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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

18 Sep 2013

Le nozze di Figaro, Royal Opera House

Although this is their fifth outing, Tanya McCallin’s sets for David McVicar’s Le Nozze di Figaro remain a sumptuous feast for the eyes.

W A Mozart : Le nozze di Figaro

A review by Claire Seymour

 

The polished floor, scrubbed so assiduously by the long-suffering servant upon whom the curtain rises, gleams and glistens — despite the heavy footfall of domestics bustling about their business under the watchful gaze of an imperious housekeeper. The chandeliers glint and sparkle, under Paule Constable’s beautiful lighting; there are some breath-taking moments such as the twilight transition between the final two Acts, as the interior of the chateau imperceptibly metamorphoses into an enchanted nocturnal garden. Costumes are similarly eye-catching and visually there is scarcely an anachronistic note — indeed, McCallin could probably teach the producers of Downton Abbey a thing or two about period detail.

It’s a shame, then, that the shine seems to have been wiped off the drama itself, for this was a rather lacklustre and untidy performance of an opera which should fizz and glide along effortlessly.

Things got off to a messy start, with both Luca Pisaroni (Figaro) and Lucy Crowe (Susanna) uncomfortably behind Sir John Eliot Gardiner’s beat in the opening numbers. Also, while both are experienced in their respective roles, there was a lack of frisson between them and they didn’t make for a convincing pair of nearly-weds. One might have put the hitches at the start down to first-night jitters, but matters didn’t really improve and the general ensemble and cohesion between stage and pit were ragged throughout the evening — Eliot Gardiner did not seem inclined to wait for his singers.

The absence of dramatic spark was a pervasive weakness — and a real problem in an opera dominated by action-packed ensembles. Although the servants buzzed about frenetically, the principals often seemed rather listless and lacking in dramatic authority. McCallin’s slickly sliding sets juxtapose the elegant luxury of the aristocrats’ chambers with the threadbare sparseness of the servants’ garrets, and these crossing interfaces reveal the co-dependence of the two worlds, for the opera is all about interaction — between the classes and the genders. Here, however, the intersecting dramatic threads were only loosely woven.

Pisaroni was a tall, handsome Figaro; he has a weighty voice across the range, a glossy tone, a pleasing legato and a relaxed delivery. However, while ‘Se vuol ballare’ was injected with real anger and indignation, in general the sound was rather uniform; more variety would have better conveyed the crafty quick-wittedness of the ever-resourceful valet.

Lucy Crowe matched her fiancé for fury and ferocity in Act 1; not afraid to act with her voice, she was vivacious in the recitatives. Perhaps she sometimes erred too far on the side of feistiness; in later Acts she allowed the fun and ingenuity of the guileful servant to rise to the fore, and as a consequence her voice took on a softer more charming hue. Although Crowe strayed a little sharp in the closing passages of the Act 2 Finale, her last-act serenade was poised and pure.

Christopher Maltman’s Count Almaviva is a thoroughly unpleasant autocrat, conscious of his power and not reticent in using it to intimidate his wife and servants alike. Maltman snarled through some of the Count’s more aggressive moments; his Act 3 vengeance aria was particularly coarse. But, though the Count may be a selfish cad and a bullying egoist, surely he must have some charm too — otherwise, why would the Countess forgive him?

Swedish soprano Maria Bengtsson seemed somewhat nervous at the start of ‘Porgi amor’ — the first lines of the aria were noticeably lacking in consonants; perhaps she felt overly exposed by the light, crisp textures conjured by Eliot Gardiner. She did warm up vocally though and by the end of Act 2 found a richer, fuller sound; ‘Dove sono’ was characterised by a joyful glow, especially at the top, and Bengtsson demonstrated a tender, alluring piano. But, dramatically she remained slightly diffident which diminished the impact of the recitatives, most noticeably in the marvellously convoluted Finale to Act 2.

Renata Pokupić was credibly pubescent in mannerism, but her Cherubino coped surprisingly coolly with the trials and tribulations of love — where was the teenage torment, the agony of pubescent passion? Pokupić, too, began a little hesitantly in ‘Non so più’, but she subsequently revealed a well-shaped, sweet-toned mezzo lyricism and ‘Voi che sapete’ deserved its warm applause.

Helene Schneiderman gave a superb performance as Marcellina, striking just the right balance between comedy and caricature, and between malice — spitefully kicking over Susanna’s basket of clean washing —and mischief, playfully cavorting with Bartolo on Figaro’s bed.

Carlos Chausson made heavy work of Bartolo’s ‘La vendetta’, which was somewhat ponderous and humourless — if you can hear the individual words in the patter, it’s too slow. As the oleaginous music-master, Don Basilio, Jean-Paul Fouchécourt sang with an apt dash of derision but did not make the most of the opportunities for preening narcissism. Alasdair Elliott and Lynton Black were solid as Don Curzio and Antonio respectively. Mary Bevan, making her Royal Opera House debut, was a fine, technically assured Barbarina.

Things crackled along in the pit, with Eliot Gardiner keeping the tempos brisk and the textures crisp, but even this couldn’t overcome the muting effect of — excepting the aggression of Maltman’s brutal Count — the low-key dramatic interplay on stage. This revival comes just eighteenth months since the last staging in spring 2012; and the production will be seen again in May next year. Given that there were a fair number of empty seats at this opening night, one wonders whether this Figaro needs a bit of a rest, in order to revive its comic energy and effervescence.

Claire Seymour


Cast and production information:

Figaro, Luca Pisaroni; Susanna, Lucy Crowe; Cherubino, Renata Pokupić; Count Almaviva, Christopher Maltman; Countess Almaviva, Maria Bengtsson; Bartolo, Carlos Chausson; Marcellina, Helene Schneiderman; Don Basilio, Jean-Paul Fouchécourt; Don Curzio, Alasdair Elliott, Antonio; Lynton Black; Barbarina, Mary Bevan; David McVicar, director; Tanya McCallin, designer; Paule Constable, lighting designer; Leah Hausman, movement director; John Eliot Gardiner, conductor; Royal Opera House Chorus; Orchestra of the Royal Opera House. Royal Opera House, Covent Garden, Monday 16th September 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):