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      Paris Opera: A Veteran Falstaff Looks Back, and Ahead

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      Ambrogio Maestri has sung the title role in Verdi’s comedy hundreds of times, most recently for the Paris Opera. He’s also making room for a Puccini tragedy.For Ambrogio Maestri, a bass-baritone, the title role of Verdi’s opera “Falstaff” has become nothing less than a second skin.“On the days when I’m happy or sad, he takes on a different shape,” he said between rehearsals for the Paris Opera.The Italian singer has performed the role about 400 times and in more than 20 different productions, he said. Falstaff, a gluttonous knight, is humiliated by the married women he courts, including Alice Ford, the ringleader of a plot to have him thrown into the Thames River. His latest performances have been at the Opéra Bastille in Paris, reprising Dominique Pitoiset’s classic 1999 staging.He will return to “Falstaff” at La Scala in Milan from Jan. 16 to Feb. 7 for the Giorgio Strehler production, in which he first appeared as the character in 2001.But Maestri, 54, does not live only for comedy. He has also plunged into the psyche of Scarpia, the sinister police chief in Puccini’s “Tosca,” which he will take on in mid-October at the Hamburg State Opera in Germany and again in February at the Vienna State Opera.He discussed his latest turn as Falstaff, and more, in a recent interview. The following conversation has been translated from Italian, edited and condensed.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Opera Is Still Obsessed With the Suffering of Women

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      Two new works, “The Listeners” and “Grounded,” echo the age-old spectacle of female disintegration and show the tension of fitting modern stories into old forms.Opera’s job is to show us what’s bigger, wilder and more intense than ordinary life. It’s a terrarium in which we watch a condensed version of ourselves, with more ecstatic loves and more savage suffering.It’s no secret that a disproportionate amount of that suffering has been endured by women. With its bounty of female mad scenes, wasting sicknesses and tragic deaths, opera has been viewed with suspicion by some feminist critics. In a classic 1979 book, the French theorist Catherine Clément observed that “on the opera stage, women perpetually sing their eternal undoing.”“Glowing with tears, their décolleté cut to the heart,” Clément wrote, “they expose themselves to the gaze of those who come to take pleasure in their pretend agonies.”Opera, in this reading, is the product of a male-dominated society that has both celebrated female beauty and limited female action: hence the virtuoso singing paired with the punishing downfalls. There’s a dark aspect to the fact that women losing their minds and their lives is clearly central to what bewitches so many of us about “La Traviata” and “Madama Butterfly,” “Elektra” and “La Bohème,” “Faust” and much else in the standard repertoire.Not every opera, and certainly not every contemporary one, revolves around suffering women. But two major new works — Jeanine Tesori’s “Grounded,” which opened the Metropolitan Opera’s season on Monday, and Missy Mazzoli’s sly, poignant, darkly funny “The Listeners,” which had its American premiere at Opera Philadelphia on Wednesday — are reminders that this fascination is strong enough to have lingered into our own time.Neither of these works has a traditional opera heroine. Jess in “Grounded” is a fighter pilot (no décolleté for her) and Claire in “The Listeners” teaches high school. And unlike Carmen or Salome, they don’t die; these new operas end with their main characters in a position that can seem a lot like composure. But the main spectacle of both plots — the climactic meat of the action — remains the same as in “Lucia di Lammermoor”: a woman coming undone.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A Devastated Drone Pilot Opens the Met Opera’s Season

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      Jeanine Tesori and George Brant’s bloodless “Grounded,” about a fighter pilot turned dissociating drone operator, stars the mezzo-soprano Emily D’Angelo.On a fall evening in 1883, the Metropolitan Opera opened its doors for the first time with a performance of “Faust,” the classic tale of a man who sells his soul to Mephistopheles to gain power and pleasure.On Monday, 141 years later, another Met season began with Jeanine Tesori and George Brant’s “Grounded,” a bloodless new opera on that same old theme of making an ill-advised deal with the devil.The same old theme, but with 21st-century trappings — a plot about advanced weapons technology; a libretto loaded with words unprintable in this newspaper — that are still unusual in the tradition-bound opera world, particularly on the Met’s most important night of the year. There is an assumption that operas on charged contemporary themes must be risky and important. “Grounded,” which doesn’t risk much, politically or musically, shows this isn’t so.Its protagonist, Jess, is a hotshot fighter pilot who falls in love with a rancher she meets while on leave in Wyoming. When she gets pregnant, she is pulled out of her beloved F-16 cockpit, and out of combat in the Middle East. With a loyal husband and daughter, she is without the sense of freedom and mastery she had soaring through — and dropping bombs from — what she calls “the blue.”A few years later, her old boss, the U.S. military, has a proposal: Would she apply her gifts to operating a missile-bearing Reaper drone, thousands of miles away from her targets? It’s much less glamorous than her former “Top Gun” life, but she’ll be able to go home and hug her child at the end of the day.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      What Belongs to Opera? Garth Greenwell’s Novel of Desire

