Opera Review: A Swig and a Miss

The Metropolitan Opera imbibes L’elisir d’Amore.
by Paul J. Pelkonen

Country bumpkin Nemorino (Matthew Polenzani) woos Adina (Pretty Yende) in the Met's revival
of L'Elisir d'Amore. Photo by Karen Almond © 2018 The Metropolitan Opera.

The soprano Pretty Yende is one of the more sensational discoveries at the Metropolitan Opera this decade, wowing audiences with her sweet tone and superlative bel canto technique since making her debut in the company’s January, 2013 revival of Rossini's Le comte Ory. This month, she sings Adina in the revival of Donizetti’s L’Elisir d’Amore, a charming love story that maintains its front rank among the most popular Italian operatic comedies.

Metropolitan Opera Preview: L'elisir d'Amore

This Donizetti comedy hits you right in the...grapes.
by Paul J. Pelkonen

The stars come out: Matthew Polenzani and Pretty Yende in L'elisir d'Amore.
Photo by Karen Almond © 2018 The Metropolitan Opera.

Donizetti's charming pastoral comedy is the ideal warm-up for a New York City winter. It returns to the Metropolitan Opera stage with soubrette star Pretty Yende in the role of Adina and Matthew Polenzani reprising the role of the persistent, love-struck Nemorino.

Metropolitan Opera Preview: Roberto Devereux

Sondra Radvanovsky is (once more) the Queen of England.
by Paul J. Pelkonen

Arm wrestling at the opera: Sondra Radvanovsky as Queen Elizabeth I and Matthew Polenzani
in the title role of Donizetti's Roberto Devereux.
Photo by Ken Howard © 2016 The Metropolitan Opera.

The last of Donizetti's informal "three queens" trilogy puts soprano Sondra Radvanovsky in the spotlight as Elizabeth I, the Queen of England. The opera recounts a tragic love triangle involving the queen, with fatal consequences for the tenor.

Metropolitan Opera Preview: L'Elisir d'Amore

Donizetti's Chianti-fueled comedy returns to the Met stage.
by Paul J. Pelkonen

He ain't got nobody. Vittorio Grigolo (left) squares off with Alexandra Kurzak in
the company's revival of L'Elisir d'Amore. Photo by Marty Sohl © 2016 The Metropolitan Opera.

The Met opened the 2012 season with this Bartlett Sher staging of Donizetti's L'Elisir d'Amore, the frothy bel canto comedy where a country bumpkin wins the girl with help from a very special bottle of vino. Here, Alexandra Kurzak returns to the Met stage to take over the role of the fiery (but lovable) Adina. As the lovestruck bumpkin, Vittorio Grigolo gets to sing some of the most famous music in the tenor rep.

Metropolitan Opera Preview: Don Pasquale

The Met brings back Donizetti's comedy of love, marriage and other disasters.
by Paul J. Pelkonen

Ambrogio Maestri (seated) and Levante Molnár ham it up in Don Pasquale.
Photo by Marty Sohl © 2016 The Metropolitan Opera.

The Met's last revival of Don Pasquale burned the house down. Now, a new cast led by Eleonara Buratto makes her Met debut and tenor Javier Camarena rises from the ashes. Mega-baritone Ambrogio Maestri sings the title role.

Opera Review: The Tower of Terror

Sondra Radvanovsky takes on Donizetti's Anna Bolena. 
by Paul J. Pelkonen

Sondra Radvanovsky (center, in white) faces madness and her own fate in the last
scene of Donizetti's opera Anna Bolena.
Photo by  Ken Howard © 2015 The Metropolitan Opera.

(Note: The Met opens a short second run of Anna Bolena this week. We're re-publishing this review from October of 2015.)

The Metropolitan Opera has slated five five Donizetti operas for this season, with the featured presenation being Sondra Radvanovsky's traversal of the "three queens", operas that depict the tumultuous Tudor dynasty in British history. The first of these is Anna Bolena, with Ms. Radvanovsky as the ill-fated second wife of Henry VIII. The production, seen Monday night at the Met, will be followed later this year by Maria Stuarda and Roberto Devereux, also starring the American soprano.

Recordings Review: Finally Uncorked!

