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A ‘La Donna del Lago’ With Melting Tenderness at the Met
For years, the superb mezzo-soprano Joyce DiDonato has sung “Tanti affetti,” the final showpiece aria from Rossini’s “La Donna del Lago”, as a surefire encore in recitals.
But on Monday night on the Metropolitan Opera stage, vocal display seemed the last thing on her mind.
But on Monday night on the Metropolitan Opera stage, vocal display seemed the last thing on her mind.
DiDonato, playing the heroine ELENA DUGLAS in the Met’s premiere production of this rich, tuneful Rossini melodrama, sang the opening of the aria with melting warmth and tenderness, supported by the sensitive playing of the Met orchestra under Michele Mariotti.
ELENA DUGLAS explains that with her coming marriage, she is a bundle of emotions (“Tanti affetti”).
On Monday, as the subdued first section of the aria began, the wondrous DiDonato and Mariotti, the fast-rising Italian conductor, seemed almost in competition to see who could make music with more delicacy.
DiDonato sang Rossini’s beguiling phrases with soft yet penetrating richness, subtly folding ornaments and runs into the long melodic arcs.
And Mariotti drew hushed gentle and transparent playing from the inspired Met orchestra.
On Monday, as the subdued first section of the aria began, the wondrous DiDonato and Mariotti, the fast-rising Italian conductor, seemed almost in competition to see who could make music with more delicacy.
DiDonato sang Rossini’s beguiling phrases with soft yet penetrating richness, subtly folding ornaments and runs into the long melodic arcs.
And Mariotti drew hushed gentle and transparent playing from the inspired Met orchestra.
The aria eventually breaks into joyous bursts of dazzling coloratura passagework, with rousing exclamations from the chorus, and DiDonato delivered.
There was plenty of fiery singing earlier in this performance, and the Met had a cast that could dispatch the bel canto challenges, especially the tenor J. D. Florez, here singing the demanding role of Giacomo V.
There was plenty of fiery singing earlier in this performance, and the Met had a cast that could dispatch the bel canto challenges, especially the tenor J. D. Florez, here singing the demanding role of Giacomo V.
To unravel the plot of this opera, based on a poem by Walter Scott, ELENA DOUGLAS is the daughter of DUGLAS D'ANGUS, a nobleman in 16th-century Scotland and a former tutor to GIACOMO V, who has turned against the king and found protection among the rebel highlanders.
Duglas has promised Elena’s hand to their imposing chief, Rodrigo.
But Elena loves the earnest, ardent Malcolm Graeme.
By the end, everything works out beautifully and Elena’s marriage to Malcolm is blessed by GIACOMO V, who had fallen in love with her. But will marry another and father Mary, queen of Scots.
Duglas has promised Elena’s hand to their imposing chief, Rodrigo.
But Elena loves the earnest, ardent Malcolm Graeme.
By the end, everything works out beautifully and Elena’s marriage to Malcolm is blessed by GIACOMO V, who had fallen in love with her. But will marry another and father Mary, queen of Scots.
This staging is by Paul Curran.
Opera fans with little patience for updated productions will probably enjoy the staid traditional approach that Curran, in his Met debut, working with the set and costume designer Kevin Knight, has taken here.
Opera fans with little patience for updated productions will probably enjoy the staid traditional approach that Curran, in his Met debut, working with the set and costume designer Kevin Knight, has taken here.
The period costumes mostly eschew bright colours to suggest Scottish clansman living in the chilly, damp region of LAGO Katrine.
The action is played atop a large floor that, depending upon lighting and props, suggests mossy lake banks or grayish fields.
Curran lends some contemporary touches by using video projections, designed by Driscoll Otto, on a screen at the rear of the stage to suggest misty waters and cloudy skies.
The sides of the stage are bare, black walls with portals.
The action is played atop a large floor that, depending upon lighting and props, suggests mossy lake banks or grayish fields.
Curran lends some contemporary touches by using video projections, designed by Driscoll Otto, on a screen at the rear of the stage to suggest misty waters and cloudy skies.
The sides of the stage are bare, black walls with portals.
The production is not ambitious but does the job, allowing for fluid scene changes.
To indicate that the rebel highlanders could be ruthless and brutal, Curran has them rally in the climactic scene of Act I, holding flame crosses as they denounce GIACOMO V, a king they consider tyrannical.
To indicate that the rebel highlanders could be ruthless and brutal, Curran has them rally in the climactic scene of Act I, holding flame crosses as they denounce GIACOMO V, a king they consider tyrannical.
GIACOMO V the highlanders under RODRIGO they despise, however, as presented by Rossini and as sung by a tenor, he seems a sympathetic, dashing figure.
After we first meet Elena, daughter of DUGLAS D'ANGUS , who arrives from her daily crossing of the lake amid the beguiling songs of shepherds, GIACOMO V bursts upon the scene and encounters the woman he has only heard about, the lovely "lady of the lake".
