Tag Archives: Anna Caterina Antonacci

Glorious mess / Carmen / Royal Opera House – 6 January 2014

8 Jan

ROH CarmenLet’s get out of the way that I fervently dislike Francesca Zambello’s Carmen for the Royal Opera, it is the usual large opera house production, all baked terracotta walls, running water and pointless appearances by animals. It has not aged very well and the obvious lack of dramatic heft in the production is either made up by excellent casts that add their own personality to it or it just ponders on as a bunch of badly reproduced postcards of Goya portraits and tonnes of oversized Seville oranges (complete with orange tree, of course). The brusqueness of her use of the chorus and the unnecessary amount of stage noise touches on the vulgar. Particularly in the prelude before the opening of Act Two, the heavy stomping (as we know, clumsy stomping translates as passion) drowned out any delicacy left of Bizet’s luminous composition.

The leading couple of Anna Caterina Antonacci and Roberto Alagna must have so many hundreds of performances under their belts making one suspicious to get a prescriptive and superficial interpretation . But on the night the chemistry between the two of them was undeniable, Antonacci looked at him, charmed, arrogant, full of pity and fearless. He looked back with devotion and charm, with a certain vulnerability and intensity that was the perfect answer to Antonacci’s deeply felt and committed performance. Every one of her recitatives had meaning, every word was enunciated with exemplary clarity and style. The most telling was her warm delivery of the habanera, an all too frequently chance for singers to hoot like cheap prostitutes, she made it a beguiling study in characterisation with just enough suggestion and sex appeal. And of course warmly inflected vocalism that was parlando enough to make every one shut up and listen. A Carmen that did not dominated the stage with crudity and noise, but with suggestion, humour and charisma. All the men on stage are meant to fall instantly in love with her but also did the audience.

Alagna may have sounded sharp at the start but he eased himself into a very generous and well acted partner to the astounding prowess of our leading lady. The finale (despite the ham-fisted direction) was incredibly tense and well acted. Not in the league of Bieito’s incredibly vivid production but a good example of two great performers that can create magic out of directorial crumbs.

Special mention has to go to the supporting cast with Ashley Riches being a playful Moralès and Veronica Cagemi who despite being miscast she made all she could of Micaëla’s challenging aria in Act Three but unfortunately almost run out of steam during her short duet with Don José soon after. Unfortunately the Escamillo of Vito Priante had a total personality bypass, giving a terribly pallid stage impression regardless of the honestly ridiculous entrance on a horse. Judging by the reactions around me everyone paid attention to the horse but not to the singer.

The conducting of Daniel Oren  was so dreadful to make one wonder why is he being repeatedly booked by Covent Garden, if he is not generic he is outright bad. The tempi in the first half were wayward and sluggish, the transitions laboured and all the spark was made into a dull semblance of Iberica.

That Antonacci manages to pull off her arias without any major incidents was down to her trying to speed up proceedings with her singing…surely a dreadful day in the office for any singer if they have to modulate the performance by dragging the conductor to follow them. Her intense gesturing during Les tringles des sistres tintaient looked almost as a desperate attempt for Oren to notice that he had singers on the stage.

The orchestra overall sounded bored and any apparent gleam from the strings had turned into a muddle. To give him a modicum of credit after the interval things sped up a notch and felt less embarrassing to be hearing their output. But one has to wonder why the management of the ROH will go and book two well known singers only to give them a hard time with such uninspired and provincial conducting, surely there are many others that could conduct a reliable and fluid version of the score out there.ROH Carmen List

Some tweets from the night

My Top 12 of 2012

20 Dec

2012 graphicThe end of the year and we all give in to the convention of going through the draws of our minds and paying tribute to the most entertaining and uplifting events of the year. I published a top 11 list last year and thought I’d avoid innovation and go for a top 12 for this year. I am only hoping I will not be blogging in the year 2040 as the list will become too long.

Mittwoch aus Licht

Was a cross-disciplinary spectacular. Thought as unstagable but somehow Graham Vick managed to take us all on a journey. It was cooky, it was extravagant and above all a memory to last a lifetime. Cue in helicopters, cosmic camels and a trombonist in a paddling pool. Here’s my post on the experience.
Click here to read the post.

