Cher Public

  • armerjacquino: 10? There have only been six, silly. 3:51 PM
  • la vociaccia: I wasn’t really debating which singer deserves to be hired more. I just wanted to point out that while Dasch has... 3:49 PM
  • PCally: Good for you I guess. I for one wish the powers that be at the met had hired herlitzius instead of stemme for the upcoming... 3:46 PM
  • oscar: Well I think Harteros is a boring singer and Herlitzius has the ugliest voice I’ve ever heard. Nah nah na na. 3:31 PM
  • Feldmarschallin: ‘ Racette was a great singer and actress,’. A great singer? Sorry no dice. A great singer if we just leave it... 3:20 PM
  • PCally: Well I find dasch to be a considerable superior actress and the timbre is certainly more appealing than current racette. Of course... 3:18 PM
  • la vociaccia: You simply can’t put Racette and Dasch in the same sentence. In her prime Racette was a great singer and actress, and... 3:08 PM
  • armerjacquino: Sorry Ivy that first Racette should have been Magee In that case, FM, are we to take it that your sentence should have read... 2:31 PM

Box office

Roman emperor at age 14, he alienated his public by worshipping his own god above Jupiter. Although married five times including to the heretofore off-limits Vestal Virgin, he patronized hundreds of prostitutes while also showering political favors on his male lovers.

Ambivalent about his gender to the degree that he may have had himself castrated, legend has it that he prostituted himself (dressed as a woman) in the royal palace. These outrages and more resulted in his assassination at eighteen thanks to the intervention of his maternal grandmother, the same woman whose machinations had won him the throne in the first place.

Next week he—or at least his operatic incarnation—arrives in New York City. Thanks to the always provocative Gotham Chamber Opera, Eliogabalo by Francesco Cavalli has its US professional stage premiere with South African countertenor Christopher Ainslie in the title role beginning a six-performance run at The Box in the East Village on March 15.

Composed to a libretto by Aurelio Aureli for the 1668 Carnival season at Venice’s Teatro Grimani, it was unexpectedly dropped and replaced by Giovanni Antonio Boretti’s opera of the same name to a much revised libretto also by Aureli. The score sat in the composer’s archive at the Biblioteca Marciana in Venice until its world premiere over 330 years later in Crema, the composer’s birthplace.

One imagines a huge scandal should have erupted over the cancelation of a new work by Italy’s best known opera composer, but almost no information has come to light other than Aureli’s intriguing preface to the Boretti libretto:

I had, unexpectedly, and in response to the vigorous order of someone I had to obey, to hastily finish this Eliogabalo [Boretti’s], legitimate product of my pen, completely different in manner and action from the other one [Cavalli’s].

There has been speculation that the cancelation was due to the public’s changing musical taste; Cavalli remained committed to putting dramatic recitative first over the increasing popularity of arias composed to show off the singer. However, it seems much more likely that Eliogabalo’s unorthodox protagonist was the real reason.

Although not quite the unparalleled libertine of history, Cavalli’s anti-hero remains an unbridled sexual predator whose dangerous misbehavior culminates in his (off-stage) murder, a virtually unprecedented action in 17th century opera. As regicide remained a problematic operatic subject into the 19th century, it’s not surprising that Boretti’s protagonist instead lives on having repented his sins.

Cavalli/Aureli pits two pairs of lovers—Giuliano and Eritea, Alessandro and Flavia—against the rapacious appetites of the emperor as he seeks to wrest each lady from her lover, both of whom are politically entangled with Eliogabalo. The first act ends with a delicious scene of the emperor’s appointment of an all-female senate, which he invades (in drag) in order to get closer to Flavia. His death arises not from political unrest or the threatened actions of the ineffectual Giuliano and Alessandro but because Flavia cries for help as Eliogabolo attempts to rape her; the screams rouse the Praetorian guards who dispatch him.

Eliogabalo’s womanizing is aided by a striking pair of co-conspirators, his old nurse Lenia (an archetype always sung by a tenor, here John Easterlin, was who was so impressive as the Scrivener in last season’s Khovanshchina at the Met) and Zotico, historically one of Eliobagalo’s male lovers but in Cavalli his procuring steward, portrayed by mezzo Darryl Freedman. Surprisingly, these henchmen, normally comic figures, are also killed off-stage by an outraged populace.

Last week GCO graciously invited me to sit in on an early rehearsal and to meet Artistic Director Neal Goren and Eliogabalo’s director James Marvel and musical director Grant Herried. As the company had never before ventured into 17th century opera (beyond Purcell’s Dido and Aeneas in its early days), I was curious about why Gotham had chosen to do this Cavalli now.

