Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

A Merry Falstaff in San Diego

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.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

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.

A Salome to Remember

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.

L’Elisir d’Amore Goes On Despite Storm

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.

Boris Godunov in Marseille

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.

Garsington Opera Announces Extended Season: 1 June to 30 July 2017

For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.

Glyndebourne Festival 2017: White Cube artist Rachel Kneebone to exhibit new work

New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

OPERA TODAY ARCHIVES »

Reviews

04 Mar 2014

Elisir d’amore in Monte-Carlo

Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.

L'Elisir d'amore in Monaco

A review by Michael Milenski

Above: Stefan Pop as Nemorino, Mariangela Sicilia as Adina [Photo courtesy of the Opéra de Monte-Carlo]

 

Actually it was not Chernobyl, the tip-off being the 7 meters diameter tractor wheel, mud hanging off of the lower treads. Then a thrown-away tuna fish can crashed onto the stage and rolled center, from which emerged Belcore with the old trick of how many whatever-they-weres could possibly emerge from a tuna fish can. We indeed had delighted smiles on our faces.

This was the lilliputian Elisir d’amore! Tiny, magical creatures acted out this bit of sentimental commedia del’arte residue underneath a wheat field somewhere in Switzerland (the production comes from Lausanne). Given it was magical the Belcore creature was part Samurai (the wig) and part Swiftian general. Dulcamara arrived atop a contraption that was totally fantastic, maybe a sort of rolling still though he seemed some sort of crazed Swiftian magistrate in his red robe and weird wig.

It was a splendidly realized concept. The slender wheat stalks could actually be scaled, and were by five or so acrobats evoking wonder amongst us spectators. For some reason there was a boy and girl, eight year olds maybe, who rushed on stage from time to time to act out bits of puppy love. Besides the rats, birds as well as a life sized horse, i.e. about ten meters high (all we could see were the legs), meandered across the back of the stage usually during the arias and duets — the wonders of very skillful projections.

Elisir_MonacoOT2.png Dulcamara atop his wagon, tuna fish can, tire and wheat. Photo courtesy of the Opéra de Monte-Carlo

What, you may ask, has all this to do with Donizetti’s opera? The answer is nothing. It was an extravaganza of concept and hard-headed exploitation of contemporary digital techniques. Placed on the stage by a team of Italians, stage director Adriano Sinivia, set designer Christian Taraborrelli, and costume designer Enzio Iorio this was a stand alone theater piece that used a bel canto masterpiece as an excuse to imagine a far-fetched digital video game.

Donizetti’s opera is neither a fairytale for children with hidden meanings for adults nor a Swiftian satire of rural morality. It is a simple love story told very directly — love overcomes all obstacles if you sing well enough and long enough. Actually the cast assembled by the Opéra de Monte-Carlo did sing well enough but even so could not overcome the obstacle of this production. It was a long evening that left us indifferent to all this sophisticated human talent and effort.

While the Opéra de Monte-Carlo had the esteemed Orchestre Philharmonique de Monte-Carlo in the pit it had French contralto Nathalie Stulzmann on the podium who had not a clue about bel canto musicality — a musicality that allows time to stand still so you can elegantly feel how you feel. Define it how you may it will never be driving the music hard and fast with an authority that is above that of the singers. Musically the evening was a willful display of conductorial insensitivity.

Elisir_MonacoOT3.png George Petean as Belcore, Stefan Pop as Nemorino. Photo courtesy of the Opéra de Monte-Carlo

It is enlightening to know that Angela Gheorghiu is not the only singer to come out of Romania. The Opéra de Monte-Carlo found three more excellent artists. Twenty-eight year-old tenor Stefan Pop made a roly poly Nemorino who gave a skillful account of his aria — maybe the only moment of the evening not sabotaged by directorial gloss — and in general convincingly portrayed a country bumpkin with a sophisticated vocal technique. Baritone George Petean was a roly poly Belcore who gave it his all though it seemed too much, fault maybe of his silly wig or his feeling that his was a hopeless character in this lilliputian satire so he had to try to make something of it. Bass Adrian Sampetrean on the other hand rose above his ridiculous wig and assumed a genuine authority that you probably do not want from this shyster, fault maybe of the conductress who did not try to reign him in to become Donizetti’s charming con man.

Italian ingenue soprano Mariangela Sicilia was the spunky, too spunky Adina who sang quite well, though her knowing attitude and knowing vocal technique is not yet finished to the degree that she can settle with confidence into character and sail securely above it all with unflappable technique. It will come. The Giannini of Parisian soprano Vannina Santoni was a larger than usual character and an appreciated component of the larger ensembles.

It was unclear whether the generous applause was relief that it was over, appreciation of good singing, or evidence that the Monegasques (those who reside in Monaco) are willing to reward even bad conducting.

Michael Milenski


Casts and production information:

Adina: Mariangela Sicilia; Nemorino: Stefan Pop; Belcore: George Petean; Dulcamara: Adrian Sampetrean; Giannetta: Vannina Santoni. Chorus of the Opéra de Monte-Carlo and Orchestre Philharmonique de Monte-Carlo. Conductor: Nathalie Stutzmann; Mise en scène: Adriano Sinivia; Scenery: Christian Taraborrelli; Costumes: Enzo Iorio; Lighting: Fabrice Kebour. Salle Garnier, Monte-Carlo, February 26, 2014.

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):