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

John F. Larchet's Complete Songs and Airs: in conversation with Niall Kinsella

Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.

Haddon Hall: 'Sullivan sans Gilbert' does not disappoint thanks to the BBC Concert Orchestra and John Andrews

The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?

Beethoven’s Choral Symphony and Choral Fantasy from Harmonia Mundi

Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.

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.

Taking Risks with Barbara Hannigan

A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.

Alfredo Piatti: The Operatic Fantasies (Vol.2) - in conversation with Adrian Bradbury

‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Those Blue Remembered Hills: Roderick Williams sings Gurney and Howells

Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

Bruno Ganz and Kirill Gerstein almost rescue Strauss’s Enoch Arden

Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Francisco Valls' Missa Regalis: The Choir of Keble College Oxford and the AAM

In the annals of musical controversies, the Missa Scala Aretina debate does not have the notoriety of the Querelle des Bouffons, the Monteverdi-Artusi spat, or the audience-shocking premiere of Stravinsky’s The Rite of Spring.

Two song cycles by Sir Arthur Somervell: Roderick Williams and Susie Allan

Robert Browning, Lord Alfred Tennyson, Charles Kingsley, Dante Gabriel Rossetti, A.E. Housman … the list of those whose work Sir Arthur Somervell (1863-1937) set to music, in his five song-cycles, reads like a roll call of Victorian poetry - excepting the Edwardian Housman.

Roger Quilter: The Complete Quilter Songbook, Vol. 3

Mark Stone and Stephen Barlow present Volume 3 in their series The Complete Roger Quilter Songbook, on Stone Records.

Richard Danielpour – The Passion of Yeshua

A contemporary telling of the Passion story which uses texts from both the Christian and the Jewish traditions to create a very different viewpoint.

Les Talens Lyriques: 18th-century Neapolitan sacred works

In 1770, during an extended tour of France and Italy to observe the ‘present state of music’ in those two countries, the English historian, critic and composer Charles Burney spent a month in Naples - a city which he noted (in The Present State of Music in France and Italy (1771)) ‘has so long been regarded as the centre of harmony, and the fountain from whence genius, taste, and learning, have flowed to every other part of Europe.’

Herbert Howells: Missa Sabrinensis revealed in its true glory

At last, Herbert Howells’s Missa Sabrinensis (1954) with David Hill conducting the Bach Choir, with whom David Willcocks performed the piece at the Royal Festival Hall in 1982. Willcocks commissioned this Mass for the Three Choirs Festival in Worcester in 1954, when Howells himself conducted the premiere.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Le Banquet Céleste: Stradella's San Giovanni Battista

The life of Alessandro Stradella was characterised by turbulence, adventure and amorous escapades worthy of an opera libretto. Indeed, at least seven composers have turned episodes from the 17th-century Italian composer’s colourful life into operatic form, the best known being Flotow whose three-act comic opera based on the Lothario’s misadventures was first staged in Hamburg in 1844.

OPERA TODAY ARCHIVES »

Reviews

18 Feb 2017

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Anna Bolena in Lisbon

A review by Michael Milenski

Elena Mosuc as Anna Bolena [All photos courtesy of Teatro São Carlos]

 

Just now, in this twenty-first century, it returned for five performances, its long absence(s) due to the 150 years the operatic public has preferred operas it finds dramatically more engaging.

Donizetti’s Anna Bolena (the first of his famous three queens) does however introduce a sense of real drama to opera, as his voices explore their personal passions in a flow that almost overrides the divisions of narrative into “numbers” i.e. separate musical pieces — this considered a first, Donizetti’s breakthrough. The passions are hugely powerful, most notably of course in the protagonist who is no longer loved, wrongfully accused and then, no longer a queen, a sore loser. It flows from her first startlingly difficult aria “Come, innocente Giovine” where she expounds that her position as queen is threatened, to her final cabaletta condemning the new queen, Jane Seymour as she, Anna, proudly marches to her beheading.

