# 6 days and counting



## rgz (Mar 6, 2010)

Forgive my enthusiasm and a rather pointless thread, just getting nigh giddy with excitement. Also I'm bored right now so.

Nearly glowing review here



> I can't quite count myself out of the category of those who were concerned about Dessay's vocal suitability for this role at this point in her career. I was eager to see her, but worried: wasn't she moving into baroque? Maybe; but for right now she is owning Lucia, thank you very much. Was it a vocally flawless performance? No. *Was it unforgettable? Absolutely. Dessay's dramatic commitment was fearless without being histrionic, and her intensity gave the performance a breathless, edge-of-your-seat, what-happens-next quality. And she still has trills and coloratura runs that are breathtaking.* In the first act, she seemed less than perfectly secure in intonation; perhaps a need for the voice to fully warm up led to an apparent shade of hesitancy, of conservatism, which was nowhere to be seen by the second act. *I thought her acting was, from first to last, superb: her Lucia was a passionate young woman of sheltered life but wonderfully independent spirit. Her vocal and her dramatic portrayal are well-nigh inseparable. The increasingly manifest fragility of her psyche was heartbreaking; the interiority of her morbid interjections in the scene with Enrico saved them from melodrama. The mad scene was possibly one of the scariest things I have seen in live opera; and before her final "Ah, non fuggir, Edgardo," Dessay let loose a sudden, bloodcurdling shriek. I loved her for this: oh, I'm sorry, opera audience, did you think that the horror of the chorus was quaint and you could sit back and bask in some "Culture"? Wrong! I swear we heard Lucia's mental disintegration as an ongoing process, not merely as accomplished fact. * The sensuality of her imagined nuptials scandalized the chorus and broke my heart.


C'mon now, how jealous are you that I get to see this?


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## Almaviva (Aug 13, 2010)

Oops, I see that you have committed some extensive typos. I took the liberty of correcting them for you, since I know very well that this is what you meant:

I can't quite count myself out of the category of those who were concerned about *Netrebko*'s vocal suitability for this role at this point in her career. I was eager to see her, but worried: wasn't she moving into *Wagner*? Maybe; but for right now she is owning Lucia, thank you very much. Was it a vocally flawless performance? *Yes*. Was it unforgettable? Absolutely. *Netrebko*'s dramatic commitment was fearless without being histrionic, and her intensity gave the performance a breathless, edge-of-your-seat, what-happens-next quality. And she still has trills and coloratura runs that are breathtaking. In the first act, she seemed *perfectly* secure in intonation; *no* need for the voice to fully warm up *leading to any* apparent shade of hesitancy, of conservatism, which was *also *nowhere to be seen *in* the second act. I thought her acting was, from first to last, superb: her Lucia was a passionate young woman of sheltered life but wonderfully independent spirit. Her vocal and her dramatic portrayal are well-nigh inseparable. The increasingly manifest fragility of her psyche was heartbreaking; the interiority of her morbid interjections in the scene with Enrico saved them from melodrama. The mad scene was possibly one of the scariest things I have seen in live opera; and before her final "Ah, non fuggir, Edgardo," *Netrebko* let loose a sudden, bloodcurdling shriek. I loved her for this: oh, I'm sorry, opera audience, did you think that the horror of the chorus was quaint and you could sit back and bask in some "Culture"? Wrong! I swear we heard Lucia's mental disintegration as an ongoing process, not merely as accomplished fact. The sensuality of her imagined nuptials scandalized the chorus and broke my heart.

:devil:


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## sospiro (Apr 3, 2010)

rgz said:


> Forgive my enthusiasm and a rather pointless thread, just getting nigh giddy with excitement. Also I'm bored right now so.
> 
> Nearly glowing review here
> 
> C'mon now, how jealous are you that I get to see this?


I thought of you when I read this and, yes, I'm very jealous. 

Reading the reviews it seems Natalie & Joseph are creating something very special together. I just wish she was _Lucia_ in the Berlin performances.


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## MAuer (Feb 6, 2011)

I hope you'll have a wonderful time in NYC and enjoy the performance at the Met. Will you try to see Natalie afterward?


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## rgz (Mar 6, 2010)

MAuer said:


> I hope you'll have a wonderful time in NYC and enjoy the performance at the Met. Will you try to see Natalie afterward?


I'll do my damndest. I've gotten a helpful tip or two from some people, but I'm about as far from high roller or VIP status as can be expected, and I've also heard that getting on the guest list isn't exactly easy. So ... we'll see 



Almaviva said:


> *Netrebko*


One of these days I'm gonna start up a poll so we can finally determine which of the two is superior (like there's any doubt).




sospiro said:


> I thought of you when I read this and, yes, I'm very jealous.
> 
> Reading the reviews it seems Natalie & Joseph are creating something very special together. I just wish she was _Lucia_ in the Berlin performances.


There's the consolation of the Met Live in HD performance on the 19th, if nothing else.


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## sospiro (Apr 3, 2010)

rgz said:


> One of these days I'm gonna start up a poll so we can finally determine which of the two is superior (like there's any doubt).


Fight!



