonus.
Just when you imagine you’ve got the operatic time-line fixed in your mind in a clean sweep of what goes where and when and how, you hear another work from another forgotten corner of the repertory that upends one’s conclusions.
Nothing inspires fable quite like defeat. The great riddle of Spanish history is how the Christian Visigoths managed to lose the Iberian peninsula to the Moors in one small battle in 711 and took eight hundred years to get it back.
![Amanda Echalaz as Tosca [Photo by ROH / Kenton]](http://www.operatoday.com/Tosca-25-02-13-ROH-30.gif)
Puccini’s “shabby little shocker”, to quote Kerman, does not invite subtlety. For those who feel that opera — a hybrid art form encompassing all the arts and embracing all of life and love, transfiguration and tragedy — is ideally suited to depicting the excesses of human ecstasy and suffering, Tosca epitomises the immoderations of the genre.
The dramatic pulse certainly runs high in Jonathan Kent’s ROH production, first seen in 2006 and here receiving its fifth revival under the direction of Andrew Sinclair. Kent’s approach is characterised by two principals: tradition and realism. This is no bad thing: we’re given an experience which, one imagines, must be just as Puccini imagined it — all visual extravagance, dramatic intensity and musical emotionalism. Kent combines the universality of the emotional drama with the particularities of the time and place, costume and setting unambiguously announcing the Napoleonic context.
The opulent rococo interior of Paul Brown’s gilded church of Sant’Andrea della Valle in Act 1 makes a bold visual statement, its split levels shimmering in the lavish glow of a multitude of sacred candles. We are behind the high altar, the crypt visible below; the effect should be one of spaciousness but in fact the numerous balustrades and balconies restrict the stage space available, and it feels rather cluttered and overly fussy. Moreover, the chorus are pushed to the back, which diminishes the impact of the Te Deum.
Scarpia’s sordid study in the Palazzo Farnese is dominated by a huge statue, a striking symbol of domination and intimidation. The bookcases are empty, save for the single set of shelves which hide the door to his torture chamber. In contrast to the baroque splendour of Act 2, the Castel Sant’Angelo in the final act is more sparsely adorned save for a gigantic statue fragment that flies aloft. Mark Henderson’s beautiful lighting design skilfully paint the expressive colours; most strikingly, in Act 2 Henderson atmospherically conjures the shadowy recesses of Scarpia’s psyche.
The main roles in this production have previously been inhabited by Gheorghiu, Kaufmann and Terfel — modern operatic titans. But, while there were no ‘superstars’ this time around, the cast is strong-voiced and dramatically convincing, and both Amanda Echalaz and Massimo Giordano have of late established themselves on the international stage, as Tosca and Cavaradossi respectively. Indeed, having won acclaim on the other side of town, at ENO and Holland Park, Eschalaz also stood in for the indisposed Gheorghiu at Covent Garden in 2009.
Echalaz used her weighty voice and full vibrato to portray a Tosca equipped with feisty self-belief, her petulant exchanges with Cavaradossi in Act 1 revealing a woman who knows her own mind and who has a short emotional fuse. She was at her best in this opening act, and during her agonised resistance to Scarpia in Act 2, where her rich legato and dramatic commitment won our full compassion. Perhaps this Tosca lacked a little of the frail vulnerability which contrasts with her impetuousness, and which underpins her tragedy? That said, ‘Vissi d’arte’ was quietly understated but deeply felt and affecting, as Echalaz convincingly conveyed the poignant destruction wrought by Scarpia’s ruthless cruelty.
Just as Echalaz has visited this production stage before, so Massimo Giordano also stepped in for the Marcello Giordani back in 2009 and is an experienced Cavaradossi. Giordano looks and sounds the part: young and handsome, he can embody the fervent swagger and heroic self-belief of the painter, and this demeanour is matched by a warm, smooth tone and firm vocal weight. However, while volume was never prioritised at the expense of dramatic engagement, Giordano’s characterisation seemed somewhat superficial. There was much Italianate grace in the tenor’s singing, but also a few unsteady swoops up to the top: while his big Act 1 aria, ‘Recondita armonia’ was full of impact, it was low on delicacy and subtlety.
In ‘E lucevan le stelle’ Giordano more successfully balanced power and feeling, and the moments as he waited for his execution, on the roof of the Castel Sant’ Angelo were painfully fraught. Together Echalaz and Giordano told a convincing tale without really tugging at the heart-strings.
Michael Volle’s Scarpia was a more commanding presence, all sneering contempt and brooding evil. Volle was no cartoon-villain: his gestures were discreet but his moral ugliness and perverted desires were chillingly apparent. This was a man as devoid of humanity as his library is barren of books; his Act 2 duet with Echalaz built to an almost unbearable point of psychological repulsion, as his depravity was exposed for both Tosca and us.
The minor roles were all excellent; well-sung and charismatic. Jeremy White as the Sacristan engaged naturally and convincingly with the other personnel, and Hubert Francis was a nastily predatory Spoletta. Best of all, Michael Clayton-Jolly gave a wonderful rendition of the shepherd boy’s song.
After a rather understated opening, conductor Maurizio Benini revealed a sure ear for a diversity of Puccinian textures, proving alert to the details of the score and conveying a strong sense of the grand sweep of the musico-drama. There was much superb playing from the pit, although I’d have liked a bit more rawness and concentrated intensity at the climactic heights.
Overall, a revival worth seeing. Musical and dramatic standards are consistently high, sets and costumes are captivatingly luxurious and, however familiar, there’s nothing like Tosca to stir the passions.
Claire Seymour
Cast and production information:
Floria Tosca — Amanda Echalaz; Mario Cavaradossi — Massimo Giordano; Baron Scarpia — Michael Volle; Spoletta — Hubert Francis; Angelotti — Michel de Souza; Sacristan — Jeremy White; Sciarrone — Jihoon Kim; Gaoler — John Morrissey; Shepherd Boy — Michael Clayton-Jolly; Conductor — Maurizio Benini; Chorus and Orchestra of the Royal Opera Chorus; Director — Jonathan Kent; Designs — Paul Brown; Lighting design — Mark Henderson; Revival Director — Andrew Sinclair. Royal Opera House, Covent Garden, London, Saturday 2nd March 2013