The Opera Tattler

Reviews of Performances and their Audiences

SF Opera’s I Capuleti e i Montecchi

September 30, 2012

* Notes *
A new production of I Capuleti e i Montecchi (Act I Scene 2 pictured left, photograph by Cory Weaver) opened at San Francisco Opera on Saturday. Conductor Riccardo Frizza had the orchestra sounding rather jaunty. The horn, clarinet, harp, and cello all gave solid performances. There were moments when the orchestra was much louder than the singers, but it seems that the stage direction is more at fault than the conductor or musicians.

This co-production with Bavarian State Opera, directed by Vincent Boussard, features a spare, stylish set designed by Vincent Lemaire. Unfortunately, the opera calls for three different scenes in each of its two acts, and the set had to be inelegantly rearranged simply bringing the curtain down in-between each change. This gives audience members a chance to chat or check their electronic devices, and this inevitably bleeds into the actual performance.

As for the set itself, the gleaming black floor is sleek, but often squeaks as people move across it. The metal stairs of Act I Scene 3 and Act II Scene 1 keep certain singers too far upstage to be heard well. Having supernumeraries parade in stilettos up and down these stairs is also noisy. Christian Lacroix’s gowns are bold, often bright, confections. The lighting design, by Guido Levi, is stark and dramatic, and works nicely with the abstract images on the various walls. The surrealistic details of the production involving saddles, flowers, sculptures, and even a sink were confusing to the audience.

Eric Owens made for an authoritative Capellio. Ao Li made the most of the small part of Lorenzo. The role of Tebaldo seemed quite difficult, and Saimir Pirgu sounded powerful but choppy. He did clearly portray anger in his early scenes and sorrow in Act II Scene 2.

The stars of the show were clearly Joyce DiDonato (Romeo) and Nicole Cabell (Giulietta). DiDonato has a warm, resonant voice, and sang with a beautiful fluidity and a notable ease. Cabell’s voice is brilliant and flexible, but seemed anchored and precise. The final duet between the two leads was both devastating and stunning.

* Tattling *
A couple of women and their daughters in the balcony, Row J Seats 106 to 112, were the picture of bad-behavior. Not only did they take photographs of the performance, they talked, posted to Instagram and Facebook, and texted all evening long.

Posted in Eric Owens, Joyce DiDonato, Opera Review, San Francisco Opera

12 responses to “SF Opera’s I Capuleti e i Montecchi”

bbaker

September 30, 2012

Where are the ushers? Kurt Herbert Adler is turning in his grave.

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Richard Valenti

September 30, 2012

I completely disagree with the writer of this review: are you sure you were at work last night?
Production was superb in general, I really enjoyed the direction and the costumes. The revelation of the evening was the Albanian tenore Saimir Pirgu which debuted as Tibaldo: simply magnificent, powerful voice, but at the same time wonderfully soft, secure high notes, few people nowadays are able to sing this difficult role. Nicole Cabell was a very good Juliet, creepy pianissimo, sweet voice and well-connected, well-suited to the role. Unfortunately, the performance of Joyce Di Donato was not up to that of Pirgu and Cabell: the voice was too often forced with a vibrato in high notes too annoying.

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Lilacrobin

September 30, 2012

I’ve seen four rehearsals and last night’s opener…and I totally agree with you. The direction and most of the sets were ridiculous… such a shame as the music is gorgeous and the voices perfect for Bel Canto.
♥ Robin ♥

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The Opera Tattler

September 30, 2012

Seriously.

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The Opera Tattler

September 30, 2012

Personally, I enjoyed the visuals, but did observe that many were confused in the audience, as many people said as much during the intermission. But one would think they would be able to create a set that did not make so much unpleasant noise in the year 2011 (that is when this debuted in Munich). Just seems like a important consideration for creators of sets and directors of productions.
I liked Pirgu more in Così fan tutte at Los Angeles Opera last year. It is obvious that has more to do with the role than his voice, as I wrote before, it does seem very difficult. He did not have much in the way of legato, and it may well be what Bellini wrote for the tenor. I will find out when I read the score later in the season.

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The Opera Tattler

September 30, 2012

I sort of liked the absurdity and the abstraction of the set and direction, it just was not so kind to the singers (singing into the wall, singing far upstage). Also, I tend to be a stickler about high-pitched noises, really hate to hear squeaks, it is so distracting.

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CMSiefer

October 2, 2012

Respectfully I disagree with your observations. There were far too many distractions both visual and auditory. Noisy stair risers and stiletti, costumes and props were gratuitous all in the name of edgy production values. Miss DiDonato is a singer of the first order. She harnesses her resources beautfully but was placed too far upstage at times. Saimir Pirgu is the real deal and I hope he returns soon. Miss Cabell has a burnished flexible tone that will aide her in a long career.