Trouble is Ian, Alma has an unfair advantage. From his all-seeing all-powerful position presumably he change poll results so we might never know the true outcome.


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## rgz (Mar 6, 2010)

Truth will out


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## Almaviva (Aug 13, 2010)

sospiro said:


> Fight!
> 
> 
> 
> Trouble is Ian, Alma has an unfair advantage. From his all-seeing all-powerful position presumably he change poll results so we might never know the true outcome.


I'm totally fair! I wouldn't ever manipulate poll results; besides, Anna doesn't need it!
I've just finished the poll, and I'm reporting the results here:

Anna: 3,684,869,584 votes (she is very popular in China, India, and some other places)
Natalie: 1 vote (rgz's)

:devil:


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## Almaviva (Aug 13, 2010)

rgz said:


> I'll do my damndest. I've gotten a helpful tip or two from some people, but I'm about as far from high roller or VIP status as can be expected, and I've also heard that getting on the guest list isn't exactly easy. So ... we'll see
> QUOTE]
> 
> Now, seriously - banter apart - you know that I *do* like Natalie a lot - I wish you a great time, and will love it if you do do something similar to what I did for my "peregrination to Anna" - post a blog-style thread, with details on your trip, the pre, during, post, etc. - hotel, restaurants, experience at the Met, and so forth. And I hope you get to meet Natalie in person.:tiphat:


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## rgz (Mar 6, 2010)

I'm travelling excessively light, without even a laptop, so there will be no 'during', I'm afraid. But I absolutely will make a huge post about my trip when I return!

Prospective schedule is:
fly in on Tuesday, arriving early afternoon if there's no delays (lol), depending on what time I arrive I'll hit up the MoMA.
Wed: Metropolitan Museum of Art during the day, Lucia that night
Thurs: Guggenheim in the morning, fly out late afternoon.

Travelling light so I don't have to worry about hauling a laptop around with me throughout the day's travels -- basically I'll have what I can fit in a backpack. And Tue or Wed night I might meet up with an acquaintance for drinks or a late dinner.

I was a bit saddened to see, from that review, that the glass harmonica is apparently MIA, especially considering that it was used in the 07/08 season's Lucia.


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## Almaviva (Aug 13, 2010)

rgz said:


> I'm travelling excessively light, without even a laptop, so there will be no 'during', I'm afraid. But I absolutely will make a huge post about my trip when I return!
> 
> Prospective schedule is:
> fly in on Tuesday, arriving early afternoon if there's no delays (lol), depending on what time I arrive I'll hit up the MoMA.
> ...


O darn, the glass harmonica is essential to a good mad scene!
Make sure you eat at the MoMA's restaurant, it's wonderful.
Can't you post from a cell phone? I did it, during my Anna trip.
Enjoy!


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## mamascarlatti (Sep 23, 2009)

rgz said:


> I'm travelling excessively light, without even a laptop, so there will be no 'during', I'm afraid. But I absolutely will make a huge post about my trip when I return!
> 
> Prospective schedule is:
> fly in on Tuesday, arriving early afternoon if there's no delays (lol), depending on what time I arrive I'll hit up the MoMA.
> ...


Sounds like a great trip. Hope you enjoy it and looking forward to reading all about it!:tiphat:


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## MAuer (Feb 6, 2011)

rgz said:


> I'll do my damndest. I've gotten a helpful tip or two from some people, but I'm about as far from high roller or VIP status as can be expected, and I've also heard that getting on the guest list isn't exactly easy. So ... we'll see
> 
> Unless things have changed since my last visit to the Big Apple, there is a corridor linking the exit from the Met's dressing room area to a parking garage on the lower level of the opera house. Members of the public are allowed to gather in this corridor to wait for the singers to emerge from backstage -- no need to get on anyone's guest list. On the occasions I've been there (waiting for either the Jerusalem or el Guapo), the singers have always been very cordial to the fans waiting for them.
> 
> You may want to give it a try.


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## sospiro (Apr 3, 2010)

MAuer said:


> Unless things have changed since my last visit to the Big Apple, there is a corridor linking the exit from the Met's dressing room area to a parking garage on the lower level of the opera house. Members of the public are allowed to gather in this corridor to wait for the singers to emerge from backstage -- no need to get on anyone's guest list.


That's useful to know 



MAuer said:


> On the occasions I've been there (waiting for either the Jerusalem or el Guapo), the singers have always been very cordial to the fans waiting for them.
> 
> You may want to give it a try.


I'm intrigued, who is 'the Jerusalem'?


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> That's useful to know.
> I'm intrigued, who is 'the Jerusalem'?


Siegfried Jerusalem - Wagnerian tenor.
Great name isn't it.


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## sospiro (Apr 3, 2010)

mamascarlatti said:


> Siegfried Jerusalem - Wagnerian tenor.
> Great name isn't it.


Been looking at photies - definitely worth waiting at a stage door for


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> Been looking at photies - definitely worth waiting at a stage door for


We'll convert you into a Wagner fan yet, even if we have to appeal to your baser instincts.


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## sospiro (Apr 3, 2010)

mamascarlatti said:


> ...your baser instincts.


