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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
06 Feb 2014
Pagliacci Opens San Diego Opera's 2014 Season
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch.
Ruggero Leoncavallo (1857-1919) grew up in a small town in Calabria and he set his opera Pagliacci in just such a place. The composer’s father was a judge and he said he got the idea for the original story on which he based his opera from one of his father’s cases. That may or may not be true because French author Catulle Mendès thought the story of the opera closely resembled his 1874 play La Femme de Tabarin in which a clown murders his wife. Leoncavallo wanted to compose a verismo opera because he had already witnessed the popularity of Pietro Mascagni's Cavalleria rusticana in 1890.
Leoncavallo knew that story would make a good opera so he used it in writing his libretto. Then he set it to dramatic music. He had been trying unsuccessfully to get one of his operas staged for years. Pagliacci turned the tide. He was able to get it performed in 1892 at the Teatro Dal Verme in Milan where it was a triumph with audience and critics alike. Only its conductor, Arturo Toscanini, found it wanting. Mendès sued Leoncavallo for plagiarism, but dropped the suit when he was accused of copying some of his works. Toscanini’s comment was easily forgotten and Pagliacci was soon on its way to worldwide popularity.
Originally titled Il pagliaccio (The Clown), the creator of the role of Tonio, Victor Maurel, asked that the name be changed to Pagliacci (Clowns) because he thought it should include more of the cast. Tonio originally sang final line, “La commedia è finita,” until Enrico Caruso began to sing it as Canio.
Adina Nitescu as Nedda, Frank Poretta as Canio and Stephen Powell as Tonio
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone. Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch. Scenic director John Coyne set the action in a simple out-of-doors scene with a blooming tree signifying summer in the small Italian town. Baritone Stephen Powell sang the Prologue with stunning and powerful tones. As it turned out, it was the best-sung aria of the evening.
When the curtain rose, the townspeople and circus performers were clothed in Ed Kotanen's authentic early twentieth century costumes. Traveling circus company members were setting up the well-worn platform stage and numerous benches that they carried with them from town to town. After seeming to be a straightforward character when he sang the Prologue, Tonio skulked about the stage when interacting with the other performers. He was a misfit who probably could not get work elsewhere. As Canio, Frank Poretta, was a jovial character whose main purpose was to lure an audience to the troupe’s performances. He sang with a secure, fluid line. Nedda, Canio’s unhappy trophy wife, looked forward to her tryst with her younger lover, Silvio, as she sang her aria about the freedom of the birds overhead. Adina Nitescu is a dramatic soprano and her tones were stronger and darker than the ones expected from Nedda. When Tonio tried to kiss her, Nedda grabbed a whip and beat him until he limped off harboring thoughts of a grisly revenge.
Little by little Tonio infected Canio’s mind until he lapsed into insane jealousy. For Sinclair, this was Tonio’s story, and he made sure the audience saw that the ugly clown was pulling all the strings to make the murder happen. That’s why this time it was Tonio who ended the opera with “La commedia è finita.” Joel Sorensen was a worthy Beppe and David Adam Moore a handsome, vocally sensuous Silvio. Directed by chorus Master Charles F. Prestinari, the choristers sang with delicious harmonies as they portrayed rural townspeople. Yves Abel underscored Sinclair’s dramatic tone with his brisk interpretation of Leoncavallo’s music and his orchestra responded with dramatically alert playing. This was a short but emotionally stunning performance of a well loved verismo opera.
Cast and production information:
Tonio, Stephen Powell; Canio, Frank Poretta; Beppe, Joel Sorensen; Nedda, Adina Nitescu; Silvio, David Adam Moore; Conductor, Yves Abel; Director, Andrew Sinclair; Scenic Designer, John Coyne; Costume Designer, Ed Kotanen; Lighting Designer, Michael Whitfield; Chorus Master Charles F. Prestinari.