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

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.

OPERA TODAY ARCHIVES »

Performances

Lucia and Enrico in Marseille Lucia
11 Feb 2014

Lucia di Lammermoor in Marseille

A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.

Lucia di Lammermoor in Marseille

A review by Michael Milenski

Above: Zuzana Markova as Lucia, Marc Barrard as Enrico [Photo by Christian Dresse, courtesy of Opéra de Marseille]

 

Not that there was not some good singing, namely Czech soprano Zuzana Markova as Lucia. Originally the Lucia of the relief cast (taking two of the six performances) this beautiful young singer was advanced into the primary cast when illness forced the first Lucia to cancel. Of secure technique, solid musicianship and a voice in its youthful bloom Mlle. Markova did hold the stage the entire evening, lacking only a diva presence to achieve a convincing bel canto performance. This talented young artist is in dire need of coaching — not only how a real diva artist might act this demanding role but also how a real diva might act.

Certainly Mlle. Markova was not in a position to pull diva antics, like refusing to wear the costumes designed for Lucia by Opéra de Marseille house designer Katia Duflot. A bona fide diva would know that if the audience was baffled by the gravity defying design of her bare shoulder red gown, it was probably not paying attention to her performance. Never mind that the red gown did not finally reveal a topless Mlle. Markova, the bare shoulder white gown of the wedding scene all but revealed everything. Mlle. Markova’s lovely young breasts simply upstaged her beautiful young voice.

Lucia_Marseille2.png Giuseppe Gipali as Edgardo, Zuzana Markova as Lucia. Photo by Christian Dresse

On the other hand Lucia's brother Enrico sung by French baritone Marc Barrard was visually choked by the high collar Mme. Duflot engineered for his first act costume. Our sympathy for his strangled sound was however unfounded as his later costume with unbuttoned shirt allowed plenty of breathing room. We discovered that his voice is unfocused and sounds very worn, or perhaps making a bel canto sound is simply foreign to his voice. If the program booklet biography is at all complete this role may have been his first venture into this repertory.

Giuseppe Gipali was the Edgardo. This Albanian tenor turned bel canto into can belto in vocal tones and shapes that were stylistically appropriate if monochromatic and unvaryingly forte. Mr. Gipali is not an affecting performer, his eyes never on the person (Lucia) he was singing to, instead his face was always outward, performing directly to the audience. His final scene — his suicide — was in fact splendidly sung, lacking any hint of sincerity of emotion that could bring this famous opera to its hyper-Romantic conclusion.

And finally Polish bass Wojtek Smilek was Raimondo, the Calvinist priest. Mr. Smilek is an important local resource, frequently appearing in Marseille, nearby cities and in Paris. He sings just about every smaller principal bass role you can think of. Unfortunately Raimondo is a big role, with lots of exposed singing. While Mr. Smilek is a fine singer he does not have the warmth of tone required for basso cantante roles nor the smoothness of line that can make him a lyric bass.

Lucia di Lammermoor is a numbers opera, one big aria or duet after another, embellished by chorus interjections that change circumstances to motivate even more beautiful singing — there is simply a huge amount of a very particular style of solo singing. This opera must be carefully cast. It was not.

Lucia_Marseille3.png The Sextet. Photo by Christian Dresse

The pit was overseen by French conductor Alain Guingal who responsibly sustained the proceedings but supplied no stylistic flourish to make this evening musically vibrant. While the big harp obligato in the first act was magnificently played the flute duet with Lucia’s mad scene was rendered with contours and colors that went too far beyond those offered by Mlle. Markova.

The new production was staged by French theater director Fréderic Bélier-Garcia. He is the absolute master of staging operas that are strings of numbers, finding natural seeming motion for his singers while they perform lengthy arias about how they feel. Here he exploited a new trick by sometimes taking his singers to the extreme sides of the stage to stand against the wide soft black false proscenium, removing the singer from all scenic context. With absolutely glorious lighting by designer Roberto Venturi the singers were suddenly stripped of everything except voice and artistry —what greater effect could be created for the supreme moments of bel canto opera!

The physical production was designed by Jacques Gabel, a frequent collaborator of Mr. Bélier-Garcia. The design was minimal, two scrims on which various forest shapes were projected, a platform that was sometime a ramp and sometime a pier, like on a lake, and (of course) a chandelier. The sensuous stained glass Jesus figure on a panel flown in for the Enrico/Edgardo meeting is hard to explain, as are the brilliant northern light colors that embellished the scrims from time to time. But not as hard to explain as the costumes described above that just did not seem to belong in a drafty old Scottish castle.

Michael Milenski


Cast and production information:

Lucia: Zuzana Markova; Alisa: Lucie Roche; Enrico: Marc Barrard; Edgardo: Giuseppe Gipali; Raimondo: Wojtek Smilek; Arturo: Stanislas de Barbeyrac; Normanno: Marc Larcher. Orchestra and Chorus of the Opéra de Marseille. Conductor: Alain Guingal; Mise en scène: Frédéric Bélier-Garcia; Scenery: Jacques Gabel; Costumes: Katia Duflot; Lighting: Roberto Venturi. Opéra de Marseille, February 6, 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):