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

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Performances

Adriana Lecouvreur [Image courtesy of Opera Holland Park]
28 Jul 2014

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Francesco Cilea: Adriana Lecouvreur

A review by Robert Hugill

Above: Adriana Lecouvreur [Image courtesy of Opera Holland Park]

 

Director Martin Lloyd Evans re-located the work to the mid 20th century and designer Jamie Vartan provided some stylish 1930's style costumes. Cheryl Barker sang the title role, with Peter Auty as Maurizio, Tiziana Carraro as the Princess de Bouillon, Richard Burkhard as Michonnet, Simon Wilding as the Prince de Bouillon, Ian Beadle as Quinault, Peter Davoren as Poisson, Maud Miller as Mlle Jouvenot, Chloe Hinton as Mlle Dangeville and Robert Burt as Abbe de Choiseul, with dancers from English National Ballet. Manlio Benzi conducted The City of London Sinfonia.

Director Martin Lloyd Evans re-located the work to the mid 20th century and designer Jamie Vartan provided some stylish 1930's style costumes. Cheryl Barker sang the title role, with Peter Auty as Maurizio, Tiziana Carraro as the Princess de Bouillon, Richard Burkhard as Michonnet, Simon Wilding as the Prince de Bouillon, Ian Beadle as Quinault, Peter Davoren as Poisson, Maud Miller as Mlle Jouvenot, Chloe Hinton as Mlle Dangeville and Robert Burt as Abbe de Choiseul, with dancers from English National Ballet. Manlio Benzi conductied The City of London Sinfonia.

Jamie Vartan's sets made imaginative use of the remaining facade of Holland Park House, which was bombed in 1940. The play in Act One took place inside the house with a caravan for Adriana and sundry back stage detritus and spare scenery. These were re-purposed in Act Two to create the stylish modern villa. Act three took place outside Holland Park House, now standing in for the Prince's mansion with the framework of the caravan creating a pavilion, with act four returning to Adriana's caravan, this time revealing a stylish 1930's style wooden interior. Vartan's costumes were stylishly in period with an eye for the niceties; though Adriana was always beautifully dressed, there was just the gentlest hint that her taste was a little bit common compared to the Princess who was very soignée all in white in act two and all in black in act three.

It is a tricky opera to bring off. The opera requires a real diva of temperament in the title role, one who has the capability to sing the long lyric vocal line but who also has some bite. Iit doesn't help that there is also a slightly barmy plot, which no amount of tinkering can remedy. To Martin Lloyd-Evans's credit he didn't try, but presented the act two shenanigans with dramatic commitment, imagination, and a nice element of humour (though no-one giggled thank goodness).

Cheryl Barker made a stylish and glamorous Adriana, bringing a convincing theatricality to the spoken sections and a wonderful sense of spite in the act three extract from Phédre. Her act one solo had a lovely lyric beauty, and a sense of intimacy apt to the humble surroundings (a caravan!). What seemed slightly worrying was that, though poised, her relationship with Peter Auty's ardent Maurizio seemed a little cool a little too perfect (more Joan Crawford than Bette Davis). But Barker's Adriana really came into focus in the last act. Not with the great solo poveri fiori which was finely done indeed, but with the solo where she tells Maurizio that she will not marry him, that for her the crown will be one of laurel leaves. Barker's Adriana was first and foremost and actress and you sense that despite her distress in act four, she would have returned to work because acting was the most important thing in her life. It was a performance which grew on me and in the final act displayed intense power, theatricality and, yes, diva-dom.

Peter Auty made a wonderfully passionate Maurizio, completely believable in the intensity of his passion and the way he was able to distribute his favours equally between two women (Adriana and the Princesse de Bouillon). Perhaps Auty does not have quite and ideally open Italianate sound, it seems a little covered. But his tenor has great freedom and a lovely evenness over the range. And a consistent ability to project Cilea's vocal lines with convincing passion and vibrancy.

Prncesse de Bouillon is a gift of a role, and Tiziana Carraro did not disappoint. She was vibrantly passionate in act two with a thrillingly intense scene with Auty, and then in the subsequent intrigue brought off hiding in a broom cupboard under a sheet with great aplomb. In Act Three, the atmosphere fairly crackled and Carraro's body language was vivid even when she wasn't singing.

Richard Burkhard was profoundly touching as the stage manager Michonnet, very moving in the way he portrayed his unspoken love for Adriana. In many ways Burkhard was the linchpin of the production, the subtly drawn sane man around whom all the mayhem happened. Burkhard gave Michonnet a sympathetically intent feel and to a certain extent rather stole the show with his detailed yet finely sung and understated performance.

The four actors, Quinault, Posson, Mlle Jouvenot and Mlle Dangeville were played four of Opera Holland Park's previous Christine Collins Young Artists, Ian Beadle, Peter Davoren, Maud Miller and Chloe Hinton. They formed charming foursome, always popping up together and combining joy with style and a certain element of fun. Robert Burt made a delightful Abbe de Chazeuil. into everything and far too fond of the young ladies. Whilst Simon Wilding was a fine upstanding Prince de Bouillon.

James Streeter provided the choreography for the highly effective ballet in act three which was danced by principals from the English National Ballet.

Cilea makes great use of the orchestra in the opera, with quite a number of orchestral interludes and the City of London Sinfonia did not disappoint, combining passion and suaveness in their performance. Manlio Benzi conducted with a clear feel for Cilea's idiom. It is easy both to over heat and to undercook the music, and Benzi walked a stylish line between the two, giving us a finely drawn but dramatic performance.

Despite some initial reservations, this was a highly effective and dramatic performance which came together in a powerful conclusion in the last act.

Robert Hugill


Cast and production information:

Adriana: Cheryl Barker, Maurizio: Peter Auty, Princess de Bouillon: Tizian Carraro, Michonnet: Richard Burkhard, Prince de Bouillon: Simon Wilding, Quinault: Ian Beadle, Poisson: Peter Davoren, Mlle Jouvenot: Maude Miller, Mlle Dangeville: Chloe Hinton, Abbe de Chazeuil: Robert Burt, Chorus of Opera Holland Park, Dancers from English National Ballet, City of London Sinfonia, Director: Martin Lloyd Evans, Designer: Jamie Vartan, Lighting: Colin Grenfel, Choreography: James Streeter, Conductor: Manlio Benzi
Opera Holland Park, London 26 July 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):