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 Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Ferruccio Furlanetto and Clementine Margaine [Photo by Todd Rosenberg]
16 Jan 2017

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Don Quichotte at Chicago Lyric

A review by Salvatore Calomino

Above: Ferruccio Furlanetto and Clementine Margaine

Photos by Todd Rosenberg

 

The lead was portrayed definitively by Ferruccio Furlanetto; in the roles of Dulcinée and Sancho, Clémentine Margaine and Nicola Alaimo, both featured in their debuts with the company, made equally strong impressions. Additional courtiers and rival suitors for the affections of Dulcinée — Pedro, Garcias, Rodriguez, and Juan — were portrayed by Diana Newman, Lindsay Metzger, Jonathan Johnson, and Alec Carlson. The roles of servants were sung by Takaoki Onishi and Emmett O’Hanlon, while the chief of the bandits was Bradley Smoak. This production from San Diego Opera was directed at Lyric Opera of Chicago by Matthew Ozawa with sets and costumes by Ralph Funicello and Missy West; the lighting designer was Chris Maravich. The Lyric Opera Orchestra was conducted by Sir Andrew Davis, and the Lyric Opera Chorus was directed by its Chorus Master Michael Black.

At the start of each act throughout this production a quote from Cervantes’ Don Quijote appears on a scrim as a generalized introduction to the action about to unfold. Since the source for Massenet’s librettist Henri Cain was a 1904 stage play by Jacques Le Lorrain, taking inspiration from Cervantes, these citations help to return the operatic material to its ultimate novelistic origins. The first of these quotes, shown during the overture, describes the protagonist being “captive of Dulcinée, ” based on a passage from part I of Cervantes’ text. A child, seated on the stage and holding a book while reading, is also now seen just before the start of the action as a further reminder of the work’s origins in literature. The first scene approximates a Spanish courtyard while protagonists and chorus wear costumes with touches of late Renaissance style. Before Dulcnée can step onto her balcony overlooking the courtyard, the chorus cries our “Alza!” and “Vivat Dulcinée!” as a prelude to the four suitors singing of their desire to see her. As if in response to these entreaties Dulcinée appears and takes up the cry “Alza!” in her opening aria, “Quand la femme a vingt ans” [“When a woman is twenty years of age”]. Ms. Margaine performs an elaborate melisma on this word before launching into her thoughts on a young woman’s emotional needs and risks. Margaine’s warm, flexible mezzo voice sings comfortably in Dulcinée’s range, her embellishments adding to the tantalizing appeal of the character.

Nicola-Alaimo_Ferruccio-Furlanetto_DON-QUICHOTTE_LYR161116_371_c.Todd-Rosenberg.pngNicola Alaimo and Ferruccio Furlanetto

The subsequent exchange between rival suitors features Mr. Johnson’s ironically heartfelt intonation on “mon pauvre ami!” [“my poor friend!”] as his character Rodriguez chides the declarations of a lovesick Juan. This banter is interrupted when the suitors and the crowd together proclaim Quichotte’s entrance with his squire. Messrs. Furlanetto and Alaimo proceed into the courtyard on stuffed animals with Quichotte dressed in the stylized formality of a traveling knight. After admonishing the squire Sancho to be generous to the young and the poor, calling them angels, the “Chevalier” retreats to gaze up at the balcony of Dulcinée. Furlanetto’s movements and declamation reveal here a true assumption of character, while he musters the energy of an aging knight to fulfill the timeless ideals of chivalry. The serenade performed for the adored Dulcinée, “Quand apparaissent les étoiles” [“When the stars appear”], shows the knight attempting to focus despite public distraction. With distinct emotional tension Furlanetto holds the verse “Je fais ma prière à tes yeux” [“Unto thine eyes I say my prayer”], until one of the youthful rivals insults his honor. After fending off the start of swordplay, Quichotte resumes his serenade with mandolin, complimenting “La fleur de tes lèvres” [“the flower of your lips”]. Upon repeating this line herself, Dulcinée joins the principals to settle the struggle for her devotion. In her attempts to “modérer votre ardeur” [“temper your enthusiasm”], Margaine assumes multiple vocal identities, so that she remains attractive to both Quichotte and to Juan and persuades them not to “spill blood” [“répandre du sang”]. Once she dispatches the Chevalier on a mission to retrieve her stolen necklace, Quichotte glows with the assumption of affection. Here Furlanetto stands transfixed at Dulcinée’s balcony while intoning slowly “Elle m’aime” [“she loves me”], and — more slowly — “sa voix” [“her voice”], so that he nearly gels into a statue. The final two verses of the act preview by their performance here the eventual course of this one-sided liaison. Quichotte insists that his word is sacred, which Furlanetto emphasizes with a dramatic descending pitch on the vow that the will keep it [“je veux la tenir”]. Offstage Margaine repeats with an equally distinctive note of resignation Dulcinée’s original sentiment of the woman of twenty years.