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Shaun

October 3, 2012

this production was designed with the original house in mind, not SFOpera. The scene changes were all on moving ‘wagons’ or ‘sleds’ similar to what the MET has so one scene rolls off while the next rolls on all in a matter of seconds. We don’t have that kind of space backstage. One does wonder, however, if the powers that be bothered to think about this when they chose this production, hmm?
The floor is made with small sheets of mirrored plexiglass (not black) and yes, noisy ain’t the word for it.
I still don’t get the saddles.
Pirgu will be back in a couple of years.

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CMSiefer

October 3, 2012

Shaun! I can only surmise the men’s chorus/ soldiers initial appearance onstage to saddles hanging from rafters is a reference to making ready for battle?!? More confounding is the sink which Romeo bumps up against more than once and which serves as a gymnastic prop for Giulietta. RIDICULOUS. Is it a font for Holy Water? Is it part of Guilietta’s “prison” cell? Too many distractions I tell you. Maestro Frizzi led a spectacularly elastic orchestra, principle singers and chorus. The set DID send the male chorus sound out into the theater to fine effect.

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D Hill

October 6, 2012

The set design and costumes were terrible and ridiculous, as said earlier. A case in point: in the long line for the upper balcony women’s room during intermission, a woman–noting a particular lull by the faucets–wheeled around to the rest of the line behind: “The sink’s free if anyone wishes to climb on and sing an aria!” Given the amount of laughter, it was clear that there was consensus on the stupidity of the set. The distractiveness of the set and bleak and later buffoonish costumes was a lesson in what NOT to do with a production.
And Joyce DiDonato sang brilliantly – the high point of the evening.

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Roberto

October 13, 2012

I went to the 10/11 performance.
It is becoming traditional to have a relatively unknown bel canto opera every season in San Francisco. From what I can remember, “La fille du regiment”, “Lucrezia Borgia” and now “I Capuleti e i Montecchi”. Maybe next year we will have “Semiramide”, “Le comte Ory” (following the Met lead) or even, who knows, “William Tell”.
Nothing wrong with that. But there is a reason why these operas are not so popular in the repertoire. Because they are not “Norma”, “Elixir”, “Lucia” or “La Cenerentola” (just to stay in the bel canto). It is simple as that. Nevertheless, I applaud the attempts to stage these operas for all the known reasons that I don’t need to reiterate.
I really don’t know if they wanted to make this “I Capuleti e i Montecchi” as the most brilliant opera of the face of the universe or they just wanted to play with us a little bit. Were they serious or is it a big joke? The director is a certain Vincent Boussard. I just see his name now. Of course he is European. French to be precise. I didn’t even need to check. Should I put his picture in my screensaver? I can take almost anything. But there is a moment that they really make me put my hands on their throats. It’s when they make the singer to sing with their back to the audience or even worse, make the soprano to walk to the back of the stage, rest their face on the wall and make them sing on that position. The singers obey. What can they do? Call the union?
The people next to me couldn’t stop talking about Beverly Sills. It was Sills was this, Sills was that. I couldn’t capture their opinion about Nicole Cabell and I didn’t want to ask. There are people that know these operas really well and can have an endless argument of every high note. The crowd liked Cabell. She indeed has a very beautiful voice. Her vibrato is very fast. I am not expert on this opera so I don’t know if Cabell is Sills or not. I just didn’t buy her acting. Boussard?
Joyce DiDonato is one of my favorite singers of today. She is the queen of this great generation of mezos. But on this one… I don’t know… For me, the blame should go to Boussard who was not generous with anyone, but showed a particular disdain to DiDonato. She was a very boyish Romeo. She reminded me Mariusz Kwiecien. 🙂
The second scene of the first act is the big duet between Romeo and Juliet. That’s the only moment of the opera that was really breathtaking. Boussard tried but was not successful in destroying the scene. This duet was worth the ticket.
Christian Lacroix’s costumes were surreal. I am not into fashion, but I can understand that anyone that is into that had an unforgettable night. The beginning of the third scene of the first act was a feast to the eyes when each chorus member paraded their colorful costume as if it was a fashion show. All colors in the world were in that stage.
Eric Owens was a surprise. What such a great singer was doing here for such a minor role. He probably likes the company and the city,
The Albanian Saimir Pirgu is an interesting tenor. Tebaldo is a difficult role and he managed to survive. Any tenor that tries bel canto has my sympathy even if it is not a voice that I am not particularly attracted to.
The young Adler Fellow Chinese baritone Ao Li is also promising. Very good singer.

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Lighting

January 10, 2013

I bet the lighting on that stage was pretty out of this world. I’ve seen parts of it and it was awesome, I would certainly try to come back if given the opportunity to do so. Anyway, thanks for the post. Loved it.

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