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

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

OPERA TODAY ARCHIVES »

Performances

Baritone Aris Argiris (Count Anckarstrom) and soprano Krassimira Stoyanova (Amelia) in San Diego Opera's A MASKED BALL. March, 2014. [Photo copyright Ken Howard]
19 Mar 2014

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

San Diego Opera Presents an All Star Ballo in Maschera

A review by Maria Nockin

Above: Baritone Aris Argiris (Count Anckarstrom) and soprano Krassimira Stoyanova (Amelia) in San Diego Opera's A MASKED BALL. March, 2014.

Photos © Ken Howard

 

In 1857, the Teatro San Carlo in Naples commissioned Giuseppe Verdi to write an opera. He first intended the work to be his King Lear, but that could not be ready in time for the 1858 Carnival Season. Later, he and his librettist Antonio Somma decided to base an Italian opera on Eugène Scribe’s French libretto for Daniel Auber's Gustave III, ou Le bal masqué. Scribe wrote about the 1792 assassination of King Gustav III of Sweden who was shot while attending a masked ball. Censors in Italy, however, had serious objections. Verdi and Somma made changes, only to be refused a second time. In his libretto, Scribe had kept the historical figures of Gustav and the fortune-teller, but added the character of Amelia and her romance with the king.

On January 14, 1858, several Italians attempted to assassinate Emperor Napoleon III in Paris. After that, censors absolutely forbade the opera to show the murder of a monarch. They told Verdi and Somma to make further changes. Verdi was so angry that he broke his contract. The management of San Carlo sued him and he countersued. After some months, when the legal issues were resolved, Verdi was free to present the libretto and musical outline of the work to the Rome Opera. Since censors demanded further changes, they moved the site of the action to Boston during the British colonial period.

BAL1_0802a-L.pngTenor Piotr Beczala (Gustav III) and mezzo-soprano Stephanie Blythe (Madame Arvidson).

On February 17, 1859, The Teatro Apollo in Rome premiered Un ballo in maschera (A Masked Ball). Not until the twentieth century was the site of the action moved back to Sweden. Now the baritone is called Count Anckarström after the actual killer who was beheaded for his crime.

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. She used wonderfully ornate older scenery that formed an excellent background for John Conklin’s soft colored costumes and Gary Marder’s well-planned lighting designs. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden. It’s a long role and there were a few rough-edged tones in his first aria, but after that he gave a radiant performance. His duet with Krassimira Stoyanova, the Amelia, and his final aria were superbly sung. Stoyanova's lustrous voice blended well with Beczala's and she gave an insightful portrayal of his troubled but innocent love interest.

Greek baritone Aris Argiris is new to San Diego. With his performance of Count Anckarström, he established himself as a fine singing actor with a stentorian voice and a commanding presence. His scene with Amelia made sparks fly across the orchestra pit. Stephanie Blythe has an incredible voice with a distinctive sound and a huge range of tone colors, all of which she used as Madame Arvidson, the mysterious fortune-teller.

BAL1_2358a-L.pngAct 3 finale

The trouser role of Oscar requires a coloratura soprano to provide a bit of comic relief in the midst of this dark, tragic story. Kathleen Kim’s bright sound and jaunty stance provided just the right touch for the part. Joseph Hu was thoroughly amusing as an infirm High Judge. Dark voiced Kevin Langan and Ashraf Sewailam were impressively menacing as Counts Ribbing and Horn.

Chorus Master Charles F. Prestinari’s singers represented townspeople of various professions and they sang together in solid harmonies. Conductor Massimo Zanetti made a most auspicious debut and proved that the orchestra can be part of the drama. He brought the orchestra up to fortissimo on some occasions when there was no singing and kept it down to a reasonable level when soloists had to be heard above it.

Maria Nockin

____________________________________

Cast and Production Information:

Count Ribbing, Kevin Langan; Count Horn, Ashraf Sewailam; High Judge and Amelia’s Servant, Joseph Hu; Gustav III, Piotr Beczala; Count Anckarström, Aris Argiris; Amelia Anckarström, Krassimira Stoyanova; Madame Arvidson, Stephanie Blythe; Oscar, Kathleen Kim; Conductor, Massimo Zanetti; Director, Lesley Koenig; Costume Designer, John Conklin; Chorus Master, Charles F. Prestinari; Lighting Design, Gary Marder; Choreographer, Kenneth Von Heidecke

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):