Here’s a preview of things to see/listen to next week. It’s Met in HD season again and the next two Saturdays have broadcasts. On the 7th it’s Bellini’s Norma with Sondra Radvanovsky and Joyce DiDonato. It’s a David McVicar production and no prizes for guessing what happens when you cross McVicar and druids. On the 14th it’s Die Zauberflöte with the Resident Groundhog conducting. It’s the Julie Taymor production but given in full in German rather than the abridged ‘for kids” version. The best thing about the cast is René Pape’s Sarastro.
Joyce DiDonato’s latest CD In War and Peace is a compilation of baroque arias on the theme of war and peace, apparently prompted by the terrorist attacks in Paris. The arias are divided, apparently, into the two categories and while I get that Handel’s Scenes of Sorrow, Scenes of Woe from Jeptha is “war” I’m not at all sure how Purcell’s Dido’s Lament finds itself on that side of the balance sheet. No matter there’s lots of Handel; very well done, and quite a bit of Purcell, some of it quite little known; even better, with some Leo, Jommelli and Monteverdi along the way.
Rossini’s La Donna del Lago is based on the Walter Scott poem, itself a deliberately romantic view of Scottish history, simplified until not much is left but the rivalry for the heroine’s hand by her three suitors and a completely unexplained war between the king of Scotland and the Clan Alpine. Dramatically it’s thin indeed but it’s Rossini so there is crazy virtuosic music and it’s very hard to cast. One needs two mezzos; one a mistress of Rossinian coloratura, the other more dramatic, and two tenors; both of which can do the crazy high stuff. The supporting roles aren’t easy either. Realistically only a major house could cast this adequately.
The story line for Bellini’s opera I Capuletti e I Montecchi will be familiar enough though it’s very condensed and based on the earlier source by Bandello rather than Shakespeare’s more elaborate reworking. So, lots of feuding but no back story, no balcony scene, no friar’s cell. But (spoiler alert) the ending is the same. Vincent Broussard’s production, originally from Munich but filmed in San Francisco in 2012, sets the work around the time of its composition and seems at times to reference that it was composed for the Venice Carnivale. It also veers around between being quite literal and trying to make the story something going on in Romeo’s head. The production is quite influenced visually by the fact that the costumes were designed by Christian Lacroix and it’s unclear whether he’s trying to support the production concept or promote his brand.
Donizetti’s Maria Stuarda featured in the MetHD series in January 2013 and has now been released on DVD. My review of the cinema broadcast is here. It’s always a bit different watching the DVD rather than the cinema version but in this case I think my somewhat different reaction has a lot to do with having recently seen various versions of the other Schiller/Donizetti Tudor queen operas, especially Stephen Lawless’ Roberto Devereux at the COC.
I just listened to my new copy of An AIDS Quilt Songbook:Song for Hope and I’m in a bit of a state of shock. It’s nearly 80 minutes of music featuring many of America’s best singers and musicians singing songs inspired by AIDS along with some poetry readings. Participants include Yo Yo Ma, Joyce DiDonato, Tony Deane-Griffey, Matthew Polenzani, Isobel LeonardSharon Stone and many more. All profits go to amFAR; the Foundation for AIDS Research. www.amfar.org
Here’s another fine example of how well Handel’s oratorios can work when staged. It’s a recording of Hercules made at Paris’ Palais Garnier in 2004. The staging is by Luc Bondy and William Christie and Les Arts Florissants are joined by a youngish cast of extremely good singers. It’s compelling stuff. I think what, for me, makes the oratorios much more interesting than most of Handel’s opera seria is structural. The operas tend to alternate recit and da capo aria with maybe a duet or chorus to close an act but they are pretty predictable. In the oratorios Handel makes much more use of ensembles and the chorus and, for me, that’s vastly preferable.