Did someone say bass?










*David Soar*

Seeing his Ferrando tomorrow. 

He was Sparafucile in the dreadful Washington in the 1960's Rigoletto last year & he was superb.


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> Seeing his Ferrando tomorrow.


How exciting! Look forward to your report. I don't know anyone on the cast list but WNO put on some good shows.


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## Almaviva (Aug 13, 2010)

sospiro said:


> Been looking at photies - definitely worth waiting at a stage door for


Mr. Jerusalem is 71 years old now, so his looks may be going down. But yes, in his prime, I suppose he was a handsome man. He is the Siegfried in the Met's old Levine Ring, where he was a bit passed his prime (not to forget his infamous stiff acting). I have older DVDs with him (like an old _Der Zigeunerbaron_) and he used to sing well and look pretty good in his prime.


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## sospiro (Apr 3, 2010)

I hope you have a fantastic time at the Met.


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## rgz (Mar 6, 2010)

> Unless things have changed since my last visit to the Big Apple, there is a corridor linking the exit from the Met's dressing room area to a parking garage on the lower level of the opera house. Members of the public are allowed to gather in this corridor to wait for the singers to emerge from backstage -- no need to get on anyone's guest list. On the occasions I've been there (waiting for either the Jerusalem or el Guapo), the singers have always been very cordial to the fans waiting for them.
> 
> You may want to give it a try.


Great info, thanks!



sospiro said:


> I hope you have a fantastic time at the Met.


Haha, no worries :tiphat:


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## Almaviva (Aug 13, 2010)

We're all rooting for you, Ian. Hopefully you'll meet Natalie at the stage door, she'll fall in love with you and marry you. Oh well, if not, you'll still have a terrific time in the Big Apple, with great opera, friends, and food.


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## rgz (Mar 6, 2010)

Almaviva said:


> We're all rooting for you, Ian. Hopefully you'll meet Natalie at the stage door, she'll fall in love with you and marry you. Oh well, if not, you'll still have a terrific time in the Big Apple, with great opera, friends, and food.


Should I actually meet her, I'm assuming it'll go something like this:


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## Almaviva (Aug 13, 2010)

LOL, hilarious. Should I call 911 and get the paramedics ready?


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## rgz (Mar 6, 2010)

Nah. If I were to embarrass myself like that, I'd prefer not to be resuscitated.


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## MAuer (Feb 6, 2011)

Almaviva said:


> Mr. Jerusalem is 71 years old now, so his looks may be going down. But yes, in his prime, I suppose he was a handsome man. He is the Siegfried in the Met's old Levine Ring, where he was a bit passed his prime (not to forget his infamous stiff acting). I have older DVDs with him (like an old _Der Zigeunerbaron_) and he used to sing well and look pretty good in his prime.


The first time I met him was back in March, 1981 (good Gawd, that was 30 years ago!), when I traveled down to New Orleans to hear him sing Florestan with the opera company there. Yes, he was quite handsome, but more than that, had a very attractive lirico-spinto voice and could actually SING Beethoven's music instead of yelping and barking his way through it.

He was my preferred singer in the German repertoire until el Guapo came along -- and I still enjoy listening to his recordings.

BTW, Siegfried Jerusalem is his real name, not a stage moniker. He was apparently named after his paternal grandfather.


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## mamascarlatti (Sep 23, 2009)

MAuer said:


> The first time I met him was back in March, 1981 (good Gawd, that was 30 years ago!), when I traveled down to New Orleans to hear him sing Florestan with the opera company there. Yes, he was quite handsome, but more than that, had a very attractive lirico-spinto voice and could actually SING Beethoven's music instead of yelping and barking his way through it.


Yes, he can be wonderful - as in the Barenboim ring. And he can SING Wagner.

But he can come over as insufferably smarmy and uninvolved - as in the Levine Ring. This was my first view of the Ring and it took me a long time to get over my dislike of Siegfried the character because of the interpretation by Siegfried the singer.


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## MAuer (Feb 6, 2011)

mamascarlatti said:


> But he can come over as insufferably smarmy and uninvolved - as in the Levine Ring. This was my first view of the Ring and it took me a long time to get over my dislike of Siegfried the character because of the interpretation by Siegfried the singer.


Siegfried the character isn't exactly Prince Charming, either, IMO.


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## rgz (Mar 6, 2010)

Just about to head to the airport. As I said, I'm travelling light and not taking a laptop, nor do I have a fancy phone that can post. So I'll be incommunicado for a few days but rest assured I will regale you with wondrous tales upon my return


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## Almaviva (Aug 13, 2010)

rgz said:


> Just about to head to the airport. As I said, I'm travelling light and not taking a laptop, nor do I have a fancy phone that can post. So I'll be incommunicado for a few days but rest assured I will regale you with wondrous tales upon my return


Have a nice trip, and enjoy! I look forward to reading your report.:tiphat:


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## sospiro (Apr 3, 2010)

Can't wait to hear all about your trip. While we're waiting I thought I'd post this great review.

Of course it's just an excuse for me to share this bloggers praise of Joseph. 

