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

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

OPERA TODAY ARCHIVES »

Performances

Marco Berti as Calaf and Lise Lindstrom as Turandot [Photo © Tristram Kenton]
10 Sep 2013

Turandot, Royal Opera

The Royal Opera's production of Puccini's Turandot is nearly 30 years old. Created for the 1984 Olympics, Andrei Serban's production has been revived 15 times.

Turandot, Royal Opera

A review by Robert Hugill

Above: Marco Berti as Calaf and Lise Lindstrom as Turandot

Photos © ROH / Tristram Kenton

 

This latest revival opened on September 9 2013 and featured the Covent Garden debuts of soprano Lise Lindstrom in the title role and conductor Henrik Nanasi. The production is in good health and the revival, directed by Andrew Sinclair, was as crisp and involving as ever.

Serban's production, in striking designs by Sally Jacobs and with extensive choreography by Kate Flatt, is lively, busy and full of incident, so that the principals need to give strong performances otherwise the production itself dominates. There was a feeling of this in act one, as if the principals had not quite found their form.

But the opera opened well, with Michel de Souza (on the company's Jette Park Young Artists Scheme) giving a commanding performance as the Mandarin.

ROH_642.gifEri Nakamura as Liù and Raymond Aceto as Timur

Marco Berti, singing his first Calaf at Covent Garden, had a robust and thrilling tenor voice thankfully also with a willingness to moderate his tone and sing with a degree of subtlety. But his stage demeanour was rather stiff and failed to catch fire in the first act. Non piangere Liu though nicely shaped, did not touch the heart. His diction throughout was superb and it was great to hear Italian sung by a native.

The three masks, Ping, Pang and Pong were performed by three young singers, Dionysios Sourbis, David Butt Philip and Doug Jones. David Butt Philip is also on the Jette Parker Young Artists programme. In this production the roles are very active and all three brought and admirable physicality to their performances, but I found that they did not seem entirely threatening enough. Balance also was not ideal with the middle of the three voices not quite projected enough, seeming slightly weaker.

Eri Nakamura, a former Jette Parker Young Artist returning to sing her first Liu at Covent Garden. She has a vibrant lyric voice with a warm vibrato, which she makes intelligent use of. She made a touching Liu giving a finely shaped performance of Signore ascolta. She was well supported by the noble Timur of Raymond Aceto.

The first scene of act two gave the three masks a chance to show their individual talents. Dionysios Sourbis as Ping had a fine, strongly projected baritone voice and impressed with his solo, both David Butt Philip and Doug Jones contributed nicely turned solo moments. The interaction between the three was lively and well coordinated, the three made a great dramatic ensemble but I did rather keep coming back to the issue of balance of the voices.

But throughout the first act and a half, there was also a slight feeling of marking time, that we were waiting for Turandot's entry. And we weren't disappointed. Tall and slim with a brilliant dramatic voice, Lise Lindstrom made a striking Turandot. The opening of In questa reggia seemed to be threatened with too much vibrato. But she settled down and delivered a highly controlled account of the aria, singing with admirable laser-like brightness and control. Perhaps there was a feeling that phrases were broken down too much into individual syllables, but overall this was a highly auspicious and very commanding debut.

Berti made a strong impact in his decisive appeal to the Emperor (Alasdair Elliott) at the opening of the scene, and went on to join Lindstrom for a thrilling account of the riddle scene. Both voices balanced well and the two artists made this a real dramatic moment, rather than purely a musical one. Whilst Berti remained a bit stiff dramatically, this translated into decisiveness and nobility. Lindstrom, by contrast, was superb at suggesting the neurotic nature of Turandot's obsession. Lindstrom was a traditional Turandot, coolly icy with a definite dislike of being touched.

ROH_942.gifDionysios Sourbis as Ping, David Butt Philip as Pang and Doug Jones as Pong

Act three opens, of course, with the best known aria in the opera Nessun dorma. Berti was robust here, his voice displaying an admirable consistency throughout the range as well as some sensibility and subtlety. Admirably, he did not grandstand, and the ending was neatly done.

In her two solos in this act Nakamura was supremely touching as Liu, characterful and quite strong. But she shaped Puccini's lines finely, with a nice vibrancy, and certainly touched the heart. The torture scene was well shaped by conductor Henrik Nanasi and there was a feeling of the whole ensemble building inexorable, in just the right way, towards Liu's death. As in the first act, the three masks could have been edgier but Lindstrom's Turandot was a wonderfully icy and commanding presence.

Berti almost used his size to impose himself on Lindstrom and her capitulation, when it came, was sudden and total. Not for the first time, I regretted the lack of Alfano's full ending with the extension to the two solo roles.

Conductor Henrik Nanasi displayed a nice feel for Puccini's opera and the ebb and flow of the music, but in some of the early scenes there was a worrying lack of crispness in the coordination between chorus and pit. The chorus did not seem to be on quite top form, and their off-stage contributions in act three were rather rough.

This performance saw some notable debuts and had some powerful individual performances, but it did not quite add up to a complete experience. Though this may develop over the run, and the piece is being broadcast live in cinemas on 17 September.

Robert Hugill


Cast and production information:

Michel de Souza: Mandarin, Eri Nakamura: Liu, Raymond Aceto: Timur, Marco Berti: Calaf, Dionysio Sourbis: Ping, David Butt Philip: Pang, Doug Jones: Pong, Lise Lindstrom: Turandot, Alasdair Elliot: Emperor Altoum. Henrik Nanasi: Conductor, Andrei Serban: Original Director, Andrew Sinclair: Revival Director, Sally Jacobs: Designs, Kate Flatt: Choreography. Royal Opera House, Covent Garden, 9 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):