Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Mahler Songs : Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

OPERA TODAY ARCHIVES »

Performances

Charles Castronovo as Tamino [Photo © ROH / Mike Hoban]
23 Apr 2013

Die Zauberflöte, Royal Opera

Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.

Die Zauberflöte, Royal Opera

A review by Claire Seymour

Above: Charles Castronovo as Tamino

Photos © ROH / Mike Hoban

 

But, with the oft-exhumed sets now looking rather creased and crumpled, on this occasion some of the sparkle seemed to have rubbed off.

ZAUBERFLOTE_ROH_1197.pngEkaterina Siurina as Pamina

Dedicated to the late Sir Colin Davis (who conducted the premiere and the most recent revival in 2011), this performance was at times disappointingly lacklustre: the crescent moon gleamed and glinted, the sumptuous tableaux impressed, the choreography was slick, but overall there was an absence of simple youthful vitality and dreamy enchantment.

Conductor Julia Jones established some brisk tempi; she was perhaps a bit too swift for her players at the start, for the opening three ‘knocks at the door’ were rather messy, lacking in masonic authority and imperiousness. Certainly there was tension and anxiety during Tamino’s tussle with the serpent, but elsewhere Jones might have adopted a more spacious, composed approach — for there the opera presents much farce and fury but also sobriety and solemnity.

Reprising the role of Papageno, Christopher Maltman was in superb form, relishing the physical and vocal humour and winning over the audience with his mischievous appeal and essential good nature. Maltman’s duet with Ekaterina Siurina (Pamina), ‘Bei Männern welche Liebe fühlen’, in which they reflect on the sacred duties and divine purity of marital love, was one of the highlights of the evening — although it did unfortunately expose Siurina’s somewhat unidiomatic German pronunciation alongside Maltman’s immaculate diction.

ZAUBERFLOTE_ROH_0587.pngChristopher Maltman as Papageno and Ekaterina Siurina as Pamina

Siurina’s soprano is wonderfully rounded and rich — and she possesses a similarly beautiful, touching pianissimo too, as she proved in a deeply heart-rending ‘Ach, ich fuhls’. She can bring a characterful glint to her voice, but to my ear the overall tone was a little too full for the role and her stage persona rather too assertive and spirited.

The same was true of her Tamino, Charles Castronovo, who strode the stage with the same confident ease with which he vocally assailed the melodic heights; but, while his athleticism and purposefulness brought some expedient dynamism to the production, surely Tamino is a prince learning his heroic craft rather than a king who has already earned his stripes. After a slightly hesitant start musically, Castronovo’s tone was gracious and dignified, and his articulation of the text matched Maltman’s for clarity. Technically secure throughout, his Act 1 aria ‘Dies Bildnis ist bezaubernd schön’ was certainly ardent but a little lacking in youthful freshness.

Albina Shagimuratova was a pitch-perfect Queen of the Night, dispatching the coloratura extravagances of ‘O zittre nicht, mein lieber Sohn’ with grace and buoyancy. Her effortless runs did not always convey the necessary glint of latent malevolence, however, and she made a less striking dramatic impact than one might have expected. ‘Der Hölle Rache’ was less polished technically but the tone was still gleaming and sweet.

ZAUBERFLOTE_ROH_0565.pngAlbina Shagimuratova as Queen of the Night

As Sarastro, Brindley Sherratt, singing with rich lyricism and poise, was suitably dignified but like Shagimuratova, at times needed more stage presence and profundity. Peter Hoare deftly emphasised the hyperactive hypocrisy of the villainous Monostatos.

The minor roles were all laudable with Sebastian Holocek a distinctive Speaker, and David Butt Philip and Jihoon Kim commendable in the roles of the First and Second Armed Man respectively. Susana Gaspar overcame the ugly inaptness of her Essex-girl attire as a perky Papagena who wins over her Papageno.

Overall, this production is beautiful to the eye and ear, but despite the zippy tempi it felt rather weary; time has dulled the magic dust.

Claire Seymour


Cast and production:

Tamino — Charles Castronovo; First Lady — Anita Watson; Second Lady — Hanna Hipp; Third Lady — Gaynor Keeble; Papageno — Christopher Maltman; Queen of the Night — Albina Shagimuratova; Pamina — Ekaterina Siurina; Monostatos — Peter Hoare; First Boy — Archie Buchanan; Second Boy — Luciano Cusack; Third Boy — Filippo Turkheimer; Speaker of the Temple — Sebastian Holecek; Sarastro — Brindley Sherratt; First Priest— Harry Nicoll; Second Priest— Donald Maxwell Pagagena — Susana Gaspar; First Man in Armour — David Butt Philip; Second Man in Armour — Jihoon Kim; Conductor —Julia Jones; David McVicar — Director; Leah Hausman — Revival & Movement Director; John Macfarlane — Designs; Paule Constable — Lighting Design. Royal Opera House, Covent Garden, London, Tuesday, 16th April 2013.

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):