Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Joyce DiDonato as Angelina [Photo by Ken Howard/Metropolitan Opera]
19 May 2014

The Met’s ‘La Cenerentola’ a winning ensemble of music and comedy

The company bids a smiling farewell to its 2013-14 HD simulcast season with Rossini’s comic masterpiece

The Met’s ‘La Cenerentola’ a winning ensemble of music and comedy

A review by David Abrams

Above: Joyce DiDonato as Angelina [Photo by Ken Howard/Metropolitan Opera]

 

In opera, as in sports, winning efforts are generated not so much by superstars as by good old fashioned teamwork. Such is the case with Rossini’s bel canto lyric masterpiece, La Cenerentola — an ensemble opera whose success depends more on the precise timing and execution of its rapid patter numbers than its flashy solo arias.

Credit superstars Joyce DiDonato and Juan Diego Floréz for filling the hall at Lincoln Center Saturday, not to mention thousands of theaters across the globe picking up the live feed from New York in this, the final HD simulcast of the season. But it was ultimately the chemistry among the seven principal singers that made the difference in this reprise of the company’s 1997 production. From start to finish, this Cenerentola was pure fun and entertainment.

The story, as adapted by librettist Jacopo Ferretti from the Charles Perrault tale, parallels the Cinderella legend but with several twists. Gone are the supernatural elements, the iconic glass slipper (it’s a bracelet here) and pumpkin-turned carriage. The fairy godmother is now philosopher Alidoro (Luca Pisaroni), advisor to the handsome Prince Charming (Don Ramiro, played by Juan Diego Floréz). The mean old stepmother is now the just-as-ornery stepfather, Don Magnifico (Alessandro Corbelli). Add to this confection the light and fluffy melodic invention of Rossini and you have an amiable listening experience likely to keep you smiling for some three and a half hours.

Like Mozart’s Cosi fan tutte, which the Met had simulcast just a few weeks ago, Rossini’s La Cenerentola stands out for its engaging vocal ensembles. Rossini plants a garden in which duets quickly sprout into trios — and before long, quartets, quintets and sextets. And for all its for coloratura-saturated solo arias both for mezzo-soprano and tenor, Cenerentola shines most brightly on these ensemble numbers.

DiDonato and company forged a delightful mix of characters whose timing and execution were remarkably precise. Among the highlights in this production were the brilliant first-act quintet Nel volto estatico, the exciting ensemble finale to Act 1 and the metronomic second act sextet,Questo è un nodo avviluppato. My personal favorite is the tongue-twisting Act 1 patter duet between Dandini and Ramiro, Zitto, zitto; piano, piano (which soon blossoms into an equally delightful quartet once the two sisters take stage). This effervescent number bubbles over with joy, and the speed and precision in both pitch and diction between Floréz and Spagnoli was, for me, the highlight of the production.

Cesare Lieve’s production team scored some hits — and misses. Among the things that went well were the never-ending comedic visuals, which somehow never grew stale. I especially enjoyed the ensemble finale to Act 1, as all seven principal characters prepare to seat themselves at a long dinner set carrying only six places and chairs — culminating in a continuous game of musical chairs. I also appreciated the staging of the slow, staccato-like sextetQuesto è un nodo avviluppato in Act 2 — where the prince uses a ribbon to tether the other five characters together in a “a tangled web” (“nodo avviluppato”), in-sync with the pulse of the music.

Perhaps the cleverest touch is when the two sisters, standing at opposite sides of the stage, serve a volley of angry commands at Cinderella — demanding that she retrieve their clothes and jewelry, while the chorus turns its head side-to-side like spectators at a tennis match.

Still, Lieve’s curious and annoying touches of surrealism in this production seemed rather out of place for a lighthearted comedy such as this. The expressionless faces pasted on the all-male chorus, each man standing stiffly at attention in a formal tie, dark suit and bowler hat — looked like clones of the creepy “Oddjob” character from the James Bond thriller, Goldfinger.

Juan Diego Floréz, who missed the beginning of the production run due to illness, was in top form Saturday. Hisleggiero tenor, light and crystal clear in even at the softest, most whisper-like moments, is perfectly suited to bel canto. Floréz’s flexible high register reaches the heavens with great ease of delivery, and his sustained his high C at the end of his virtuosic signature Act 2 aria Si, ritrovarla io guiro went on seemingly forever. (A clearly delighted audience would not permit the show to go on until Diego, breaking character, returned for a lengthy solo bow.)

Joyce DiDonato seemed to focus her efforts beyond the vocal acrobatics (which she had long ago mastered) and on to her character’s subdued sense of tenderness and joy. This was at once apparent when she first sets eyes on Prince Ramiro (dressed as a lowly servant) in the duet Un soave non so che. Here, DiDonato uses Rossini’s coloratura in this “love at first sight” moment not to flaunt her talents, but to evoke a sense of stunned bewilderment — a sexual awakening, perhaps, from her repressed life as the family outcast. DiDonato’s final aria of forgiveness (Non più mesta), sung standing in front of the magnificent wedding cake as she prepares to throw the bouquet over her shoulder, was as meaningful as it was handsome.