Glyndebourne releases a classic L'Elisir d'Amore.
by Paul J. Pelkonen

Sometimes a fine wine must remain in the cask before its full body and rich accents can be sampled and savored. This superb live recording of Donizetti's L'Elisir d'Amore, bottled at the Glyndebourne Festival in 1962, remained unreleased until 2009.

Metropolitan Opera Preview: Anna Bolena

Sondra Radvanovsky puts her head on the block.
By Paul J. Pelkonen

Sondra Radvanovsky as Anne Boleyn in the Washington National Opera production of Anna Bolena. 
Photo by Scott Suchman for the Kennedy Center.

The big spectacular event of the 2015-2016 Metropolitan Opera schedule is not a Wagnerian extravaganza but a triptych of three operas by Gaetano Donizetti, informally referred to as the “three Queens." This year, soprano Sondra Radvanovsky looks to become the first diva to sing the leading roles in Anna Bolena, Maria Stuarda and Roberto Devereux on the Met stage. First up is the revival of Anna Bolena, which opened the Met season in 2011.

Opera Review: The Bride Wore Yellow

Bel Canto at Caramoor mounts La Favorite.
by Paul J. Pelkonen
(This review is presented in collaboration with our friends at OperaPulse.)

Clémentine Margaine (center) and Santiago Ballerini in La Favorite.
Photo by Gabe Palacio for the Caramoor Festival.

Sometimes it takes an exceptional revival to bring an opera back from the grave. That's what happened Saturday night when the annual Bel Canto at Caramoor series turned its attention to Donizetti's La Favorite, a show that held the stage in Paris from its premiere in 1840 until 1894. This performance, held on July 11 featured the Orchestra of St. Luke's under the baton of Will Crutchfield. For the performance of this difficult work, Mr. Crutchfield assembled  a slew of strong young singers execute the original French version of this opera with style and flair.

Festival Preview: Get Thee to a Nunnery (or Monastery)

Caramoor unveils its summer opera lineup. 
by Paul J. Pelkonen

Opera in concert at Caramoor's Venetian Theater.
Image © 2015 Caramoor Performing Arts Festival.

Located off a quiet suburban lane in Katonah, NY, the Rosen Estate is a gorgeous folly, an exercise in Renaissance Italian architecture slapped square in a corner of Westchester, NY. Happily, it is also home to Caramoor, a performing arts center whose annual festival features the best of opera, orchestral and chamber music.

Opera Review: The Bloodless Bride

Lucia di Lammermoor returns at the Met.
by Paul J. Pelkonen

She's not the marrying kind: Albina Shagimuratova as Lucia di Lammermoor.
Photo by Cory Weaver © 2015 The Metropolitan Opera.

Gaetano Donizetti's Lucia di Lammermoor has remained integral to the Italian opera repertory for almost two centuries. This is not because it's a great drama or a compelling story, but because its bel canto score is a superb vehicle for a soprano willing to go all-out in the opera's famous Act III Mad Scene.

Metropolitan Opera Preview: Lucia di Lammermoor

High notes and high tragedy in the Highlands.
by Paul J. Pelkonen

Joseph Calleja is Edgardo in the Met's revival of Lucia di Lammermoor.
Photo by Ken Howard © 2013 The Metropolitan Opera.

The bride of Lammermoor returns to the Met stage, in Mary Zimmerman's entertaining yet controversial production.

Opera Review: The Young Poisoner's Handbook

Angela Meade's Lucrezia Borgia bows at Caramoor.
by Paul J. Pelkonen

Pretty poison: Angela Meade is a deadly Lucrezia Borgia at Caramoor.
Photo by Dario Acosta © 2012 AngelaMeade.com

Although Gaetano Donizetti was one of the most prolific and popular composers of the 19th century, only a handful of his 71 operas have survived into the regular repertory of the world's opera houses. A recent revival of interest in bel canto repertory has led to a Donizetti revival, with operas like Anna Bolena and Maria Stuarda emerging from the fog of history.

Opera Review: All Hail the Queen

The Opera Orchestra of New York presents Roberto Devereux.
by Paul J. Pelkonen

Mariella Devia (here pictured in Anna Bolena) returned to Carnegie Hall Thursday night
as Elizabeth I in Roberto Devereux. Photo from Opera di Florenze.

