'Semiramide' was a new discovery for me seven or eight years ago, via both the Joan Sutherland recording and the (for me) excellent 1990 Met production with June Anderson, Marilyn Horne and Samuel Ramey. And it made a good impression on me and it is a shame that it isn't performed more often.
That it isn't is mainly down to that it is not the easiest Rossini opera to stage and even more so the demands the principal roles pose, especially the perhaps Lady Macbeth of female Rossini roles that is the title role. It also suffers from that it is a very different Rossini, along with 'William Tell' it is a serious dramatic opera rather than the sparkling comedies that are 'Il Barbiere Di Siviglia' and 'La Cenerentola', personally do not consider this a bad thing despite considering the story in 'Semiramide' not as compelling as those two. Others may not find Rossini's score the most consistently tuneful or memorable, for me the music is wonderful and his distinctive style is all over it, especially in the Overture and "Bel Raggio".
Revived from the aforementioned production by John Copley, this is a pretty spectacular 'Semiramide', and evidence of the 12th season of the 'Metropolitan Opera in HD Live' series is still going strong and yet to put a foot wrong and that the opera deserves to be better known and performed more with the right cast. It is lovely to see it get more exposure of late, having made an impression at Covent Garden relatively recently.
It's not a perfect production. There are moments of static staging, particularly with the chorus in stand and deliver mode (the tomb scene also came over somewhat awkwardly), which is down to the opera's drama not giving them much to do a lot with. It is a shame because the chorus have grown significantly in their acting over-time with more individuality and generally with more compelling staging to work from.
Not everybody will find the costumes to their tastes. Found them very elaborate in detail and opulent in colour myself as well as effective, if also in some cases on the gaudy and unflattering side. Occasionally the balance wasn't quite there, like with Semiramide and Arsace where Angela Meade and Elizabeth De Shong don't always blend (difficult with Meade having as powerful a voice as she does).
However, the sets are lavish at times and at other times effective in their deliberate lack of glamour to represent ruin. The lighting is atmospheric. The staging is unfussy and may not be the most risk-taking, but it doesn't feel overblown and there is nothing distasteful here. Despite being an old production, the age doesn't show or show signs of creakiness and there is an effort to give it freshness.
Musically, the production is outstanding. It is insignificant that it is not a complete performance, that is not always the case with cuts but the drama is not harmed and things still make sense and flow. The orchestral playing is full of energy and nuance and even though not very well served by their staging the chorus are as buoyant, musical, well rehearsed, responsive and engaged as ever. Maurizio Benini's conducting is alert to the drama yet also has some expansive breathing space without being plodding.
Angela Meade takes on the title role with abandon and makes a truly gutsy and intense account of it. Her voice has plenty of heft and agility, while showing no signs of being taxed by the colouratura elements or any softer moments. It's her boldest endeavour yet in her blossoming career and it's one of her best. Elizabeth De Shong sings with a dark velvety tone and she is an expressive actress, she works very well with Meade in that they mostly do blend and while it doesn't quite blister the chemistry does have intensity and emotion.
Javier Camarena is up there as one of the best Rossini tenors today. His singing has power, tenderness, bite, nuance and immense flexibility, and it is a rich unstrained and never nasal sound. He is highly in giving a relatively colourless role colourful. Ildar Abdrazakov sings with beautiful resonance and he is true to the assuring aspects of Assur's role while also clearly having fun.
Ryan Speedo Green's Oroe is commanding and sonorous and Sarah Shafer charms.
Overall, not without its foibles but spectacular. 8.5/10 Bethany Cox
That it isn't is mainly down to that it is not the easiest Rossini opera to stage and even more so the demands the principal roles pose, especially the perhaps Lady Macbeth of female Rossini roles that is the title role. It also suffers from that it is a very different Rossini, along with 'William Tell' it is a serious dramatic opera rather than the sparkling comedies that are 'Il Barbiere Di Siviglia' and 'La Cenerentola', personally do not consider this a bad thing despite considering the story in 'Semiramide' not as compelling as those two. Others may not find Rossini's score the most consistently tuneful or memorable, for me the music is wonderful and his distinctive style is all over it, especially in the Overture and "Bel Raggio".
Revived from the aforementioned production by John Copley, this is a pretty spectacular 'Semiramide', and evidence of the 12th season of the 'Metropolitan Opera in HD Live' series is still going strong and yet to put a foot wrong and that the opera deserves to be better known and performed more with the right cast. It is lovely to see it get more exposure of late, having made an impression at Covent Garden relatively recently.
It's not a perfect production. There are moments of static staging, particularly with the chorus in stand and deliver mode (the tomb scene also came over somewhat awkwardly), which is down to the opera's drama not giving them much to do a lot with. It is a shame because the chorus have grown significantly in their acting over-time with more individuality and generally with more compelling staging to work from.
Not everybody will find the costumes to their tastes. Found them very elaborate in detail and opulent in colour myself as well as effective, if also in some cases on the gaudy and unflattering side. Occasionally the balance wasn't quite there, like with Semiramide and Arsace where Angela Meade and Elizabeth De Shong don't always blend (difficult with Meade having as powerful a voice as she does).
However, the sets are lavish at times and at other times effective in their deliberate lack of glamour to represent ruin. The lighting is atmospheric. The staging is unfussy and may not be the most risk-taking, but it doesn't feel overblown and there is nothing distasteful here. Despite being an old production, the age doesn't show or show signs of creakiness and there is an effort to give it freshness.
Musically, the production is outstanding. It is insignificant that it is not a complete performance, that is not always the case with cuts but the drama is not harmed and things still make sense and flow. The orchestral playing is full of energy and nuance and even though not very well served by their staging the chorus are as buoyant, musical, well rehearsed, responsive and engaged as ever. Maurizio Benini's conducting is alert to the drama yet also has some expansive breathing space without being plodding.
Angela Meade takes on the title role with abandon and makes a truly gutsy and intense account of it. Her voice has plenty of heft and agility, while showing no signs of being taxed by the colouratura elements or any softer moments. It's her boldest endeavour yet in her blossoming career and it's one of her best. Elizabeth De Shong sings with a dark velvety tone and she is an expressive actress, she works very well with Meade in that they mostly do blend and while it doesn't quite blister the chemistry does have intensity and emotion.
Javier Camarena is up there as one of the best Rossini tenors today. His singing has power, tenderness, bite, nuance and immense flexibility, and it is a rich unstrained and never nasal sound. He is highly in giving a relatively colourless role colourful. Ildar Abdrazakov sings with beautiful resonance and he is true to the assuring aspects of Assur's role while also clearly having fun.
Ryan Speedo Green's Oroe is commanding and sonorous and Sarah Shafer charms.
Overall, not without its foibles but spectacular. 8.5/10 Bethany Cox
