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

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

OPERA TODAY ARCHIVES »

Performances

Serena Fanocchia as Anne Boleyn [Photo by Robert Workman]
05 Oct 2013

Anna Bolena, Welsh National Opera

Welsh National Opera's new production of Donizetti's Anna Bolena is the first part of their trilogy of Donizetti's Tudor operas, Anna Bolena, Maria Stuarda and Roberto Devereux.

Gaetano Donizetti: Anna Bolena

A review by Robert Hugill

Above: Serena Fanocchia as Anne Boleyn [Photo by Robert Workman]

 

All three use the same set designed by Madeleine Boyd (who also did the costumes) with lighting by Matthew Haskins

Boyd's long term collaborator, director Alessandro Talevi directed Anna Bolena and Roberto Devereux, whilst Maria Stuarda is directed by Rudolph Frey. We took advantage of WNO' performances of the three operas back to back over a weekend in Cardiff at the Wales Millennium Centre, with Daniele Rustioni conducting Anna Bolena and Roberto Devereux and Graeme Jenkins conducting Maria Stuarda.

We saw Talevi's deeply dramatic production of Anna Bolena on 4 October 2013 with thrilling performances from Katharine Goeldner as Giovanna Seymour, Serena Farnocchia as Anna Bolena, Faith Sherman as Smeton, Alastair Miles as Enrico, and Stephen Wells (replacing an ailing Daniel Grice) as Lord Rochefort, Robert McPherson as Lord Percy and Robyn Lyn Evans as Hervey. Daniele Rustioni conducted, he and the orchestra gave us thrillingly dramatic account of the overture, thankfully not too driven but still high tension.

When the curtain rose, Boyd's set was a huge black box with a few references to Tudor iconography, there were skulls of stags heads on the walls and the black on black designs of the walls could be seen as referencing the style of Tudor timber framed houses. The chorus were all in black, with the women given a very strong look which involved dresses with very full skirts and a black leather bodice/bustier over the top. We learned how subtly stylish Boyd's designs were later in the act when, during Smeton's aria, the women sat down to reveal subtly coloured shot-silk under-linings to the skirts. Throughout the opera colour was used sparingly but to very strong effect.

From the outset, Talevi's production was darkly dramatic. There was no attempt to re-created Tudor England and the court of Henry VIII, instead we were given a court governed by fear and power. Talking to Talevi at the interval it was clear that his prime intentions were to make the relationships in the opera work, to provide a context for Anna's breakdown.

There seemed to be another vein of inspiration. During the opening chorus we saw, on a revolve, a woman in a shift having a baby which was born dead and taken away. This was a clear reference to Anne Bolyen's later history, but visually the images on stage reminded us of the Anglo-Portuguese artist Paula Rego's strong images of dark fairy tales.

Talevi and Boyd (aided by Matthew Haskins dramatic lighting) made no attempt at jolly, crowd pleasing moments; this was a tense and intense drama which progressed on slow build towards the denouement, Anna's mad scene. What was admirable was the Talevi worked with the music, at no point did you feel a mismatch between music and drama. At conductor Daniele Rustioni's hands Donizetti's sprung rhythms were magnificently done, and these were used by Talevi to help create the drama. Productions of Donizetti's serious operas can have their Gilbert and Sullivan moments (Sullivan being much indebted to Donizetti) with a mismatch between sound and drama (jolly bouncing choruses and the like), but never here.

It helped that the title role was sung by Serena Farnocchia, an Italian soprano whose voice is far more spinto than coloratura which is admirable in this role. Farnocchia brought a strong intensity to the performance and a thrilling edge to the voice. She was well able to cope with all of Donizetti's fioriture and we were treated to some thrilling, and some subtle singing. She has a darkly dramatic voice, but with a nice focus to it and, as I have said, a thrilling edge. Some of her top notes lacked elegance and ease, but by then Anna was severely under pressure, This was a masterclass in how to use Donizetti's complex vocal lines to develop character. She never showed off, but this made her intense performance all the more impressive. Through the opera, it was Anne's interactions with other characters which gave us the engine for the drama, and Farnocchia was strongly partnered by the other members of the cast. But everything led, of course, to the final scene. Here we returned to the opening as Farnocchia was back wearing her shift, and cradling a non-existent baby. She spent a lot of the time crouching in the empty cradle.

This was a piece of strong drama on Talevi's part, and there was no sense from either him or Farnocchia that this mad scene was merely a showpiece. Nor, thankfully, did we ever get the sense that Talevi wished the opera different to what it was, at all times we were given a strongly characterised performance that went with the grain of Donizetti's music and with some impressive Personenregie.

Talevi and Boyd pulled of something of a coup at the end of the opera. The back of the box had a pair of huge doors which opened, in act one these revealed the forest for the hunting scene. At the end of act two these opened as the way the prisoners were being taken to their execution, but not before the women had brought on Farnocchia's dress. Over her shift she put on a magnificent vermilion dress, a thing of gorgeous crumpled silk with a long train. The resulting image was strong when Farnocchia faced the audience for her final aria and even strong when she turned to exit into the void at the back.

