AMICA

Camoine and Amica

AMICA. Composed by Pietro Mascagni. Conductor: Manlio Benzi. Director: Alessio Pizzech. Singers: Anna Malavasi; David Sotgui; Pierluigi Dilengiti; Marcello Rosiello; Francesca De Giorgi. 2008. 

Performed at Mascagni's birthplace, Livorno Italy, this production, while hardly of Met quality, is admirable. Amica is a young woman who has been raised by her uncle, Camoine, who insists that she marry Giorgio, who adores her but whom she doesn't love. Instead she loves his brother, Rinaldo, whom her uncle banished some time before. Amica runs off into the mountains with Rinaldo after he returns, followed by Giorgio, who has no idea who her lover is, just as Rinaldo doesn't know that she was supposed to marry Giorgio. When the two men meet up in the high hills, they are each astonished to learn the truth. Rinaldo realizes that his running off with Amica will utterly destroy his brother, whom he has cared for since childhood, but Amica simply can't accept his decision for the two to part forever, leading to tragedy.

Mascagni responded to this story with music of great emotional power, melodiousness, and symphonic beauty. Some have noted that the music of the climax is so dramatic that it's as if the world had ended in a cataclysm, but this is exactly what has happened in the minds of the three lead characters and Mascagni expresses their torment in striking musical terms. With a clearly limited budget, the production is still effective, and the singers, while not necessarily world-class, deliver generally good vocal and dramatic performances. 

Verdict: Women just can't get a break! Another verismo masterpiece from Mascagni. ***1/2.   

STINGAREE

STINGAREE (1934). Director: William Wellman. "

You'll be just as safe here -- as you want to be." 

Bizarre but likable comedy-drama-musical-what-the hell? with Irene Dunne as Hilda Bouverie, who desperately wants a career as a singer, and Richard Dix as "Stingaree," a notorious 1874 Australian bandit who wants to make it happen for her -- even if at gunpoint. Unintentional hilarity ensues when Dunne begins singing Lucia di Lammermoor (off-screen) at all the great opera houses -- Dunne has a lovely, perhaps even an operetta-type voice, but Renata Tebaldi she ain't! However, she's as charming as ever in this film. What can one say about Richard Dix except that he's devoid of looks and insouciance and is more at home in those Whistler movies. The movie needed a Tyrone Power type and that Dix is not, although he's at least professional. As others have noted, nobody wants to see the delightful Mary Boland as a mean-spirited bitch, which she is in this film. When she sings (a dubbed voice that is not operatic-great but hardly terrible) another character says: "Being shot right now would be a blessed relief!" Jealous of Hilda's youth and talent, Boland is the type of singer who blames the accompanist for her own inadequacies. There are many amusing moments in the film, an interesting sequence when Hilda hears off-stage gunshots (has her beloved been shot?) at a concert, and the songs, especially "Tonight is Mine," are lovely. So fast-paced that it doesn't give you much time to ponder the absurdity of it all. Una O'Connor is fun as ever as a maid-companion. 

Verdict: Stupid but cute. ***.

CYRANO DE BERGERAC: OPERA

Placido Domingo (foreground) with lovers

CYRANO DE BERGERAC. Opera composed by Franco Alfano.

NOTE: Great Old Movies will occasionally post a live or taped opera review if the story has also been adapted for film or has cinematic potential.

The famous story of homely lover and swordsman Cyrano De Bergerac has been told many times in films and on the stage, and this is an operatic version composed by Franco Alfano. Alfano is best remembered as the man who finished "Turandot" after the death of Giacomo Puccini, but he also composed several operas of his own, including the notable "Risurrezione" -- probably his masterpiece -- and the more than credible "Cyrano." This outstanding-on-every-level production from Valencia stars Placido Domingo, one of the premiere artistes of the 20th and 21st centuries, as Cyrano, who is unrequitedly in love with his cousin Roxanne (Sondra Radvanovsky), who only has eyes for the handsome young soldier Christian (Arturo Chacon Cruz). The story could be described as intensely, and even masochistically, romantic, in its tale of love denied and staggering self-sacrifice, but even today there are people who mistake mere sexual attraction for true l'amour. Roxanne realizes too late that true love has to be about much more than a handsome face. Alfano's score is more lyrical than melodious for the most part, but it does have passages of great emotion and beauty. This was produced at the striking opera house and arts center in Valencia, Spain in 2007.

