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

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

OPERA TODAY ARCHIVES »

Reviews

ENO <em>Tosca </em>
07 Oct 2016

English National Opera: Tosca

Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.

ENO Tosca

A review by Mark Berry

ENO Tosca Company

Photo credit: Richard Hubert Smith

 

Catherine Malfitano’s production once had a somewhat literalistic yet straightforward integrity to it; now it seems simply to flounder. When I saw it previously, in 2011, the Personenregie at least proved generally accomplished; here it veers (too little rehearsal time for a revival, perhaps?) between the non-existent and the all-too-local am-dram. The lack of any discernible concept thus matters far more than previously it did. We simply have sets and costumes and wandering around. Quite why the Sacristan looks as though he comes from Shoreditch-cum-Kandahar I have no idea. Nor do I understand the weirdly inter-galactic backdrop for the third act. The rest - well, the rest is unobjectionable, yet nothing more.

The ENO Orchestra, as usual, was on excellent form. Oleg Caetani summoned up some luscious sounds, especially in the third act, although I found the first act a little jocular in tone. There was, in general, a reasonable sense of line, although Caetani fell some way short of the more distinguished ‘symphonic’ realisations. (No, it is not really quite the right word, but we all know what it means in this context.) Greater variegation would also have been welcome; I never felt Caetani was engaging with anything other than the score’s (impressive) surface. Choral singing was also of a high standard; let us never forget the sterling work the chorus undertakes day in, day out.

Keri Alkema (c) Richard Hubert Smith.jpgKeri Alkema as Tosca. Photo Credit: Richard Hubert Smith.

It was not, however, a vintage night for solo singing. Keri Alkema offered an alert performance in the title role, but it rarely caught fire until the second act, and only intermittently then. Gwyn Hughes Jones clearly has quite a following at the Coliseum. Although he certainly has vocal heft, I was unable to discern much beyond that in his Cavaradossi: his singing was generalised - far too often a problem in this role, I have found - and his acting at best rudimentary. Craig Colclough’s underpowered Scarpia came across in strangely camp fashion, at least on those occasions when his voice rose above the orchestra and/or chorus. I am all for revisionist readings, but pantomime villain faces are not a satisfactory substitute for true malevolence. The smaller roles, however, tended to impress, Andri Björn Róbertsson’s Angelotti, Scott Davies’s Spoletta, and young Alessandro MacKinnon’s Shepherd Boy were all especially well presented.

There was nothing bad here, then, but nor was there much over which to rejoice. Next time, might we have something that engages with the dramatic possibilities of the work, rather than pandering to the reactionary ‘taste’ of an imaginary ‘general’ audience? The Arts Council has behaved disgracefully towards ENO, but timidity never helped anyone, and it certainly does not help Puccini.

Mark Berry

Giacomo Puccini, Tosca

Floria Tosca: Keri Alkema; Mario Cavaradossi: Gwyn Hughes Jones; Baron Scarpia: Craig Colclough; Cesare Angelotti: Andri Björn Róbertsson; Sacristan: Adrian Powter; Spoletta: Scott Davies; Sciarrone: Graeme Danby; Gaoler: Robert Winslade Anderson; Shepherd Boy: Alessandro MacKinnon. Director: Catherine Malfitano; Revival director: Donna Stirrup; Set Designs: Frank Peter Schlössman; Costumes: Gideon Davey; Lighting: David Martin Jacques, Kevin Sleep. Chorus of the English National Opera (chorus master: James Henshaw)/Orchestra of the English National Opera/Oleg Caetani (conductor).

Coliseum, London, Monday 3 October 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):