Alice Coote

Her interpretation of Winterreise was one of the most moving performances of the year. Her programme in honour of  Kathleen Ferrier was a joy to listen to. Her concentrated deeply tragic version of Britten’s cantata Phaedra was also wonderful. We are very lucky to have her and delighted the Wigmore Hall thinks so too.
The CD and download of her Wigmore Hall Winterreise is available to buy from 8 April 2013, here’s the link to the Amazon UK page.

Click here to read the post.

Calixto Bieito’s Carmen

English National Opera were so right to bring to London this extraordinary directorial tour de force. One of the few times when a very strong directorial concept marries with an opera so deeply they become one. The production was an earthy manifestation of Bizet’s masterpiece with such assurance and self-containment that enthralled.
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Anja Harteros in Otello

That was a night of wonderment and astounding depth. Even the creaky fusty old production didn’t matter. It was impossible to avert one’s eyes from the purposeful, intense Desdemona underpinned by a complexity so inspiring. Harteros may have a lot of detractors and her record at showing up for shows may not be the most consistent. This performance left me tingling and wanting to see her again soon.
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McVicar’s Rosenkavalier at ENO

What a beautiful, non-fussy production with a great cast that understood what Strauss is all about. John Tomlison, Sarah Connolly, Sophie Bevan and Amanda Roocroft had a wonderful chemistry on stage with Edward Gardner creating a most dense gold coloured sound from the pit that made it a very special evening.
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Scottish Opera’s Magic Flute

A beautiful steam punk inspired production by Thomas Allen made by a singer for the singers. Showed Scottish Opera in a great light despite the recent financial and organisational ups and downs. It was well cast and the sure-fire hit they need to help them stay relevant and afloat.
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Opera North’s Giulio Cesare

With the great sets of Leslie Travers and pacey direction of Tim Albery. The performance was built around the radiant and alert performance of Sarah Tynan who was an ideal Cleopatra and Pamela Helen Stephen’s earthy Caesar was the compete opposite all battlefield mud and conflict. The production was tightly knit and beautifully sung throughout. The Royal Opera may stay away from any baroque opera but thank heavens that regional companies are not as apathetic towards the interpretation possibilities of it. And are willing to tour it across the country to thousands of people in the regions.

Ailyn Pérez

I still remember the buzz before her unexpected recital in March (she took over for an indisposed Giuseppe Filianoti) rushed to grab some tickets to see her and was not disappointed. Her creamy delivery and melting honesty was such a potent blend. She is an artist to watch and can’t wait to see her return to London very soon.
Click here to read the post.

Véronique Gens

She is  firm favourite of mine and had the chance to see her in action twice in the last few months at the Wigmore Hall. Her delivery of mélodies was exemplary, fusing a breezy natural style with a warm stage presence. Her singing manages to look effortless and yet is full of innate good taste and finesse. 
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Royal Opera’s Les Troyens

The production was overall hit and miss, but the incredibly vibrant,  Cassandre of a real tragedienne like Anna Caterina Antonacci the butch Enee of Bryan Hymel,  the variable but very regal Eva-Maria Westbroek and the sparkling tenor of  Ed Lyon made for a very memorable musical evening. So much so, that I snapped up another ticket and made my way to the very gods of the lower slips of the Amphitheatre not phased by the uncomfortable sitting arrangements over the over five hours duration. 
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Magical Ravel double bill at Glyndebourne

It was my first visit to Glyndebourne and it was everything I hope for and even more. Both productions were simply magical. Especially the brand new L’enfant et les sortilèges was as joyful to watch as it was to listen. The London Philharmonic played with such distinction and style that left us buzzing. Also the long interval was very welcome and our restaurant meal was expensive but also utterly delicious. Laurent Pelly was clearly at home in the whimsical and magical worlds of the two jewel like operas.
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Sarah Connolly

Another firm favourite and one singer I can not have enough of. Saw her sing Elgar, French baroque and Strauss. All of them distinctive all of them spectacular in their own right. Her upcoming Charpentier Medea with McVicar directing for ENO will be a great start for 2013 and her appearance as Phèdre in Hippolyte et Aricie at Glyndebourne will have me booking for a return trip to East Sussex in August. 
Click here to read the posts.