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      Greenwell’s “What Belongs to You” reaches the opera stage with a team that includes the composer David T. Little and the director Mark Morris.The composer David T. Little isn’t sure whether it was really his idea to write the opera “What Belongs to You.”Nine years ago, he was given an advance copy of Garth Greenwell’s debut novel of the same name by his friend and fellow musician Alan Pierson, from the group Alarm Will Sound. As Little read the book, a finely hewed account of desire and shame, and their resonances in an American’s dangerous love for a Bulgarian hustler, he thought: This is a song cycle waiting to happen, if not a full-length opera.He said as much in an email to Pierson, taking the first step that led to the premiere of “What Belongs to You” on Thursday at the Modlin Center for the Arts in Richmond, Va. Now, Little said, “I suspect Alan masterminded this thing from the beginning.”In the years since Little was sent the book, Greenwell has become a critical darling, the author of “Cleanness” and “Small Rain,” which was released this month. Little and Pierson brought on more artists: the Grammy Award-winning vocalist Karim Sulayman, for whom the opera was written, and Mark Morris, the choreographer and director, who is staging the work’s premiere.Pierson conducting during a rehearsal of “What Belongs to You” at the Modlin Center for the Arts in Richmond, Va.Maansi Srivastava for The New York TimesAnd, yes, this is exactly what Pierson was hoping would happen.“This is a book that I’ve been deeply connected to from the beginning,” he said. He and Greenwell, a former singer, were students and collaborators at the Eastman School of Music, and remained close friends as Greenwell became a poet, a teacher and then a prose writer, whose style seemed to reflect the different phases of his life. Pierson read early versions of “What Belongs to You,” which Greenwell dedicated to him.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A (Very) Belated Donizetti Premiere in South Africa

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      The 1838 score for “Dalinda,” which uses chunks of “Lucrezia Borgia,” was found in Naples in 2019. A student company in Cape Town just gave the first staged performance.“Could Donizetti ever have imagined that the world premiere of one of his operas would take place in Africa?”That’s the question Jeremy Silver, the director of Opera UCT, a student company from the University of Cape Town, posed to the audience before the first staged performance of “Dalinda” on Sept. 4.But here it was, an opera discovered just a few years earlier — presented not at an ornate European opera house but at the Baxter Theater, built in the 1970s, and performed by Opera UCT with a cast largely comprising Black singers and supertitles in English and IsiXhosa.The rediscovery of “Dalinda” is a musical detective story with its origins in Donizetti’s frustration at failing to get his opera “Lucrezia Borgia” past the censors in Naples, where he was resident at the Teatro di San Carlo. The composer of “Lucia di Lammermoor,” “La Fille du Regiment” and “Don Pasquale,” Donizetti was a prodigious worker, often producing several operas in a year. But he spent four frustrating years reworking “Lucrezia” while composing other pieces, and in 1838 he decided to change the setting and characters entirely and add new music.He called the new opera “Dalinda,” setting the action in the Middle East at the time of the Third Crusade in the 12th century, and making his title character the dominating wife and daughter of feared Muslim leaders. But Dalinda has a secret: Her illegitimate son is a Christian knight whom she longs to know. The plot revolves around their unexpected reunion when the Franks (as the Christian Crusaders are called) and the Saracens (Muslim fighters) meet to celebrate the end of a three-year war. It doesn’t turn out well.Like “Lucrezia,” the opera has the story of a mother and son at its heart, and Donizetti used “large chunks” of that music in “Dalinda,” the British-born Silver said in an interview at the University of Cape Town’s College of Music, which has produced alumni like Pretty Yende, Golda Schultz and Musa Ngqungwana. “But there is progressively more new music as it goes on, some of it really wonderful.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Soprano Who Despises Encores Interrupts Her Co-Star’s