AnnaBolena_Lisbon2.pngElena Mosuc as Anna Bolena and Leonardo Cortellazzi as Percy

There were many, many more passions that are brilliantly laid out by Donizetti over the long, very long evening — by the queen-to-be Jane Seymour, Henry VIII, Percy (Anna’s former lover) and his friend Lord Rochefort (Anna’s brother), plus the page Smeton in seemingly countless arias and duets —the extraordinarily beautiful Act II duet of Percy and Lord Rochefort was indeed notable. Plus a plentitude of trios, quintets and finales with chorus.

It falls to the ambitious queen Anna Bolena to hold all this together by sheer force of artistry and personality. If 53 year-old Romanian/Swiss soprano Elena Mosuc seemed tentative in her first aria (the usual reaction of critics to this aria in performance) by the end of the opera she had found the histrionic and vocal depth and beauty of tone to thrill us first with her quiet, splendidly vocal reminiscences (usually said to be her madness) and then her full fury in “Coppia iniqua."

La Mosuc is an accomplished bel canto heroine of rich low notes, a full middle voice and beautiful high notes, notably a resplendent high E-flat that we heard over and over throughout the evening. You might wish for more dramatic heft and particularly for ornamentation that arises more naturally out of the vocal line, nonetheless her Anna Bolena was a satisfying tour de force.

Young American soprano Jennifer Holloway as Jane Seymour well held her own amidst a regional European cast, notably fine Italian tenor Leonardo Coretllazzi as Percy and Portuguese baritone Luis Rodrigues as Lord Rochefort. Turkish bass-baritone Burak Bilgili cut the imposingly wide figure of Henry VIII well enough without establishing a force of personality, histrionically or vocally to ground his participation in this passionately complicated (long) story.

Giampaolo Bisanti, music director of Bari’s Teatro Petruzzelli, led Teatro São Carlos’ willing orchestra, the house acoustic itself adding a roughness of tone that added a pleasing sense of times past to this old opera. This maestro, well traveled to Europe’s major stages in standard nineteenth century repertory, drove Donizetti’s music relentlessly seldom relaxing into the style and only rarely finding the soaring beauty of bel canto.

The 2007 production came from Verona’s Teatro Filarmonico, staged by Graham Vick and his designer Paul Brown. Mr. Vick based his staging on his assessment that the two women (Anna and Jane) use the bed to get themselves to the throne and the king (Henry VIII) uses the throne to get to the bed. Thus there was first a huge baldaquin bed, then later a huge sculpted head of blindfolded Justice followed by a huge (stage wide) sword that fell, and finally a crown of thorns, etc. — all unifying symbols to pull us through the numbers, which is to say fuse the musical pieces into a compelling narrative. A gratuitous visual quote was the enactment of the famous portrait of Henry VIII and Anna Bolena on horseback that hangs in London’s National Gallery.

AnnaBolena_Lisbon3.png

No amount of staging or dramatic intelligence can obliterate the fact that this bel canto opera is purely and simply beautiful singing into which you must be able to immerse yourself, and that Donizetti’s first queen Anna Bolena will always sit uneasily if restlessly on the fringes of the repertory.

Michael Milenski


Cast and production information:

Henry VIII: Burak Bilgili; Annad Bolena: Elena Mosuc; Jane Seymour: Jennifer Holloway; Lord Rochefort: Luis Rodrigues; Lord Richard Percy: Leonardo Cortellazzi; Seeton: Lilly Jorstad; Sir Hervey: Marco Alves dos Santos. Chorus of the Teatro Nacional de Sao Carlos. Orquestra Sinfónica Portuguesa. Conductor: Giampaolo Bisanti; Stage Director: Graham Vick; Sets and Costumes: Paul Brown; Lighting: Giuseppe Di Iorio.Teatro São Carlos, Lisbon, Portugal, February 9, 2017.

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):