Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Il turco in Italia at the Aix Festival

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.

First Night of the BBC Proms : Elgar The Kingdom

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.

Le nozze di Figaro, Munich

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.

Winterreise and Trauernacht at the Aix Festival

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.

James Gilchrist at Wigmore Hall

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: Improvisations on Henry Purcell

‘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.

Nabucco at Orange

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.

Saint Louis: A Hit is a Hit is a Hit

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.

La Flûte Enchantée (2e Acte)
at the Aix Festival

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.

Ariodante at the Aix Festival

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.

Lucy Crowe, Wigmore Hall

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.

The Turn of the Screw, Holland Park

‘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.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

OPERA TODAY ARCHIVES »

Performances

Renée Tatum as Rosina [Photo by Richard Brusky]
11 Jun 2014

Opera Las Vegas Presents Stellar Barber of Seville

On June 6, 2014, Opera Las Vegas presented Gioachino Rossini’s The Barber of Seville with a cast drawn from the Metropolitan Opera and other major companies.

Opera Las Vegas Presents Stellar Barber of Seville

A review by Maria Nockin

Above: Renée Tatum as Rosina

Photos by Richard Brusky

 

Daniel Sutin, who sang the title role, held the audience in thrall as he described his activities with strong burnished bronzed tones in his “Largo al factotum.” As the beautiful and not-quite-so-meek Rosina, Renée Tatum sang with true bel canto tone, excellent taste, and fine musicianship.

Pierre Caron de Beaumarchais wrote his play, The Barber of Seville, in 1773, but could not get it publicly performed until two years later, because its politics offended French nobility. In the meantime it was often read privately read at artistic salons. Thus, when its content was becoming known without public performance, the authorities decided that they might as well allow it to be staged.

Beaumarchais invented the name Figaro for the character he modeled on Brighella in the traditional Italian Commedia dell’arte. The illegitimate son of Dr. Bartholo and his maid Marceline, Figaro is a clever flatterer and liar. He is usually is good humored and helpful. Only on rare occasions is he bitter and cynical, but in the play Figaro notes: "I must force myself to laugh at everything, lest I be obliged to weep.” It was the occasionally brazen actions of Figaro that upset the nobility. The opera audience does not see his bold tactics in Rossini’s work, but his actions in Mozart’s The Marriage of Figaro are quite revolutionary.

The first opera produced on Beaumarchais 1782 play was Giovanni Paisiello’s The Barber of Seville, which had a respectable run, but could not stand comparison with Gioachino Rossini's 1816 opera Il barbiere di Siviglia ossia L'inutile precauzione (The Barber of Seville or the Useless Precaution). The latter has remained in the repertoire ever since despite other operas having been based on Beaumarchais’ play.

10325511_10152048554047260_.gifRobert McPherson as Almaviva with chorus

On June 6, 2014, Opera Las Vegas presented Gioachino Rossini’s The Barber of Seville with a cast drawn from the Metropolitan Opera and other major companies. Daniel Sutin, who portrayed the Barber, Figaro, recently sang the title role in Alban Berg’s Wozzeck at the Met. Although this was his first portrayal of the Rossini character, he commanded the stage with his presence. He held the audience in thrall as he described his activities with strong burnished bronzed tones in his “Largo al factotum.”

As the beautiful and not-quite-so-meek Rosina, Renée Tatum appreciated Figaro’s assistance in helping her resist marriage to her elderly, controlling guardian, Don Bartolo. Tatum, who has been in several major productions at the Met, sang with true bel canto tone, excellent taste, and fine musicianship. Veteran bass-baritone Peter Strummer was a hysterically funny Bartolo who actually thought he could get his young ward to marry him. He sang his patter aria at lightening speed but the words were always intelligible. Bartolo’s partner in crime was the conniving Don Basilio who sang an amusing, resonant, and totally villainous “La calunnia.”

Coloratura tenor Robert McPherson was as perfect an Almaviva as you could find anywhere. He not only sang all the notes with gorgeous tone, he decorated just enough of his lines to create maximum interest in his interpretation. I understand he will be at the Met next season and the New York audience will love his artistry. Baritone Mark Covey, the Fiorello, who is also a guitar virtuoso, accompanied the opening serenade from the stage. As the maid, Berta, soprano Stephanie Weiss seemed to be the most sensible person in the house. She sang with bright silver tones that contrasted well with Tatum’s golden legato.

Henry Price’s stage direction was perfect for this audience, many of whom had seen few operas. He told the libretto’s story in a realistic manner. For the finale, he showed the marriage of Rosina and Almaviva. Berta catches Rosina’s bouquet, but from the look on Bartolo’s face she will have to find another man to marry. The charming scenery by Dennis Hassan and Jim Lydon was placed on the Bayley Theater’s turntable so that the audience saw one set showing the inside of Bartolo’s home and another showing its outside.

Maestro Gregory Buchalter gave his artists enough room to create meaningful characterizations. Together with the singers, orchestra, and recitative harpsichordist Karen McCann, he gave us a wonderful rendition of Rossini’s beloved comic opera. This excellent performance bodes well for Opera Las Vegas, from which that city's citizens and guests can hope to enjoy more great opera in the near future.

Maria Nockin


Cast and production information:

Rosina, Renée Tatum; Count Almaviva, Robert McPherson; Don Basilio, Philip Cokorinos; Don Bartolo, Peter Strummer; Figaro, Daniel Sutin; Fiorello (playing own guitar) Mark Covey; Berta, Stephanie Weiss; Notary, Erickson Franco; Ambrogio, David McKee; Sergeant, Eugene Richards;* Conductor, Gregory Buchalter; Harpsichord, Karen McCann; Stage Director, Henry Price; Costumes Malabar Ltd.; Scenery, Dennis Hassan and Jim Lydon; Production Coordinator, James Sohre.

* Member of Opera Las Vegas Young Artist Program.

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):