In addition to a long-range plan to produce Monteverdi’s three great stage works, Goren has long been interested in Cavalli, particularly since Robin Guarino’s 2006 production of La Calisto at Juilliard. So he approached longtime GCO supporter Ellen Rosand, editorial director of Bärenreiter’s 14-volume Cavalli edition and author of the magisterial Opera in Seventeenth-Century Venice: Creation of a Genre.

Giasone having been revived just last season by Opera Omnia at Le Poisson Rouge, Rosand brushed aside another Calisto or perhaps L’Ormindo and instead suggested that of the composer’s 27 extant operas Eliogabalo would be the ideal candidate; also a new critical edition by Mauro Calcagno has been prepared for the Bärenreiter series.

As Cavalli’s operas are so text-focused, it might have made sense to mount the work in English, but commissioning a translation can prove expensive, so Aureli’s original has been retained (with projected English titles). However, Marvel’s goal for his staging is that a singer’s actions must be so clear and direct that an audience member will understand the dramatic and emotional import even without knowing the exact words being sung. I watched a run-through of a wrenching scene between Eritea (Susannah Biller) and Giuliano (Randall Scotting) which suggested he may be well on his way to achieving just that.

Cavalli’s works were mostly forgotten for centuries until the revelatory revival of L’Ormindo at the 1967 Glyndebourne Festival in a realization by conductor Raymond Leppard, followed by Leppard’s La Calisto there in 1970. Both were recorded by Argo and introduced many people to the extraordinary delights of post-Monteverdi Venetian opera.

Listening to L’Ormindo borrowed from my local public library when I was in grade school proved a transforming event in my evolution into a lover of 17th and 18th century vocal music. Today, the Leppard realizations may sound anachronistically lush, but I still go back often to those exceptionally beautiful performances.

Unfortunately the L’Ormindo was available on CD for only about five minutes and remains impossible to find, but LP copies do turn up regularly on Ebay.

Instead of Leppard’s sumptuous orchestrations, normally singers are accompanied only by basso continuo, with additional instruments added during ritornelli or sinfonias. A reaction against the Leppardization of Cavalli, possibly influenced by Alan Curtis’s spare edition of Monteverdi’s L’Incoronazione di Poppea, brought about a trend toward smaller-scaled performances.

Herried is a veteran of many Cavalli performances going back to the 1980s including Eliogabalo’s US premiere at the 2007 Aspen Festival conducted by Jane Glover, author of an important study of the composer.  For the GCO Eliogabalo he will lead from the theorbo a band of just six string instruments (bowed or plucked) and harpsichord (played by Goren) placed behind the singers.

Although others, including René Jacobs’s well known recordings and stage productions (including a lavish 2004 Eliogabalo in Brussels and Innsbruck), have added cornets, trumpets, recorders and percussion, his instrumentation dovetails with the production team’s goal of creating a gratifyingly intimate experience before an audience of fewer than 250. Less happily, a decision was also made to dramatically cut the work from nearly three hours to around two.

Gotham has performed in unusual spaces before—Diane Paulus’s 2010 vision of Haydn’s ll Mondo della Luna performed at the American Museum of Natural History, for example—so its choice of The Box as the venue for Eliogabalo is no surprise. An eighty-year-old former sign factory on Chrystie Street, it was recently renovated and opened in 2006 as a trendy venue for racy modern burlesque. When the audience arrives next week, it will be greeted by a DJ spinning a mash-up of Cavalli and contemporary music.

Marvel explained that the space’s edgy East Village spirit will inform the aesthetic of the production set in the indeterminate late 20th/early 21st century with costumes invoking a punk glamour. Yet based on the bare bones rehearsal I witnessed, the direction will hew quite closely (and traditionally) to the text. Herried emphasized that Cavalli’s operas, called dramma per musica or dramma musicale, aspire to an ideal of music nearly subordinate to the words, an emphasis harkening back to the sung drama envisioned at the origins of opera by the Florentine Camerata.

For many, the term “baroque opera” often proves mightily confusing as more than 150 years of music gets tucked under that label. Cavalli’s works couldn’t be more different from Handel opera seria (no da capo arias!) or French tragédie lyrique. And these Venetian operas often prove very accessible. At the heart, they are about complex characters vividly declaiming a text to a continuo accompaniment.

Yet often this recitative breaks into a more expansive aria-like structure, most memorably in the form of a lament.

