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

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

OPERA TODAY ARCHIVES »

Reviews

05 Apr 2016

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Benvenuto Cellini in Rome

A review by Michael Milenski

Benvenuto Cellini (John Osborn) disguised as a monk [all photos copyright Yasuko Kageayama / TOR courtesy of the Opera di Roma]

 

This is the one where the young sculptor Cellini must cast a statue of Perseus (the Greek hero who killed Medusa) commissioned (only in the opera) by Pope Clement VII, the high renaissance Medici pope. A true Renaissance man Cellini was a sculptor, soldier, flute player (like Berlioz), rogue, lover and author — his famous autobiography self-celebrates his considerable exploits in all these fields.

Hector Berlioz and Benvenuto Cellini were kindred spirits. They both thought big, very big, and imagined grandiose accomplishment. Both had absolute certainty of their genius and never doubted their abilities. This got Cellini into quite a lot of trouble. While Berlioz steered clear of the law he heroically schemed to effect the politics or raise the money to realize huge symphonic and operatic projects. Case in point Benvenuto Cellini — four horns, four trumpets, three trombones plus tuba, winds, two harps, seven percussion players, fifty-eight strings [the count in Rome], seven principal singers and the trappings of grand opera (huge choruses and lots of fire) to tell this far-larger-than-life exploit of a far-larger-than-life personage.

So you must think big if you want to attempt Berlioz’ Cellini opera. It is not said if film director Terry Gilliam (Fear and Loathing in Las Vegas among many more films and many Oscar nominations) initiated the idea to exploit this opera, or if English National Opera seized the opportunity to exploit the resources and processes of big time film making to create something really big.

Cellini_Rome2.pngThe commedia dell'arte performance in Act I

Mr. Gilliam’s team for this 2014 ENO production included scenographer Aaron Marsden (the film Moulin Rouge!), choreographer Leah Hausmann, costumer Katrina Lindsay and lighting designer Paule Constable (recipient of many Oliver and Tony awards), and videographer Finn Ross. The result is a huge and spectacularly cinematic production. Along with Cellini’s struggles to cast his statue in bronze and Berlioz’ struggles to conceive, compose and get his opera produced, you viscerally felt the tremendous creative energy and talent expounded by Mr. Gilliam’s team. It propelled this opera to an ultimate theatrical level.

Every note of Berlioz’ sprawling, elaborate, generally manic, often naive score was taken into consideration and turned into big time, let us say manic theater. It sat splendidly in the Teatro Costanzi, filling the proscenium width with wide screen presence, equalling in scope the enormous sound and color emanating from the expanded pit.

Conductor Roberto Abbado offered breadth and sympathy to the Berlioz score, underscoring its out-of-left-field musicality. Mo. Abbado allowed what seem to be illogical musical ideas to flow straight-on, avoiding compromise to ears (like the Parisian public of the 1830’s) that are (and were) accustomed to classic French grand operas like La Juive (1835) and to Roberto Devereux (Paris, 1838), operas that I had seen/heard only days before. Benvenuto Cellini was not a success in 1838. Even now musically it was a strange, long haul that profited greatly from expansive production values.

After its London premiere the production traveled to Amsterdam in 2015 where American tenor John Osborne took on the role of Benvenuto Cellini with solid success, a success repeated just now in Rome. Mr. Osborn is a very physical performer, a real actor and a beautifully voiced singer. Vocally he is a more lyric Bellini tenor than an heroic tenor, but this allows him to soar through the role’s high tessitura with ease. At the end when we expected and maybe wanted a physically exhausted Cellini Mr. Osborn sounded like he could take it from the top all over again.

Cellini_Rome3.png Mariangela Sicilia as Teresa, Nicola Ulivieri as Balducci

Teresa, the daughter of the pope’s banker and betrothed to Cellini’s untalented rival Fieramosca, was Mariangela Sicilia, again from the Amsterdam cast. This young Italian soprano brought spunk, sassiness and brilliant high notes galore to seduce Cellini, as well as several moments of pitch and vocal uncertainty. Ascanio, Cellini’s apprentice/sidekick was Armenian mezzo soprano Varduhi Abrahamyan, new to the production. A confident, strong voiced singer she perhaps too soberly anchored this trouser role character as the sole voice of good sense amongst a field of buffo males (let us include Cellini among these guys).

The three lively buffo baritone/bass roles, Fieramosca, Balducci, Pope Clement were entrusted here in Rome to Italians who simply did what the Italians alone can do best — buffo!

Michael Milenski


Casts and production information:

Ascanio: Varduhi Abrahamyan; Benvenuto Cellini: John Osborn; Fieramosca: Alessandro Luongo; Giacomo Balkducci: Nicola Ulivieri; Pope Clement: Marco Spotti; Pompeo: Andrea Giovannini; Teresa: Mariangela Sicilia; Francesco: Matteo Falcier; Le Cabaretier: Vladimir Reutov; Bernardino: Graziano Dallavalle. Chorus and Orchestra of the Opera di Roma. Conductor: Roberto Abbado; Stage Director: Terry Gilliam; Co-director and Choreography: Leah Hausman; Set Design: Terry Gilliam and Aaron Marsden, originally conceived by Rae Smith; Costume Design: Katrina Lindsay; Lighting: Paule Constable; Video: Finn Ross. Teatro Costanzi, Rome, Italy, March 29, 2016.

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):