_ ... His voice is like how a tenor sounds in one's dreams, but rarely does in reality -- a bright, warm, ringing voice, with the honeyed sweetness of Gigli ... The best news? Calleja is only 32, and I hope his best years are still ahead of him..._


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## rgz (Mar 6, 2010)

Despite my claims of being incommunicado, I have commandeered a computer so I could say hi to everyone! 

Yesterday was fairly uneventful, went to the Metropolitan Museum of Art but for various reasons found myself not enjoying it ... just wasn't in a museum-going mood. I'm a bit of a people person and I'm afraid that seeing art by myself felt a bit lonely. Anyway, so I left and just walked around Central Park a bit. Also, I've been battling a bit of a cold the last week so that didn't help.

Of course, the trip is really all about tonight, and I'm fairly beside myself with excitement. I'm staying in Queens, very close to LGA, so my choices to get to the Met tonight are 1) 45+ minute subway ride, or 2) $45+ taxi ride. Might depend on if it's still raining this evening -- subway is about a half mile away and not sure that I want to walk that far through the rain since I didn't bring an umbrella.

Incidentally, Manhattan looks pretty amazing during the approach to LGA. I lived in Chicago for several years and thought it had a great skyline, but it's nowhere near as densely packed with skyscrapers.

e: Thanks for the link Annie. Kind of echoes sentiments I've been hearing, that her voice sounds better now then it has in years. Can't wait for tonight!


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## Almaviva (Aug 13, 2010)

rgz said:


> Despite my claims of being incommunicado, I have commandeered a computer so I could say hi to everyone!
> 
> Yesterday was fairly uneventful, went to the Metropolitan Museum of Art but for various reasons found myself not enjoying it ... just wasn't in a museum-going mood. I'm a bit of a people person and I'm afraid that seeing art by myself felt a bit lonely. Anyway, so I left and just walked around Central Park a bit. Also, I've been battling a bit of a cold the last week so that didn't help.
> 
> ...


You can also get a cheap taxi ride to the subway station and then take the subway.
Enjoy!


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## rgz (Mar 6, 2010)

Ended up being sick and not going 

No, not really. 

So took the subway and as I walked up to the Met, I couldn't stop smiling. I guess this is what Muslims feel like when they go to Mecca for the first time. I was a bit hungry but, sorry Almaviva, the Met's restaurant is a bit out of my price range. Their prix fixe is $52, which in my world is a week of groceries. And it's not vegetarian, which rules it out altogether -- my options would be limited to a bowl of field greens or a bowl of mushroom soup, either of which made my wallet cringe in despair. Ended up eating a lovely tomato, mozzerella, and romaine sandwich ($7.50) and cranberry juice ($2.50) from a little cafe in the NY Philharmonic building. After my light dinner, I took the mandatory pictures of the outside of the building and headed inside, at around 7:00 PM. If I knew then what I know now, I would have scouted further afield for someone to charm into putting me on the pre-show guest list, but alas. So I spent most of my time before the theater doors opened in the lovely gift shop and the gallery below. Would have purchased a Sonnambula poster (featuring Ms. Dessay, of course, the only poster they sold that had her) but sadly they were all out. Seems I'm not the only one with exceptional taste in opera singers!

So, still grinning the entire time like a fool, finally made my way to my set. I was in the dress circle, box seat on the left -- on the raised portion of the box which worked out well since I ended up having the section to myself, important for partially obscured views such as these as I contorted myself in all manner of shapes to follow the action; my view of the extreme left side of the stage was blocked. A gentleman in the lower section of the box was very friendly and we chatted quite a bit pre-show and during intermissions, which were looooong (more on that below).

The performance itself I'll break down into 3 categories.

*The Good*
-People sometimes say that A1 of Lucia is slow. Ridiculous. Regneva nel Silenzio was the highlight of the performance. I was of course captivated from the moment Ms. Dessay walked on stage, but her rendition of this aria was awe-inspiring.

-And of course, dramatically she was amazing throughout. Watching her face and body language when Raimondo tries to convince her to forget Edgardo in their A2 duet was mesmerizing. She completely carried the show and gave it reality.

-The orchestra played and was conducted superbly. I wasn't very familiar with Patrick Summers before but am a fan now.

-It's impossible to overstate just how giddy and thrilled I was to simply be there. I tend to have the enthusiasm of a 9 year old at times, and this was one such occasion. Without going into unnecessary details, Natalie Dessay over the last couple of years has helped me get through what was the worst period of my life, and to actually see her in real life ... it sounds silly and I can't put it into words quite how it feels in my mind, but it was extraordinary.

-The singing from all of the principals, particularly Joseph Calleja, was exquisite. His tomb aria was amazing.

*The Bad*
-I'm 99% sure the Met uses amplification. They use it subtly and well, but it was incredibly obvious and while understandable and even justifiable for any number of reasons, it was really disappointing and basically undermines any reason for going in person as opposed to simply watching the Live in HD broadcasts. I spoke with some seasoned Met-goers afterwards and they basically acknowledged that while the Met won't ever publicize it (and would likely deny it if asked), they do boost the vocals a bit. It was pretty obvious where the speakers were hidden -- the 10' or so of obvious (to anyone into high end AV stuff) acoustically transparent screen from the ceiling down towards the top of the stage.

