Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

OPERA TODAY ARCHIVES »

Reviews

26 Jul 2014

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Donizetti: La favourite, Mozart Così fan tutte, Jette Parker Young Artists Summer Gala, Royal Opera House, London 20th July 2014

A review by Claire Seymour

 

We began with the first act of Donizetti’s La favorite, a fairly flimsy love triangle which tangentially evokes the struggles between state and church in fourteen-century Spain during the Moorish invasions of that time. Fernand, a monk, forgoes his holy vows in order to pursue his, as yet unidentified, beloved - he turns out to be Léonor the ‘favourite’ mistress of the King of Castile Alfonso XI. In Act 1 we see Fernand, warned by his Father Superior Balthazar of the dangers which will ensue if his denies his sacred vocation and enters the ‘seas of life’, travel (blindfolded) to the island of Leon, where he is met by Léonor’s companion, Inès. A passionate reunion ensues: Fernand’s hopes are first dashed - when Léonor declares that they must never meet again - and then given fresh impetus, when he learns that she has given him a commission in the army.

Australian director Greg Eldridge, also a JPYA (the scheme supports stage directors, conductors, répétiteurs, music staff as well as singers) took a sensibly minimal, abstract approach - recesses and shadows to suggest monastic cloisters, a floaty white drape to evoke an island ambience - using the deep colours Edward Armitage’s lighting design and Natalia Stewart’s period costumes to suggest tempestuous emotions and unpredictable hazards. During the overture, the blood-red glow transmuted first to a cooler aquamarine, then dimmed to ominous black; the outcome of risks taken in the name of desire were clearly signposted by the encompassing darkness and by the lyric passion summoned from the Welsh National Opera Orchestra by conductor Paul Wingfield. The orchestral lines were vigorous and clearly defined, although perhaps Wingfield did give his forthright brass section a little too much of a free rein.

The chorus of monks processed earnestly (movement director, Jo Meredith) establishing a suitably devout context for Fernand’s rebellious outburst. And, as the wayward, strong-willed monk, tenor Luis Gomes demonstrated a fine, elegant line, with a sure sense of the structure of the lyrical phrases. At the top, and at points of heightened drama as when Fernand rejoices in the promotion which he hopes will elevate him nearer to his beloved’s social position, there was some tightness; but there was also much musicality and a convincing sense of character and dramatic engagement. South Korean bass Jihoon Kim - Jette Parker Principal Artist - was solemn and imperious as the naysaying Balthazar, using his large grave bass to convey the onerous weight of blessed duty and sacrifice; at times the tone was a little unfocused, but overall the performance was persuasive.

As Inès, Armenian soprano Anush Hovhannisyan alternated warmth and refinement in her aria with the chorus, and the sound was appealing. Most impressive of all was Russian mezzo-soprano Nadezhda Karyazina whose full upper bloom and lower opulence were beguiling as Léonor.

As if a pairing of Donizetti and Mozart was not enough, Puccini was thrown in to the mix after the interval, when John Copley’s set for La bohème served as the stage for the first act of Così fan tutte. The cast might have been forgiven the odd identity crisis: one blink and Ashley’s Riches’ Don Alfonso might morph into Scarpia. But, Eldridge fashioned some neat comic touches, as when Ferrando and Guglielmo searched the wardrobes of Mimi and Marcello for their Albanian disguises. The overture was rather over-populated though, as chorus-members trundled through a vibrant café, distracting from the grace of the playing which conductor Michele Gamba coaxed in the pit. (Perhaps, as the Act 1 chorus was cut, this was just to give the monks and island belles from the first half something to do?)

Of the cast, Riches and Australian soprano Kiandra Howarth stood out. Riches has a strong stage present and excellent sense of wit, timing and gesture to add to his firm bass. Howarth didn’t quite have the evenness across the range required for a truly masterful ‘Come scoglio’ but at the top she shone and her sense of Mozartian idiom, and parody, was excellent.

Rachel Kelly has a lovely mezzo, sweet-toned and agile but very centred, which made Dorabella’s ‘Smanie implacabili’ a winning number, despite its mock-hysterics. Serbian soprano Dušica Bijelić took the role of Despina and acted engagingly although she did not always project with Mozartian clarity and lightness.

British tenor David Butt Philip (Ferrando) and Brazilian baritone Michel de Souza (Guglielmo) were a fine comic duo. Although he started his musical life as a baritone, Butt Philip sang without strain at the top and with elegance. De Souza was given Guglielmo’s ‘"Rivolgete a lui lo sguardo"’ to demonstrate his talents.

The roll call of JPYA alumni is impressive. And, with the announcement that Jihoon Kim will become a Principal Artist with the Royal Opera next season, and that five new participants (who were selected from almost 400 applicants drawn from 58 nations) will join the Programme from September 2014 - Australians Lauren Fagan (soprano), Samuel Johnson (baritone) and Samuel Sekker (tenor); British bass James Platt; bass-baritone Yuriy Yurchuk from the Ukraine - it is clear that the JPYA Programme continues to make a significant and highly valuable contribution to the development of the careers of young singers and opera professionals, and to the musical life of the capital and beyond.

Claire Seymour
La favorite: Inès, Anush Hovhannisyan; Léonor, Nadezhda Karyazina; Fernand, Luis Gomes;
Balthazar. Jihoon Kim.

Così fan tutte: Despina, Dušica Bijelić; Fiordiligi, Kiandra Howarth; Dorabella, Rachel Kelly; Ferrando, David Butt Philip; Guglielmo, Michel de Souza; Don Alfonso, Ashley Riches.

Stage director, Greg Eldridge; Conductor (La favorite) Paul Wingfield, (Così fan tutte) Michele Gamba, Welsh National Opera Orchestra; Continuo (Così fan tutte), David Syrus.

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):