I’ve often wondered what happened to Italian opera after Puccini because nothing much has ever come my way. That is until today when I got my hands on a DVD of Pizzetti’s 1958 piece, Assassinio nella Cattedrale which is closely based on the Eliot play. Murder in the Cathedral is, when one thinks about it and how Eliot uses the chorus, a really good basis for an opera libretto. The libretto sticks pretty close to the play and Pizzetti provides a tense, dramatic score which brings out the underlying fear and tension in the Eliot. Just occasionally, and very effectively, he becomes more openly lyrical, as in Becket’s acceptance of his impending martyrdom, but mostly it’s pretty high energy. That said, Pizzetti seems to be quite a conservative composer and the music is essentially tonal and easy to grasp. One curiosity I noted is that in the lead up to Becket’s death he interweaves the men’s chorus singing the Dies Irae with the forebodings of the women’s chorus and the setting of the Dies Irae he uses is the same as in Bergman’s Seventh Seal which came out the year before.
Author Archives: operaramblings
Opera houses and public transit
A few years ago I stopped being a car owner for the first time in twenty five years or so. I walk, I cycle, I use public transit and, for the rare occasions I need one, I’m a member of a carshare service. I figured out the other day that I can probably walk to 90% of the opera performances in Toronto without undue difficulty. If I don’t want to walk my main opera destination has a subway station under the building (and as a result has some ingenious engineering to isolate it acoustically from the subway line and the street outside which is the main route to three teaching hospital ERs and sometimes seems like siren central). It wasn’t much different when I lived in London; Covent Garden and the Coliseum are a hop, skip and a jump from the Tube. Likewise, as I recall, the opera houses in New York, Chicago, San Francisco and Seattle are all easily transit accessible and doesn’t Paris have a Metro station called Opéra? So, I was taken aback when I checked out the Michigan Opera Theater schedule to find directions from umpteen freeways but no mention of how the carless might access their house. I shouldn’t have been surprised. I’ve worked often enough in Detroit and the associated sprawl to know what it’s like but it does seem an odd set of priorities for a city; an opera house but no transit.
Tancredi in Schwetzingen
Rossini’s Tancredi isn’t performed particularly often but it was Stendhal’s favourite opera and it’s not hard to see why both these things are true. It’s got some really lovely music but the plot is pretty thin and it’s hard to cast. It needs a very versatile low mezzo/contralto for the title role and a crackerjack soprano and tenor too. I watched it in a well cast 1992 production from the Schwetzingen festival and enjoyed it despite some frustrations with the staging and the implausibly drawn out plot of the second act. Continue reading
Broken down by age and sex
Broken down by age and sex – that’s what they say happens to statisticians over time but this one retains his fascination with data and will happily torture it in search of a conclusion or three. In this case the data is contained in an interesting round up of the Canadian Opera Company’s 2011/12 season.
Turandot in the Forbidden City
Being an opera lover would probably be easier if I liked Puccini more, given how much air, DVD and stage time his works get, but I really struggle with him. I think it’s that concepts like “subtlety”, “elegance”, “verisimilitude” and “cultural sensitivity” completely passed him by. In an Italian setting his bombast and melodrama are somewhat made up for by the catchy tunes but move him to China or Japan or the United States and my ability to override my reality chip fails me. Which is a long winded way of saying Turandot is not my favourite opera.
Patchy Zauberflöte from Ludwigsburg
The Gramophone Guide describes the 1992 Ludwigsburg Festival production of Die Zauberflöte as a “life-enhancing experience” so I thought I’d take a look. I think the folks at The Gramphone Guide are rather over-egging it but it is a pretty decent production. It’s very much geared to Ludwigsburg’s small stage and limited scenery handling capacity but it makes good use of the space and clever lighting, including a willingness to black out the stage, and some deft stage craft make up for the limitations. Continue reading
One acters
There a quite a few operas that are too short to make up a full evening’s entertainment. Most of these are one acters but there’s the occasional on that’s not such as Dido and Aeneas. In any event they pose the problem of what to combine with what. For example, I’ve seen Gianni Schicchi paired with Zemlinsky’s A Florentine Tragedy, Rachmaninov’s The Miserly Knight and even with Salome as well as with its original partners in Il Trittico. I suppose there are a few almost canonical combinations like Duke Bluebeard’s Castle and Erwartung but mostly I think the shorter works get neglected because it is hard to find good combinations that make aesthetic sense and are marketable. So that’s my question for today; what combination of shorter operas would you like to see at your local opera emporium?
My contribution would be Stravinsky’s Oedipus Rex and Golijov’s Ainadamar. I’ve never seen either staged and both interest me musically a lot.
22 minutes of Monteverdi
Monteverdi’s Il combattimento di Tancredi e Clorinda must be, at twenty two minutes, one of the shortest operas around. In typical Monterverdi style though it crams a lot of music and emotion into a very short space. Based on a story by Torquato Tasso, it concerns a Christian knight, Tancredi, and a Moorish princess, Clorinda. Somehow they have managed to fall in love but are still fighting on opposite sides They meet on the battlefield but as each has their visor down they don’t recognize each other. They fight a long and bloody single combat in which Tancredi mortally wounds Clorinda. When their helmets are removed they recognize each other and Clorinda asks Tancredi to baptize her so they can be united in heaven. It’s pretty dodgy theology but great theatre.
Netrebko and Villazon in Manon
Massenet’s Manon is a glitzy 19th century set piece. It’s very French and very much a star vehicle. In this 2007 production from the Staatsoper Unter den Linden, director Vincent Paterson’s decides to to stage it in the 1950s and make Manon somewhat cinema obsessed, in a narcissistic way, which works rather well. It’s a self consciously glitzy affair with a bright gold curtain and technicians with Klieg lights following Manon much of the time. Even the “squalid” bits are treated with glamour. The only jarring element, deliberately I guess, is the use of giant reproductions of 19th century paintings as backdrops; notably Liberty Leading the People in Act 3.
Kupfer’s Orfeo
I’ve owned a VHS tape of Harry Kupfer’s 1991 Royal Opera House production of Gluck’s Orfeo ed Euridice pretty much since it came out. I really can’t bear to watch VHS anymore so I haven’t watched it in ages and was intrigued when I managed to get my paws on a DVD copy and was able to see what I thought after all this time. Continue reading