The second and third acts of Don Quichotte allow the audience both to appreciate the steadfast relationship between the Chevalier and his squire Sancho and to test the vow of the errant knight in fulfilling his promise. On the scrim before Act II a citation from Cervantes reminds the audience that Quichotte will courageously perceive windmills as giants. While riding through a bucolic landscape Quichotte attempts to compose a love poem for his lady. As Furlanetto becomes progressively rapt in his thoughts, Sancho remarks sympathetically “Enfin il est heureux!” [“He is finally happy!”]. The sentiment soon shifts to Sancho’s resentment over having presumably been duped by Dulcinée. Mr. Alaimo unleashes an extended judgement against “Les femmes” who continue to leave an husband simply scratching his head. Alaimo becomes vocally and physically involved in his accelerating characterization. With a forte declaration “L’homme est une victim” [“Man is a victm”], he equates husbands with “des saints” in a line which Alaimo concludes on a dramatically extended pitch. His impressive aria is interrupted by Quichotte’s spotting “les Géants” whom he intends to challenge with his lance. The scene renders Sancho’s renewed sympathies, and Alaimo cries with a gasp, “O fatale démence!” [“O fatal madness!”]. Once the knight is caught and carried up by the blade of a windmill, Sancho is left to pray for deliverance. After an orchestral interlude played at the start of Act III, both men proceed into the mountains at sunset. It is in this act that Furlanetto’s portrayal of Don Quichotte reaches its apotheosis while he declares heroically to his squire, “notre gloire commence!” [our glory begins!”]. Quichotte is now certain that he has found the path of the bandits who robbed Dulcinée’s necklace. With determination he repeats the start of his dedicatory chanson of love before gleefully declaring to Sancho that he sees at least two hundred opponents. Quichotte, who must face them alone, is now vanquished and surrounded by the group intending to kill him. With eyes directed to heaven and hands joined, Furlanetto sings the moving prayer, “Seigneur, reçois mon âme” [“Lord, receive my soul”], which he concludes piano on the line “I am yours.” Through vocal persuasion the chevalier arouses wonder in his adversaries; as leader of the bandits Mr. Smoak summarizes their reaction in his pointed questions on Quichotte’s purpose. In his proud response Furlanetto identifies himself as a knight redressing wrongs, describing his specific goal here, with the caveat that not the jewel, but “la cause est sacrée” [“the cause is sacred”]. The necklace is at once surrendered as Quichotte calls out to Sancho. The squire returns to witness the “miracle” of the converted ruffians, whom Quichotte can now characterize as “docile” in Furlanetto’s triumphantly held pitch.

The return to Dulcinée’s court and Quichotte’s unexpected departure are portrayed succinctly in Acts IV and V. Although surrounded by merrymaking and adulation, Dulcinée fails to be contented with the affections of her current suitors. She declares them objects of boredom as Margaine launches into her aria “Lorsque le temps d’amour a fui” [“when the time for love has fled”]. Starting with a slow and contemplative tempo, the piece increases in both intensity and volume as the heroine is joined by the chorus. Just as the determined suitors join in the song, Sancho announces the successful return of Quichotte. When Dulcinée learns that her necklace has indeed been returned, Margaine declares with emotional fervor, “Il faut que je t’embrasse!” [“I must embrace you”]. This sign of affection remains, however, attached to the bauble, for Quichotte’s subsequent offer of marriage is rebuffed with disbelief. Although Dulcinée’s explanation of emotional noncommittal is credited to her own needs, the courtiers can only deride Quichotte for his foolish desires. In a gesture of extremely touching loyalty Sancho chides the courtiers for their callous laughter at a man whose life has been determined by ideals and the perception of truth. Alaimo concludes this scene vocally with perhaps the most moving involvement of the production, as he lifts Quichotte to his feet and helps him to depart from an unwanted public display. In the final brief act in the mountains this powerful camaraderie is repeated when Sancho must support the head of Quichotte in his final moments of life. Furlanetto reminds his squire that he can leave him “l’île des Rêves” [“the island of dreams”] in their parting dialogue. In Alaimo’s anguished “Mon Maître adoré” [“My beloved Master”] we sense that this legacy will be cherished.

Salvatore Calomino

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):