19 Mar 2014
Chicago’s New Barber of Seville
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
Happily, Lyric Opera of Chicago’s delightful new Barber fulfills both vocal and technical expectations with a bright and lively conception. Figaro is sung by Nathan Gunn, Isabel Leonard makes her house debut as Rosina, and Alek Shrader performs Count Almaviva, a role for which he is justly celebrated on operatic stages throughout the United States and Europe. Further artists featured in this notable cast include Alessandro Corbelli as Dr. Bartolo, the guardian of Rosina, Kyle Ketelsen as Don Basilio the music master, and Tracy Cantin as the maid Berta; Will Liverman sings Fiorello and John Irvin performs the part of the sergeant. Michele Mariotti makes his Chicago conducting debut leading these performances. Director of this new production is Rob Ashford, with sets and costumes by Scott Pask and Catherine Zuber respectively. Michael Black prepared the Lyric Opera Chorus.
During the overture to the opera a scrim covers the stage with sketches of three coifed heads representing the Count, Rosina, and presumably the resourceful and ever-present Barber. Mr. Mariotti had the overture played with a light touch so that the strings were a subtle lead to the other forces in the orchestra. One could also hear clearly the plucking of individual string chords at appropriate moments, just as levels of volume rose and sank in anticipation of modulations in forthcoming scenes of the opera. During the second part of the overture repeats were played with variations and justified emphases. As the first scene of the opera begins, the chorus of musicians moves from one side of Dr. Bartolo’s house to the other, their team-like comical gestures matching the swell of the music in this production. While their leader Fiorello has tried to rally both discipline and quiet the Count clutches at the wall of the building in which his beloved Rosina lives under the tutelage of Bartolo. Mr. Shrader’s Almaviva repeats the calls for quiet with a truly soft emphasis on “Piano!” His movements and facial expressions indicate an anticipation scarcely kept in check. In Almaviva’s song at daybreak performed beneath Rosina’s balcony, “Ecco ridente in cielo” [“Look on the smiling sky”], Shrader expresses his ardor with an exuberant trill on “la bella aurora” [“the beautiful dawn”]. The tenor’s range was shown effectively with a full descent at “Sorgi ancora” [“still not arisen”], rising decorations on “vieni bell’ idol mio” [“Come, my treasured one”], and a cry of anguish at “Oh, Dio” to express the futile pain of waiting. As tempos and emotional commitment accelerated Shrader incorporated distinctive and well-chosen embellishments into the second part of his serenade. The tenor draws on a full range of technique and vocal color, just as his acting matched communicative gesture to his chosen vocal expression. As such, Almaviva’s palpable frustration at not knowing whether he has been heard by Rosina is displayed by Shrader in athletic poses and believable grimaces. Although forced to conceal himself at the arrival of the barber Figaro, this Almaviva’s presence is undiminished. Mr. Gunn’s Figaro has the requisite mobility and vocal energy to entertain and to suggest a resourceful fellow for those in need of his help. Gunn’s practiced declamation was equivalent to his character Figaro’s vocal runs in the “Largo al factotum” [“Make way for the factotum”]. At times in this famous aria the vocal projection was subject to an overly enthusiastic orchestral volume. The following interaction between Almaviva and Figaro was staged cleverly and with ample movement proceeding toward the ensuing musical numbers. Rosina appears on the balcony and drops her note to Almaviva; Bartolo warns his charge against suspicious contact and departs on an errand. At this point the Count sings his next serenade and identifies himself falsely as Lindoro, so that he might attract Rosina’s love on his own account and not because of wealth and title [“Si il mio nome saper voi bramate” (“If you wish to know my name”)]. During the first part of Almaviva’s song Shrader’s assured legato and fluid vocal runs prompt the expected encouragement of Rosina from her balcony that he should continue. Almaviva’s excitement at this response included here decorative top notes inserted at “fida e costante” [“faithful and true”] and a further trill toward the close. Only a sudden distraction inside the house prevents the young couple from further communication. Count Almaviva depends on Figaro’s resourceful scheme, that he take on the disguise of a soldier, in order to gain entry to the house and to see Rosina. The duet between Shrader and Gunn concluding this scene is vocally exciting and physically entertaining as they dance together while celebrating the pact.
