Scottish Opera, 14/04/2019
Mascagni : Silvano
The Chorus of Silvano
Orchestra of Scottish Opera
Stuart Stratford
In his continued exploration of the lesser-trod avenues of opera, Scottish Opera Music Director Stuart Stratford this time brought us Mascagni's fourth opera, the "seafaring drama" Silvano, in a semi-staged concert performance. Silvano, a fisherman, has been on the run, having been caught smuggling. An unexpected pardon has allowed him to return to his village, his mother, and his sweetheart Mathilde. In his absence, however, Mathilde succumbed to the advances of Silvano's friend Renzo, madly in love with her. She still loves Silvano, but is consumed with guilt, and Renzo is not prepared to give her up. It all ends as badly as you might expect.
In many ways, it's a re-run of Cavalleria Rusticana, but with a score full of water and moonlight instead of Sicilian heat. The libretto is fairly flimsy; I quickly lost patience with Mathilde, who does little else than bemoan her (self-inflicted) fate. Renzo is a fairly stock, robust, baritone rival, vocally very much like Alfio from Cavalleria. Silvano himself, on the other hand, is quite interesting, he has a long reverie at the start of the second (and last) act, waxing poetic about the sea, which is definitely outwith the traditional forms of the aria. The chorus writing is also attractive, very varied in texture and effect. The orchestra is recognisably Mascagni from the outset, lush, big-boned, yet delicate when needed.
Stratford clearly loves this sort of music, and lavishes much care and attention on it, exhorting passionate, committed performances from orchestra, chorus and soloists alike. The chorus was excellent, beautifully nuanced and expressive. As Mathilde, my first impression of Emma Bell was that of someone a little too mature for the role, but the part is vocally not unlike Santuzza, needing a voice comfortable in the lower register but with an explosive top, optional for soprano or mezzo on condition the full range can be achieved, and Bell has quite a dark timbre, but a clear, ringing top. As I said, the character doesn't inspire a lot of sympathy in me, but Bell did what she could with her, and was particularly strong in her two fiery duets with the solidly sung Renzo of David Stout. The small part of Silvano's mother, Rosa, was efficiently delivered by the dependable Leah-Marian Jones.
Silvano was sung by Alexey Dolgov, previously seen here as Vaudémont in Scottish Opera's concert version of Iolanta, in October '17. As I said then, it's not the most beautiful tenor tone, it's quite a dry sound, but he's a confident, assured singer, clear, strong and credible, capable of a good range of vocal colour, which was especially noticeable in that strange, rather captivating reverie mentioned above.
These exhumations are always interesting, and Mascagni's never a chore to listen to, but the music is not, on the whole, very memorable. The choral writing is noteworthy, and there are strong moments, but I'm not going to be remembering much of the music by tomorrow. Kudos, however, to the soloists, all performing from memory, which for two performances only, of a work they have probably never sung before and may never sing again, represents a high level of engagement.
[Next : 9th May]
The Chorus of Silvano
Orchestra of Scottish Opera
Stuart Stratford
In his continued exploration of the lesser-trod avenues of opera, Scottish Opera Music Director Stuart Stratford this time brought us Mascagni's fourth opera, the "seafaring drama" Silvano, in a semi-staged concert performance. Silvano, a fisherman, has been on the run, having been caught smuggling. An unexpected pardon has allowed him to return to his village, his mother, and his sweetheart Mathilde. In his absence, however, Mathilde succumbed to the advances of Silvano's friend Renzo, madly in love with her. She still loves Silvano, but is consumed with guilt, and Renzo is not prepared to give her up. It all ends as badly as you might expect.
In many ways, it's a re-run of Cavalleria Rusticana, but with a score full of water and moonlight instead of Sicilian heat. The libretto is fairly flimsy; I quickly lost patience with Mathilde, who does little else than bemoan her (self-inflicted) fate. Renzo is a fairly stock, robust, baritone rival, vocally very much like Alfio from Cavalleria. Silvano himself, on the other hand, is quite interesting, he has a long reverie at the start of the second (and last) act, waxing poetic about the sea, which is definitely outwith the traditional forms of the aria. The chorus writing is also attractive, very varied in texture and effect. The orchestra is recognisably Mascagni from the outset, lush, big-boned, yet delicate when needed.
Stratford clearly loves this sort of music, and lavishes much care and attention on it, exhorting passionate, committed performances from orchestra, chorus and soloists alike. The chorus was excellent, beautifully nuanced and expressive. As Mathilde, my first impression of Emma Bell was that of someone a little too mature for the role, but the part is vocally not unlike Santuzza, needing a voice comfortable in the lower register but with an explosive top, optional for soprano or mezzo on condition the full range can be achieved, and Bell has quite a dark timbre, but a clear, ringing top. As I said, the character doesn't inspire a lot of sympathy in me, but Bell did what she could with her, and was particularly strong in her two fiery duets with the solidly sung Renzo of David Stout. The small part of Silvano's mother, Rosa, was efficiently delivered by the dependable Leah-Marian Jones.
Silvano was sung by Alexey Dolgov, previously seen here as Vaudémont in Scottish Opera's concert version of Iolanta, in October '17. As I said then, it's not the most beautiful tenor tone, it's quite a dry sound, but he's a confident, assured singer, clear, strong and credible, capable of a good range of vocal colour, which was especially noticeable in that strange, rather captivating reverie mentioned above.
These exhumations are always interesting, and Mascagni's never a chore to listen to, but the music is not, on the whole, very memorable. The choral writing is noteworthy, and there are strong moments, but I'm not going to be remembering much of the music by tomorrow. Kudos, however, to the soloists, all performing from memory, which for two performances only, of a work they have probably never sung before and may never sing again, represents a high level of engagement.
[Next : 9th May]