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

Maybe the Best L’heure espagnole Yet

The new recording, from Munich, has features in common with the Stuttgart one: the singers are all native French-speakers, the orchestra is associated with a German radio channel, we are hearing an actual performance (or in this case an edited version from several performances, in April 2016), and the recording is released by the orchestra itself or its institutional parent.

Stéphanie d’Oustrac in Two Exotic Masterpieces by Maurice Ravel

The two works on this CD make an apt and welcome pair. First we have Ravel’s sumptuous three-song cycle about the mysteries of love and fantasies of exotic lands. Then we have his one-act opera that takes place in a land that, to French people at the time, was beckoningly exotic, and whose title might be freely translated “The Nutty and Delightful Things That Can Happen in Spain in Just One Hour”.

ROH Return to the Roundhouse

Opera transcends time and place. An anonymous letter, printed with the libretto of Monteverdi’s Le nozze d’Enea con Lavinia and written two years before his death, assures the reader that Monteverdi’s music will continue to affect and entrance future generations:

London Schools Symphony Orchestra celebrates Bernstein and Holst anniversaries

One recent survey suggested that in 1981, the average age of a classical concertgoer was 36, whereas now it is 60-plus. So, how pleasing it was to see the Barbican Centre foyers, cafes and the Hall itself crowded with young people, as members of the London Schools Symphony Orchestra prepared to perform with soprano Louise Alder and conductor Sir Richard Armstrong, in a well-balanced programme that culminated with an ‘anniversary’ performance of Holst’s The Planets.

Salome at the Royal Opera House

In De Profundis, his long epistle to ‘Dear Bosie’, Oscar Wilde speaks literally ‘from the depths’, incarcerated in his prison cell in Reading Gaol. As he challenges the young lover who has betrayed him and excoriates Society for its wrong and unjust laws, Wilde also subjects his own aesthetic ethos to some hard questioning, re-evaluating a life lived in avowal of the amorality of luxury and beauty.

In the Beginning ... Time Unwrapped at Kings Place

Epic, innovative and bold, Haydn’s The Creation epitomises the grandeur and spirit of the eighteenth-century Enlightenment.

Stefano Secco: Crescendo

I had never heard of Stefano Secco before receiving this CD. But I see that, at age 34, he already has had a substantial career, singing major roles at important houses throughout Europe and, while I was not paying attention, occasionally in the US.

The Pearl Fishers at Lyric Opera of Chicago

For its recent production of Georges Bizet’s Les pêcheurs de perles Lyric Opera of Chicago assembled an ideal cast of performers who blend well into an imaginative and colorful production.

New Cinderella SRO in San Jose

Alma Deutscher’s Cinderella is most remarkable for one reason and one reason alone: It was composed by a 12-year old girl.

French orientalism : songs and arias, Sabine Devieilhe

Mirages : visions of the exotic East, a selection of French opera arias and songs from Sabine Devieilhe, with Alexandre Tharaud and Les Siècles conducted by François-Xavier Roth, new from Erato

La Cenerentola in Lyon

Like Stendhal when he first saw Rossini’s Cenerentola in Trieste in 1823, I was left stone cold by Rossini’s Cendrillon last night in Lyon. Stendhal complained that in Trieste nothing had been left to the imagination. As well, in Lyon nothing, absolutely nothing was left to the imagination.

Messiah, who?: The Academy of Ancient Music bring old and new voices together

Christmas isn’t Christmas without a Messiah. And, at the Barbican Hall, the Academy of Ancient Music reminded us why … while never letting us settle into complacency.

The Golden Cockerel Bedazzles in Amsterdam

Nikolai Rimsky-Korsakov’s fairy tale The Golden Cockerel was this holiday season’s ZaterdagMatinee operatic treat at the Concertgebouw. There was real magic to this concert performance, chiefly thanks to Vasily Petrenko’s dazzling conducting and the enchanting soprano Venera Gimadieva.

Mahler Das Lied von der Erde, London - Rattle, O'Neill, Gerhaher

By pairing Mahler Das Lied von der Erde (Simon O'Neill, Christian Gerhaher) with Strauss Metamorphosen, Simon Rattle and the London Symphony Orchestra were making a truly powerful statement. The Barbican performance last night was no ordinary concert. This performance was extraordinary because it carried a message.

David McVicar's Rigoletto returns to the ROH

This was a rather disconcerting performance of David McVicar’s 2001 production of Rigoletto. Not only because of the portentous murkiness with which Paule Constable’s lighting shrouds designer Michael Vale’s ramshackle scaffolding; nor, the fact that stage and pit frequently seemed to be tugging in different directions. But also, because some of the cast seemed rather out of sorts.

Verdi Otello, Bergen - Stuart Skelton, Latonia Moore, Lester Lynch

Verdi Otello livestream from Norway with the Bergen Philharmonic Orchestra conducted by Edward Garner with a superb cast, led by Stuart Skelton, Latonia Moore, and Lester Lynch and a good cast, with four choirs, the Bergen Philharmonic Chorus, the Edvard Grieg Kor, Collegiûm Mûsicûm Kor, the Bergen pikekor and Bergen guttekor (Children’s Choruses) with chorus master Håkon Matti Skrede. The Bergen Philharmonic Orchestra was founded in 1765, just a few years after the Leipzig Gewandhaus Orchestra : Scandinavian musical culture has very strong roots, and is thriving still. Tucked away in the far north, Bergen may be a hidden treasure, but, as this performance proved, it's world class.

Temple Winter Festival: the Gesualdo Six

‘Gaudete, gaudete!’ - Rejoice, rejoice! - was certainly the underlying spirit of this lunchtime concert at Temple Church, part of the 5th Temple Winter Festival. Whether it was vigorous joy or peaceful contemplation, the Gesualdo Six communicate a reassuring and affirmative celebration of Christ’s birth in a concert which fused medieval and modern concerns, illuminating surprising affinities.

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

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):