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

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

Ovid and Klopstock clash in Jurowski’s Mahler’s ‘Resurrection’

There were two works on this London Philharmonic Orchestra programme given by Vladimir Jurowski – Colin Matthews’s Metamorphosis and Gustav Mahler’s ‘Resurrection’. The way Jurowski played it, however, one might have been forgiven for thinking we were listening to a new work by Mahler, something which may not have been lost on those of us who recalled that Matthews had collaborated with Deryck Cooke on the completion of Mahler’s Tenth Symphony.

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

OPERA TODAY ARCHIVES »

Reviews

16 Nov 2016

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.

Pacific Opera Project: The Barber of Seville, Hollywood style

A review by Michael Milenski

Above: Bartolo checks out the Music Teacher. [Photo courtesy of Pacific Opera Project, copyright Martha Benedict]

 

The Ebell Club in the Highland Park area of Los Angeles has a modest sized hall in which Pacific Opera Project (POP) often presents opera. The atmosphere is casual and the audience is usually seated at tables eating hors d’oeuvres and drinking wine. Music Director Stephen Karr sees to it that the music is taken seriously and Artistic Director Josh Shaw makes sure the action and the English supertitles keep their 2016 audience entertained.

Stage Director Josh Shaw designed the sets, which showed Rosina’s balcony, Bartolo’s living room, and Figaro’s shop. He had some short scenes played in front of a curtain. Above the stage were not only English titles but also videos and notes regaling the characters’ Hollywood exploits.

Figaro, Bernardo Bermudez, was the hairdresser who could always find his clients clean samples of hair or anything else needed to pass a drug test. His Figaro was so amusing that he almost distracted the audience from his robust singing. As his servant, Fiorello, Kevin Blickfeldt was a rollocking misfit.

Rosina, mezzo-soprano Meagan Martin, was a lovely young starlet who was anything but innocent, as she proved by the stripper-pole choreography she danced while singing “Una voce poco fa.” She sang with a small but sweet sound that was even all the way up and down her wide range.

The main character in this production, however, was Lindoro, sung by coloratura tenor Sergio Gonzalez. His well-focused sound made his virile voice sound larger than it actually was. New on the scene, he has an attractive tonal quality and a good sense of comic timing. Thus, he made an amusing drunk and a hilarious, bewigged “lady” music teacher. Don Bartolo, portrayed by bass-baritone E. Scott Levin, was Rosina’s leering manager who wanted her--and the money she could earn--for himself. The fall guy in this opera, Levin is an old friend to POP. We remember his riotous interpretation of Maestro Biscoma Strappaviscere in Donizetti’s Viva la Mamma.

Basilio, sung by bass Phil Meyer, was once the skin-tight leopard-print-pants-wearing lead singer of the famous group, Aluminum Blymp. At this point, however, he is a caustic-tongued music teacher who loves getting high on cocaine. He sang with a dark sound while spewing calumnies with comic touches. Although singing the comprimario role of Berta in this presentation, Melinda Ehrlich is a fine soprano who has sung leading roles with local companies and will be Juliet in the Center stage production of Romeo and Juliet. She added a strong top line to the ensembles. Wearing the shortest possible pants, Keystone cop wannabe Christopher Anderson-West’s Sergeant fainted when confronted with true nobility and he made the end of the opera turn out right.

For the better part of three hours the Ebell Club audience smiled, tittered, and guffawed at the antics of this talented cast. At the beginning of this review I mentioned that the music was always rendered with the utmost serious attention to detail. POP usually has a small orchestra, but this time Music Director Stephen Karr and Assistant Conductor Zach Neufeld played a knuckle-busting piano four hands version of Rossini’s intricate score that captured almost all of the original sonorities. The titles said the arrangement was by Arnold Schoenberg, but Karr and Neufeld hit the right keys and their music sounded just like unadulterated Rossini! This was a fun production that profited from the intimacy and casual ambience of the setting.

Maria Nockin


Cast and production information:

Cast and Production Information:

Music Director, Stephen Karr; Director and Designer, Josh Shaw; Costume Designer, Maggie Green; Assistant Conductor, Zach Neufeld; Figaro, Bernardo Bermudez; Count Almaviva, Sergio Gonzalez; Don Basilio, Phil Meyer; Fiorello, Kevin Blickfeldt; Rosina, Meagan Martin; Don Bartolo, E. Scott Levin; Berta, Melinda Ehrlich; Sergeant, Chris Anderson-West; Chorus: William Grundler, John David Wiese, and Matthew Ian Welch.

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):