Verdict: This opera -- and story -- deserves a first-class mounting and it gets it here. ***1/2. 

DUKE BLUEBEARD'S CASTLE

Robert Lloyd and Elizabeth Laurence 

DUKE BLUEBEARD'S CASTLE (1988). Director: Leslie Megahey.

The Bluebeard theme has been used in dozens of books, plays, and movies [Bluebeard's Ten Honeymoons, for instance] but it also was the subject of an opera by Bela Bartok, the 20th century masterpiece Duke Bluebeard's Castle. In this film adaptation, Judith (Elizabeth Laurence) comes to Bluebeard's (Robert Lloyd) castle and wants to learn all of his and the castle's secrets. Although Bluebeard warns her not to, Judith goes poking about (like a heroine in a Roger Corman Poe film) opening doors, and discovers things she's rather not have seen until the ultimate secret, and her final fate, are revealed. This film not only offers wonderful music and singing, but is quite visually impressive: white tiles dripping blood; a pool and glittering jewels, the floor of the castle opening to dramatically reveal Bluebeard's whole kingdom beneath Judith's feet; and the bodies of Bluebeard's former wives on display like silent statues in a hidden chamber. This is a very striking, well-sung, and effective film version of Bartok's opera.

Verdict: Very arresting. ***.

A VILLAGE ROMEO AND JULIET

Michal Dlouhy and Dana Moravkova

A VILLAGE ROMEO AND JULIET (1992). Director: Petr Weigl.

In this filmed adaptation of Frederick Delius' opera of the same name, Sali (Michal Dlouhy) and Vreli (Dana Moravkova) are childhood sweethearts whose fathers become bitter enemies over a lawsuit over property. Later on Sali accidentally kills Vreli's father, Marti (Pavel Mikulik), and he and the woman he loves go off together despite her mixed emotions. There they wind up with a group of bohemians and outlaws among which the couple do not really feel comfortable. The two make a sad decision ... A Village Romeo and Juliet is beautifully filmed, well-acted, and marvelously sung. Dlouhy and Moravkova, both very attractive actors, do expert pantomiming while Arthur Davies and Helen Field do the outstanding vocalizing. Star baritone Thomas Hampson both sings and acts the role of the "Dark Fiddler" and is excellent on both counts. Delius' music is intensely romantic and there are moments of real beauty in the score.

Verdict: Good things to look at and beautiful music to hear. ***1/2.

[YOUNG] TOSCANINI

C. Thomas Howell as the great conductor

TOSCANINI (aka Young Toscanini and Il giovane Toscanini/1988). Director: Franco Zeffirelli.

NOTE: As I have only seen the Italian-language version of this film, this post is more of a report on the movie than a review.

It sounds like something that could only happen in a movie, but it really did happen: When he was 19- years-old, musician (and chorus master) Arturo Toscanini was working on a production of Verdi's "Aida" in Rio de Janeiro when the conductor proved so inept that the singers threatened to go on strike if the general manager didn't replace him. When two successive conductors couldn't handle the score, Toscanini, who knew the whole opera, was importuned to take over at the podium despite the fact he'd never conducted before. Toscanini did an excellent job, and became one of the world's most famous conductors of operas and classical music.

Okay, you know how the movie ends, but that's history. Toscanini shows the young artist (C. Thomas Howell) being rejected as a cellist at La scala due to his temperament, then follows him as he joins a South American tour and winds up in Brazil. There he romances a young lady, Margherita (Sophie Ward, who has a great face), who ministers to the poor in Rio, and also meets an idol of his, the (probably fictional) soprano Nadina Bulichoff (Elizabeth Taylor), who is coming out of retirement to appear in "Aida." During the opera she enrages the powers-that-be by denouncing the slavery [part of the plot of the opera] that is still being practiced in Brazil.