A similar moment occurs in what may be the only commercially recorded excerpt from Eliogabalo– “Misero, cosi và” from 1984, fifteen years before its world premiere. The scene for Alessandro is transposed here for tenor but will be sung in Gotham’s production by mezzo soprano Emily Righter.

Cavalli’s operas can also include fairly traditional strophic arias…

as well as the occasional ravishing duet…

…although this L’Ormindo excerpt is trumped by the smashingly sensuous pairing of Sandrine Piau and Anne-Sofie von Otter in Diana and Endimione’s duet from La Calisto on von Otter’s new Sogno Barocco CD.

For those wanting to do some preparatory listening (or are unable to attend Eliogabalo), I might recommend Les Paladins’s entrancing L’Ormindo, much different from the older Leppard version but lovely and touching.

For me, Jacobs’s first recorded encounter with Cavalli—Xerse—remains his most appealing although this delicious work has been out of print for a long while.

The opera also includes one of the earliest settings of “Ombra mai fu” (best known in Handel’s version).

The best of the newer Cavalli discoveries on CD is La Sfera Armoniosa’s charming La Rosinda on Ludi Musici.

On DVD, Herbert Wernicke’s celebrated La Calisto (conducted by Jacobs) remains a classic production, despite some rough singing here and there.

La Didone does not rank among my favorite works, but Les Arts Florissants’s recent first venture into Cavalli is an outstanding performance, particularly the Didone of Anna Bonitatibus and the Iarba of Xavier Sabata.

Not only baroque fetishists but all adventurous New York operagoers will want to seize this opportunity to experience a rare and important work by one whom Donald Jay Grout has called “the first great popular composer of opera.”

Photos: Richard Termine


  • Quanto Painy Fakor says:

    In the paragraph starting “For the GCO Eliogabalo he will lead from the theorbo [comma ...],” I think the author means Grant Herreid.

    • La Cieca says:

      That’s right -- it was a clumsily introduced (by me) paragraph break that made the pronoun seem to have no antecedent.

  • Camille says:

    Looks a lot like Matt Damon in “Behind the Candelabra” to me.

  • m. croche says:

    Impossible to know, even to begin to guess, what the truth of “Elagablus” really was -- as Leonardo de Arrizabalaga y Prado showed in his recent book, the Emperor Sextus Varius Avitus Bassianus never even caled himself Elagablus. The name appears to be an invention of later historians. There was a high turnover rate among Emperors and would-be Emperors during this era, so this one’s short reign isn’t unparalleled. It’s common practice among kings and emperors to have their (unrelated) predecessors painted in the most unfavorable light. So I’d be a great deal more cautious with any claims concerning the historical “Elagablus”.

    As for comic henchmen dying, doesn’t “Il Ritorno d’Ulisse”‘s Iro kill himself in comically lamentable (or is it lamentably comic) fashion?

    And finally For many, the term “baroque opera” often proves mightily confusing as more than 150 years of music gets tucked under that label: Yes,yes, yes! Will no one rid us of this stupid term “baroque”?

  • Ilka Saro says:

    According to Wikipedia, this production will follow hard upon the 1791st anniversary of the assassination of Eliogabalus.

  • Pelleas says:

    I would’ve loved to catch a performance of this, but $50 STANDING room? I can’t help but feel there’s something a little…tone deaf about pricing like that.

    • Camille says:


      Honestly, I have never, ever heard of such a thing, excepting what the MET may charge for opening night new productions. It’s maybe that much and more, but you are getting a FAR bigger bang for your buck. How can a small company hope to survive charging these amounts?

  • Quanto Painy Fakor says:

    Morning prayer: Dear Lord, please do not let Peter Sellars take over the Salzburg Festival after they boot out Pereira. La Scala beware!
    “It is not acceptable to exceed the budget by more than five million Euros, especially in regards to the following years”, the mayor said.
    There are rumours that director Alexander Pereira will leave the Salzburg Festival and go to Milan [hopefully just for good pasta].”

  • Hippolyte says:

    Speaking of baroque in NYC, I wonder if anyone attended the concert by Ensemble Matheus at Zankel on Wednesday or listened to the broadcast on WQXR (it’s still available on their website I think)? The soloist was soprano Veronica Cangemi in arias by Handel and Vivaldi. Based on the broadcast I thought she was embarrassingly bad--swooping all over the place, wiry high notes, dipping into chest (when no chest is called for), attenuated tempi--it was a complete mess. I know she’s not been singing that well lately but this was truly a train-wreck. I promptly canceled plans to attend the Boston Early Music Festival’s opera this year: Handel’s Almira with Cangemi in the title role!

