Recently in Reviews
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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.