Toscanini is a handsome picture with beautiful settings and musical backgrounds. Tenor Carlo Bergonzi appears in the film -- and sings! -- and the production of "Aida" looks quite magnificent. An especially charming scene has Arturo playing for the sweet-faced children of Rio; a more somber moment has him discovering that some of these children have died.

As an English-language or sub-titled version of the film is unavailable, it is hard to judge the dramatic viability of the film unless you understand Italian. Howell and Taylor have been dubbed by Italian actors. (The DVD release of the film says that it has both English and Korean sub-titles, but it only has Korean.) The film is certainly good to look at, and appears to have several tense and dramatic sequences.

Some may feel that the non-Italian casting of the leads is rather odd. If Zeffirelli were hoping Howell and Taylor would improve the film's chances of American success he was mistaken. Taylor was no longer box office in 1988, and while Howell had appeared in such successful "teen" films as The Outsiders, his fans probably didn't know who Toscanini was. He seems quite intense and romantic in the part. (Toscanini was a good-looking man, although probably not as Hollywood handsome as Howell)] So in the long run, sadly, the two actors, good as they are, didn't do the picture much good and vice versa.

Definitely worth a look. And let's hope one with English captions or titles comes out one of these days.

LUISA FERNANDA

LUISA FERNANDA Music by Federico Moreno Torroba. 2006. Opus Arte. Directed and designed by Emilio Sagi. Conducted by Jesus Lopez Cobos. Luisa Fernanda (Nancy Herrera); Duchess Carolina (Mariola Cantarero); Javier Moreno (Jose Bros); Vidal Hernando (Placido Domingo); Anibal (Javier Ferrer); Rosita (Sabina Puertolas).

Staged at the Teatro Real in Madrid, this is a production of the early 20th century zarzuela by Spanish composer Federico Moreno Torroba. [A Spanish zarzuela is a combination of opera and musical theater with spoken dialogue sections.] Luisa is supposedly engaged to the man-about-town Javier, but she has another suitor in the middle-aged Vidal, who hopes to acquire her for himself. Meanwhile the Duchess Carolina uses her wiles to try to win both men to her cause, but they wind up on opposite sides of a struggle between patriots and revolutionaries -- or something along those lines. Cut from three acts to two with cuts in dialogue, this stream-lined production with its stylized sets is sometimes hard to follow. Luisa Fernanda is very popular and famous in Spain, although it's never made major inroads in the U.S. While Herrera and Cantarero are fine in the major female roles, the two tenors Bros and Domingo [Domingo actually singing a baritone role] are simply superb. Torroba's music is lilting and pleasant including such highlights as Javier's act one aria, the duet between Luisa and Vidal, and Vidal's aria of love to Luisa in the final act. Fans of this work may find much to quibble about in the stark modern approach which eschews colorful sets and literal interpretations in favor of admittedly sometimes striking black and white light shows. Still the music and singing put this over.

Verdict: Domingo still has the spark! ***.

GREAT PERFORMANCES AT THE MET -- TURANDOT

GREAT PERFORMANCES AT THE MET -- TURANDOT. Live Performance 2009. Rebroadcast May 2010.

This Franco Zeffirelli production of Giacomo Puccini's masterpiece Turandot is, in a word, magnificent.

Based on a Chinese fable, Turandot is the story of a princess who is desired by all the eligible and noble bachelors who come in hopes of winning her hand in marriage. But Turandot, under the influence of a female ancestor who was raped and beaten by men, will have none of it. She demands that every suitor answer three riddles, and if he fails -- as they all do -- he is beheaded. A mysterious prince [Calaf] is horrified by the woman's actions, but when he finally sees her it's love -- or at least lust -- at first sight, and to the dismay of his father and the young woman who has always loved him, he decides to try his hand at the riddles. So ends the first act of three.

Maria Guleghina is Turandot and Marcello Giordani is Calaf in this production and both have wonderful moments; for instance, Giordani nails "Nessum Dorma," the great aria in act three. [In a backstage interview during intermission with hostess Patricia Racette, both singers reveal warm and winning personalities.] Marina Poplavskaya makes a highly favorable impression as the tragic figure of Liu, who has dedicated her life to the father of the man she has forever loved from afar. Samuel Ramey is the father, Timur, and Charles Anthony [who also displays a winning personality in an interview] is the Emperor Altoum.

