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

Shortlist Announced for 2017 Wigmore Hall/Kohn Foundation International Song Competition

Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.

Over 180 perform in action-packed new work: Silver Birch

Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

Garsington Opera For All

Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

The Royal Opera House announces its 2017/18 season

Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

OPERA TODAY ARCHIVES »

Reviews

30 Jan 2017

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Falstaff at Teatro Carlo Felice

A review by Michael Milenski

Above: Valentina Boi as Alice, Alberto Mastromarino as Falstaff [All photos courtesy of Teatro Carlo Felice

 

Both earlier productions designed by his long time operatic scenic collaborator Margarita Palli.

This Luca Ronconi Falstaff production was first seen in Bari in 2013 (then in Naples and Florence). It is designed by Tiziano Santi, normally a collaborator in Ronconi’s non-operatic theater projects. Santi’s set is nothing more than walls of blank canvases, including the show curtain itself, against which walls Verdi’s gigantic comedy takes place. It is minimalist staging, the scenes traveling presentationally back and forth across downstage. Finally it was a purely verbal Falstaff, staged so the we heard every word uttered both by the voice on the stage and by Verdi’s orchestra in the pit. And we clearly saw every word lived by the opera’s protagonists.

29 year-old, wunderkind conductor Andrea Battistoni was in the pit engaging the hyper alive Genoa orchestra with the stage, magnifying the “Falstaff immenso! enorme Falstaff!” announced by Sir John Falstaff into monumental proportion, driving the punctuating cadences to every last one of Verdi’s intended exclamation points, delighting in the sweet, fleeting encounters of the young lovers, encouraging the female chatter and indulging the Italian male cuckold fetish to its absolute maximum. It was a conducting tour de force, sparks still flying from the tip of his baton (stick still in-hand) at his stage bow.

Falstaff_Genoa2.pngFord's tractor, Fenton extreme left, Ford in hat with feather extreme right

The Genoa cast of January 28 found a distinctly Mediterranean bias for Ronconi’s simple English farm life — The Italiano Alberto Mastromarino as Falstaff, Brazilian born, Spain finished baritone Rodrigo Esteves as Ford, Serbian born and trained Nenad Čiča as Fenton, Livorno born Valentina Boi as Alice. Plus two Russian born artists who have become Italian artists — Anastasia Boldyreva as Dame Quickly and Daria Kovalenko as Nanetta. Add to these the bevy of Italian male buffo character roles that were plumbed to perfection in the inimitable Italian buffo tradition.

Interestingly this was the second cast, singing two of the five performances, but you could not imagine or wish for more finished performances. Sir John Falstaff was of believable girth, of quick spirit and of powerful voice. You could, for moments from time to time, even believe that this Falstaff was an honest predator and not simply a caricature of delusion. He quibbled with Ford as an equal, triggering Rodrigo Estives, a very smart-looking, too handsome farmer, to go-off-the-deep-end in forceful hyper-baritonal terms. Note that the Ford disguise was dark glasses and, wittily, a pillow stuffed under his jacket to add girth. Fenton was dressed in bibbed denim trousers, the classic piece-of-straw chewin’ farm hand, tenor Nenad Čiča’s “Dal labro il canto estasiato vola” exquisitely wrought in tenorial flight.

The Alice Ford of Valentina Boi was ever so slightly maternal, her ample lyric voice buoying the fracas of female voices in Ronconi’s barnyard (sketched by nothing more than four geese in a line), pedaling on and off on fantastical antique bicycles with her daughter, Nanetta, sung by Daria Kovalenko in her little-girl operetta-like voice. Anastasia Boldyreva found the richness of tone to vocally convey Verdi’s satiric Quickly, yet it was the voice of a real woman (and gratefully not a cameo appearance by a famous over-the-hill diva). Meg Page did what she always does — stayed out of the way except when needed.

Falstaff_Genoa3.pngThe upside down oak tree

It was perfect theater, well until Act III when the Herne, the Hunter’s Oak inexpicably flew in upside down and dramatically the carefully entwined threads lost direction. Focus was further diluted by Nanetta’s anemic delivery of “Sul fil d’un soffio etesio.” It is possible that the slight musical insecurities inherent to a second cast noticed throughout the evening became more pronounced. We were left musically and dramatically adrift until finally the 10 protagonists walked across the stage apron to sit on the lip and deliver Falstaff’s immense and enormous fugue “Tutto nel mondo è burla, l’uomo è nato burlone” directly under the conductor’s baton. It was indeed Verdi’s 10 voiced fugal joke as never before, his response maybe to Wagner’s 50 voiced Meistersinger riot and certainly a bit of well-meaning one-upmanship to the great ensembles of Rossini himself.

Michael Milenski


Cast and production information:

Sir John Falstaff: Alberto Mastromarino; Ford: Rodrigo Esteves; Fenton: Nenad Čiča; Dottor Cajus: Cristiano Olivieri; Bardolfo: Marcello Nardis; Pistola: Mihailo Šljivić; Mrs. Alice Ford: Valentina Boi; Nannetta: Daria Kovalenko; Mrs. Quickly: Anastasia Boldyreva; Mrs. Meg Page: Manuela Custer. Chorus and Orchestra of the Teatro Carlo Felice. Conductor: Andrea Battistoni; Production: Luca Ronconi; Stage Director: Marina Bianchi; Scenery: Tiziano Santi; Lighting: A. J. Weissbard. Teatro Carlo Felice, Genoa, Italy, January 28, 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):