So many more entries could have made it here but the above are a quick distillation of some great evenings out and being present for some music making of great quality and variety. 2013 will hopefully be as full and interesting, maybe even bringing with it some surprises and new discoveries. A big thanks is owed to all my readers for putting up with my meandering blog posts. Have written this blog based on my belief that opera is alive and constantly changing and as a way to inspire others to give it a go. If just a single reader was inspired or intrigued to go to an opera or classical performance in the last year, it would make writing this blog all the more enjoyable and purposeful. 

Dangerous sex appeal and OAP “dancing” / Queens, Heroines and Ladykillers: Three eras of divas / Royal Festival Hall – 30 September 2012

2 Oct

What can anyone say about Anna Caterina Antonacci that hasn’t been written over and over again over the last twenty years. On Sunday night she proved to be one of the finest dramatic singers of our times. Dressed in a gorgeous silk crepe dress in darkest charcoal, resembling molten rubber in its movement and pearl jewellery she looked every inch the diva.

Ana Cata listAnyone starting a programme with Medea’s Act One aria is asking for trouble and indeed she did sound not fully warmed up and an aria of such emotional depth that makes demand from the widest extents of the singer’s range is a risk. Of course what makes Antonacci such a supreme artist is her sense of danger, her magnetic sex appeal and her consummate attention to the material at hand. Her ability to switch on to the character in seconds from the musical introduction is astonishing at close proximity, her eyes flaming with the rage of the abandoned woman who comes to claim Jason as hers. One is incapable to take their eyes off her, the fresh sounding OAE created the perfect conditions for Antonacci to weave her spell with this most favourite of arias. Her delivery may not have been as smooth as could have been but Cherubini’s intended vim and brilliance were there in abundance.

The biting command of the character and reality she brought to it continued in her other arias. Having portrayed two of  the characters on stage before must have been a great help for her.
O malheureuse Iphigénie was deeply moving with her singing caressing the delicate playing of the orchestra.  Once more her incisive singing, paying attention to every single word was simply wonderful. Many a singer can get on a concert platform and do a diva approximation, Antonacci embodied the grandeur of Gluck’s tragedy with such decorum and charisma. Proving what a rare commodity she really is.

After the interval she sang Didon’s last aria from Les Troyens Je vais mourir… Adieu, fière cité and while she may not have the smooth plush sound that Eva-Maria  spoilt us with, in the recent staging at the Royal Opera, she brought an immaculate presence and sense of drama and precision to the text. What she did for Cassandre at Covent Garden she pretty much repeated on a concert platform for Didon. A perfect example why I am unhappy tolerate inadequate acting on the operatic stage, a pretty sounding voice and immaculate technique are never enough, especially when a theatrical dynamo like Antonacci is gracing stages worldwide.

Her encore was Chanson Bohème from Carmen (a great lead into the Bizet symphony that followed) and again her vibrant characterisation and passionate delivery was short of astounding. An instant reminder of her past as the seminal Carmen   of the last 15 years. And again the transition from distraught queen of Carthage to furious gypsy was instantaneous and complete. This was seriously an evening not to be forgotten.

Of course you will ask how was the Haydn and the Bizet and I will tell you very good as the Orchestra of the Age of Enlightenment is too professional to be dragged down by Roger Norrington’s barely there conducting. I am afraid the Haydn conducting consisted of the nation’s favourite conducting granddad in his nightgown dancing embarrassingly to every change of tempo and subtle nuance. It maybe would have been better to try to bring together the different parts of the symphony instead of giving us the Norrington show which was excruciating. Instead of maybe having the score for both pieces he was just reduced to a strange acrobatic act. Interestingly when a score was produced for the arias and the dances by Gluck the conducting was a bit more focused and the orchestra responded accordingly.

The orchestra acquitted itself with some deliciously French sounding playing with oboes creating the colourful backbone for Gluck and Cherubini, while Lisa Beznosiuk’s flute playing was a constant source of joy, particularly in the second movement of the Haydn.  They were also helped by the more resonant acoustic of the hall, since the organ loft was open (with half the pipes still away for restoration) adding much-needed reverberation.

I wonder if the acres of empty seats inside the Royal Festival Hall can be attributed to Norrington or just that on a Sunday night Londoners are not prepared to get out for one of the greatest singers of our times? Whatever the reason, it was a shame for her to have to look out at a half full auditorium.