Andris Nelsons is the conductor, and Gary Halvorson the director of the televised program. Zeffirelli not only conceived the production but designed the memorably beautiful and striking sets.

Puccini's music is moving, uplifting, dramatic, and gorgeous.

Verdict: A stunner. ****.

THE AUDITION

THE AUDITION. Director: Susan Froemke. Shown on Great Performances at the Met/PBS.

This documentary looks at the 2007 semi-finals of the Metropolitan Opera National Council auditions. The film is very good at getting across the intensity and sometimes the desperation of the singers who are all too well aware of how important it is to become one of the finalists. The sopranos almost all seem to fit the stereotype of the very hefty -- okay, obese -- opera singer while the gentlemen are more of a mixed bag and in better physical shape. Talented tenor Michael Fabiano [pictured] has such a raw emotional need to make it that the film's most dramatic moment comes at the end when he stands figuratively naked on the stage waiting to hear whose name will be called for the last slot [I won't give it away but I will say that Fabiano has since sung at La scala]. Another winner, Ryan Smith, is an amiable African-American who died of cancer shortly after this film was made; it may have given his poor mother some comfort to know that he got to sing at the Met -- the high point of every opera singer's career-- before he died, and that he spent his last days pursuing his dreams. Alek Shrader is another talented tenor who gets a lot of screen time in the film.

Verdict: Compelling behind-the-scenes look at ambition, talent, and heartbreak. ***.

LA BOHEME

LA BOHEME (2008). Director: Robert Dornhelm.

This is another film version of Puccini's wonderful opera, employing real opera singers. Anna Netrebko is the doomed Mimi and tenor Rolando Villazon is her lover Rudolpho, who tries to end their relationship and encourage her to see a wealthier man because he can't afford to take care of her and he's afraid she'll die. La boheme starts out with the friskiness of youth, dealing heroically with their poverty and disappointment, but then certainly shows the sobering dark side of the bohemian life and its bitter struggles. The music is, in a word, magnificent, even more beautiful than Puccini's Tosca. The singers, unfortunately, emote as if they're on the opera stage, with overly broad gestures. Both Netrebko and Villazon are in fine voice, however. Nicole Cabell is Musetta, who sings the famous waltz. Villazon seems to have an appealing personality, but he seems, oddly, a bit raccoon-like in this picture. Frankly, this filmization is nothing special, but it's carried along, as usual, by the music and the singing, and a very affecting story.

Verdict: With Puccini you can never go entirely wrong. ***.

GRAND OLD OPERA -- TOSCA AT THE MET ON GREAT PERFORMANCES

TOSCA by Giacomo Puccini on Great Performances at the Met/PBS, December 2009. Live telecast.

The first great opera of the 20th century as presented by the Met in New York and telecast live on Great Performances. This is the story of a great artist Cavaradossi (Marcelo Alvarez), and his lover, the jealous and tempestuous opera singer Floria Tosca (Karita Mattila), and how they come afoul of the venal Scarpia (George Gagnidze), who promises to set his captive Cavaradossi free if Tosca will only make love to him. Well ... the best laid plans ... This was conducted by Joseph Colaneri and directed by Gary Halvorson. One could quibble about certain aspects of the production, but basically this is first-rate, with great singing [and acting] from the three principles. Puccini's music combines beauty and drama for an often very powerful effect. One of the great operatic tragedies. NOTE: To read more about Tosca and other 20th century operas click here.

Verdict: The three singers certainly hit the high note! ***1/2.

STREET SCENE [OPERA]

STREET SCENE (1994). Director: José Montes-Baquer.

