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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

OPERA TODAY ARCHIVES »

Performances

Dominique Daye Lim, Lila Powell and Emalie Huber [Photo courtesy of Le Château de la Voix]
28 Aug 2015

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

La Púrpura de la Rosa (“The Blood of the Rose”)

A review by Iker Garcia

Above: Dominique Daye Lim, Lila Powell and Emalie Huber [Photo courtesy of Le Château de la Voix]

 

For those versed in Golden Age Spanish literature the name Pedro Calderón de la Barca (1600-1681) will of course be familiar, but Calderón lovers and even connoisseurs are likely to raise an eyebrow at seeing the man who penned La Vida es Sueño (“Life is a Dream”), a philosophical tragicomedy solidly established in the canon of Western drama, become an opera librettist (English readers are invited to imagine Shakespeare or a quasi-Shakespeare writing an opera libretto to experience an analogous sense of puzzlement at the sight of the program). The conundrum, as Louise K. Stein explains in her excellent PR entry in mundoclasico.com (the introduction to her PR critical edition for Iberautor Promociones Culturales), goes back to 1659, when Calderón was indeed commissioned the libretto for Philip IV's court celebration of the Peace of the Pyrenees and worked together with Juan Hidalgo (1614-1685), the first person who set music to the text. All this happened in Madrid (Spain). To get to 1701 and Lima we need to go through several revivals of the opera (1679, 1690, and 1694, according to Stein) and the commission of the opera’s production by the Viceroy of Peru (probably in view of its success) to commemorate the 18th birthday of King Philip V and first anniversary of his succession to the throne. The composer of the Lima performance was Tomás de Torrejón y Velasco (1644-1728), born in Spain and later a resident of today’s Peru for several decades, a musician who, according to Stein, might have been a pupil of Hidalgo (it’s not clear from Stein’s entry what exactly motivated a fresh composer and thus score for the Lima performance, but apparently Torrejón left intact much of Hidalgo’s original music, so credit should be given to both for the final score).

The play and music themselves deserve more commentary that we can provide here (the reader is invited to consult Stein’s article for supplementary information). A highly allegorical text, PR tells the story of the love between Venus (Roman goddess of love) and Adonis (a handsome youth), which prompts the jealousy of Venus’ lover Mars (Roman god of war), and his attempt at revenge. At the end Mars partially succeeds, as Adonis is killed by a boar made vicious by Mars’ aids, which prompts Venus’ despair at the sight of his lover’s blood, none other than the “púrpura” of the opera’s title:

Belona:

y así, ¿para qué has de ver

que humana púrpura corre?

Todas:

Tanto, que de ella animadas,

cada flor es un Adonis

[Belona: And so, why do you want to see / / how human blood is running?

All: So much blood, that enlivened by it, / / every flower is an Adonis]

(PR, v. 1356-1359)

In between, characters like Jealousy, Disillusion, Fear, or Anger, among others, have tried to impart Mars a few lessons of prudential wisdom, apparently to no avail; in the end love triumphs and Jupiter elevates Venus and Adonis to Mount Olympus. The story, surprising for the candid celebration of erotic love in such a religious-minded author as Calderón, is accompanied by music that incorporates Latin American melodies and rhythms into an overall European dramatic and harmonic structure, with which one can establish useful comparisons with Renaissance or baroque composers such as Cabezón, Frescobaldi, Scarlatti, or Couperin. The opera itself (that is, the story and the music) can helpfully be compared with Purcell’s Dido and Aeneas and Monteverdi’s L’Orfeo.

As for the performance, Le Château de la Voix deserves credit on various grounds. First for its choice of a little-known opera that showcases a strong and interesting tradition not seldom ignored in histories of classical music, i.e. the Spanish (a fortiori, the colonial Spanish). Second for having assembled a highly efficient orchestra composed of faculty members of the University of Illinois School of Music (continuo group of harpsichord, viola de gamba, guitars, lutes, and harp). Finally, for having coached a diverse group of young vocal performers whose lack of expertise was amply made up for by their enthusiasm and attunement to the intricacies of the Spanish baroque not unusually convoluted ways of expressing artistic emotion.

A final linguistic note: the Real Academia Española dictionary accepts “púrpura” as “human blood” (7 th entry; poetical use), but in current Spanish the word routinely means “purple” (the color) or, alternatively and more technically, “purple dye murex” (a particular variety of medium-size sea snail), which is the 1st entry given by the RAE. So much as an indication that for Spanish speakers (at any rate present-day ones) the expression “la púrpura de la rosa” still retains its original Baroque qualities.

Iker Garcia


Additional information:

Music by Tomás de Torrejon y Velasco (1644-1728)
Libretto by Pedro Calderón de la Barca (1600-1681)
Saturday August 1 (7:30pm), Sunday August 2 (3pm), 2015, Smith Hall, University of Illinois at Urbana-Champaign

Le Château de la Voix (summer vocal Academy) accompanied by a period instrument orchestra

Click here for additional photos.

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):