Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

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.”

Gound Faust - Calleja and Terfel, Royal Opera House London

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.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

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.

Powder Her Face, ENO

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.

Iphigénie Fascinates in the Pfalz

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.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

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.

Requiem for a Lost Opera Company

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.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

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.

San Diego Opera Presents an All Star Ballo in Maschera

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.

Anne Schwanewilms, Wigmore Hall

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.

Die Frau ohne Schatten, Royal Opera

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.

OPERA TODAY ARCHIVES »

Performances

I Lombardi (Ricordi)
20 Mar 2013

I Lombardi, UC Opera London

Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.

Giuseppe Verdi : I Lombardi

Griselda : Katharina Blumenthal, Pagano : John Mackenzie, Arvino : Jeff Stuart, Oronte : Adam Smith, Viclinda : Sally Harrison, Sophia : Carola Darwin, Piror : Edward Cottell, Acciano : Joseph Dodd, Prior : Andrew Doll, Conductor : Charles Peebles, Producer : Rose Hughes , Director : Jamie Hayes, Designer : Will Bowen, Lighting : Matthew Eagland, UC Opera, Bloomsbury Theatre, London. 18th March 2013

 

I Lombardi and Nabucco are almost companion pieces, and the Royal Opera House is doing Nabucco from 30th March, on a much grander scale, for Nabucco suits grand designs.

Visually, the UC Opera I Lombardi is so striking that it would stun audiences in bigger houses with better facilities. The drama starts with a simple, dark backdrop, a monochrome tower, a bright telephone box. The impact is immediate. Verdi set I Lombardi at the time of the First Crusade to conceal its message at a time when much of Italy, once the seat of the Roman Empire, was ruled by foreign powers.This isn't really a battle between Lombardy and Antioch. The Lombards are tearing each other apart with rivalries, rather than facing their true enemies. In Verdi's time, Italy was a disunited conglomeration of small states that could not rise above petty self-interest towards a greater goal.

Although Christian themes dominate the opera, I Lombardi is not anti-Muslim as such. Oronte, the prince of Antioch, becomes a Christian without much inner anguish. One can read a nod here to Italian nationalism, since Italians dominated the church, although the Austrians, also Catholic, dominated the state in Northern Italy.Verdi must have been aware of the impact Griselda's hymn to the Virgin Mary would have on audiences. Caught up in reverence, they might, for a moment, forget the pettiness of worldly values and unite in the contemplation of more noble ideals. In the chorus "Jerusalem !", nearly everyone on stage joins in unison, transfixed by the vision before them.

This staging, designed by Will Bowen, directed by Jamie Hayes, and produced by Rosie Hughes, places the action in a land that hovers between modernity and a fading memory of the past, just as Giselda inhabits an alien land far away from her origins. Phone booths are relics. We don't communicate like that much now. This is an allusion to the theme of nostalgia that runs through the opera and fuels visions of an idealized future. The Tower is a Victorian photo of a real pub in The City of London, which you can still visit.. Once it was a tavern where cock fighting took place. It's a subtle detail but cogent. The Lombards are acting out a cock-fight on a grand scale.

Ellan Parry's costumes also follow this theme of unspecified timelessness. We could be at any time in the last century, or in the present. The men wear sharp suits, as so many Italians aspire to, but preen themselves on machismo. Without true religion, crusaders are no more than street gangs spreading their turf. At the end, chorus and remaining soloists stand together, their faces shining as they contemplate Jerusalem, at last within sight. We don't need to see a mock up. We can hear it in the orchestra and in the voices of the singers, and see it in their shining faces. Jerusalem isn't a physical place but a state of mind.

UC Opera is part professional, part amateur so the performances were good enough. Charles Peebles conducted. Katharina Blumenthal sang Griselda with firm assurance. John Mackenzie sang Pagano/the Hermit, pushing a supermarket trolley with neon cross. This was wittier than you'd expect. Pagano means "pagan", and the Hermit is an outsider, who has taken a vow of poverty. In these drab surroundings, the jewel colours of the cross shone even more brightly. Jeff Stuart sang Arvino and Adam Smith was a heroic Oronte. Sally Harrison sang Viclinda and Carola Darwin sang Sophia. Andrew Doll sang the Prior. Edward Cottell sang Pirro and Joseph Dodd was a distinctive Acciano.

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):