The original Broadway production of Street Scene -- based on Elmer Rice's play and with a score by Kurt Weill -- bridged the gap between musical and opera and did a fine job of it. This is a well-directed and filmed video/DVD (originally shown on television) of the outstanding production mounted by Houston Grand Opera. The storyline concerns the unhappy Maurant family -- the mother seeks tenderness in another man's arms; the daughter wants a better life but isn't willing to pay the price she might have to pay to get it; etc. It builds up inexorably to tragedy and a bittersweet but inevitable finale. Ashley Putnam and Teri Hansen are superb as, respectively, Mrs. Maurant and her daughter, Rose; Marc Embree also scores as Frank Maurant, as does Kip Wilborn as intellectual Sam (who loves Rose) -- but then the entire cast is of a high order. The many memorable songs/arias include Lonely Town, Wrapped in a Ribbon, What Good Will the Moon Be?, Somebody's Going to Be So Handsome, which Mrs. Maurant sings to young son Willie; her song about life and her husband's bitter lament about new-fangled notions; and especially the stunning love duet We'll Go Away Together. A very, very memorable and moving experience.

Verdict: Outstanding on every level. ****.

THE GAY DESPERADO

THE GAY DESPERADO (1936). Director: Rouben Mamoulian.

The story is some stuff and nonsense about Mexican bandits being influenced by Hollywood movies, kidnapping a young couple, while one of their number, Chivo (Nino Martini) , happens to have a major operatic voice. This is one of only a half dozen movies done by Martini, and he's really the only reason to tune in. He was not at all a bad actor for this kind of stuff, but boy what a voice! He sings the pants off "Celeste, Aida!" from Verdi's Aida, proving that he is no poser like Andrea Bocelli, but the genuine article -- an outstanding dramatic tenor. Whenever he's not singing the movie is kind of tiresome, despite the snappy presence of Ida Lupino as the love interest. Leo Carrillo and Mischa Auer are also in the cast.

Verdict: Sing, fellow, sing! **1/2.

GREAT OLD OPERA -- IL PICCOLO MARAT

IL PICCOLO MARAT by Pietro Mascagni. Presented in concert by Teatro Grattacielo at Avery Fisher Hall, Lincoln Center, Monday, April 13th, 2009.

Teatro Grattacielo is an opera company that not only does not look down at the "unfashionable" composers of verismo and other works [late 19th to early 20th century] but especially champions the work of the great Pietro Mascagni, whose first opera, Cavalleria rusticana, has become an opera house perennial across the globe. Finally people are beginning to realize that Mascagni was far from a"one-hit wonder," but rather composed a great number of striking operatic works, including this one. Il piccolo Marat (Little Marat) takes place during the French revolution where a prince in disguise -- the title character -- hopes to save his imprisoned mother even as he falls in love with Mariella, the niece of the cruel "Ogre" who would just as soon see his mother and many, many others die cruel deaths. With thunderous choruses, both lyrical and modern touches, a gorgeous love duet, and much, much beautiful music, all one can say about the North American premiere of this opera is that it's about time.

Teatro Grattacielo provided us with a first-rate concert performance of this opera, which premiered in Italy in 1921. The orchestra was packed -- this is a much bigger house than Alice Tully Hall, where Teatro G usually has its performances -- and the crowd gave the work and its performers a standing ovation at the end. The singers were wonderful: tenor Richard Crawley, who stepped in at the last minute and was on top of the difficult role throughout; bass Brian Jauhiainen, who also stepped in late, and offered a dramatic interpretation of the miserable Ogre; soprano Paula Delligatti (pictured), whose lovely voice well-served Mariella; and mezzo-soprano Elizabeth Batton, whose fine voice gave life to the prince's mother. Daniel Lee and Joshua Benaim were also notable, as was the Cantori New York and Long Island University Chorus who thundered out Mascagni's powerful and stirring chorale writing -- there's a lot of powerful stuff in this opera, but Mascagni's trademark sensitivity is also much in evidence.

Music Director David Wroe, who conducted, almost literally threw himself into the score, leading the orchestra to bring out the values -- both the intensity and the sweetness -- in every vivid note of this early 20th century masterpiece.

What's next? Dare we hope for Mascagni's Parisina? Whatever, let's hope that Teatro Grattacielo keeps up the great work!

Verdict: Rousing stuff, well-served. ****.

NOTE: For more about Il piccolo Marat and Mascagni [who rates a whole chapter], see my book Opera of the Twentieth Century. I also wrote a piece on Mascagni for BBC Music Magazine some years back. -- William Schoell

LA LUNA aka LUNA

LA LUNA (1979) . Director: Bernardo Bertolucci. Released as Luna in the U.S.

