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

02 Apr 2016

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

Roberto Devereaux in Genova

A review by Michael Milenski

Above: Mariella Devia as Elizabeth 1 [All photos copyright Marcello Orselli courtesy of Teatro Carlo Felice]

 

The productions are said to be shared with Venice's La Fenice and Parma's Teatro Regio. Unknown, at least unannounced is if these additional cities will have the splendid Elizabeth of now 68 year old Mariella Devia.

This incomparable diva sang Liu in Genova at age 64, followed the next year by her debut as Norma in Bologna. Her first Roberto Devereaux Elizabeth occurred in 2014 at Carnegie Hall, a performance that is nearly legendary.

Donizetti begins his opera by exposing the abilities and vulnerabilities of his queen as she threatens a terrible vengeance upon her rival for young Devereux's love in the vocally daunting "A te svelai tutto il mio core." Donizetti ends his opera with the emotionally exhausted old queen wreaking her vengeance in "Alma rea! Spietato core!" Finally, at her greatest anguish she abandons her throne to enter her tomb on a sustained high C. You knew it was coming, you gripped your arm rests, and with this great queen you triumphed. Well, maybe the C was a bit truncated. But it was powerful and real.

Mariella Devia's voice is not ripe, nor is it warm. It is steely and technically sure, and fully subject to the mature musical intellect of a formidable stylist and, yes, it is the voice of a queen. These attributes determined the tenor of the performance. However it remained an opera about an over-aged singer more than an opera about an older queen inappropriately in love with a much younger man. But make no mistake, it was splendid way to spend a bel canto evening.

Devereaux2.pngSonia Ganassi as Sara, Stefan Pop as Roberto Devereux

Elizabeth's rival is Sara, to whom she has confided her love of the traitor, Robert Devereux. Young Sara also loves Devereux and he loves her though Elizabeth has forced Sara to marry Nottingham who is Devereux's best friend. You see that there is a lot to sing about. Sara was sung by esteemed lyric mezzo Sonia Ganassi, like la Devia a highly accomplished mature artist. The condemned Devereux was sung by Romanian tenor Stefan Pop who mostly confused singing with shouting, though he did offer a soft, sensitive and very beautiful "Ed ancor la tremenda porta non si dischiude?" Nottingham was sung by Korean baritone Mansoo Kim whose well applauded performance exhibited mastery of Italian style and technique in a beautiful, wooden, darkly colored tone. 

Devereaux3.pngPrincipals on stage, Cecil and Gualtiero far left and far right in skirts

Cecil and Gualtiero are characters in the opera who facilitate some dreadful circumstances. They were confusing presences because they wore grand skirts but sang in baritonal voices. A primer on court dress of the 1600's would have been helpful so we could have understood and maybe appreciated the self conscious exaggerations of the costumes, victims of intensely colored synthetic fabrics, outsized and distorted collar shapes, and naive gender bending. The men of the chorus were costumed in dresses as well.

The stage was minimal, only a platform on which the principals did their thing aided by six mime assistants (the chorus costumed in all black was deployed on the floor around the stage). A huge bird cage descended to be the prison in which Roberto sang his lament (bel canto like a bird singing [groan]). There were two trendy crooked trusses alluding to, surely wishing to reinforce the fact that the agonies were, after all, only theater to be lighted.

Stage director Alfonso Antoniozzi provided lots of swish. To the accompaniment of the overture's play on “God Save the Queen” Antoniozzi dressed his queen in a huge golden imperial mantle that she would prosaically divest in the final scene, ninja acolytes raising the train to reveal a map of Europe. A singer himself Antoniozzi does in fact understand how to stage arias and numbers knowing that we do not need a lot of meaningless action to get us through ten or twenty minutes of powerful music. 

The pit was in the hands of young Italian conductor Francesco Lancillotto who could not find the breath and phrase of Donizetti's bel canto, nor a solid, expressive ground for his accompaniments.

Michael Milenski


Casts and production information:

Queen Elisabetta I: Mariella Devia; Sara: Sonia Ganassi; Roberto Devereux: Stefan Pop; Nottingham: Mansoo Kim; Lord Cecil: Alessandro Fantoni; Gualtiero Raleigh: Claudio Ottino; A page: Matteo Armanino; Nottingham’s friend: Loris Purpura. Orchestra and Chorus of the Teatro Carlo Felice. Conductor: Francesco Lanzillotta; Stage Director: Alfonso Antoniozzi; Scenery: Monica Manganelli; Costumes: Gianluca Falaschi; Lighting: Luciano Novelli. Teatro Carlo Felice, Genova, March 24, 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):