Rappresentatione di Anima et di Corpo

My review of the Robert Carsen’s production of Emilio de’ Cavalieri’s 1630 allegorical opera Rappresentatione di Anima et di Corpo is now up at Opera Canada.


Catalogue number: Naxos Blu-ray – NBD0161V

Carsen productions of Pagliacci and Cavalleria Rusticana

Robert Carsen’s productions of the classic pairing of Leoncavallo’s Pagliacci and Mascagni’s Cavalleria Rusticana, filmed at Dutch National Opera in 2019, are an attempt to extend the meta-theatricality of the former to the latter. To this end he reverses the normal order which allows the prologue of Pagliacci to apply to both works and elements of the Pagliacci to be extended in Cavalleria Rusticana.


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A modern take on Gay’s classic

John Gay’s The Beggar’s Opera has been around since 1728 and is revived with some regularity but has never quite made into the opera canon. The latest incarnation is a version heavily rewritten by Robert Carsen and Ian Burton with a musical concept by William Christie. It first saw light at the Théâtre des Bouffes du Nord in 2018 before touring extensively.


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Agrippina is definitely one of the most interesting of Handel’s early operas. It has very good and very varied music including a ravishing love duet in Act 3 which reminds one of Monteverdi; perhaps not surprisingly since Poppea is one of the characters singing it! The libretto, too, has something of L’incoronazione about it. It’s smart, sexy and utterly cynical which I suppose is about par for an 18th century cardinal. It’s said that Grimani based the character of Claudio, here portrayed as an oversexed buffoon (oace Robert Graves), on his arch enemy Clemens XI. s a bonus in Robert Carsen’s version there’s a rather shocking ending in which Nerone, literally, gets the last laugh.


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War and Peace

No, not the opera by Prokofiev but Robert Carsen’s rather brilliant take on Mozart’s Idomeneo recorded last year at the Teatro Real in Madrid*.  It’s a contemporary Mediterranean setting.  Crete is a completely militarised society.  Everyone is uniformed and carries weapons.  The Trojans are refugees living in a camp with all the pathetic accoutrements of refugee camp life.  Idomeneo and Elettra stand for the traditional “Make Crete Great Again” kind of nationalism while Idamante and Ilia look forward to a world where “Us” and “Them” dissolve in our common humanity.  Carsen, Neptune, this writer and, I think, listening closely to the music, Mozart side with the young lovers.


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The Devil it is

Boito’s Mefistofele is a rather odd work.  It’s truer to the original Goethe than other operatic versions of the Faust legend which means it’s very episodic and focuses on the Faust/Mefistofele relationship rather than on Margherita.  In fact she’s dead with an act and an epilogue still to go.  It’s hard to categorize musically too.  Some parts are rather bombastic, vulgar even, yet at other times we seem to be drifting into bel canto territory.  So it’s a bit uneven; listenable enough but not very memorable.


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Best of 2014

Well not so much “best of” as the good stuff that really made my year.  It was a pretty good year overall.  On the opera front there was much to like from the COC as well as notable contributions from the many smaller ensembles and opera programs.  The one that will stick longest with me was Peter Sellars’ searing staging of Handel’s Hercules at the COC.  It wasn’t a popular favourite and (predictably) upset the traditionalists but it was real theatre and proof that 250 year old works can seem frighteningly modern and relevant.  Two other COC productions featured notable bass-baritone COC debuts and really rather good looking casts.  Atom Egoyan’s slightly disturbing Cosí fan tutte not only brought Tom Allen to town but featured a gorgeous set of lovers, with Wallis Giunta and Layla Claire almost identical twins, as well as a welcome return for Tracy Dahl.  Later in the year Gerry Finley made his company debut in the title role of Verdi’s Falstaff in an incredibly detailed Robert Carsen production.  I saw it three times and I’m still pretty sure I missed stuff.

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Falstaff again

Back to the COC’s production of Falstaff last night for a second look.  I felt I spent so much time last week trying to figure out who was who and what was what in this rather madcap comedy that I was really looking forward to seeing it in a more relaxed way.  I had figured out that there was a lot of detail to unpack that I had missed first time around; partly because I was attention challenged and partly because I had forgotten my opera glasses.  Last night; perched up in Ring 5, I watched a good part of this show through the glasses and saw many things I missed first time around.  I think I want to watch it from close up if I can, even if there’s an acoustical price to pay for that.

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Why productions succeed in one place but not another?

12-13-02-b-MC-D-3024In an age of co-productions many opera productions are seen in multiple houses.  Some of them we get to see in multiple guises.  For example I’ve seen Tcherniakov’s Don Giovanni on DVD and will be seeing it live later this season in Toronto.  Spmething that’s been fermenting in my brain for a while now is why the same production can get a drastically different reception in different places.  The piece that first made me think about this was Chris Alden’s Die Fledermaus.  This was generally well received in Toronto (more perhaps by my friends and acquaintances than the print media but that’s par for the course) but universally panned in London when it played at ENO.  Bryan’s interesting comments about the Carsen Falstaff kicked off the train of thought again and made me want to put some tentative thoughts into writing.

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