Jill Clayburgh stars as opera singer Catherina Silveri, whose husband (a briefly seen Fred Gwynne) drops dead, leaving her alone with her fourteen-year-old son Joe (Matthew Barry, who was actually 17 at the time). Before long, they are living in Italy, where Silveri sings in Verdi's operas. (When Clayburgh sings by herself in her home early in the film, one can't imagine she would ever be able to sing in an opera house. During the opera scenes, of course, her singing voice is dubbed.) Joe makes his way by himself through Rome as his mother essentially neglects him, until halfway through the movie the two begin a sexual relationship that starts with them making out in her car, then hitting the sheets -- yuck! This (unfortunately) non-judgmental incest drama could have gone in far more interesting directions but instead becomes a ponderous, pretentious mess about the mother of all bad mothers -- incest and pedophilia, no less -- and is far too repellent to sustain serious interest. A sub-plot with Joe meeting his real father doesn't help matters much. One of Bertolucci's all-time worst movies. The acting isn't bad, but common sense should have told Clayburgh -- and young Barry's parents -- to stay away from this movie! This also goes for Alida Valli, who appears in a small role.

Verdict: Yuck! *.

GREAT OLD OPERA -- ROMEO AND JULIET Gounod

NOTE: From time to time, Great Old Movies will run reviews of works in the other performing arts, especially if at some time they've been adapted into films. Romeo and Juliet was made into a movie several times. This is French composer Charles Gounod's operatic version and was shown as part of Great Performances (a live peformance, not a film).

ROMEO AND JULIET. Charles Gounod. Metropolitan Opera. 2008. Shown on PBS April 2008.

This first-rate production of Gounod’s masterpiece at the Metropolitan Opera in New York was shown on PBS as part of Great Performances – which it is. Although for years I was never carried away by tenor Roberto Alagna (pictured), I have to say that with Romeo he has found the role that has finally revealed him as an Artist of the First Rank: his singing and acting are superb. Soprano Anna Netrebko is one of the most attractive Juliet’s to ever grace the opera hall, and sings the role quite well, although there seems to be an occasional tendency to go flat. While not to everyone’s taste, she is undeniably talented. Placido Domingo conducts the Met Orchestra with vigor and sensitivity. Nathan Gunn, (Mercutio), Marc Heller (Tybalt), Luis Otey (Paris) and others also make fine contributions. The production design is romantic in the best sense of the word, although some might feel the floating bed (suspended from wires) upon which Romeo and Juliet sing their rhapsodic duet is a bit much, although it makes an attractive image with its background of stars. Probably Gounod’s most beautiful score. Directed by Gary Halvorson.

Verdict: Beautiful! ***1/2.

THE MEDIUM

THE MEDIUM (1951). Director: Gian-Carlo Menotti, based on his opera. Conductor: Thomas Schippers; Symphony Orchestra of Rome.

A phony medium named Madame Flora or “Baba” (Marie Powers) who lives with her daughter Monica (Anna Maria Alberghetti, who is “introduced” in this film) and a mute boy named Toby (Leo Coleman) feels a “genuine” spectral touch during a séance and wonders if it was real or a practical joke. Obsessing over this, her descent into madness eventually leads to tragedy. The Medium is the flip dark side of Menotti's far superior Amahl and the Night Visitors; the piece is “good theater” but the music, despite some lyrical [“Monica, Monica, dance the waltz”], sensitive, and very effective moments, isn't all that memorable. Menotti directs his opera with a deft hand; this is not a filmed record of an opera production but a genuine film with a moody atmosphere and some striking black and white photography. Alberghetti, who later starred with the late Jerry Orbach in Broadway's Carnival before embarking on a brief Hollywood career (Ten Thousand Bedrooms with Dean Martin), has a beautiful voice and is a good actress. Marie Powers is excellent and dynamic as the crazy, tormented Madame Flora. Leo Coleman is not a boy, but a full-grown black man with a highly expressive face who looks like he can take care of himself; he is also very good. The wind up of the film is moving and pathetic. Menotti composed many different operas, but he never really topped Amahl. Often referred to as an American Puccini, he was never really in that Italian composer's league.

Verdict: Interesting curiosity. **1/2.