Looking forward to the second instalment of the series next month with the beloved Sarah Connolly …thankfully this concert takes place at the smaller, nearby, Queen Elizabeth Hall.

And on a shamelessly commercial level…I would urge everyone to get a copy of this just released song recital from the Wigmore Hall.

Some tweets from the evening


Antonacci in action

Courses for horses / Les Troyens / Royal Opera House, Covent Garden – 5 + 11 July 2012

14 Jul

The most anticipated opera production of this summer in London (aside tenuous connections to the dreadful 2012 Festival) a new production of this operatic behemoth. The signs were bad when the stalwart tenor Jonas Kaufmann had to withdraw and Brian Hymel took on the role of Enée. A lot of concerns were voiced and predictions of doom and gloom. Of course what opera fans should have worried about was the dead hand of David McVicar who proved once more to lack both a revelatory insight or even an unshakable overarching vision. The production is patchy and doesn’t really serve the material well.

In a work with considerable longueurs courtesy of Berlioz a bad production can make it from uncomfortable in length to unbearable. McVicar seems to only care for the first two Acts who were crowd managed to perfection and the set by Devlin was handsome and sleek. The problem of course is why would anyone think moving the action to the 1850s was a good idea. This looks more like a bourgeois gathering at the Cafe Royal than the desperate inhabitants of Troy under a ten-year siege. Why the mechanistic look dripping with rusty metal? Why the by the meter long flowing dresses and lace and trims everywhere one looks? Making Anna Caterina Antonacci look like the mad woman on the scrapheap of twisted metal is such a mindless degradation of the intentions of Berlioz and the gravitas of the persona, making the viewer instantly weary of what’s up next. The arrival of the horse is indeed impressive and its movement as sleek  as we would demand. The vivid image of its fiery presence dominating the floored Cassandre is a wonderful moment of almost cinematic power. Of course one has to wonder why did the horse need to go up in flames? It seems pyrotechnics are the last refuge of desperate directors trying to capture the attention of indifferent audiences…ahem let’s not recall the disastrous Don Giovanni (that has thankfully been scrapped for ever).

Unfortunately his Carthage Acts look so disconnected and romanticised, there is no obvious timeline connection to Troy. The stepped “apartment block made of mud” set attracted applause on the first night I saw it, which made a lot of us present cringe.  More obvious this failing is when Enée and his soldiers walk in, disrupting the entertainment and love in of Didon and her subjects. Eva-Maria Westbroek is dressed in full on odalisque costume, matt gold dress and a relaxed off white robe, a Bedouin meets Parisian fashion look in total contrast to the 1850s military uniform of the Troyans. Their appearance makes both Didon and her setting look even more shabby.  She also sits on a model of the town which later on becomes airborne in the manner more appropriate to Star Wars: A New Hope than a Berlioz opera. If McVicar wanted to say anything through the set costumes and the truly dreadful dancing is beyond me. The programme may dismissively informing us that audiences can’t accept men in skirts any more but somehow ignores that a more classical approach serves the material better, but of course is less of an ego boost for the director.

This production managed to go through the motions professionally and kept stage interest active but lost on the way to crowd pleasing the dramatic core of Berlioz’s complicated and multifaceted epic. It is a tragédie lyrique after all and any flippant choices for relocation of the action to another time period take a toll on the effective staging of the work. The current cult of the director being imposed on a tricky work like Les Troyens creates a hollow construct that does much of the sublime music and singing no justice. A particularly ridiculous example was Ed Lyon being pulled up in the flytower like a housewife would collect her washing in Napoli…dragged up on a rope, after singing a most sublime aria of longing. Why not go for a more conventional rope ladder to come down from the mast? It was just complication for the sake of complication with no apparent thinking behind it.

Had the chance to see it twice and the most diametrically opposite parts of the auditorium, a third row Orchestra Stalls seat at a cost of £183 and an Upper Slips bench seat for £15. The experience was thoroughly illuminating and very, very different. At Stalls one can be tantalizingly close to the singers and orchestra but the sound can suffer at times, while at the extremities of the gods the sound is surprisingly warm and immediate but a pair of binoculars comes handy!

The cast was uneven but with some great rewards to be had.

