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

Donizetti Poliuto, Glyndebourne

Donizetti Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics. It makes a powerful case for the opera, and also for Glyndebourne's artistic vision. Poliuto isn't standard repertoire - it's nothing like L'elisir d'amore - but this brilliant production and performances show what a powerful work it is

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

OPERA TODAY ARCHIVES »

Performances

ENO Rodelinda 2014 - Iestyn Davies, Rebecca Evans (c) Clive Barda
03 Mar 2014

Torn Between Rival Loyalties

Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.

Torn Between Rival Loyalties

A review by Sue Loder

Above: Iestyn Davies as Bertarido and Rebecca Evans as Rodelinda

Photos © Clive Barda

 

A full-ish house for the first night seemed from the start inclined to be indulgent and supportive (does a Friday night after a long week in the office in London help a new production? Discuss......) and was helped along by what sounded suspiciously like a small claque cheering from the very first da capo aria (“let’s get this lot going chaps”?) without, it has to be said, that much cause at that particular moment.

ENO Rodelinda 2014 - John Mark Ainsley 4 (c) Clive BardaJohn Mark Ainsley as Grimoaldo

Never mind, the audience did not need much further encouragement to applaud as we were that night treated to one of the finest expositions of handelian singing across the vocal spectrum that we’ve heard for quite a while. A superb collection of the best British singing talent gathered under one roof to show the world how Handel should — ought — to be sung. John Mark Ainsley, (Grimoaldo), Susan Bickley (Eduige), Iestyn Davies (Bertarido), and Rebecca Evans (Rodelinda) took on the leading roles in this tale of loyalty, power, love and lust and gave full measure at every turn. They were supported no less ably by Richard Burkhard (Garibaldo), Christopher Ainslie (Unulfo) and Matt Casio (a non singing, but certainly acting Flavio). One could spend paragraphs praising each performer’s intelligent and musical interpretations, but suffice to say that there was not one weak link in this chain of excellence although inevitably both Evans and Davies, as chief protagonists and with the most sublime and ferocious arias to their credit, did receive the loudest and longest ovations come the end of three plus hours of Mr Handel at his best. And each singer of course supported by the dash, drive and commitment to baroque style that Christian Curnyn supplied from the pit.

I mentioned loyalty as a major driver in the plot: it came through again and again both within the personal relationships of the characters and in their wider political and philosophical concerns but it was loyalty much closer to home which worried this writer most. One wishes only success and financial security for English National Opera as it goes forward from some pretty torrid times; one wishes that Handel’s greatest works should become loved by ever larger audiences in ever more numerous productions; one wishes that more opera house orchestras could adapt as stylishly to baroque details as does ENO’s; and one wishes our British theatrical production talents ever more plaudits both here and overseas as they bring new ideas and angles to old favourites. However, the elephant in the room on Friday night, it must be said, was this very thing. Peter Jones has already garnered many plaudits for his theatrical insight and challenging productions around the world, but on leaving the theatre on Friday night it became clear that this production was splitting people down the middle.

ENO Rodelinda 2014 2 (c) Clive BardaA scene from Rodelinda

A straw poll aftewards produced extremes of reaction: “marvellous, clever, thought-provoking” at one end and “poor singers, how did they produce such excellence within such dire, distracting drivel?” at the other. To be fair, he and his team did (mostly) give the singers both space and focus on the stage for their big numbers; it was all the stuff in between that in this writer’s opinion was either indulgent, patronising or plain wrong. Once again, poor Mr Handel has suffered from a director’s inability to trust the music, an inability to understand that emotion, conflict and psychological evolution is already there — on the score, within the bars and notes, riding on the swell and trough of fine singing. Others will disagree, no doubt; some will say it’s a modern masterpiece; only the audiences of the future will decide and let’s hope they do in droves. What is without doubt is that Rodelinda will survive it all and with singers as good as we heard in the Coliseum we can rest assured that Mr Handel will always have the last word.

Sue Loder

Until 15 March. Tickets: 020 7845 9300; www.eno.org

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):