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 Performances

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

OPERA TODAY ARCHIVES »

Performances

Patrizia Ciofi as Marie and Juan Diego  Flórez as Tonio [Photo © ROH / Catherine Ashmore]
12 Mar 2014

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

La Fille du regiment, Royal Opera

A review by Robert Hugill

Above: Patrizia Ciofi as Marie and Juan Diego Flórez as Tonio [Photo © ROH / Catherine Ashmore]

 

Laurent Pelly’s 2007 production is now in the hands of revival director Christian Räth, who also directed the 2012 revival. The production was created for Natalie Dessay and Juan Diego Florez, but since 2012 the title role has been sung by the Italian lyric soprano Patrizia Ciofi (see Claire Seymour’s review of the 2012 revival). For this revival Ciofi was joined by Florez (with two performances later in the run being sung by Frederic Antoun). Also returning to the role as Hortensius was Donald Maxwell and conductor Yves Abel was also on the podium for the 2012 revival. With so many returning performers, it is inevitable that the newcomers to their roles would be the focus of attention: Pietro Spagnoli sang Sulpice and Ewa Podles was the Marquise de Berkenfeld. But the eyes and ears of many in the audience were on Dame Kiri te Kanawa in the speaking role of the Duchesse de Crackentorp.

The New Zealand soprano celebrates her 70th birthday during the present run, and her assumption of the role of the Duchesse de Crackentorp represents her first appearance at Covent Garden since the 1996/97 season. At Covent Garden the role of the Duchesse de Crackentorp has previously been played by Dawn French and by Anne Widdicombe, but when Laurent Pelly’s production has appeared elsewhere then the Duchess has been played by both Kiri te Kanawa and Montserrat Caballe.

Ciofi made a charming Marie, she has the right combination of gamine charm and chutzpah which Pelly’s conception of the role requires. Physically Ciofi’s performance was almost hyper-active, reflecting the current conception of the production, and she is certainly a gifted comic. Natalie Dessay’s physical comedy in the role must have been a difficult act to follow, but Ciofi makes it her own. Vocally Ciofi has quite a soft grained lyric voice, which meant that the more poignant moments (such as her lovely act 2 aria) worked very well. There was plenty of fluent passagework too, and Ciofi has the gift of being able to imbue this with charm as well, she made the vocal fire-works part of the character. Her acuti sometimes seemed a little pressed and with a little too much vibrato for my taste, but she has been ill and missed part of the dress rehearsal, so it is unfair to judge.

Juan Diego Florez remains in fine form, his voice perhaps a little heavier and more solid than when he first sang the role, but he is still technically superb. Despite the lure of the famous act 1 solo with the repeated top C’s, it was his two slower arias which stick in the memory. Here Florez had a knack of slowing time, and causing the busy activity to stop. He can caress and shape a phrase without it being made to feel self-indulgent, and in these solo moments was deservedly the entire focus of attention. The role of Tonio still fits Florez stage persona well, the little-boy lost look still coming over charmingly.

Pietro Spagnoli was a delight as Sulpice with good comic timing combined with a neat way with Donizetti’s vocal line. His act one solo isn’t the best number in the opera, but Spagnoli charmed and made a fine contribution to the act two trio with Ciofi and Florez. More than that, he created a warm and very funny character.

Ewa Podles is clearly a gifted comic actress, as Marquise de Berkenfeld she used her voice to fine comic effect particularly the astounding lower register. Both vocally and in spoken dialogue she made the comedy work and set up a nice double act with Donald Maxwell’s Hortensius. Podles might now have a noticeable break in her voice, but her technique is still in fine form and there was as much to admire vocally as dramatically.

Kiri te Kanawa seemed less at ease with the comic business required, but the role was extended for her and we got to hear her performing an aria from Puccini’s Edgar which was finely done, albeit rather a strange choice in the context. The smaller roles were well taken with Bryan Secombe as the Corporal, Luke Price as a peasant and Jean-Pierre Blanchard as the Notary.

Now directed by Christian Räth , the production seems to have become almost a caricature of itself, all stylised movement, comic business and hardly any naturalism. Was Pelly’s production like this when new? I’d don’t remember it as such, but might be wrong. There is a danger, I think, of this becoming a comic caricature of a production. Most worryingly, the physical comedy seemed to be in danger of being an end in itself, rather than arising out of the music.

The orchestra was in the capable hands of Yves Abel. He and the orchestra provided fine accompaniments to the arias, but the overture did rather take a long time to catch fire.

This is the production’s third revival, that’s a total of four runs since 2007 which is quite a lot of exposure. It would make an interesting re-boot of the piece if, say, it was given in English with Anglophone actors performing the dialogue (at the moment we have a variety of nationalities performing in French), or perhaps investigate the Italian version which Donizetti himself created in 1840 (this lacks the famous top C’s of the tenor Ah mes amies, but the replacement aria is not without difficulty). I am reluctant to suggest that such a popular production be given a rest but perhaps something of a re-think is certainly in order.

Robert Hugill


Cast and production information:

Marie: Patrizia Ciofi, Tonio: Juan Diego Florez, Marquise de Berkenfeld: Ewa Podles, Sulpice: Pietro Spagnoli, Hortensius: Donald Maxwell, Corporal: Bryan Secombe, Peasant: Luke Price, Notary: Jean-Pierre Blanchard, Duchesse de Crackentorp: Kiri te Kanawa. Director: Laurent Pelly, Revival Director: Christian Räth, Dialogue: Agathe Melinand, Set Designs: Chantal Thomas, Lighting Design: Joel Adam, Choreography: Laura Scozzi. Conductor: Yves Abel. Royal Opera House, Covent Garden: 3 March 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):