Goya

Gian Carlo Menotti's opera about the Spanish painter was written specifically for Plácido Domingo, who sang during the 1986 premiere in Washington and assumes the lead again in this 2004 revival at the Theater an der Wien. Even in his 60s, the tenor is in strong voice—although his acting is rudimentary and his accent wreaks havoc on the English text—and he's the sole reason to watch this piece. Menotti's libretto is a pedestrian commentary on the nature of artistry, presenting Goya as a man driven by an ideal of pure beauty who falls in love with the beautiful Duchess of Alba (Michelle Breedt), who is later poisoned by the vengeful Queen María Luisa (Íride Martínez). The opera closes with the aged Goya declaring that while he mourns his lost love, his true devotion has always been to art itself. The composer sets this abstract text to music in a characteristically late-Romantic vein, but there's none of the melodic invention that marks his best work. A threadbare production, with modest sets and unattractive costumes, Goya suffers from flabby conducting on the part of Emmanuel Villaume and ragged playing from the Radio-Symphonieorchester Wien, while the secondary singers—stumbling around the tiny stage—are at most adequate. Also, with Breedt appearing much too old for her role and Domingo no longer looking the part of a dashing young man, the numerous close-ups do neither of them justice. Presented in PCM stereo, this is not a necessary purchase. (F. Swietek)