Robert McPherson was Percy, the man whom Anna loves and whom Enrico tricks into returning to court to provide him with an excuse to get rid of Anna. McPherson has a very forward, bright, tightly focused voice with a narrow but brilliant tone. Percy is a bit of a killer role, it sits rather high and is quite dramatic, I've heard tenors tire before their big act two aria. McPherson seemed to have a brief wobble, but it was only that and he paced himself admirably. He was suitably ardent in act one, without being too demented and he and Farnocchia had a believably will they/won't they sort of relationship during their fine duet at the end of the act. In act two Percy has to decide to die rather than live without Anna, a piece of operatic foolery which McPherson brought off well. His final aria was profoundly moving with some fine singing and when needed, the odd thrilling note. Granted his top notes sounded a bit tight, but in the context of his voice they worked well and this period of music suits him.

The eminence gris of this whole drama was Alistair Miles's Enrico, more war lord than Tudor king, he was bald but with long hair at the back merging with the huge fur collar of his leather jacket, and a very visible chain mail cod-piece to emphasise his virility. Miles was superb in conveying the control and power that the man exerted and helped make complete sense of the drama. This Enrico was far more of a monster than I have seen in previous productions, but it worked; partly of course because Miles made Enrico a very sexy monster, you could see why he drew the women.

His latest squeeze was Giovanna Seymour, played by Katharine Goeldner. The role is very much the seconda donna, she has her big aria at the beginning of act one and her big scene in act two at the beginning of that, with the character disappearing for large tracts of the rest of the opera. But what there is, is terrific. Goeldner was announced as suffering from a throat infection, and her opening aria had its uncertain moments but by the time we got to the act two confrontation with Farnocchia, Goeldner was on terrific form. She has quite a rich mezzo-soprano voice with a noticeable vibrato but also a remarkable facility with fioriture, so she brought quite a distinctive sound to Giovanna Seymour. The act two confrontation is one of the strongest scenes in the opera and, played at the front of the stage, the two women were both on intense form, this was gripping musical theatre.

Goeldner's scenes with Alistair Miles were equally as strong. In act one, he prepares to have sex with her and gradually unwraps the many under layers of her skirt, when finally reaching his goal only to be told by Goeldner that she no longer wants to be his mistress. A nice touch. In act two, Goeldner's Giovanna is yo-yoing almost as much as Farnocchia's Anna, and Goeldner's scene with Miles made a great counterpoint to Farnocchia's scene with MacPherson in the previous act.

Faith Sherman made a passionate Smeton, for much of the time she has to act in a vacuum as Farnocchia's Anna was completely unaware of Smeton's passion. Sherman has a nicely warm voice though perhaps her fioriture were occasionally smudged, but against that was the lovely way she moulded phrases and conveyed the young man's intense passion. His/her big scene is towards the end of act one, where he is alone in Anna's chamber, here represented simply by a mannequin wearing Anna's shift. Sherman made this work well, and really made us care for the young man.

Stephen Wells made a nice showing as Rochefort, standing in at short notice. His prison scene with McPherson in act two was perhaps not as homo-erotic as some stagings I have scene. And Robyn Lyn Evans clearly relished playing Hervey as one of Enrico's heavies.

The chorus were on superb form, and Donizetti gives them plenty to do in this opera and Talevi used them extensively to create the right oppressive theatrical atmosphere.

As I have said conductor Daniele Rustioni gave us one of the most dramatic accounts of Donizetti's score that I have heard, combining nicely sprung rhythms with intense drama without ever feeling that he was driving the opera too hard, always sympathetic to the singers and leaving them space. There was rarely a moment when music and drama did not interleave well. The orchestra were on strong form. I have happy memories of Charles Mackerras's 19th century Italian opera performances with WNO and it is good that they are continuing the tradition.

WNO are to be commended for assembling such a strong cast, particularly in the context of performing three Donizetti operas all requiring similar forces, a huge undertaking. A recording of the performance would probably indicate that there were high notes which were less than ideal or patches of smudged passage-work, but all performances were intelligently within both the drama and Donizetti's music.

Visually the production was intensely stylish and dramatic without feeling that Talevi and his team had imposed themselves. This showed too in the way Talevi drew such finely dramatic performances from cast. On this showing, the Donizetti Tudor's trilogy is off to a strong start.

Robert Hugill


Cast and production information:

Giovanna Seymour: Katharine Goeldner, Anna Bolena: Serena Farnocchia, Smeton: Faith Sherman, Enrico:Alastair Miles, Rochefort: Stephen Wells, Percy: Robert McPherson, Hervey: Robyn Lyn Evans. Daniele Rutioni: conductor, Alessandro Talevi: director, Madeleine Boyd: designer, Matthew Haskens: lighting. Welsh National Opera at Wales Millennium Centre, 4 October 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):