-As I said above, Natalie carried the performance dramatically, because she got no help from Calleja (Edgardo) or Ludovic Tezier (Enrico). Hearing Enrico sing about his limitless rage in A1 while he strolls around the stage casually was disappointing. Calleja is about as close to a park'n'bark'er as is possible in today's more actor-focused opera world. I'd guess I weigh more on the 'acting' side of the scale than most here, so consider this a personal nitpick that isn't necessary all that relevant.

-No glass harmonica  The flute was lovely and lends a different feel to the mad scene -- more plaintive as opposed to eerie and otherworldly. Wasn't a terrible loss, but all things considered I'd have preferred the glass harmonica.

- 40-45 minute intermissions, which seemed really silly considering the sparseness of the sets. With an 8 PM start time, the curtain fell at about a quarter to midnight.

*The Ugly*
-I've never seen the Netrebko dvd of this production so this is probably old news, but holy cow is the Wolf's Crag 'set' embarrassingly cheap and ugly. I'd have scoffed at it in one of the 4th rate touring productions we get in Omaha, let alone at the Met. Completely undermined the duet for me, could not get over how ridiculous it was. The tomb set was only scarcely better. I guess after they built the staircase they ran out of money to do anything else in A3?

All in all, it was great, but ultimately a bit disappointing.

Moving on to *After the Opera*
Beforehand, a helpful usher told me where the stage door was that all crew leave via. He also told me that if I'd tried a bit earlier, I maybe could have gotten onto the pre-show guest list by talking to the right people, but at that point it was too close to the performance. Ah well. So, after the curtain calls and the lights come up, I hustle out to the stage door. Eventually about 30 people are there and in talking to them I learn several things:
-Natalie will almost certainly be leaving by this door.
-However, for evening performances she basically gets ready for bed before leaving -- takes a shower, dries her hair, etc so she can go home and go right to sleep. This means it will be a long wait.
-Because of this (i.e., no makeup), she requests no pictures; post-matinee performances are the only time she allows pics as she'll have makeup on or whatnot. And I've never cared about autographs ... they always seemed a bit silly and pointless. But if it's that or nothing, guess I'll take what I can get.

So, we're waiting, and one by one everyone else comes out -- Kwangchul Youn (who was great as Raimondo), Tezier, Calleja, Patrick Summers. People fawning, taking pics (they had no such 'no pic' restriction), etc. All the while two thoughts are going through my brain:
"I'm going to meet Natalie Dessay!"
"Don't be like Troy in Community!"
"I'm going to meet Natalie Dessay!"
"Don't be like Troy in Community!"
repeat as necessary
(for those who don't get the reference, may I point you to this video: 



 )

An hour passes. The more impatient drift off. Someone peeks in and sees there's not even a security guard anymore. More time passes. It's now about 1:20 AM. Someone sees a guard in there and goes in to inquire if/when Ms. Dessay is coming out. He comes out and says "The guard says that she's flown the coop" (exact quote). We're all digesting this when literally 5 seconds later the door opens and a petite lady, 5'2" at most, with light brown hair in a pixie cut, very pretty in a 40-something mom fashion, strolls out. I was standing a foot away from Natalie Dessay!

And then I charmed her and she invited me back to her place.

OK, no, not really. Remember the "Don't be like Troy in Community" bit? Yeah, about that...
I did finally manage to stammer out that I was a huge fan and asked very politely if I could have my picture taken with her. As the above intimated, she declined but said she would after Saturday's matinee, even after I hinted that I'd flown 2000 km just to see her and wouldn't be in town that weekend (and by hinted, I mean flat-out said it. Yeah, annoying for her I'm sure  ). I settled for her autograph on my ticket, which I'll probably have framed inset into a poster of her at some point. And though I'm sure my stammering and awe led her to believe I was likely retarded, the upside is that now she's probably convinced that her talent is so great that even the mentally handicapped are fans of hers. :lol:

She made a bit of chitchat with people, one part I only partially heard was that either this year or next year before her Met Traviata, she'll be doing a recital version of Traviata with (I think) the NY Philharmonic conducted by James Levine, but said she'll likely cancel that if Levine has to pull out for health reasons.
Someone else asked why no photographs, she's so beautiful even w/o makeup and she said "I don't think so"
And interestingly, she didn't park in the garage, when she left she just walked up the north ramp. I'd guess she has a condo across the street or something. Kind of surreal just watching her walking alone up a parking ramp.

Still kind of star-struck, and I've always prided myself on being the type that if, say, Angelina Jolie and Megan Fox showed up at my door asking me to settle a contest as to who was better in bed, I'd invite them in and offer them drinks calm as can be. Ah well, got to meet my most favorite artist in the world, how many people can say that?


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## rgz (Mar 6, 2010)

Oh, forgot to mention -- found out she's doing an interview thing (public invited, but I guess there's an official interviewer, may or may not be audience questions) tonight. Really tempted to see if I can get my flight changed to tomorrow ... except I have cats at home waiting for me and 2.5 days on their own is long enough already.