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      Angela Gheorghiu drew criticism after she stormed onstage to stop a tenor’s encore during a performance of “Tosca” in Seoul.It was the third act of Puccini’s “Tosca” at a theater in Seoul, and the South Korean tenor Alfred Kim, responding to enthusiastic applause, was singing a rare encore of “E lucevan le stelle,” one of the opera’s most beloved arias.Then the unexpected happened: The celebrated soprano Angela Gheorghiu, who was singing the title role in a performance on Sunday, stormed onstage and demanded that he stop, according to local media reports and accounts by audience members.“Excuse me,” she said, signaling to the orchestra to pause.When the orchestra continued playing, she also refused to stop. “It’s a performance; it’s not a recital,” Gheorghiu said. “Respect the audience. Respect me.”Gheorghiu, 59, a diva of the old school known for her preternatural voice and strong-willed demeanor, faced an immediate backlash.She initially did not appear for a curtain call. But when she eventually emerged, she was booed, blowing a kiss as she exited the stage after only a few seconds. She was widely denounced by commentators and fans in South Korea. And the Sejong Center for the Performing Arts, where the performance took place, demanded an apology.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Creators of ‘Grounded’ Discuss Writing for the Met Opera

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      Allow the creators of opera some grace.Composers, librettists and their colleagues put years of work into something that, if they are lucky, gets a workshop performance or two before arriving onstage. If there is a revival — never a given in opera — they have an opportunity to make revisions.This process can be brutal for artists. And it’s not the usual one for the composer Jeanine Tesori and the playwright George Brant, the creators of “Grounded,” which opens the Metropolitan Opera’s season on Sept. 23.Tesori was written operas before, but she and Brant are more often animals of the traditional theater and the Broadway musical, environments where constant revisions responding to workshops, rehearsals and preview performances are the norm. Operas are also revised until the last possible moment, but they are never given the luxurious feedback that creators get in theater.“In the theatrical space, the audience is part of the process,” said Tesori, the Tony Award-winning composer of the shows “Kimberly Akimbo,” “Fun Home” and “Caroline, or Change.” She learned from George C. Wolfe, the decorated playwright and director, “that the audience is your final scene partner.”“I wish I were one of those artists who really knows what they have, but I just don’t,” she said. “So, I feel like I’m still getting to know what ‘Grounded’ is.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: This ‘Figaro’ Puts All Mozart’s Characters in One Voice

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      By singing men and women, nobles and servants, the countertenor Anthony Roth Costanzo takes the opera’s theme of human mutability to a chaotic extreme.Charles Dickens was celebrated for solo public readings in which he would give voice to a novel’s full cast of characters. I’ve watched the great actor David Greenspan take all the roles in Eugene O’Neill’s sprawling play “Strange Interlude” and, earlier this year, saw Eddie Izzard do the same in “Hamlet.”But when the countertenor Anthony Roth Costanzo has a go at a similar feat — performing Mozart’s “The Marriage of Figaro” as a one-man show at Little Island — it is an altogether different ambition.An opera singer’s repertoire is usually firmly circumscribed. Sure, transposition can nudge unfriendly music into a more comfortable key. And sure, some mezzo-sopranos can sing some soprano parts, and vice versa. But while Dickens, in a reading, could shift from Scrooge to Tiny Tim simply by adjusting an accent or affecting a growl, it’s another story for one person to hit the notes of both Susanna and the Count in “The Marriage of Figaro,” let alone invest both with beauty and power.A vocal range can be wide, but it’s not infinite; a singer’s identity tends to be pretty fixed.It’s that fixity that Costanzo, who has recently been named the general director of Opera Philadelphia, means to have some fun with. Mozart and his “Figaro” librettist, Lorenzo Da Ponte, might well nod along: The opera is full of characters pretending to be other people, even other genders. Human mutability is one of the main themes.Costanzo — with his director, Dustin Wills, and his arranger and conductor, Dan Schlosberg — takes this to a challenging, chaotic extreme. In this much-trimmed 100-minute “Figaro,” Costanzo sings all the parts, or enthusiastically tries to: men and women, nobles and servants, high notes and low.I was misleading earlier, however: This isn’t precisely a one-man “Figaro.” It’s more of a one-voice version, with a handful of actors joining Costanzo onstage for much of the relentlessly high-spirited performance, playing main roles, some cast across gender, and impressively lip-syncing along with Costanzo’s sung Italian. (Toward the end, there are also sweet — and audible — contributions from a few child members of the Young People’s Chorus of New York City.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More