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 Reviews

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

OPERA TODAY ARCHIVES »

Reviews

Michael Fabiano as Poliuto [Photo by Tristram Kenton]
22 May 2015

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Gaetano Donizetti : Poliuto, Glyndebourne Festival, Lewes, West Sussex, 21st May 2015

A review by Anne Ozorio

Above: Michael Fabiano as Poliuto

Photos by Tristram Kenton

 

It makes a powerful case for the opera, and also for Glyndebourne’s artistic vision. Poliuto isn’t standard repertoire — it’s nothing like L’elisir d’amore — but this brilliant production and performances show what a powerful work it is.

Political repression, religious intolerance and persecution are all too relevant today. Poliuto packs an emotional punch. We should heed its message

Donizetti’s source material was a play by Corneille, written two centuries previously. Polyeucte (Poliuto) was a nobleman in an outpost of the Roman Empire. The opera begins with brooding, murky music with a hushed but fervent chorus. Christians are meeting in secret. Three hundred years after the death of Christ, being a Christian was dangerous. Most early Christians were poor, an underclass inspired by the doctrine of heavenly rewards for earthly suffering. In a militaristic state like Rome, the idea that the meek might inherit the earth would have seemed dangerously subversive, tantamount to overthrowing the basic values of social order. Towering columns of what appear to be rough-hewn stone overwhelm the figures below, at once a depiction of the harsh conditions Christians faced, yet also the strength of their faith.

Poliuto-Glyndebourne-1338.pngIgor Golovatenko as Severo and Ana María Martínez as Paolina

The opera begins with murky music suggesting shadows, and a hushed but fervent chorus. Into this darkness Poliuto (Michael Fabiano) appears. He’s a nobleman, an outsider. Is he a spy? His friend, Nearco (Emanuele D’Aguanno), is a convert. and Poliuto wants to find out why this strange new faith holds such allure. Poliuto’s troubled because he knows that his wife Paolina (Ana María Martínez) is still in love with Severo ( Igor Golovatenko), who she thought had died. Since Severo is now a Proconsul, with authority direct from Rome, this love triangle has toxic political complications. Severo’s costume suggests Mussolini, who defined Fascism. His guards resemble Mussolini’s secret police. With a wry tough sense of humour, director Mariame Clément has them smoking cigarettes.

Enrique Mazzola, a bel canto specialist, conducted the London Philharmonic Orchestra. Last November, Mark Elder conducted Les Martyrs, the French version of Poluito which Donizetti created for Paris when Poliuto was banned in Naples. The LPO aren’t a period instrument orchestra like the Age of Enlightenment for Opera Rara, but Mazzola used that to advantage, creating an almost Verdian richness of colour from the relatively small forces of a Donizetti orchestra. Mazzola seems to inspire great enthusiasm from his players. Hopefully, we’ll hear much more of him at Glyndebourne (and in London) in the future.

Poliuto-Glyndebourne-1084.pngTimothy Robinson as Felice and Michael Fabiano as Poliuto

Severo and Paolina snatch a few moments together. Martínez executed Paolina’s arias with such beauty that her voice seemed to shimmer. Good casting, since divine light seems to permeate this opera, despite the gruesome nature of the narrative. Donizetti gilds the vocal line with almost minimalist grace — delicately plucked strings, a single low flute, and the sound of the harp. For a moment, an image of a flowering tree is projected on the walls behind her Martínez’s voice blossoms with warmth that’s all too soon extinguished. When she and Golovatenko sing together, they’re singing love duets tinged with frustration and regret. Paolina, though, is a paragon of virtue, a concept both Roman and Christian.

Regimes that feel threatened turn to extremes. In the Temple of Jupiter, the crowds are whipped up to bloodthirsty frenzy. Some of the chorus had been singing Christians earlier, or Roman guards: interesting irony. Matthew Rose ‘s firmly focused bass created Callistene, the High Priest with great authority. With Severo wavering, and and Poliuto turning Christian, it’s up to him to hold up the foundations of the Roman Empire But Poliuto isn’t afraid of death. He believes in the resurrection: worldly concerns are no match. The purity of Michael Fabiano’s tenor rings so cleanly that Paolina is convinced that any faith that can conquer death is one worth having, even if it means leaving her father Felice (Timothy Robinson) singing from a wheelchair, to underline his inability to morally stand on his own two feet. When Poliuto and Paolina die, we don’t need to see blood and guts. Being True Believers, they’re simply transformed in a blaze of light. The designs (Julia Hansen and Bernd Purkrabek) with video projections, by fettFilm (Momme Hinrichs and Torge Möller) were extraordinarily beautiful. Gorgeous washes of colour. Sets that move as seamlessly as this, and transform with such subtlety are a thing of wonder. Like Paolina, I thought I could hear the angels sing.

Anne Ozorio

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):