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## Almaviva (Aug 13, 2010)

Wow!!! Great atmospheric and even moving review, and congratulations on having chatted with Natalie Dessay!!! I'm thrilled for you!!!:tiphat:

Oh, and please be inconclusive with Angelina Jolie and Megan Fox and tell them that you aren't sure of the final verdict, and need them to repeat the whole thing with Almaviva to really settle the contest.


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## rgz (Mar 6, 2010)

Oh, I wouldn't want to cause problems with Mrs. Almaviva, I'd feel ever so guilty


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## sospiro (Apr 3, 2010)

rgz said:


> Ended up being sick and not going
> 
> No, not really


I bet even broken your leg, intravenous drip & impending heart transplant wouldn't stop you.



rgz said:


> So took the subway and as I walked up to the Met, I couldn't stop smiling. I guess this is what Muslims feel like when they go to Mecca for the first time. I was a bit hungry but, sorry Almaviva, the Met's restaurant is a bit out of my price range. Their prix fixe is $52, which in my world is a week of groceries. And it's not vegetarian, which rules it out altogether -- my options would be limited to a bowl of field greens or a bowl of mushroom soup, either of which made my wallet cringe in despair. Ended up eating a lovely tomato, mozzerella, and romaine sandwich ($7.50) and cranberry juice ($2.50) from a little cafe in the NY Philharmonic building.


Good for you. When I go to Covent Garden I take as much food as I can from home, when that's eaten I buy stuff from a supermarket & only treat myself to one meal out.



rgz said:


> After my light dinner, I took the mandatory pictures of the outside of the building and headed inside, at around 7:00 PM. If I knew then what I know now, I would have scouted further afield for someone to charm into putting me on the pre-show guest list, but alas. So I spent most of my time before the theater doors opened in the lovely gift shop and the gallery below. Would have purchased a Sonnambula poster (featuring Ms. Dessay, of course, the only poster they sold that had her) but sadly they were all out. Seems I'm not the only one with exceptional taste in opera singers!
> 
> So, still grinning the entire time like a fool, finally made my way to my set. I was in the dress circle, box seat on the left -- on the raised portion of the box which worked out well since I ended up having the section to myself, important for partially obscured views such as these as I contorted myself in all manner of shapes to follow the action; my view of the extreme left side of the stage was blocked. A gentleman in the lower section of the box was very friendly and we chatted quite a bit pre-show and during intermissions, which were looooong (more on that below)
> 
> ...


I'm so happy for you! Trouble is, now you'll want to go again. It's an expensive drug though.



rgz said:


> *The Bad*
> -I'm 99% sure the Met uses amplification. They use it subtly and well, but it was incredibly obvious and while understandable and even justifiable for any number of reasons, it was really disappointing and basically undermines any reason for going in person as opposed to simply watching the Live in HD broadcasts. I spoke with some seasoned Met-goers afterwards and they basically acknowledged that while the Met won't ever publicize it (and would likely deny it if asked), they do boost the vocals a bit. It was pretty obvious where the speakers were hidden -- the 10' or so of obvious (to anyone into high end AV stuff) acoustically transparent screen from the ceiling down towards the top of the stage.


I don't doubt you but I'm very surprised



rgz said:


> -As I said above, Natalie carried the performance dramatically, because she got no help from Calleja (Edgardo) or Ludovic Tezier (Enrico). Hearing Enrico sing about his limitless rage in A1 while he strolls around the stage casually was disappointing. Calleja is about as close to a park'n'bark'er as is possible in today's more actor-focused opera world. I'd guess I weigh more on the 'acting' side of the scale than most here, so consider this a personal nitpick that isn't necessary all that relevant.
> 
> -No glass harmonica  The flute was lovely and lends a different feel to the mad scene -- more plaintive as opposed to eerie and otherworldly. Wasn't a terrible loss, but all things considered I'd have preferred the glass harmonica.
> 
> ...


Shame about Joseph, his Nemorino was very lively but I've noticed he's got heavier again. Surprised also about the sets.



rgz said:


> Moving on to *After the Opera*
> Beforehand, a helpful usher told me where the stage door was that all crew leave via. He also told me that if I'd tried a bit earlier, I maybe could have gotten onto the pre-show guest list by talking to the right people, but at that point it was too close to the performance. Ah well. So, after the curtain calls and the lights come up, I hustle out to the stage door. Eventually about 30 people are there and in talking to them I learn several things:
> -Natalie will almost certainly be leaving by this door.
> -However, for evening performances she basically gets ready for bed before leaving -- takes a shower, dries her hair, etc so she can go home and go right to sleep. This means it will be a long wait.
> ...




Great that you met her & thanks for a fab review.


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## MAuer (Feb 6, 2011)

rgz said:


> Moving on to *After the Opera*
> Beforehand, a helpful usher told me where the stage door was that all crew leave via. He also told me that if I'd tried a bit earlier, I maybe could have gotten onto the pre-show guest list by talking to the right people, but at that point it was too close to the performance. Ah well. So, after the curtain calls and the lights come up, I hustle out to the stage door. Eventually about 30 people are there and in talking to them I learn several things:
> -Natalie will almost certainly be leaving by this door.
> -However, for evening performances she basically gets ready for bed before leaving -- takes a shower, dries her hair, etc so she can go home and go right to sleep. This means it will be a long wait.
> ...


