Lorenzo Da Ponte / Reviews

Die musikalische Leitung des Abends hat Jordan de Souza. Mit sparsamen, sehr deutlichen Gesten hat er das Geschehen immer unter Kontrolle. Die Tempi überzeugen, die Lautstärken dürften noch unter Kontrolle zu bekommen sein. Die Philharmonia Zürich im hochgefahrenen Orchestergraben folgt ihm höchst konzentriert und mit viel Spielfreude. Ein Extra-Lob verdienen die wunderbaren Holzbläser. Der Chor der Oper Zürich absolvierte seine nicht immer einfachen Auftritte mit schönem Klang und bewundernswerter Motivation.

En fosse, avec une alacrité inaccoutumée dans cet ouvrage, le jeune et bouillonnant chef canadien Jordan de Souza dirige une brillante Philharmonia Zürich, aux sonorités contrastées et à la riche palette de nuances. Toute la flamme, l’énergie, la rage et la poésie qu’appelle le chef d’œuvre de Mozart sont ici restituées avec autant de force que de conviction, et la direction musicale n’est ainsi pas la moindre des satisfactions de notre soirée lyrique suisse !

Hong Kong’s Musica Viva has incrementally moved from one full opera production per year—in December—to two. If this recent production of Mozart’s comic masterpiece is any indication, the smaller production in late September featuring entirely local singers has, over the past couple of years, matured and is hitting its stride. These productions have tended to concentrate on the lighter side of the repertoire—the past two years have featured comic operas by Gaetano Donizetti. Le Nozze di Figaro, while a comedy, is not necessarily funny: it runs considerably longer and, Mozart being Mozart, lends itself to multiple interpretations. The work was here abridged to just about two hours and the cast, particularly a perky Phoebe Tam as the maid Susanna, tilted the performance toward the humor. Oscar Droscha’s Count Almaviva had the wandering eye (and hands) that the role demands, but was not the irredeemably odious character he can sometimes be. Musica Viva’s productions often have good chemistry—ensemble performances where the whole is greater than the mere sum of the parts—and this Marriage of Figaro followed the pattern. But even ensemble performances can deliver up individual surprises: soprano Vicki Wu lit up the stage in the small part of Barberina. She will be a singer worth watching.

Opera for everyone – that’s the message behind Waitress on Top, an adaptation of the Italian comic operetta La Serva Padrona which will be performed later this month as part of the new Italia Mia Festival. Presented by the Italian Cultural Institute in Hong Kong, the operetta takes Giovanni Battista Pergolesi’s 1733 opera and resets it in an Italian restaurant in Hong Kong. “We thought it would be nice to bring this opera to Hong Kong and do an adaptation (set) in Hong Kong,” says Clemente Contestabile, the consul general of Italy in Hong Kong. “The production will feature dialogue in English and Cantonese, the subject itself is funny, the script is light and people will laugh and enjoy it very much.” Contestabile intends to show an opera every year as part of the Italia Mia festival, which will take place every October and November. In a bid to encourage local and younger audiences, tickets to the Oct 29 performance at Chai Wan’s Youth Square Y Theatre are free of charge. “The Italia Mia Festival is for everyone in Hong Kong and we want to reach out to the local community,” Contestabile says. Waitress on Top stars Hong Kong soprano Etta Fung as Serpina in a production that is deliberately intimate, featuring just two singers (Fung and Isaac Droscha as Uberto), alongside music director Marco Iannelli who doubles in a non-singing role. The finale includes three arias from Donizetti’s Don Pasquale to help, as Iannelli puts it, “make (the ending) a little bigger”, rather than going with the more subtle ending of the original opera. Together with the show’s director Peter Gordon — who was named Cavaliere dell’Ordine della Stella d’Italia earlier this year for his contributions to Italian opera — Ianneli looked for a cast that would represent Hong Kong’s mix of cultures. “We’re trying to propose to the audience this mix of cultures in Hong Kong and that this is what makes Hong Kong a beautiful and unique place,” Iannelli says. “Etta will use Cantonese to help really set the action in Hong Kong.” Contemporary themes Finding ways to make opera accessible and to engage diverse audiences seems to be a common goal among Hong Kong’s growing number of opera companies. Over the next two months, several operas will be performed on stages across Hong Kong and Macao, showcasing a growing interest and demand for the art form. In September, Musica Viva staged two sold-out performances of Le Nozze di Figaro at Hong Kong City Hall. Featuring an all-Hong Kong cast, including Sammy Chien as Figaro, Droscha as Count Almaviva and Phoebe Tam as Susanna, the opera highlighted local talent and was the first of two productions this season by the company’s director-general Kingman Lo. Next up is Franz Lehár’s The Merry Widow, an operetta in three acts which will be performed from Dec 6 to 8 at the Hong Kong City Hall. Opera Hong Kong’s Rigoletto is playing at the Hong Kong Cultural Centre through Sunday, Oct 13, also as part of the Italia Mia Festival. The production is by Fondazione Teatro Lirico di Cagliari and stars Roberto Frontali in the title role. “Rigoletto is one of the most performed operas in the world,” says Opera Hong Kong’s artistic director Warren Mok. “The plot is incredible: the evilness of mankind, quest for power and its relationship with the lust and sexual abuse, violence, injustice still resonate (with today’s) audience. Verdi’s music is a perfect match to the plot and its characterization.” Frontali is known for his Verdi roles and received strong praise for his Rigoletto earlier this year at the Metropolitan Opera. The rest of the cast put together by Mok includes Anton Keremidtchiev and Audrey Luna along with Hong Kong singers, including Joyce Wong, Carol Lin and Bobbie Zhang. “It’s a strong Rigoletto,” Mok says. “We bring in the entire production from Italy and also their design team. We are glad to have Pier Francesco Maestrini as the director and Paolo Olmi, a highly respected conductor, can no doubt do a wonderful job to reveal Verdi’s powerful music.”