After we first meet Elena, daughter of DUGLAS D'ANGUS , who arrives from her daily crossing of the lake amid the beguiling songs of shepherds, GIACOMO V bursts upon the scene and encounters the woman he has only heard about, the lovely "lady of the lake".
GIACOMO V announces himself as "Uberto, cavalier di Snowdon", and says that he has been separated from his fellow hunters and needs some help.
Elena brings GIACOMO V home with her.
During two long scenes together, GIACOMO V falls hopelessly in love with ELENA.
And DiDonato, singing with glowing sound and affecting sweetness, makes clear that she is, for a moment, romantically aflutter.
Elena brings GIACOMO V home with her.
During two long scenes together, GIACOMO V falls hopelessly in love with ELENA.
And DiDonato, singing with glowing sound and affecting sweetness, makes clear that she is, for a moment, romantically aflutter.
It was hard not to root for Elena to choose GIACOMO V.
The tenor makes a charming and impassioned king.
Vocally the tenor is at his best.
He has always brought impressive technical skill and boundless energy to his singing.
He tossed off runs and roulades effortlessly and dispatched exciting high notes.
For some, his sound can sometimes seem pinched.
But on opening night, his voice was open, relaxed and even throughout its range.
And he affectingly conveyed the emotions of a monarch who finds himself discombobulated by his yearning for a winsome, modest woman.
The tenor makes a charming and impassioned king.
Vocally the tenor is at his best.
He has always brought impressive technical skill and boundless energy to his singing.
He tossed off runs and roulades effortlessly and dispatched exciting high notes.
For some, his sound can sometimes seem pinched.
But on opening night, his voice was open, relaxed and even throughout its range.
And he affectingly conveyed the emotions of a monarch who finds himself discombobulated by his yearning for a winsome, modest woman.
Malcolm Graeme, written for a contralto, is a pants role, though here those pants are kilts.
The Italian mezzo-soprano Daniela Barcellona, with her tall figure and dignified bearing, acts the role convincingly.
But it was her noble, mellow-toned and ardent singing that won your sympathy, especially her aching account of the Act II aria “Ah! si pera,” when Malcolm, in despair that Elena is about to marry GIACOMO V, longs for death.
Here was one of many moments during the performance when Mariotti, who excels in the bel canto repertory, demonstrated how to breathe with singers while maintaining the shape and impetus of the music.
The Italian mezzo-soprano Daniela Barcellona, with her tall figure and dignified bearing, acts the role convincingly.
But it was her noble, mellow-toned and ardent singing that won your sympathy, especially her aching account of the Act II aria “Ah! si pera,” when Malcolm, in despair that Elena is about to marry GIACOMO V, longs for death.
Here was one of many moments during the performance when Mariotti, who excels in the bel canto repertory, demonstrated how to breathe with singers while maintaining the shape and impetus of the music.
As Rodrigo, the rebel leader, another challenging tenor role, Osborn, though occasionally shaky and overwrought, sang fearlessly, with big, bright sound, and fully conveyed the feistiness of this character.
Oren Gradus brought an earthy, though somewhat constrained voice and dignity to the role of Duglas d'Angus, Elena’s father.
In smaller roles, Olga Makarina as Elena’s confidante, Edoardo Valdes as a servant to Duglas, and Gregory Schmidt as a servant to GIACOMO V, complete an admirable cast.
In the final scene, the stage platform separates to reveal the red floor of the GIACOMO V’s throne room.
A chorus of courtiers in gold-tinged white robes looks resplendent and sings gloriously.
The stage is bathed in radiant light.
Yet, this shift in production style seems to come out of nowhere.
A chorus of courtiers in gold-tinged white robes looks resplendent and sings gloriously.
The stage is bathed in radiant light.
Yet, this shift in production style seems to come out of nowhere.
Still, it provided a fitting background for the resolution of the opera.
Elena discovers that the cavalier of SNOWDOWN is GIACOMO V, and the king, seemingly transformed by the experience of falling in love, forgives his former tutor DUGLAS D'ANGUS and blesses the marriage of Elena and Malcolm Graeme.
Elena discovers that the cavalier of SNOWDOWN is GIACOMO V, and the king, seemingly transformed by the experience of falling in love, forgives his former tutor DUGLAS D'ANGUS and blesses the marriage of Elena and Malcolm Graeme.
It was good to have the stage so bright forDiDonato’s triumphant performance of “Tanti affetti.”
Besides adding an important Rossini opera to the Met’s repertory, this production gives those who have only heard her sing that aria as an encore a chance to get to know the long opera that precedes it.
Besides adding an important Rossini opera to the Met’s repertory, this production gives those who have only heard her sing that aria as an encore a chance to get to know the long opera that precedes it.
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