I'm so happy for you that your visit to NYC turned out so well and that you had an opportunity to meet Natalie afterward! All that waiting around by the stage door (and watching as it seems everyone else in the entire building has come through that door except the one person you want to see) can really keep one on pins and needles. I'm really glad that your long wait paid off for you.


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## Almaviva (Aug 13, 2010)

Yep, rgz is a truer fan! For all my talk about Anna, *I* didn't try to meet her at the stage door. Shame on me.
Although, I can get some consolation from the fact that it was a lost cause anyway. Mrs. Almaviva (hey, I should call her Rosina:lolwould never agree to waiting until 1:20 AM to meet Anna!

OK, OK, so, in awe of your boldness, I *may* (operational word *may*) refrain from cheating when it's time to tally the votes for the two Lucia DVDs!


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## rgz (Mar 6, 2010)

Thanks all! Now I just need to move to NY (or better yet, Paris) so I can see real opera year round.



Almaviva said:


> Yep, rgz is a truer fan! For all my talk about Anna, *I* didn't try to meet her at the stage door. Shame on me.
> Although, I can get some consolation from the fact that it was a lost cause anyway. Mrs. Almaviva (hey, I should call her Rosina:lolwould never agree to waiting until 1:20 AM to meet Anna!


That's when you push her towards the subway station and tell her you'll see her later ... and not to wait up for you 



> OK, OK, so, in awe of your boldness, I *may* (operational word *may*) refrain from cheating when it's time to tally the votes for the two Lucia DVDs!


:lol: Well, since it's unknown if there will be a Lucia, I'll cash this check when the Manon vote comes 'round 

Incidentally, that reminds me of something I didn't mention; they were recording Wednesday's night performance which I thought a bit odd. Maybe it's to ensure they have a Natalie Lucia for Saturday's Live in HD broadcast, in case she's sick? Maybe it's to edit together the best bits and pieces for a definitive Met Player edition? Or ... dare I hope ... a dvd version?

No doubt in my mind that in such an event, A1 will be from Wednesday's performance. I can see the mad scene being improved a bit but still in awe of her Regnava nel Silenzio.


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## rgz (Mar 6, 2010)

sospiro said:


> I bet even broken your leg, intravenous drip & impending heart transplant wouldn't stop you.


Factual statement.



> I'm so happy for you! Trouble is, now you'll want to go again. It's an expensive drug though.


Why is it the most expensive hobbies (skiing, opera, and - I imagine - flying) are the most expensive 



> I don't doubt you but I'm very surprised


I wish I were wrong. Like I said, I can understand it -- the Met is cavernous, and in a sense they are competing -- for the younger crowd, at any rate -- with musicals, of which NY has no lack. It's similar in a way to the Loudness War ( http://en.wikipedia.org/wiki/Loudness_war ) -- to an average person, louder sounds subjectively better. I wouldn't have even made the claim if I weren't convinced completely that it was in fact true.



> Shame about Joseph, his Nemorino was very lively but I've noticed he's got heavier again.


His singing was impeccable and he was incredibly nice and gracious to the crowd around the stage door.



> Surprised also about the sets.


Can anyone who has seen the Netrebko Lucia confirm if the Wolf's Crag set was just as horrible there? Looked like a huge sheet of black construction paper with a door, a window, and a really corny lightning bolt cut out.



> Great that you met her & thanks for a fab review.


My pleasure and my pleasure


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## Almaviva (Aug 13, 2010)

rgz said:


> Thanks all! Now I just need to move to NY (or better yet, Paris) so I can see real opera year round.
> 
> That's when you push her towards the subway station and tell her you'll see her later ... and not to wait up for you
> 
> ...


Oh sorry, sure, the Manon DVD, I got a bit taken by your Lucia experience.
I don't know what to think about the cameras. Met in HD is supposed to be live. I think they'll be recording it all over again on Saturday. But yes, this bodes well for a DVD release.


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## rgz (Mar 6, 2010)

At the risk of trying your collective patience with my continued afterglow, I've found recordings so you can all vicariously experience bits of this specific performance yourselves. Seems someone surreptitiously recorded a couple portions -- audio only, and decent but not spectacular quality, but still worth listening to


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## rgz (Mar 6, 2010)

rgz said:


> Why is it the most expensive hobbies (skiing, opera, and - I imagine - flying) are the most expensive


Haha, quoting myself since I can't edit this post any longer. Meant to say why are the most expensive hobbies the most _fun_ (or vice-versa, for that matter), which makes a bit more sense then as originally written :lol:


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## sospiro (Apr 3, 2010)

rgz said:


> Haha, quoting myself since I can't edit this post any longer. Meant to say why are the most expensive hobbies the most _fun_ (or vice-versa, for that matter), which makes a bit more sense then as originally written :lol:


You'll have to find new ways to save like not eating but your word mangling is quite understandable. :lol:

After I met Simon Keenlyside I was incoherent & couldn't have strung a sentence together to save my life.. My brain went to mush & I can't remember anything he said to me.


