Jacques Fromental Halevy's Clari is a very obscure opera, and while it is easy to see why it will not click with some for me it actually was an interesting and worthwhile discovery. Sure the story is slim with the opera maybe going on longer than it needed to, and some may criticise the music for lack of memorable arias or being like Rossini without the inventiveness. The comedy is very entertaining and refreshing however, the characters likable and the music is quite melodic and beautiful.
This Zurich production gives this obscure work dazzling treatment, with its only problem (from personal opinion) being that some of the stage direction gets rather too farcical, which sometimes goes against the libretto and doesn't fit with the music as well as it could. The production is very well-designed though, the non-traditional costumes are still elegant, the chorus in the Act 1 party scene especially, and the sets, including a clever 2-roomed set representing the parents' house, are made interesting by the gloriously bold colours that positively leap out at you. The videography is suitably unobtrusive, the picture quality is sharp and the sound is clear which allows one to fully appreciate the music and how it's performed. While some of the stage direction does get a little heavy sometimes on farce, most of the comedy is hilariously sparkling and while it's quirkier and somewhat campier than one would expect from hearing the music the production doesn't forget about the tragic drama elements and some parts like the interpolated Willow Song from Rossini's Otello are very affecting.
Musically, the production is superb. There is the occasional lack of precision in the woodwind and John Osborn takes a little time to warm up at first, but the orchestral playing on period instruments is light in style, energetic and enthusiastic and there is some beautiful tone here. The chorus interact well and are well-balanced, tonally it's lovely to listen to and they give the impression that they're connecting with what they're singing about (which is crucial in opera or any type of singing). The conducting from Adam Fischer is full of verve and nuance, bringing the music to life while also accommodating the drama. The performances are top-notch from a spot-on principal cast, with Cecilia Bartoli showing as ever as a rich, smoky tone, sublime musicality (her pianissimos especially), envious flexibility and a commanding stage presence that sparkles with comic timing but also showing more subtlety in her expressions than usual. She is especially outstanding in the Willow Song.
Eva Liebau enchants in every way possible as Bettina, with her silvery, beautifully rounded voice and graceful acting. John Osborn takes a little time to warm up vocally, but for two thirds of the performances makes the challenging colouratura seem easy and he has fun with the role while wisely making the character as camp as he is made up to look, bringing down the house in Act 3. Carlos Chausson allows one to feel great amusement and pity for Alberto and his voice still sounds lovely, Stefania Kaluza is a sympathetic mother and Oliver Widmer sings his part with ease and acts more than comfortably, showing great comic timing but not overdoing it.
In conclusion, the opera may be obscure but this Zurich production albeit with a couple of reservations dazzles and a good way to get introduced to it. 8/10 Bethany Cox
This Zurich production gives this obscure work dazzling treatment, with its only problem (from personal opinion) being that some of the stage direction gets rather too farcical, which sometimes goes against the libretto and doesn't fit with the music as well as it could. The production is very well-designed though, the non-traditional costumes are still elegant, the chorus in the Act 1 party scene especially, and the sets, including a clever 2-roomed set representing the parents' house, are made interesting by the gloriously bold colours that positively leap out at you. The videography is suitably unobtrusive, the picture quality is sharp and the sound is clear which allows one to fully appreciate the music and how it's performed. While some of the stage direction does get a little heavy sometimes on farce, most of the comedy is hilariously sparkling and while it's quirkier and somewhat campier than one would expect from hearing the music the production doesn't forget about the tragic drama elements and some parts like the interpolated Willow Song from Rossini's Otello are very affecting.
Musically, the production is superb. There is the occasional lack of precision in the woodwind and John Osborn takes a little time to warm up at first, but the orchestral playing on period instruments is light in style, energetic and enthusiastic and there is some beautiful tone here. The chorus interact well and are well-balanced, tonally it's lovely to listen to and they give the impression that they're connecting with what they're singing about (which is crucial in opera or any type of singing). The conducting from Adam Fischer is full of verve and nuance, bringing the music to life while also accommodating the drama. The performances are top-notch from a spot-on principal cast, with Cecilia Bartoli showing as ever as a rich, smoky tone, sublime musicality (her pianissimos especially), envious flexibility and a commanding stage presence that sparkles with comic timing but also showing more subtlety in her expressions than usual. She is especially outstanding in the Willow Song.
Eva Liebau enchants in every way possible as Bettina, with her silvery, beautifully rounded voice and graceful acting. John Osborn takes a little time to warm up vocally, but for two thirds of the performances makes the challenging colouratura seem easy and he has fun with the role while wisely making the character as camp as he is made up to look, bringing down the house in Act 3. Carlos Chausson allows one to feel great amusement and pity for Alberto and his voice still sounds lovely, Stefania Kaluza is a sympathetic mother and Oliver Widmer sings his part with ease and acts more than comfortably, showing great comic timing but not overdoing it.
In conclusion, the opera may be obscure but this Zurich production albeit with a couple of reservations dazzles and a good way to get introduced to it. 8/10 Bethany Cox
