Europa Riconosciuta

It’s sometimes a bit of a mystery why some works disappear from the opera repertoire while other, not obviously superior, works enjoy lasting success so it’s always a pleasure to discover an obscure work that is really good (1).  Salieri’s Europa Riconosciuta fits that description in my view.  It’s basically an opera seria much along the lines of Mozart’s opere serie (opera serias? – who knows?(2)) except that there’s a longish ballet at the end of Act 1.  There are long, florid, arias with, for the two female leads, very high tessitura.  Two of the three male roles were written for castrati and the one intact male role is for that sort of heroic tenor who crops up in Idomeneo or La Clemenza di Tito.  It’s not as formulaic as works of 50 years earlier.  There are far more ensemble and choral numbers than in any of Handel’s Italian works.  It’s also just plain rather good.  Salieri understands singers and he writes really good melodies.  I guess he was just a bit unfortunate to have that pesky Salzburger as competition.

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Not especially magical flute

William Kentridge’s La Scala production of Die Zauberflöte is mainly notable for its use of black and white projections.  The intention, apparently, is to tell the story as seen by, or even as seen inside, a Victorian camera.  In places this works rather well but at times it’s quite hard to figure out what is actually going on.  Whether it was that hard to read in the theatre I can’t say.  Video recording projections is really hard and i have a lot of sympathy with Patrizia Carmine who video-directed here.  The film of a play of a film thing is really difficult to capture remotely faithfully.

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Sister swap

Richard Strauss’ Arabella is a bit of a peculiarity.  The music is top notch Strauss and the libretto is by von Hofmannsthal so it ought to be quite superb.  It doesn’t quite get there though.  It’s hard not to think that if von Hofmannsthal had lived a little longer he would have tightened up the libretto.  Act 1 works fine but Acts 2 and 3 seem rather contrived and could definitely use a few cuts.  I’m not sure that the whole Fiakermilli thing works either.  It’s almost as if Prince Orlofsky’s party mislaid Johann and found Richard by accident.  That said there is some very beautiful music.  Aber der Richtige, wenn’s einem gibt is going straight onto my list of top soprano duets.

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