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 Performances

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

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.

OPERA TODAY ARCHIVES »

Performances

Angela Gheorghiu as Magda [Photo © ROH / Catherine Ashmore]
07 Jul 2013

La Rondine, Royal Opera House

La Rondine isn’t Puccini’s finest moment. As drama it’s a retread of La Bohème. The music resembles out-takes from Madama Butterfly. What holds it together is Magda.

Giacomo Puccini : La Rondine

A review by Anne Ozorio

Above: Angela Gheorghiu as Magda [Photo © ROH / Catherine Ashmore]

 

So when an artist like Angela Gheorghiu revives the role, she brings a much-needed extra dimension to the opera. This is the role that helped propel her to stardom together with Roberto Alagna. Now they’re having a bitter divorce, fanned by media sensationalism.

Art imitates life. Ironically, that human background adds poignancy to what is essentially, a fluffy vacuum of an opera, despite its surface charm. Magda sings of her first love, and the kiss that sealed their passion. When she sang this with Alagna the extra-musical frisson must have been intense.It must take incredible courage to revisit this role now, when every note tears open old wounds. For that alone, Gheorghiu deserves respect. So what if her voice isn’t at its resplendent peak? She creates a far more accurate Magda because she accesses the underlying pain that animates the character. Gheorghiu shows that there is more to Magda than her fawning, false friends realize. Pretty and superficial might apply to them. But not to her. When Gheorghiu sings the long sequence beginning with “Ore dolci et divine” the strain isn’t vocal, but emotional. She breaks off the last lines a little abruptly, rather than letting them linger. But that’s far truer to Magda’s true personality.

Artists are not gladiators in an arena. They exist for their art, not for the mob. Some singers attract nastiness that goes far beyond artistic criticism, and descends into vicious personal abuse. It’s bullying, and usually the abuse of women, worse than anything Alagna may or may not have done. If opera is based on human feelings, sensitivity is essential. If we care about opera as art, we should respect the human beings who sing and create it. Gheorghiu is in a difficult position at the moment, so it’s all the more to her credit that she went on at all.

Having braved the personal demons Act One would have awakened in her, Gheorghiu settled into the role ever more comfortably as the opera continued. In the Second act, she felt genuinely fresh, and by the end, she was almost radiant. Her Ruggero, Charles Castelnovo, supported her well. If his voice isn’t quite as lovely as many who have done the part before, he compensated by being a solid foil to the lead. Perhaps the all-important kiss worked its magic, for Gheorghiu’s Magda blossomed again, like the roses in the song. Castelnovo seems genuinely nice, so Magda’s eventual renunciation seems quite natural. Magda has come to terms with her past and doesn’t need illusions of youth and love. Gheorghiu seems to find strength in Magda’s maturity. For once the ending convinces, even though it’s not written with the depth Puccini might have given to his other heroines.

Sabina Puertolas sing Lisette, Magda’s maid. The rapport between Gheorghiu and Puertolas seems genuinely affectionate: they bounce off one another merrily, singing with palpable warmth. The dynamic lifts the opera , defusing the mood. Some of the wittiest musical passages illustrate Prunier’s attempt to turn Lisette into what she can never be. Edgaras Montvidas sang a very good Prunier. He made us hear the “Poet” who thinks in terms of dreams, not reality, casually changing names and identities. Ultimately, La Rondine is a warm-hearted, humane opera where pretensions are overturned. Lisette goes back to being a maid, and Magda (presumably) goes back to being Rambaldo’s good friend. Good nature prevails over delusion.

Marco Armiliato conducted. The production is the Nicholas Joël perennial, as flashy as the life Magda and her friends seem to live. It’s telling that when Magda and Ruggero share their brief happiness that the backdrop shows fake flowers. The real beauty in La Rondine lies in the portrayal of Magda as a human personality. As such, Angela Georghiu is truly vindicated.

Anne Ozorio


Cast and production information:

Magda de Civry: Angela Gheorghiu; Lisette: Sabina Puértolas; Ruggero Lastouc: Charles Castronovo; Prunier Edgaras Montvidas; Rambaldo Fernandez: Pietro Spagnoli; Périchaud: John Cunningham; Gobin: Pablo Bemsch; Crébillon: Ashley Riches; Yvette/Soprano Solo: Dušica Bijelic; Bianca: Hanna Hipp; Suzy: Justina Gringyte; Conductor: Marco Armiliato; Director: Nicolas Joël; Set designs: Ezio Frigerio; Costume designs: Franca Squarciapino; Lighting design: Vinicio Cheli. Royal Opera House; London; 5th July 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):