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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
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.