There was a definite feeling of nostalgia surrounding Thursday night's concert performance of Roberto Devereux at Carnegie Hall, the lone season offering this year from the Opera Orchestra of New York. Not only did this concert mark the return of Eve Queler to the podium, but it was also the long-awaited New York return of semi-legendary 66-year-old soprano Mariella Devia in the key role of Elizabeth I, Queen of England. This was the singer's first New York appearance in 15 years.

Opera Review: The Aged and the Restless

Don Pasquale at the Juilliard Opera.
by Paul J. Pelkonen

Bad romance: Deanna Breiwick, Tobias Greenhalgh and Jeongchal Cha
in Act II of Juilliard's new Don Pasquale. Photo by Nan Merriman © 2013 The Juilliard School.

Among the mature comedies of Gaetano Donizetti the most enchanting of these is his last: Don Pasquale. This is a morality play about a covetous septeguenarian who decides to disinherit his callow nephew and enhance his love life--by getting married. It's also the latest comic treat put before a discerning New York opera audience by the Juilliard Opera, a student ensemble whose Lincoln Center productions are among the highest quality works that performing arts complex has to offer.

Pasquale is part con game and part rough-and-tumble farce, with the old man (played here by the vigorous Korean bass-baritone Jeongcheol Cha) turning rapidly from suitor to victim as his new wife turns out to be a spendthrift and worse yet, a shrew. Mr. Cha (star of last year's Juilliard Don Giovanni) proved adept at both sides of the character, bumptious and unlikeable in the first two act and a rather pathetic figure once the tables are turned. He also proved adept at the role's low tessitura and difficult patter, spouting the rapid-fire parlando lines with ease.

Mr. Cha also proved an adept physical comedian. In the first act, he makes use of an onstage personal trainer to get pumped up for marriage, engaging in physical comedy with a jump rope, an iron barbell and even a medicine ball to get ready for his big night. When the wedding goes to hell, he incorporates a stooped posture, a walking stick and even a wheelchair to age and deteriorate before the eyes of the audience.

Opera Review: Finding Nemorino

Anna Netrebko returns in L'Elisir d'Amore.
by Paul J. Pelkonen

The guy behind her has a bigger hat: Anna Netrebko as Adina in L'Elisir d'Amore.
Photo by Ken Howard © 2012 The Metropolitan Opera.

The Metropolitan Opera has revived its season-opening production of L'Elisir d'Amore for a few performances, giving more opera-goers a chance to see director Bartlett Sher's take on Donizetti's most famous comedy. (An earlier Superconductor review was of the opening night telecast, seen among the neon and bustle of Times Square.)

For no apparent reason, director Bartlett Sher refashions this opera buffa as a Verdi-esque clash between oppressive soldiers and would-be guerrilla fighters during the Risorgimento. As Dr. Dulcamara (Erwin Schrott) sells his brand of snake oil to the local peasants, his two assistants distribute single-action rifles from the back of his pushcart. The soldiers under Belcore's command are more threatening than usual, underlining the idea of political and personal tensions that will eventually erupt in violent revolution.

This production (seen Wednesday, Feb. 6) continues to revolve around its two leads, the inspired pairing of tenor Matthew Polenzani and star soprano Anna Netrebko. They both seem more comfortable in their roles, with the show-boating and jitters of opening night ditched in favor of a more natural style of comedy. There's a sweetness that wasn't there before in Ms. Netrebko's performance--she seemed more involved in the character even as she tossed off a virtuosic display of bel canto singing. Her tone was firm and assured in the big solo numbers yet rich and melting in her final duet with Nemorino.

Opera Review: An Exchange of Queens

Maria Stuarda premieres at the Metropolitan Opera.
by Paul J. Pelkonen

Elisabeta (Elza van der Heever, l.) menaces Maria (Joyce DiDonato)
in the Met's new production of Donizetti's Maria Stuarda. 
Photo by Ken Howard © 2012 The Metropolitan Opera.

Mary, Queen of Scots and Elizabeth I of England never met in real life. However, that imagined meeting came to vivid life last night in the Metropolitan Opera's first performance of Donizetti's Maria Stuarda starring Joyce DiDonato in the title role. The New Year's Eve performance also marked the house debut of promising South African soprano Elza van den Heever as Queen Elizabeth of England.

