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

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.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

OPERA TODAY ARCHIVES »

Performances

Das Nationaltheater am Max-Joseph-Platz [Photo © Felix Löchner]
19 Jul 2014

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.

Wolfgang Amadeus Mozart, Le nozze di Figaro, KV 492

A review by Mark Berry

Above: Das Nationaltheater am Max-Joseph-Platz [Photo © Felix Löchner]

 

Gerald Finley offered a handsomely-sung, dramatically alert portrayal of the Count, beautifully complemented by Véronique Gens, whose apparent indisposition was only occasionally evident. Erwin Schrott’s Figaro suffered from surprising occlusion of tone during the first act, but thereafter was very much on form, Schrott’s theatricality and musicality working very much in tandem. His Susanna, Hanna-Elisabeth Müller was perky and vivacious in both respects too. Kate Lindsey had a slightly uneasy start as Cherubino, but more than made up for it with a perfectly-sung ‘Voi che sapete’. One could believe in her/him throughout too, not least when she adopted the guise of awkward cross-dressing. Amongst the rest of the cast, Ulrich Reß’s Basilio stood out, although he alas — following directorial orders? — adopted the current tendency towards caricature in the role, if less so than sometimes one endures. Elsa Benoit’s Barbarina showed great promise, indeed great achievement; I suspect that we shall soon be hearing more from her.

If only the cast had been better supported, let alone led, by Dan Ettinger. The orchestra sounded as though it would have been happier playing without a conductor; indeed, though sometimes a little on the heavy side, the orchestral playing as such was distinguished throughout. Alas, Ettinger seemed never able to settle on the ‘right’ tempo: not that there is only one, but at the time, it should feel as though that were the case. After an Overture and good part of the first act that were driven as if they were Rossini, with little or no space to breathe, other numbers relaxed too much and felt unduly drawn out. Worse still were the occasions when tempi changed arbitrarily — this was no Furtwängler! — during a number, ‘Dove sono’ an especially unfortunate example, Gens seemingly very much at odds, and rightly so, with the conductor. It was far from the only occasion upon which coordination between stage and pit went quite awry. My habitual lament at the loss of Marcellina’s and Basilio’s fourth-act arias was exchanged for relative relief: a sad state of affairs.

Dieter Dorn’s production is an odd affair, of which I struggled to make much sense. I had the impression — which may of course be wide of the mark — that we saw a director of a fundamentally conservative disposition who nevertheless felt obliged to try something ‘new’, resulting in a compromise that lacked coherence. I assume that the contrast between period costume and scenic abstraction was deliberate, perhaps attempting to make some point about stylisation, about contemporary reception of an over-familiar eighteenth-century work, etc., but am not entirely sure quite what that point was. The fourth act’s ‘business’ with white sheets in place of ‘proper’ scenery has unfortunate echoes of a school play, or perhaps better, a school ‘movement’ session. The cast seemed to flounder on stage, and I could not really blame them. There was an equally unfortunate, if typical, tendency, if less extreme than can sometimes be the case, to confuse this most sophisticated of comedies with mere farce. (Does not Mozart’s score tell us everything we need to know in that respect — and indeed in every other?) For the most part, the cast rose above such limitations, but limitations they certainly were.

Mark Berry


Cast and production information:

Count Almaviva: Gerald Finley; The Countess: Véronique Gens; Cherubino: Kate Lindsey; Figaro: Erwin Schrott; Susanna: Hanna-Elisabeth Müller; Bartolo: Umberto Chiummo; Marcellina: Heike Grötzinger; Basilio: Ulrich Reß; Don Curzio: Kevin Conners; Antonio: Peter Lobert; Barbarina: Elsa Benoit; Two Girls: Josephine Renelt, Rachael Wilson. Dieter Dorn (director); Jürgen Rose (designs); Max Keller (lighting); Hans-Joachim Rückhäberle (dramaturgy). Chorus of the Bavarian State Opera (chorus master: Stellario Fagone)/Bavarian State Orchestra/Dan Ettinger (conductor). Nationaltheater, Munich, Thursday 17 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):