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

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

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):