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## mamascarlatti (Sep 23, 2009)

Glad you had such a good time Ian, and got to meet Natalie.

Pity about the glass harmonica - perhaps the one person in the world who can play one wasn't available that night!


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## sospiro (Apr 3, 2010)

Another great blog review here.


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## Almaviva (Aug 13, 2010)

Oh wow, I'm still resisting and I haven't purchased a ticket for this afternoon. I'm afraid I'll like it more than Anna's version, LOL. My wife doesn't want to go. I don't feel like going by myself. I may defer to the encore, or to MetPlayer.


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## rgz (Mar 6, 2010)

I'm going alone, all the cool kids do it.
In any event, I don't know that Met Player is guaranteed. I was curious about this current Ring cycle and checked Met Player -- they don't have this season's Das Rheingold which I'm virtually certain had a Live in HD showing. I'm really confused by this; obviously they had cameras taping if it was being broadcast to theaters, so it seems natural that they'd put it on Met Player for streaming. So it seems that a Live in HD performance isn't a guarantee of Met Player availability. Not sure what the reasoning is, unless it's because of an NFL-like 'blackout' situation (since they'll be performing it a few times next season as well).


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## Almaviva (Aug 13, 2010)

rgz said:


> I'm going alone, all the cool kids do it.
> In any event, I don't know that Met Player is guaranteed. I was curious about this current Ring cycle and checked Met Player -- they don't have this season's Das Rheingold which I'm virtually certain had a Live in HD showing. I'm really confused by this; obviously they had cameras taping if it was being broadcast to theaters, so it seems natural that they'd put it on Met Player for streaming. So it seems that a Live in HD performance isn't a guarantee of Met Player availability. Not sure what the reasoning is, unless it's because of an NFL-like 'blackout' situation (since they'll be performing it a few times next season as well).


It takes several months for a Live in HD opera to make it to MetPlayer. I think that they do this - in addition to the reason you've mentioned in terms of continuing runs - so that people will be willing to pay the higher prices they charge for Live in HD (almost enough to pay for two months of subscription to MetPlayer, and five times more than the one-time pay-per-view charge for one opera on MetPlayer).

I've checked, and tickets are still available in my area for both this afternoon and the encore on 4/6/11.


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## rgz (Mar 6, 2010)

Yes but Don Pasquale, for example, is on there and I'm pretty sure that Das Rheingold aired before it. Though my memory is notoriously poor so I could well be mistaken.


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## Almaviva (Aug 13, 2010)

Don Pasquale is already there? Strange, so maybe I'm wrong. I'm a subscriber but I check it rarely. I've seen only three operas from MetPlayer so far and I've been a subscriber for 3 months! You're right that Das Rheingold came first.

I've decided not to go to Met in HD this afternoon. Too much happening in the world - the UN attack on Libya has just started... there is March Madness (almost as important, LOL), and AC Milan is playing this afternoon... 

But I may catch it on 4/6/11.


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## rgz (Mar 6, 2010)

C'est dommage. In any event, I'll be back with a full report later today.


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## rgz (Mar 6, 2010)

Just got back. I'll post my full thoughts in a new topic specific thread later (assuming one hasn't already been started by then), but a few off the cuff observations

- It is a crime against humanity if this doesn't make it to disc, ideally with Acts 1 and 2 from the Wednesday performance (which you may recollect I noticed was being recorded) and A3 from this one
- The number of empty seats for what could well be Natalie's final Lucia was truly disheartening
- Almaviva, you're a good guy and so, out of concern for your love of Anna I must insist you not watch this Lucia.


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## sospiro (Apr 3, 2010)

rgz said:


> Just got back. I'll post my full thoughts in a new topic specific thread later (assuming one hasn't already been started by then), but a few off the cuff observations
> 
> - It is a crime against humanity if this doesn't make it to disc, ideally with Acts 1 and 2 from the Wednesday performance (which you may recollect I noticed was being recorded as well) and A3 from this one
> - The number of empty seats for what could well be Natalie's final Lucia was truly disheartening
> - Almaviva, you're a good guy and so, out of concern for your love of Anna I must insist you not watch this Lucia.


Listened to it on the radio. Bit disappointed with how Ludovic Tézier sounded, maybe his acting was good.

Joseph sounded fantastic but the gold star goes to Natalie. She was amazing, almost 'other worldly'. Hope it gets to DVD.


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## rgz (Mar 6, 2010)

Tezier sounds like he needs to work on making his voice rounder. Nice resonant sound but a bit pointed or something, not sure how to describe it.

The mad scene in the Live in HD performance was an order of magnitude better than Wednesdays, except perhaps the last section, Spargi d'amaro pianto, where it sounded like she tired just a bit. What most surprised me was that she changed up the choreography a bit, and made it even better. Wednesday's mad scene, acting-wise, was a near clone of the 07 production that can be seen on YT. And there's nothing at all wrong with it, but what she did today was simply her best acting ever.


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