Król Roger

Karel Szymanowski’s 1924 opera Król Roger is surely the only opera in Polish in anything like the standard rep.  Maybe that’s one reason it’s not performed all that often because it’s really rather good and Kasper Holten’s 2015 production at Covent Garden makes a pretty good case for it.  The story is set in 12th century Sicily, though as we shall see , that really doesn’t matter.  The Church is complaining to the king about a heretical prophet, the Shepherd, who is leading people astray with a strange doctrine of Love and Nature.  Roger’s queen is much taken with the Shepherd and helps protect him.  The king, who is clearly battling demons rooted in a bloody past, vacillates.  Eventually he’s persuaded and the opera closes with Roger singing an ecstatic hymn to the rising sun.

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Best Glyndebourne martyrdom since 1998

I’m not, in the normal run of things, a huge fan of obscure bel canto operas.  A very long list of them languish in obscurity for very good reasons.  So, my hopes were not all that high when I stuck the 2015 Glyndebourne recording of Donizetti’s Poliuto in the player.  I was wrong.  This is probably the best martyrdom opera from Glyndebourne since Peter Sellars’ production of Theodora in 1998.

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A Canadian in Rossini?

Yes, there is a Rossini opera with a Canadian character.  Well, OK it’s a bit ambiguous whether he’s Canadian or American and the librettist doesn’t seem quite sure that they aren’t the same thing.  Anyway, likely the earliest of an appearance of a Canadian in opera unless one counts the Les sauvages d’Amérique section of Rameau’s Les Indes Galantes.  The opera is the early one act comedy, La cambiale di matrimonio.  It’s a bit of a one trick pony.  An English merchant has contracted to marry his daughter to the Canadian, Snook, but she’s already unofficially engaged to another.  After much faffing about Snook makes the contract over to the other suitor and makes him his heir.  The joke, such as it is, is that all this is carried out in the language of commercial contracts.  For example, when Snook minds out that Fanny is engaged he considers the “merchandise” to be “mortgaged” and so on.  Still it provides a back drop for some showy singing and the usual rapid fire Rossini ensemble numbers.

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Bartoli’s Rosina

It’s a bit hard to believe, but, as far as I can tell, the only available video recording of Cecilia Bartoli singing Rosina in Rossini’s Il barbiere di Siviglia is a 1988 recording made at Schwetzingen when she was 22 years old.  It’s pretty typical of Michael Hampe’s productions of that period; traditional, elegant, symmetrical and generally well composed, but nothing terribly insightful.  It’s also rather dark and grey in places which taxes the recording technology of the period sorely.

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Dream Cendrillon

Massenet’s Cendrillon is an interesting take on the Cinderella story.  There are a lot of references in the libretto, especially in acts 3 and 4, to suggest that it’s all really a dream. So maybe it’s not unreasonable for Barbara Mundel and Olga Motta in their 2017 Freiburg production to riff of that and give us elements that don’t, at first blush, make sense.  Dreams are like that. It would also explain why, in many scenes, Lucette seems to be more of a spectator than a participant.

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Nabucco a la Visconti

I guess Verdi’s Nabucco is even more closely associated with the Risorgimento than his other works so it’s not perhaps surprising that, for his 2017 production for Verona, Arnaud Bernard made the connection explicit.  We are in Milan during the Five Days.  La Scala; which does duty as the Temple, the Hanging Gardens and itself, stands in the middle of the huge performance space of the Arena di Verona.  Italian and Austrian soldiers, including cavalry, ride around the arena or clamber over the terraces.  It’s wild and spectacular but it’s more than that.

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La scala di seta

So here’s another Rossini one act farsa from Schwetzingen.  It’s a 1990 La scala di seta in, inevitably, a production by Michal Hampe.  It’s predictably pretty to look at and well constructed dramaturgically.  The Paris background is a nice touch.  There’s some fine singing and energetic fooling from Alessandro Corbelli as the servant Germano.  The principal quartet of lovers; Luciana Serra, David Kuebler, Jane Bunnel and Alberto Rinaldi backed up by David Griffith as the girls’ guardian are stylish and toss off the various quick fire ensembles with aplomb.  Gianluigi Gelmetti and the Radio-Sinfonieorchester Stuttgart round things out with an equally accomplished reading.  So there it is, straightforward Rossini in a typical Hampe production pulled of nicely in Scwetzingen’s elegant rococo theatre.

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