    • Nerva Nelli says:

      Cangemi’s recent recordings and DVDs (including the ALCINA with Cangemi and the **outrageously awful** Kasarova, in one of her most self-indulgent and meaningless performances ever, which is really saying something, yet cheered to the echo by credulous fools) show alarming deterioration from a previously high standard. I wonder if anyone at BEMF has heard her sing in the last 3-4 years?

    • louannd says:

      I have only heard her sing on the recording of Vivaldi’s Griselda put out by Ensemble Matheus and she sounds most wonderful on that recording. Isn’t she married to Spinosi? I had also heard that she wasn’t singing well though I am not sure where.

      • Hippolyte says:

        Ah, but that Griselda was recorded in 2005! I heard Cangemi in Vivaldi’s Fida Ninfa in Paris in 2004 (she was wonderful) and the recording of it done in 2008 already shows a decline.

        BEMF has been lucky with its “imported” singers: Karina Gauvin, Carolyn Sampson, Philippe Jaroussky, but I fear that string is sadly about to end.

  • papopera says:

    Another musical antiquity exhumed. Seems to be a fad these days.

  • Hans Lick says:

    I deeply regret Neal Goren’s propensity to cut scores to ribbons from some misguided notion of “theatricality” and, I believe, a fundamental misunderstanding of the attitude of the audience for obscure opera. His “Il Mondo della Luna” at the Planetarium was delightful, but only about half of a wonderful score. The paying customer was entitled to feel a bit cheated. With prices so elevated for “Eliagabalo,” a cut of one-third of the score will definitely make those whose good will is necessary to the company’s survival feel, well, shortchanged.

    In comparison, Operamission’s bare-bones production of Handel’s “Almira” last spring was lengthy in a most satisfying way, wittily staged, deliciously sung and played, and gave me an appetite for more of a wonderful, unknown score.

  • hawksmoor says:

    I normally jump at the chance to see any Cavalli production I hear of (many years ago I sent a scathing letter to Glimmerglass opera when they cancelled a Cavalli opera and substituted “Pirates of Penzance” or something of that more commercial ilk, but found they could not be shamed), but alas, I am a shy person and prefer the anonymity of being in a THEATER, not some tragically hip burlesque club, where no doubt cross-dressing singers will come over and drape themselves on your lap (at a table? it’s unclear where one would end up sitting) and force “participation” on my reserved self. So I will forego Eliogabalo--and WARNING: I will even stop going to the Met if they decide at the next revival of Parsifal to have Klingsor come gavotting down the aisles and smearing blood on people’s heads.

  • Quanto Painy Fakor says:

    I just listened to a fascinating interview with Melitta Muszely. In addition to her prescious recollections of her collaboration with Walter Felsenstein, she told a fascinating story of how Leonie Rysanek and Rysanek’s teacher were of great help to her. In retrospect, I can hear some of that teaching in Muszely’s recordings. She was a wonderful artist.

    • Buster says:

      That Sonja is gorgeous -- thanks! I have been trying to select a Zarewitsch recording, and this is one of the liveliests. Rita Streich recorded the part late in her career, but unfortunately on one of those frigid EMI operetta recordings. I settled for the Wallberg recording with Lucia Popp, done with respect and a lot of love.

      More on Muszely:

  • Quanto Painy Fakor says:

    Wenarto has been busy too! (He has the most interesting friends.)

    Take 2:

    I wonder where he found the Bobbly Flay look-alike.

  • louannd says:

    A wonderfully informative preview, DeCafferrelli. If I could go I would run not walk to find a ticket. Maybe Santa Fe will take up the idea.

  • Lee B. Ahmo says:

    I’ve just seen the final dress of Eliogabalo. Good singing, predictable naughtiness, comic roles woeful. And how is it possible to make the gorgeous Emily Righter so hideous? Can’t wait for the official crits.

    • sassymaegibbons says:

      I completely disagree with ‘Lee B. Ahmo’. I, too, attended the final dress of “Eliogabalo” and found it to be one of the most inventive and innovative productions I’ve seen of late (and that includes what is going on at Lincoln Center). And ‘comic roles woeful’??? To the contrary: I found that to be the best part of the production and afternoon. Hilarious moments which still allowed for excellent vocalism. I think Gotham has a treasure -- and I predict hit as well -- on their well deserved hands. Bravi tutti!