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

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

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.

OPERA TODAY ARCHIVES »

Performances

07 Jul 2014

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.

Ariodante at the Aix Festival

A review by Michael Milenski

Above: Puppet figures of Ginevra and Ariodante [All photos by Pasal Victor courtesy of the Festival d"Aix-en-Provence]

 

All for Lodovico Ariosto’s brief histoire of Ginevra and Ariodant in his send-up of chivalry in his epic farce Orlando Furioso. By the time this little story got to opera it had lost the famous indulgent smile Ariosto cast on knights and damsels and now needed about twenty-five arias to resolve a truly complicated mess.

This production by British director Richard Jones was created just now in Aix, the start of its travels to Amsterdam, Toronto and Chicago — the Aix Festival has an incessant belief that co-productions are economical.

Somehow Ariosto and Handel and the American Midwest made Mr. Jones think of American Gothic painter Grant Wood’s “Dinner for Threshers” (or maybe it was Ultz’s idea, his mono-named designer). The set was an exact copy. We would not have known where Handel’s opera takes place had not Ariosto’s King of Scotland worn a kilt. But Richard Jones’ American threshers of the Wood painting were on the stage much of the evening keeping the action firmly in the western hemisphere, a presence that did not endear them to the exasperated audience (there was whistling when these valiant participants took their 2 AM bows).

Ariodante_Aix2.pngPatricia Petibon as Ginevra, Sarah Connelly as Ariodante, Luca Tittoli as Il Re di Scozia 

Mr. Jones determined that Ariosto’s poetic immolation of fallen damsels might be poetically well represented by implying the brutally restrictive mores he imagines imposed by American gothic principles. It is an amusing premise, probably more amusing to Europeans than to Americans like me who think that Europeans should mind their own moral business.

Handel’s Ariodante is different than most Handel operas because it includes dance interludes (Handel inserted them to be able to include the participation of a famous dancer and her company at the Covent Garden 1735 premiere). Since Ginevra is believed to be a fallen woman these interludes made Mr. Jones think of burlesque pole dancing (an art form born in Canada during the Great Depression by the way) that he was able to include by turning Ginevra, at least as imagined by American threshers, into a puppet who was stripped of her chaste garments, then scantily clad in black vinyl and red spike heels and made to masturbate abstractly on a rake handle.

But Mr. Jones did not exclude dancing after all, as he had his American threshers shed their shoes and line them up across the front of the stage in the old death ovens image and happily do a country dance to the arias that announced the “they-lived-happily-ever-after” resolution (The king of Scotland was spared from burning his daughter who married her intended, Ariodante, after all).

Mr. Jones’ real Ginevra however bought none of this. She packed her suitcase, slipped out of her bedroom, walked onto the stage apron and when last seen was hitching a ride, presumably to Toronto or Chicago.

Maybe there was Ariosto’s famous smile after all. The audience indulged Mr. Jones with rapt attention in the second and third acts (it was hard to concentrate in the first act — read on), and rewarded him with thunderous boos (huées in French), meaning that we had had a very good time and loved every minute and that we did not know what to think. Mr. Jones’ wide smile never left his face.

Where was Handel in all this, you may ask. Well, he was right there and having a very good time too, though none of this was what he had in mind.

The esteemed Freiburger Barockorchester is in residence in Aix for this 66th Festival d’Aix with its period brass and wind instruments, and its gut strings making its uniquely cultured sound that placed Handel’s score in another time and another place. Just when you might have thought that it does not really matter what orchestra is in the pit for a Handel opera an aria would come along that was infinitely enriched the with colors that could emanate only out of this superb orchestra.

Handel surely could have only rejoiced to the matched cast of excellent singers brought to Aix for the occasion. French soprano Patricia Petibon overshadowed all others in an over-the-top performance as Ginevra, able to float beautiful high, straight (vibrato-less) tones and to cut loose in full voiced lyricism. As Mr. Jones’ Ginevra she introduced a pathos to her Act II lament (she believes Ariodante is dead) that went beyond brilliant Baroque singing to arrive, almost, at whispered tones. In total her very clear voice melted into a beautifully defined and determined character — it was a complete performance.

Ariodante_Aix3.pngDavid Portillo as Lucanio, Sandrine Piau as Dalinda, Sonia Prina as Polinesso

No less striking was the Polinesso of Italian contralto Sonia Prina as Handel’s vindictive Duke and as Mr. Jones’ morally corrupt fundamentalist preacher who stood over Grant Wood’s harvest table during the overture to deliver the blessing (an understandably exasperated audience member shouted “oh sit down”). Mme. Prina sang with color and assurance as if she were a famed castrato, her staccato fioratura genuinely astonishing, her brilliant wig (a long gray, troublesome lock on either side fell onto her face, plus a long, sexually ambivalent braid) made us detest her even more.

The balance of the cast gave high-wire vocal acts as well. Dalinda (Ginevra’s maid) as sung by French harpist turned soprano Sandrine Piau was not Handel’s confused soubrette but a full-scaled vocal villain who raged magnificently at love and not because Polinesso had raped her (on stage) but because he did not love her. Ariodante’s brother Lucanio was sung by American tenor David Portillo who was the junior member of the cast, and even so managed to hold his own and render his inexperience and youth as Lucanio’s innocence and naiveté. Italian bass Luca Tittoco straddled the poles of an isolated, old fashioned farmer who should have felt a bit silly in a kilt while he had to be a mythical personage from the age of chivalry at the same time.

Ariodante, British mezzo-soprano Sarah Connelly, brought an encompassing warmth to Handel’s hero, having suffered setbacks worthy of Ariosto’s erstwhile knight on her way to the stage, escorted from her dressing room to the stage by police who protected her from the intermittents who had broken into the backstage of the theater, knocked over a stagehand and blocked her way (first act). Later (second act) she waited to deliver her exquisitely chiseled lament (Polinesso had deceived Ariodante into believing that Ginevra was unfaithful) while a screaming car alarm was located and removed from the auditorium.

Italian early music conductor Andrea Marcon [sic] presided, evidently unflappable, over the evening, not stopping when the intermittents began a barrage of noise just outside the open air theater during the first act. Though later he coolly halted his pit musicians and the stage when security measures needed to be undertaken, started again as if nothing had happened. Thankfully in Act III (1:30 AM) he did not stop when lightning, thunder and raindrops competed with Handel and Richard Jones for our attention. The wind whipped costumes of the singers must have created some consternation among those on the stage who surely were, like us, praying for the end to come.

And yes, finally, the twelve valiant threshers from English Voices, the excellent chorus, took off their shoes and danced one last time. We booed gleefully and went back to our hotels.

Michael Milenski


Casts and production information:

Ariodante: Sarah Connolly; Ginevra: Patricia Petibon; Dalinda: Sandrine Piau; Polinesso: Sonia Prina; Lurcanio: David Portillo; Il Re di Scozia: Luca Tittoto; Odoardo: Christopher Diffey. English Voices (chorus) and the Freiburger Barockorchester. Conductor: Andrea Marcon. Mise en scène: Richard Jones; Décors et costumes: Ultz; Lumière: Mimi Jordan Sherin; Chorégraphe: Lucy Burge; Metteur en scène et concepteur des marionnettes
Finn Caldwell. Théâtre de l’Archvêché, Aix-en-Provence, July 3, 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):