The second substantial part of Act One features Rosina as a committed participant in any future attempt to meet her “Lindoro.” Ms. Leonard’s “Una voce poco fa” [“A voice I just heard”] is skillfully sung with decorations taken on rising lines, excellent runs, and application of rubato at textually appropriate moments toward the close. The start of her collusion with Figaro is matched now by Dr. Bartolo’s conspiratorial dealings with Basilio. The latter recommends defamation of the Count, whom he identifies as Rosina’s suitor. Mr. Ketelsen’s performance in the role of Basilio is notable for his vocal accomplishments while staying within character in the aria “La calumnia.,” directed toward Count Almaviva. Ketelsen’s physical gestures suggest a doddering teacher yet his voice blooms in enthusiastic might with rich bass notes on “Leggermente” and truly explosive pitches on “colpo di cannone” [“Outbursts from a cannon”]. Accomplished decoration concluded the piece by an artist whom one hopes to hear in additional bel canto roles. Once the doctor and music teacher depart, Rosina and Figaro are able to continue their mutual revelations. In their duet “Dunque io son” [“Then it is I”] both characters reflect on Lindoro’s emotional promise and the need for caution because of Bartolo’s own plans. In this duet Leonard and Gunn sing with even greater invention than earlier as though illustrating their crafty approach with vocal embellishments. When Mr. Corbelli as Bartolo enumerates his suspicions to Rosina, the aria “A un dottor della mia sorte” [“For a doctor of my standing”] is performed as more than a simple character piece. Corbelli truly inhabits the role of Dr. Bartolo, his sense of vocal line and sustained pitches giving emphasis to the fulminating ire expressed in the text. When the housemaid Berta enters to respond to pounding at the door, Ms. Cantin stumbles about with her laundry-basket while uttering believable cries of impatience. Her role as performed in the finale of Act One is crucial as a vocal anchor bringing to a crescendo the disparate arguments and colors. Almaviva is admitted as disguised, his feigned inebriation causing disagreement with Bartolo and relief for Rosina. Just as the household characters and guest are joined by Basilio and Figaro, the resulting ensemble sparkles with full yet disciplined Rossinian frenzy. In response to Shrader’s impressive high pitch on “In arresto? Io?” [“Arrested ? I?”], and his revelation to the official in charge, the police recognize the identity of the drunken soldier and refuse to detain him. All the principals participate in, with Ms. Cantin’s forte notes propelling forward, a commentary on the mental confusion in which they are trapped as the act concludes. (“Mi par d’esser con la testa in un’orrida fucina” [“My head seems to be in a fiery smithy”].
In the house of Bartolo at the start of Act Two the doctor has scarcely recovered from the confusing interruption of the inebriated soldier when Count Almaviva arrives in his second disguise, Don Alonso, professor of music and alleged pupil of Basilio. He purports to take the place of his ill teacher and proceeds with a music lesson for Rosina. Leornard performs the noted aria, “Contro un cor che accende amore” [“Against a heart inflamed with love”] as a clever response to the advances of her eager suitor, while also preserving its opportunities for vocal embellishments as a set piece. At the entrance of a seemingly healthy Basilio, a quick ruse must be invented to dispose of the real music master. When the conspirators attempt to convince Basilio of his dreadful appearance, Mr. Ketelsen asks, “Sono giallo come un morto?” [“I am yellow as a corpse?”] with deep sustained pitches making “un morto” shudderingly possible. Once he has left after a spirited performance of the “Buona sera” ensemble and agreement by Rosina to meet her lover at midnight, Berta is left alone to comment on the unabated frenzy of this household. Cantin’s performance of Berta’s solo “Il vecchiotto cerca moglie” [“The old man seeks a wife”] shows an assured and comic approach including effective chest tones, a superb diminuendo in the repeat, and inventive decorations taken at the close.
The ultimate appearance of Rosina’s “Lindoro” and Figaro at midnight prompts the blissful admission that Lindoro and Almaviva are indeed one and the same individual. Rosina’s relief at not having been deceived in her devotions as well as Almaviva’s boundless joy at winning his suit result in the extended duet in which Leonard and Shrader complement each other delightfully. At one last attempt by Dr. Bartolo to apprehend the presumed scoundrel Almaviva’s proclaimed identity and revelatory aria, “Cessa di più resistere” [“Cease any further resisance”] put an end to such challenging opposition. Mr. Shrader’s ornamentation and sheer vocal facility in this piece are flawless, matched in excitement by the following, more rapid “Ah il più lieto, il più felice” [“The blithest, the happiest”] describing his ardor for the love now granted. Almaviva’s final word “felicità” accentuates the happy spirit which invests this model new production of Rossini’s masterpiece.