There are two girls and two guys. The guys are not who they appear to be. Nobody is sure who is pairing off with who and there’s a scheming servant. And we are in Naples. You know the opera of course. It’s Rossini’s L’occasione fa il ladre. It’s one of Rossini’s early one act farsi for La Fenice and it’s quite good, if very silly. There are plenty of musical high jinks with fast paced ensembles and some wicked coloratura. And it has an unambiguously happy ending. You will also likely recognise some of the music as, in best Rossini fashion, he used chunks of it in later works.
Stefano Poda’s production of Turandot (he is also responsible for the sets, costumes and lighting) for Teatro Regio Torino, recorded in early 2018, is one of the most visually effective productions of this (or perhaps any opera) that I’ve seen. I don’t know whether it makes “sense” (but I’m also not sure that any Turandot does) and, if it does, I doubt one would be able to unpack it in a single viewing because there’s a lot going on (but see comment at the end).
I reached the milestone of 400 DVD/Blu-ray reviews on June 20th 2016. The 500 mark came up last weekend. Let’s see how the stats have evolved.
Italian has increased its lead to 35% with German now on exactly 25%. English has dropped marginally to 12%, despite its prominence in contemporary works. I think multiple Salzburg Mozart cycles are playing a role here. Continue reading →
Only the Sound Remains is a chamber opera by Kaija Sariaho based on two Noh plays translated by Ernest Fenellosa and Ezra Pound. The piece was premiered in Amsterdam in 2016 by Dutch National Opera, where it was recorded. It’s a co-pro with Teatro Real, Finnish National Opera and the COC so Toronto audiences will likely get a look at it eventually. Which is good because it’s really hard to figure out much of it from the video recording. As he so often does, peter Sellars directs for both stage and camera and while I like his stage work here I find his video direction quite annoying, especially in the first piece.
Claus Guth has a way with Mozart. At his best; with his Salzburg productions of the da Ponte operas for example, he’s superb while I was unconvinced by his Glyndebourne Clemenza, despite its ambition. I was really keen to see what he would do with an opera like Lucio Silla which, despite some lovely music, is formulaic and potentially very boring.
I’m a bit surprised that Berlioz’ 1838 opera Benvenuto Cellini hasn’t come my way before. It’s got all the operatic elements; romance, politics, murder (and the Pope) etc and some really rather good music. There’s a lovely duet between Cellini and his girl, Teresa, in the first act and Cellini’s aria Sur les monts les plus sauvages is long and demanding in the way that Rossini writes long and demanding tenor arias. The plot maybe has a few holes. One might expect that after the pope has decreed that Cellini will be hanged if he doesn’t finish a statue by nightfall that he might just get on with it rather than running around fighting duels and stuff but there you have it. It’s French opera after all.
Respighi’s La campana sommersa is interesting in that it’s one of comparatively few post-Puccini Italian operas to get some sort of traction. It premiered in Hamburg in 1927 and saw quite a few productions between then and 1939 including one at the Met in 1929. Then it pretty much descended into obscurity before being revived in 2016 by a co-pro between Teatro Lirico di Cagliari (where the recording reviewed here was made) and the revived (more or less) NYCO (which used the Cagliari orchestra and chorus but American soloists). It’s based on a symbolist poem by German poet Gerhart Hauptmann and concerns a bell; which has been hoofed into a lake by fauns, a master bell maker who thinks he is the pagan god Balder, a water sprite, Rautendelein, and assorted mortals, elves, witches, fauns and so on. As with all these works no-one lives happily ever after.