Eva-Maria Westbroek was a resplendent Didon, solemn sexuality paired with self-confidence, sense of purpose and demure deportment. Her singing started a big unsteady on the 5th but grew in confidence and dramatic power through the evening. Her final aria was truly fantastic, her Ah! Je vais mourir was so committed and forceful creating a compulsive atmosphere of empathy for the character. She sang the middle part of it straight at me, it was one of those unforgettable moments looking eye to eye with such a wonderful performer while she is on the final strait of the tragic trajectory of this most demanding role. The only constraint through the performance was the fairly stiff direction of McVicar who had her sitting a lot on top of toytown Carthage and on random cushions, creating a look of a dull odalisque in the Ingres mould. Westbroek is a physical performer that thrives in being able to engage more with the set and colleagues. So it was a relief to have her final scene played out against an off-black curtain instead of the set, thus liberated and being able to focus on the drama.

Brian Hymel may have lacked the stage charisma and the variety of colouring in his voice to be an ideal Enée but he surely made up in enthusiasm and eagerness to please with his technically accomplished and very well projected voice. On the two performances you could see him growing in confidence and the chemistry between him and Westbroek was there. Especially during the dire dancing in Act Four where she was getting very friendly with Aenee on a large pile of floor cushions (sounds downright dirty but wasn’t really). His stronger showing was during Act Five where he sang with great propulsion if not Gallic flair. He surely offered an impressive C at the conclusion of his Inutiles regrets which made for an exciting addition to the night.

The stand out performance of both evenings was Anna Caterina Antonacci’s Cassandre, she was both stylistically appropriate with an intense stage presence and a vivid embodiment of the character. Also the only cast member that looked totally independent of the particular holds of this production, almost a mini production inside McVicar’s simplistic mush. Her very entrance on both nights sent shivers down my spine. Her total conviction and stylised acting may looked out of date to many, but had that been replaced with what nowadays? She deeply felt the drama and relayed it in her great dark voice and charismatic presence, isn’t that what opera is all about? She brought a touch of the golden age to this production that was worth the price of admission alone, she was exceptional in all her perturbed glory and archetypal painted eyes in her palms. Cassandre has some of the most individualistic music in Troyens and Antonacci managed to not just fulfill the requirements but to go far and beyond and make us all drank with her charisma and dramatic personification of a vibrant figure from Greek mythology. Her two big arias in Act One were such intense theatre and her attention to every word gave depth and stripped back all the clutter and junk this production acquired courtesy of director and set designer. A triumph by a great singer/actress.

Unfortunately she had to duet with Fabio Capitanucci, who just belted out his part clearly not being told this was Berlioz he was singing and not some verismo shocker. I am afraid his gifts were wasted on a bad fit with the material.

Brintley Sherratt offered a vocally solid Narbal with impeccable taste and good sense for the rest of the ensemble.

Hanna Hipp one of the young artists of the Royal Opera was a wonderful sister to Westbroek’s Didon, sang with power and conviction, one can imagine what a great experience it must have been partnering one of the greatest singers of our times. Looking forward in seeing her in the revived Otello in a week’s time.

Ji-min Park as Iopas was a lovely light presence in the middle of the Carthaginian section, he sang his song of the fields with laser like projection, if a bit too sharp on the first night I saw him.

Ed Lyon sang Hylas’ aria that kicks off Act Five with such great beauty, gleam, wistfulness and melancholy. He surely made a big impression on both nights adding a much needed and thoroughly enjoyable punctuation to a long evening at the opera. He did caress the words with such flair and understanding for the style that won us over near instantly.

The chorus of the Royal Opera was in good form on both nights and worked exemplary well with the soloists and orchestra, which played with verve on both nights, despite the too quick tempi adopted by Pappano for the first two Acts. On the last night the balance between speed and dramatic development was much more settled and particularly the hunt and storm scenes at the beginning of Act Four seemed much speedier and alive.

The performance of the Thurs 5 July was relayed live and available to view on demand for the coming months at The Space, they also recorded the performances on 1st and 8th of July, so expect a full blown Blu-Ray and DVD release come 2013 with all the best bits of the three nights spliced together. Lets hope some of the silly extravagances indulged in this outing will be more subdued/rethought for the upcoming presentations in Vienna, Milan and San Francisco before it returns to the stage at Covent Garden in the future.

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