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

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

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):