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

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

OPERA TODAY ARCHIVES »

Reviews

29 Aug 2017

Rossini’s Torvaldo e Dorliska in Pesaro

The rare and somewhat interesting Rossini! Torvaldo e Dorliska (1815) comes just after Elisabetta, Regina di Ingleterra (the first of his nineteen operas for Naples) — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.

Torvaldo e Dorliska in Pesaro

A review by Michael Milenski

Above: Nicola Alaimo as the Duke of Orlow, Salome Jicia as Dorliska [All courtesy of the Rossini Opera Festival]

 

Already before Torvaldo e Dorliska Rossini had three of his major comedies under his belt (La pietra del paragone, L’italiana in Algeri and Il turco in Italia) and two successful tragedies (Tancredi and Elisabetta).

But Torvaldo e Dorliska is a dramma semiseria — a horse of a quite different color. The genre can stretch finally into operas like maybe Don Giovanni and Rigoletto, but in Rossini’s oeuvre it did not engender any enduring Rossini masterpieces, as have comedy and tragedy — the 2015 Pesaro production of La Gazza Ladra, Rossini's only other semiseria, directed by Damiano Michieletto, definitively finished off its bid for masterpiece status.

Strict semiseria genre norms require a basso buffo, and Torvaldo and Dorliska obliges with the Duke of Ordow, played just now by none other than Nicola Alaimo, Pesaro’s recent William Tell. Mr. Alaimo is a performer of stature and of great presence, and is a powerful singer who evokes sympathy. These attributes confused this current Pesaro edition of,Torvaldo e Dorliska (a remount of its 2006 production directed by Mario Martone).

Torvaldo_Pesaro2.pngSalome Jicia as Dorliska, Dmitry Korchak as Torvaldo

The Duke of Ordow is smitten by Dorliska, recently married to Torvaldo whom the Duke assumes his thugs have murdered. Not so. The wounded Torvaldo is taken into the Duke’s castle by its gatekeeper. Meanwhile Dorliska, abducted into the castle, is slapped around by the Duke to try to get her to marry him. Everyone rebels against the Duke for various reasons and he is led off to prison.

After all that we were quite confused as we had come to like Mr. Alaimo even though everyone on stage hated him.

Director Mario Martone and his designer Sergio Tramonti set this Polish tale somewhere with lots of thick foliage, all the better to mask his thugs as they came and went, and finally hide the revolutionaries as well. The setting had all the atmospheres of incipient Romanticism. But Rossini’s libretto was largely a farce of the type that plays best under bright lights.

Besides the un-Romantic brutal slapping of Dorliska Mr. Martone offered some extreme, un-Romantic schtick as well — Ormondo, the Duke’s lieutenant climbs a tree singing his aria, and falls out still singing (he was caught by his friends), and as the revolutionary movement gained momentum thousands of "Viva Rossini" leaflets rained down upon us from the auditorium's rafters.

Torvaldo_Pesaro3.pngThe entire cast in the Act II finale

As usual in Pesaro there were fine singers who created this evening of pure delight. Of particular note was young Georgian soprano Salome Jicia as Dorliska who raged and spat in secure Rossinian language, and Russian tenor Dmitry Korchak who delivered Torvaldo with aplomb though missing was an innocence and charm we might have liked in this young lover. Pesaro regular, bass Carlo Lepore convinced us as the duplicitous gatekeeper (we sympathized with his employer). A former participant in the Pesaro’s Accademia Rossiniana, baritone Filippo Fontana was the soldier who fell out of the tree singing.

The greatest pleasures of the evening were being in the Teatro Rossini, a typical Italian horseshoe theater of perfect size for minor Rossini, the able orchestral playing of the Orchestra Sinfonica G. Rossini under conductor Francesco Lanzillotta who found the real Rossini, and most of all it was a lot of fun to have the opportunity to explore the ideals and the potential of opera semiseria in this production of undeniable charm.

Michael Milenski


Cast and production information:

Duca d’Ordow: Nicola Alaimo; Dorliska: Salome Jicia; Torvaldo: Dmitry Korchak; Giorgio: Carlo Lepore; Carlotta: Raffaella Lupinacci; Ormondo: Filippo Fontana. Coro del Teatro della Fortuna M. Agostini; Orchestra Sinfonica G. Rossini. Conductor: Francesco Lanzillotta; Regia: Mario Martone; Scene: Sergio Tramonti; Costumi: Ursula Patzak; Luci: Cesare Accetta. Teatro Rossini, Pesaro, August 18, 2017.

Michael Milenski


Cast and production information:

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):