{"id":26382,"date":"2019-07-04T08:25:07","date_gmt":"2019-07-03T22:25:07","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=26382"},"modified":"2019-07-04T08:25:07","modified_gmt":"2019-07-03T22:25:07","slug":"opera-review-anna-bolena-opera-australia-2","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=26382","title":{"rendered":"Opera Review: Anna Bolena\/ Opera Australia"},"content":{"rendered":"

\"DFA6C1DC-3A22-4052-A492-CE44CDE92DF0\"Anna Bolena –\u00a0<\/span><\/span>Donizetti<\/span><\/span>\/Romani<\/span><\/span><\/i><\/p>\n

Opera Australia<\/i><\/span><\/span><\/p>\n

Joan Sutherland Theatre, Sydney Opera House<\/i><\/span><\/span><\/p>\n

2 July 2019<\/i><\/span><\/span><\/p>\n

Written by <\/span><\/span>Victoria Watson<\/span><\/span><\/i><\/p>\n

\u00a0Bel canto opera is best known through the w<\/span><\/span>orks of Rossini, Donizetti and Bellini, written<\/span><\/span> in Italy in the early 19<\/span><\/span>th<\/span><\/span> century. This was a second flowering of the \u201cbel canto\u201d <\/span><\/span>(beautiful singing) <\/span><\/span>concept however, with the beginning of opera around 1600 being the first. <\/span><\/span>These early Baroque <\/span><\/span>composers focussed on the power of expression of the solo voice which was linked to dramatic developments in the teaching of singing and resultant extended technical and expressive skills <\/span><\/span>for the human voice in western art music<\/span><\/span>.<\/span><\/span><\/p>\n

Anna <\/span><\/span><\/em>Bolena<\/em>, Donizetti\u2019s<\/span><\/span> first major success, <\/span><\/span>was <\/span><\/span>written <\/span><\/span>in just one month for the great soprano Giuditta Pasta to sing in Milan <\/span><\/span>in <\/span><\/span>1830. <\/span><\/span>His famous rival <\/span><\/span>Bellini premiered his La Sonnambula<\/em> three months later.<\/span><\/span><\/p>\n

Opera Australia presents a new production of this opera, never pr<\/span><\/span>esented before by the national company. It is<\/span><\/span> led by <\/span><\/span>Italian <\/span><\/span>director \u2013 choreographer Davide Livermore who also directed OA\u2019s <\/span><\/span>Aida<\/em>,<\/span><\/span> which <\/span><\/span>introduced<\/span><\/span> the <\/span><\/span>ten <\/span><\/span>giant LED screens that will feature throughout OA\u2019s 2019 season and beyond. <\/span><\/span><\/p>\n

As has been seen in<\/span><\/span> Aida<\/em> and more recently in Graeme Murphy\u2019s ne<\/span><\/span>w<\/span><\/span> Madam<\/span><\/span>a<\/span><\/span> Butterfly<\/span><\/span><\/em>,<\/span><\/span> the screens are new technologies driving artistry, not unlike the evolution of stage machinery in the Baroque era that s<\/span><\/span>aw the scenic designer<\/span><\/span> gain top billing over the <\/span><\/span>singing <\/span><\/span>stars and the composer. <\/span><\/span>Parallel to that moment in history where new technology<\/span><\/span>\u00a0dominated the <\/span><\/span>stage, the<\/span><\/span> artistic <\/span><\/span>dangers are rife with\u00a0<\/span><\/span>the<\/span><\/span> music and drama being\u00a0<\/span><\/span>very <\/span><\/span>easily overwhelmed<\/span><\/span> by the sheer brightness and dominance of the screens. Much of the\u00a0<\/span><\/span>responsibility for this falls to th<\/span><\/span>e digital enter<\/span><\/span>tainment company D-Wok which worked with the creative team on the digital <\/span><\/span>content. This<\/span><\/span> production <\/span><\/span>does not <\/span><\/span>fully <\/span><\/span>solve these balance <\/span><\/span>and artistic <\/span><\/span>issues,<\/span><\/span> but there are some more successful integrations of the new technology than those seen in Aida<\/em> or Butterfly<\/i>.<\/span><\/span>The <\/span><\/span>panels,<\/span><\/span> the <\/span><\/span>integrated physical set and <\/span><\/span>a <\/span><\/span>double revolve all move fairly <\/span><\/span>constantly and<\/span><\/span> a<\/span><\/span>re rather at odds with the more static conventional approach to the acting <\/span><\/span>style. Also<\/span><\/span> the incessant movement created considerable<\/span><\/span> distracting stage noise over softer <\/span><\/span>musical sections of opening night.<\/span><\/span> There were also many problems with lighting, and characters were often singing in total darkness or excessive shadows. Hopefully, this will be <\/span><\/span>improved<\/span><\/span> during the season.<\/span><\/span><\/p>\n

