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 Reviews

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

OPERA TODAY ARCHIVES »

Reviews

André Schuen as Guglielmo, Marianne Crebassa as Dorabella [Photo Marc Ginot / Opéra national de Montpellier]
13 Jan 2014

Cosi fan tutte in Montpellier

This Cosi fan tutte completes the Montpellier Mozart/da Ponte trilogy staged by French metteur en scène and esthète Jean-Paul Scarpitta. Primarily studies in elegance and refinement these mises en scènes have provoked all that that is most precious and perfect in Mozart’s scores.

Cosi fan tutte in Montpellier

A review by Michael Milenski

Above: André Schuen as Guglielmo, Marianne Crebassa as Dorabella [Photo Marc Ginot / Opéra national de Montpellier]

 

Back in 2007 the scandals created by Scarpitta’s libidinous Don Giovanni were those of a troubled young man who burst into hysterical laughter in the Act I finale. This set the stage for a gifted young cast to bare its soul in flights of lyricism that became the core and substance of all action. Scarpitta’s staging took us inside Mozart's music, his set and costume design offered minimal decor that supported but never defined this interior space. Versailles’ Le Concert Spirituel then in residence in Montpellier resonated with primitive sounds that transported us into this rarefied space.

Les Noces de Figaro did not appear until 2012, now with players of the Orchestra National de Montpellier. Austrian conductor Sascha Goetzel delicately and obsessively shaped its many instrumental voices into flights of melodic splendor. The cast was absolute perfection, finished young singers whose lithe bodies slid into luxuriously refined costumes created by Jean Paul Gaultier. When voices and orchestra finally united in Act IV an ultimate level of pure lyricism was achieved — the simple humanity of opera’s most succinctly human opera long forgotten.

And just now Cosi fan tutte finishes the cycle, again with splendid players from the Orchestra National de Montpellier here conducted by Alexander Shelly. This young English conductor made immediate musical impact in the overture by imposing musical depth rather than dramatic thrust. Each moment of Mozart’s music was explored, there was no beginning nor end. The program booklet optimistically anticipated a duration of three hours ten minutes for the performance. It came in at just under four hours.

Cosi_MontpellierOT2.png
Photo by Marc Ginot / Opéra national de Montpellier

Like Don Giovanni and Le nozze di Figaro Jean Paul Scarpitta created the setting. Here it was a green floor and a blue wall. Just that. There were six chairs and a couple of little tables that found their way onto the stage from time to time. Nothing more, except quite sophisticated and beautiful lighting by Urs Schönebaum.

Though costume design was credited to Mr. Scarpitta, like Les Noces it was understood and obvious that the elegance could only be the work of a grand couturier — well known names flew around the theater. The costumes were splendidly minimal, a plain green gown for Dorabella, a yellow one for Fiordiligi, the gowns easily shed from time to time to reveal shapely legs surmounted by a high style bustle undergarment of the same color. Ferrando and Guglielmo were first seen in white long underwear, then shapely morning coats that were changed to vaguely Harlequinesque vests when they became Turks.

Everyone knows that Cosi has no real story, that it is an abstraction of youthful love as lived by young singers with beautiful voices and good bodies. Scarpitta moved his bodies in blocks of color, the chorus in black silhouette, and movement was mostly in abstract relationship to the music, much like balletic choreography. No emotive pulse of Mozart’s score was left without a correspondence of position or movement, and this transported us to the depths of decorative 18th century music. And very great musical pleasure.

Scarpitta most often envisioned the famous arias as ensemble statements, not just of singer and wind instrument, but of the singer amongst all the other singers on the stage, the meanings becoming more overtly public. The famous trio “Soave sia il vento” was a musical expanse of frozen emotion, its breezy triple meter only enough to reposition a feeling. Duets were synchronized exposition of studied movement, never broken nor forced. Time stood still.

Italian soprano Erika Grimaldi gave clear, rich, Italianate voice to Fiordiligi, well able to maintain her fine technique from prostrate positions, French mezzo Marianne Crebassa boasts elegant technique and has an innate sense for elegant movement. Scarpitta (as the general director of the Montpellier opera at the time the opera was cast) placed the more important vocal and musical responsibilities for his production on these two roles — as has Mozart.

American tenor Wesley Rogers as Ferrando however was quite alone on stage to sing his “Un’aura amorosa del nostro tesoro,” his insecure technique illuminating the vulnerability of his character. Tyrollean baritone André Schuen moved and sang with innocent grace as Guglielmo. Italian bass Antonio Abete brought grizzled elegance and aged vocal cynicism to the figure of Don Alfonso and French soubrette Virginie Pochon was a used-up, seen-it-all Despina who reenforced Don Alfonso’s disaffection for youth.

Director Scarpitta quickly downplayed the minimal dramatic outline of da Ponte’s plot by demonstrating very early on that basic sexual instincts superseded any emotional loyalty (there was lots of pawing). This directorial insight however undermined the a development of character that could support the intense lyricism of the second half of the opera. It was here that the evening became long, very long, and the maestro’s musical probings fell upon deaf ears.


Cosi_MontpellierOT3.png Photo by Marc Ginot / Opéra national de Montpellier

Scarpitta ended his Cosi fan tutte with the utter physical disruption of its nuptial banquet and emotional disarray of its protagonists, much as Scarpitta had ended his Don Giovanni by having waiters, da Ponte’s demons, destroy the Don’s final banquet, leaving its survivors bewildered. Both banquets were the symbolic feasts of young love feasting on itself. Both ended in the deceptions of mature human values, and emotional bewilderment.

This Mozart da Ponte cycle was a stellar achievement, and majestically crowns Jean Paul Scarpitta’s fifteen years at the Opéra de Montpellier.

Michael Milenski

Links to Mr. Milenski's reviews of the Montpellier Giovanni and Nozze:

Don Giovanni in Montpellier

Les Noces de Figaro in Montpellier


Casts and production information:

Fiordiligi: Erika Grimaldi; Dorabella: Marianne Crebassa; Guglielmo: André Achuen; Ferrando: Wesley Rogers; Despina: Virginie Pochon; Don Alfonso: Antonio Abete. Chorus of the Opéra national Montpellier. Orchestre national Montpellier Languedoc-Roussillon. Conductor: Alexander Shelley; Mise en scéne, sets and costumes: Jean-Paul Scarpitta; Lighting: Urs Schönebaum. Opéra Comédie, Montpellier. January 9, 2014.

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):