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.
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.
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.