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 Reviews

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

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):