It’s difficult to avoid making comparisons in this role to another great artist, Elīna Garanča — who sang Angelina in the Met’s earlier HD simulcast of Cenerentola, in 2009. I love both mezzo sopranos pretty much equally, but there are noticeable differences between the voices. Garanča’s mezzo is darker and more pronounced than DiDonato, with rich alto colors. DiDonato, whose voice is brighter and leans more towards a lyric soprano than it does a mezzo, remains unsurpassed in the sheer flexibility of her coloraturas — which she delivers not with overt virtuosity but with a delicate sense of ease and comfort.

As the befuddled grouch, Don Magnifico, Italian baritone Alessandro Corbelli is a fine comedic actor who by his second act aria Sia qualunque delle figlie had thoroughly endeared himself to the listener. To this I’ll add that Corbelli’s rapid sixteenth-note patter in his arias Miei Rampolli Femminini and Sia qualunque delle figlie was truly “magnifico.” Still, I wished there had been more depth and resonance to his voice that might have allowed him to capture the necessary degree of affected pomposity. After all, this role calls for a basso buffo — and if you don’t think it matters I urge you to listen to a true bass, such as Paolo Montarsolo. Corbelli’s voice is simply too lean to carve a credible Magnifico.

Sporting a well-trimmed moustache and carrying an air of aristocracy that evokes the image of John Barrymore in the epic 1932 film Grand Hotel, Pietro Spagnoli crafts a convincing character of Dandini, valet to Prince Ramiro. Dandini, asked by the prince to exchange identities temporarily, relishes his royal look in tails and magnificent blue sash and plays up the masquerade to the extreme. When he first enters the Magnifico mansion, Spagnoli ceremoniously drops his cloak, scarf and gloves — standing patiently until the real prince, now disguised as the valet, reluctantly peels them off the floor.

Spagnoli turned up the volume on these affected mannerisms in the comic aria Come un’ape, as Dandini — presumably combing the town in search of a suitable mate — likens himself to a bee looking to pollinate the perfect flower. Spagnoli handled the coloraturas in this cavatina with great flexibility, and navigated the quickly moving 16th-notes in the concluding cabaletta with consummate ease.

Luca Pisaroni as Alidoro doesn’t get as much time onstage as the others, and that’s a shame. Pisaroni’s handsome baritone, nicely colored in its pedal tones (as was evident in his signature aria Là del ciel nell’arcano), reminded me of Samuel Ramey in his prime.

Maurizio Balò’s box set, which is well suited to the comedic elements of this production, projects the bruised image of Don Magnifico’s once-proud mansion that, like the family fortune, has fallen into a serious state of disrepair. The main prop on the set is a three-legged couch that shifts forward whenever anybody sits on it — a continuous source of belly laughs throughout the show. Mostly, though, the set acts as a backdrop for the continuous sight-gags on the part of cantankerous sisters Clorinda (Rachelle Durkin) and Tisbe (Patricia Risley).

The dueling siblings drew laughs every 10 seconds or so, as they constantly battled one another competing for the attention of the rich and handsome prince. And make no mistake about it, competition was fierce. (At times I thought I was watching the final two contestants duke it out on the ABC Television reality series, The Bachelor.) Durkin and Risley also excelled in the rapid parlando numbers, such as in the quartet Zitto, zitto; piano, piano, where the pair’s sixteenth-note patter came off cleanly and accurately. I was especially impressed with Durkin, whose looks and comedic mannerisms bear strong resemblance to those of Carol Burnett. Durkin’s voice is quite lovely, as well — as could be heard in the second-act ensemble Donna sciocca! Alma di fango.

Conductor Fabio Luisi’s tempos were uniformly quick and sprightly, capturing the energy and sheer joy of Rossini’s whimsical writing. The daring tempos led to some flashy moments in the ubiquitous patter sections, particularly during the second act finale. The Met Opera Orchestra was up to task, keeping the music light and crisp, and showing the way for the singers in the sharply dotted eight-note figures that permeate the score. The wind section was especially delightful in its alert articulations and tonguing passages, which I suspect are designed to mimic the singers’ patter. The nicely executed second act orchestral storm scene (and all good Rossini operas have a storm scene) afforded the listener a welcome moment of serious drama along an otherwise sea of fluff.

During the Overture, as the cameras panned the pit, simulcast audiences could read the white tags pinned on each player that read “Met Orchestra Musicians, Local 802 AFM” — an obvious act of solidarity on the eve of what promises to be a very contentious contract bargaining session this summer with Peter Gelb’s management team.

Not to be outdone by the orchestra, the Met Opera Chorus in its first entrance managed the heavily dotted rhythms alertly and with razor-sharp precision in O figlie amabali, as the prince’s courtiers announce to the sisters that the prince will soon be calling upon them.

This performance, special in so many ways, was even more so because of DiDonato’s announcement that she is hanging up mop, apron and bracelet for good. And indeed, her final performance as Angelina proved a fitting farewell to a role she had done — and so remarkably well — for the past 17 years.

How fortunate, too, that a worldwide audience was there to witness the send off.

David Abrams
CNY Café Momus

This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.

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):