Where the designs did not serve the story well or <\/span><\/span>dwarfed the<\/span><\/span> performers, they did<\/span><\/span> not serve the art they seek to enhance. The imagery throughout of a hawk, representing the house of Anne\u2019s family and perhaps her captive state<\/span><\/span> and H<\/span><\/span>enry\u2019s aggressive hunting for a mate, were\u00a0<\/span><\/span>successful<\/span><\/span> in part,\u00a0<\/span><\/span>though a l<\/span><\/span>ittle overplayed in the dancer sequences<\/span><\/span>. As is the fashion in modern opera production, the overture was a fully choreographed and digitised affair. The <\/span><\/span>gawky <\/span><\/span>humour seemed at odds with the music and the story to follow, and the presence of the ubiquitous Smartphones<\/span><\/span>\u00a0and selfies were particularly <\/span><\/span>jarring. The<\/span><\/span> digital images of London being built and unbuilt also beg the question of relevance and seemed to be telling a different story to the opera.<\/span><\/span><\/p>\n

There were standout performances among the singers. Anna Dowsley portrayed the <\/span><\/span>pants role of the doomed admirer M<\/span><\/span>ark Smeaton with great flair and panache. <\/span><\/span>Her voice displayed true bel canto fineness of tone, clarity of pitch and <\/span><\/span>fluid <\/span><\/span>coloratura <\/span><\/span>with<\/span><\/span> affecting<\/span><\/span> dynamics and phrasing. <\/span><\/span>Her portrayal was physically convincing and her authentic empathy for the character elicited a sympathetic response in the audience. <\/span><\/span><\/p>\n

Also in fine form <\/span><\/span>in minor roles <\/span><\/span>were two other Australian regulars, tenor \u00a0John Longmuir as Hervey and bass Richard Anderson as Anne\u2019s brother. It was difficult to understand why these three fine Australian artists <\/span><\/span>so at home in this repe<\/span><\/span>rtoire vocally and dramatically<\/span><\/span> were not featured in larger roles which they would have performed with great success.<\/span><\/span><\/p>\n

The chorus performed particularly well in muted sections for female and male voices, separately achieving a hushed grandeur that enhanced the drama. The orchestra was \u00a0less even and tempi fluctuated erratically throughout the evening under conductor Renato Palumbo. The horn section had a number of unstable moments and the slowness of some numbers created a lack of forward energy in the score at times.<\/span><\/span><\/p>\n

In the four <\/span><\/span>central roles, bass-baritone T<\/span><\/span>eddy Tahu Rhodes was the least convincing vocally. While his voice is strong and audible, it has developed an indistinctness of pitch and diction that makes it much less suited to bel canto <\/span><\/span>repertoire. <\/span><\/span>He was at his best singing lightly in the ensembles. His characterisation was gruff and violent and lacked the <\/span><\/span>subtlety or <\/span><\/span>softer <\/span><\/span>romantic aspects <\/span><\/span>that may have balanced<\/span><\/span> this <\/span><\/span>unlikeable<\/span><\/span> portrait of H<\/span><\/span>enry VIII.<\/span><\/span><\/p>\n

