At the Salzburg Festival, director Ulrich Rasche shapes Donizetti’s Maria Stuarda into “a Sisyphean image and a powerful metaphor for the mechanics of power in which everyone here is trapped” (NZZ), by moving the action onto enormous discs, “with people who must relentlessly march towards their fate on them” (Kurier). This striking interpretation is perfectly completed by the outstanding performances of the two women at the centre of the story. “Kate Lindsey (Elisabetta) was able to clothe the character’s brokenness, her remorse and indignation, in a flowing song, with an almost theatrical clarity of articulation, on the one hand, and a passionate, full-bodied sound on the other” (WDR). Lisette Oropesa, as her opponent Maria Stuarda, “stands opposite her in gleaming white, but her voice sounds wonderfully warm and full-bodied. She has a
sure command of the high notes and coloratura. But even more impressive than her acrobatics is her expressiveness: when she loves and suffers, she is completely herself, and we are completely with her” (BR).
“A soothing love potion for the ears and eyes that you’ll want to sip again and again.” (onlinemerker.de) In his iconic production of L’elisir d’amore for the Wiener Staatsoper, legendary director Otto Schenk works with a great attention to detail. Together with his congenial set designer Jürgen Rose, they bathe the stage in a warm, southern light and create a Mediterranean flair. Bogdan Volkov in the role of Nemorino “is not only an outstanding singer with a bright, ingratiating tenor voice, finely audible in his parade aria “Una furtiva Lacrima”, but also a pleasure to perform”. Maria Nazarova “is an enchanting and charming Adina and captivates with her crystal-clear soprano, sparkling coloratura and some inlaid high notes.” (onlinemerker.de)
Love, faith, death and the question of what people are prepared to risk for their values and convictions. Gaetano Donizetti deals with these themes using the example of Christian martyrdom. An outrage for the Italian censors of the 1830s, prompting Gaetano Donizetti to switch to France and enlist the help of librettist Eugène Scribe to publish the opera he had been planning, Poliuto, as a grand opéra. Under the title Les martyrs the work had its premiere in Paris in 1840 and included, among other things, a ballet scene, an innovative score structure that presaged the music-drama form, and a spectacularly reworked tenor part. Today, it is one of Donizetti’s lesser-known and rarely performed works, but for Polish director Cezary Tomaszewski it is nevertheless “the best Donizetti opera. A hybrid of bel canto and grand opéra. A masterpiece, thrilling, cinematic with multi-layered and exciting characters”. He transfers the plot to a fantastic, amorphous and futuristic world that focuses on the attempted domination of power over the body. American tenor
John Osborn is debuting in the demanding bel canto part of Polyceute (“heroic, confident in the heights, and supple the Polyeucte of John Osborn”, Der Standard). He is joined by Roberta Mantegna as Pauline (“her singing is enchanting – firm, yet soft and radiant tones with sparkling coloratura”, klasikaplus.cz) The ORF Vienna Radio Symphony Orchestra is conducted by Jérémie Rhorer, a specialist in historically informed performance practice. “An absolute event is the […] consummately singing Arnold Schoenberg Choir.” (Kurier)v
Anna Netrebko and Elina Garanca pair their glorious voices in an upcoming recording of Gaetano Donizetti’s opera “Anna Bolena” from the Wiener Staatsoper. It is Netrebko’s highly anticipated role debut as Anna Bolena. She and fellow soprano Garanca, who portrays her lady of honor Giovanna Seymour, form a fateful triangle with baritone Ildebrando D’Arcangelo as Enrico VIII. Intrigue, betrayal and passion keynote the action of this dramatic bel canto work that also stars Elisabet Kulman as Smeton and Francesco Meli as Lord Riccardo Percy. Conducting the Orchestra of the Wiener Staatsoper is Evelino Pidò. Stage director is Eric Génovèse, whose recent production of Liebermann’s “Die Schule der Frauen” in Bordeaux earned him great acclaim.
French soprano Natalie Dessay, not only a dazzling singer but also a gifted actress, effortlessly sweeps her castmates along in this turbulent buffo delight of an opera. ‘She laughed, mugged, cried and danced through her part … And she sang. Oh, how she sang,’ gushed George Jahn (Associated Press). Her partner is Juan Diego Flórez, one of the leading young tenors of our time. Clad in lederhosen, he cheerfully seduces Marie – and the audience – with his voice and his looks.
Bass-baritone Bryn Terfel is a towering figure in today’s musical world – both physically and artistically. Whether in the opera house or on the recital stage, he blends his powerful, versatile voice with commanding stage presence. Since bass-baritones are usually the “bad boys” in opera, the Welsh singer has put together a program that portrays a gallery of rogues and villains, the “demonic misfits and malcontents of this wonderful music” (Bryn Terfel). The concert features Terfel in a number of demonic roles, including two Satans (one by Gounod and one by Boito), a murderous barber (Sondheim’s Sweeney Todd), a swaggering drug dealer (Gershwin’s Sporting Life) and much more. He is accompanied in this program – recorded at Cardiff’s St. David’s Hall in his native Wales – by the Sinfonia Cymru under Gareth Jones.
From the Basilique de Saint Denis, the burial place of the French Kings since centuries and at the same time one of the first gothic churches in the world, comes the first ever audiovisual recording of a long lost masterpiece of Italian sacred music, full of romance and belcanto: Gaetano Donizetti’s luminous Messa da Requiem. The highly virtuosic and lyrical score, expressing the Christian vision of the passage from death to eternal life, combines the imposing polyphony of a choir with the operatic brilliance of soloist arias. The Argentine conductor Leonardo García Alarcón conducts his Orchestre Millenium, an orchestra dedicated to bring ancient music to a new generation, with “precise gestures and rich contrast” while the Choeur de Chambre de Namur impresses with “clarity and power” (Forum Opera).
“Each note a masterpiece”, said Arturo Toscanini of Donizetti’s La Favorite. Something of a seldom-performed rarity today, it was rarely out of the Paris opera repertoire in the decades that followed its premiere. It is considered one of the composer’s most cogent works of music drama and shows Donizetti at the height of his powers as an orchestrator. The opera is the first original French opera by the Italian bel canto composer – a happy congruence of the Italian and French operatic traditions.
Thirty years at La Scala: this is what Leo Nucci’s recital commemorated, an event celebrated by the fact that it was sold out only a few days after the booking opened. It was in 1977, and it was naturally the Barbiere by Rossini that opened in style the career at La Scala of a singer amongst the dearest in the heart of opera audiences, in particular in Milan. From then onwards, Nucci has performed in the greatest theatres in the world. He has sung with the most famous opera singers in the world, has worked with conductors such as Karajan, Solti, Giulini, Muti, Abbado, Maazel, Mehta, Levine and has participated in two ‘opera-films’: Macbeth and Il barbiere di Siviglia, in addition to numerous videos of live opera performances.
“Don Pasquale” is, along with “L’elisir d’amore” and “La fille du régiment,” one of the three musical comedies by Gaetano Donizetti (1797–1848) that still rank highly in today’s operatic repertoire. In this production “full of energy and with a stellar cast” (La Repubblica), the celebrated Italian comedian, actor, writer and cabaretist Antonio Albanese brings all of his wit and spirit into play. He judiciously combines a bittersweet depiction of amorous relations and the liberating laughter that brings us back down to earth!