The opera's libretto (based on an 1800 play by Friedrich Schiller) takes some liberties with history, but yields wonderful results. At the heart of the story is a fictional love triangle between Maria, Elisabetta and Robert Dudley (Matthew Polenzani). That affair becomes Elisabetta's excuse to send her rebellious cousin to the execution block. It may not be history, but in the hands of a master composer it works as great drama.

Maria puts the voices of its three leads to the stern test. First among these is the pliant, sweet mezzo of Ms. DiDonato. Whether engaging in solo fioratura above the stave or plunging to the lower depths required for this role, she produced a firm, smooth tone with great vocal agility. Her arrival halfway through Act I elevated the dramatic action of the show, making it easy to understand why Maria's exile was a political sore point to her reigning cousin.

Opera Review: The Conservative Ticket

L'Elisir d'Amore opens the Metropolitan Opera's 2012-2013 Season.
by Paul J. Pelkonen

Opening night in Times Square. Photo by the author.
Original images by Nick Heavican (top) and Ken Howard (bottom)
© 2012 The Metropolitan Opera.

The Metropolitan Opera opened last night with the company's first performance of a new production of Donizetti's L'Elisir d'Amore starring Anna Netrebko. Ms. Netrebko was reunited with her tag-team partners from a successful 2010 revival of Don Pasquale, tenor Matthew Polenzani and baritone Mariusz Kwiecień.

It's true that the Met was due for a new Elisir. John Copley's shopworn 1991 production had soured with audiences, despite an energetic run of the opera last spring. The choice also allowed the Met marketing department to keep Ms. Netrebko's flashing, dark eyes at the heart of its city-wide campaign. However, this was an uninspired choice to kick off the season at a time when opera needs to make itself relevant.

Bart Sher's new production is conservative, lacking the distinct directorial mannerisms and surreal humor that prevailed in his three previous outings for the Met. The sets (by Michael Yeargan) are realistic and picturesque. Catherine Zuber provided elaborate costumes and rich fabrics that ground the opera firmly in the reality of the 19th century. The only oddity is a preference for high black hats: indeed everyone except Mr. Polenzani gets to sport one at one time or another.

Opera Review: Head of the Class

Anna Bolena at the Washington National Opera.

Royal rumble: Anna Bolena (Sondra Radvanovsky) confronts Jane Seymour (Sonia Ganassi) in
the Washington National Opera production of Anna Bolena. Photo by Scott Suchman for the Kennedy Center

The 2012-2013 opera season is still in its first month, but it's already had its first great diva turn: Sondra Radvanovsky's portrayal of Donizetti's Anna Bolena at the Washington National Opera.

These performances mark the American singer's first turn as Henry VIII's second queen in the bel canto gem, an opera that has rapidly come back into fashion thanks to the meaty title role and her dramatic confrontations with her double-dealing husband (played here by Oren Gradus) and Giovanna (Jane) Seymour (Sonia Ganassi) her lady-in-waiting turned successor.

First of all, Ms. Radvanovsky has the pipes to sing the demanding title role, gliding easily through the role's tessitura and finding a glittering edge to her voice that allowed her to surmount everyone else on stage in the Act I finale, the moment when Anna discovers she has lost her seat on the throne. This same strength and dominating presence is there in the big Act II duet with Ms. Ganassi, where Anne discovers that "her Seymour" is in fact taking her place.

Opera Review: Days of Wine and Voices

Juan Diego Flórez and Diana Damrau in L'Elisir d'Amore.

by Paul Pelkonen

Back off: she's got an umbrella. Diana Damrau fends off Juan Diego Flórez in L'Elisir d'Amore.
Photo © 2012 The Metropolitan Opera.

During his tenure, Metropolitan Opera general manager Peter Gelb has made it his mission to phase out old productions of standard repertory operas. So Monday night marked the opening of the last run for John Copley's charming 1991 L'Elisir d'Amore. This popular production uses cardboard cutouts, wooden acting surfaces, bright Italian pastels, tri-color flags and a deliberate theatrical artifice to make the giant Met stage ideal for Donizetti's rural comedy.