Italian tenor Leonardo<\/span><\/span> Cortellazzi <\/span><\/span>was well suited to the role of P<\/span><\/span>ercy, Anne\u2019s first betrothed who is brought back <\/span><\/span>to court <\/span><\/span>by the King in a plan to rid himself of his second wife <\/span><\/span>and replace her with Jane Seymour.<\/span><\/span> He is handsome and fervent with a pleasing tone that handles the demands of the role with aplomb.<\/span><\/span><\/p>\n

Romanian mezzo-soprano Carmen Topciu is new to Australian stages and has a <\/span><\/span>rich <\/span><\/span>voice of size and flexibility. She is moving to Verdi roles in her career and will do very well in that repertoire. In this opera, Jane Seymour is \u2018the other woman\u2019, \u00a0<\/span><\/span>consumed with her passion for the king, against her loyalty to her friend the queen. A depth and complexity of emotional range to portray this internal conflict is at the heart of this opera\u2019s <\/span><\/span>success,\u00a0<\/span><\/span>as is a convincing sensuality and chemistry with the king. On opening night this was not <\/span><\/span>fully <\/span><\/span>achieved in Topciu\u2019s characterisation and vocal performance. \u00a0There was a more stolid approach, while very secure musical<\/span><\/span>ly and vocally, she displayed<\/span><\/span> a limited emotional range.<\/span><\/span><\/p>\n

Albanian soprano Ermonela Jaho has the greatest weight on her shoulders in this opera created by Donizetti for the greatest soprano of her day \u2013 the diva Giuditta Pasta. Renowned for her verismo heroines and her affecting Traviata, she seems a sure thing to portray the spurned Tudor queen. However, this is bel canto <\/span><\/span>opera,<\/span><\/span> not verismo, and intensity alone will not win the day. In the softer singing requiring a melting \u201cmorbidezza\u201d tone,\u00a0<\/span><\/span>J<\/span><\/span>aho is a supreme master and at her very best. The final \u201cmad\u201d scene is a great success as a result of this great skill. The characterisation was focussed on tortured <\/span><\/span>anguish,<\/span><\/span> which began very early and lacked contra<\/span><\/span>s<\/span><\/span>ting states <\/span><\/span>to fully explore the rich possibilities of the <\/span><\/span>role. In<\/span><\/span> her louder singing Jaho exhibits physical tensions in the neck and frame which create a less pleasing vocal tone than suited to the melodic demands of bel canto song. There is an edge and pitch fluctuation which can mar the musical beauty. Her histrionic gifts were exploited to the full by the director, but it was only in the final scenes that her command of sotto voce<\/i> singing won true sympathy for the woman behind the crown.<\/span><\/span><\/p>\n

SoundsLikeSydney\u00a0\u00a9<\/i><\/p>\n

Victoria Watson is a graduate of Melbourne university and VCA. She appeared regularly as a soprano with the Victoria State Opera and has toured and served as artistic director of many chamber ensembles.<\/em><\/p>\n

She has performed with Sydney Symphony Orchestra and for ten years, was artistic director of a major opera education project with Opera Australia. Since 2015 she has moved into directing opera including Mozart\u2019s Cosi Fan Tutte at the Independent theatre.<\/em><\/p>\n

Victoria has lectured in voice at the major universities in Melbourne, and is currently a tutor at UNSW. Having taught at major Sydney secondary colleges, she now runs a busy private singing studio. She is a published author on opera and a popular freelance music and theatre lecturer and advocate for Australian artists around the world.<\/em><\/p>\n

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Anna Bolena –\u00a0Donizetti\/Romani Opera Australia Joan Sutherland Theatre, Sydney Opera House 2 July 2019 Written by Victoria Watson \u00a0Bel canto opera is…<\/p>\n","protected":false},"author":1,"featured_media":26390,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37],"tags":[],"sls_format":[],"class_list":["post-26382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"acf":{"deck":"","is_featured":false,"media_type":"standard","audio_embed":"","video_url":""},"yoast_head":"\nOpera Review: Anna Bolena\/ Opera Australia - Sounds Like Sydney<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soundslikesydney.com.au\/?p=26382\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Opera Review: Anna Bolena\/ Opera Australia - 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