# The Metropolitan Opera Broadcast listeners thread..................



## Itullian

For those that listen to the weekly broadcasts, a place to discuss the performances if you like.

Last week was Barber of Seville.

This Saturday is Meistersinger.

Let's discuss the weekly broadcasts here.


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## Sloe

I am listening to the Barber of Seville broadcast now. I must say very enjoyable.


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## Itullian

Looking forward to Meister tomorrow.


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## Pugg

Itullian said:


> Looking forward to Meister tomorrow.


I am going to see it tonight in the Cinema in HD.


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## Albert7

Does anyone know whether any of these broadcasts are released on CD or downloadable methods?


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## hpowders

My brother is going to the Met tomorrow, I think, to see Die Meistersinger. Parterre center box. Lucky!


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## Itullian

Pugg said:


> I am going to see it tonight in the Cinema in HD.


Full report requested.


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## Pugg

Itullian said:


> Full report requested.


Will do but tomorrow though.
After six hours in the cinema I need some rest first :lol:


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## Itullian

Sounded pretty good. The Sachs was good and Levine paced it pretty well.


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## Chronochromie

I was planning to go but got lazy. Oh well...


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## DavidA

Mastersingers. Great Sachs, fair rest of cast although the Walther looked every inch NOT like the dashing young knight he's supposed to be. You really had to consciously suspend disbelief here!
Have this production on DVD in a previous incarnation from 1993. It is really good and actually does what Wagner asks which is the exception these days. Then the Walther (Heppner) was even more Falstaff like than Botha. Do we have to believe this fat little middle aged man is the dashing young knight who wins Eva's heart on a single encounter? Aren't there any thinnish tenors around these days besides Kaufmann? 
Levine's conducting was loving but still left me thinking Wagner could have shaved an hour off and still left us with a great opera instead of one that is tedious in places. But the last act was great! Even Sach's last monologue - the Teutonic equivalent of 'Rule Britannia ' - was superbly sung!


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## Pugg

DavidA said:


> Mastersingers. Great Sachs, fair rest of cast although the Walther looked every inch NOT like the dashing young knight he's supposed to be. You really had to consciously suspend disbelief here!
> Have this production on DVD in a previous incarnation from 1993. It is really good and actually does what Wagner asks which is the exception these days. Then the Walther was even more Falstaff like than Botha. Aren't there any thinnish tenors around besides Kaufmann?
> Levine's conducting was loving but still left me thinking Wagner could have shaved an hour off and still left us with a great opera instead of one that is tedious in places. But the last act was great!


Excellent summing up.

I have one thing to add,_ I never_ going to see Wagner again in the cinema.
Either see it theater or at the comfort of your cosy chair/ couch at your own home.

We had to cope with very poor sound in the first hour.
After repeating questions from the audience they resolved it.
(they don't care , just work)


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## sharik

albertfallickwang said:


> Does anyone know whether any of these broadcasts are released on CD or downloadable methods?


http://rutracker.org/forum/viewtopic.php?t=4853011
http://rutracker.org/forum/viewtopic.php?t=4794219
http://rutracker.org/forum/viewtopic.php?t=3885639
http://rutracker.org/forum/viewtopic.php?t=921516


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## DavidA

albertfallickwang said:


> Does anyone know whether any of these broadcasts are released on CD or downloadable methods?


If you go to the Met website I believe they are offering the broadcasts as a subscription streaming to your computer,


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## DavidA

Pugg said:


> Excellent summing up.
> 
> I have one thing to add,_ I never_ going to see Wagner again in the cinema.
> Either see it theater or at the comfort of your cosy chair/ couch at your own home.
> 
> We had to cope with very poor sound in the first hour.
> After repeating questions from the audience they resolved it.
> (they don't care , just work)


Our wax OK apart from the fact I had to ask the staff to make the cinema warmer as it was not too warm in there. They obliged. I must confess seeing on the big screen beats a DVD


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## Itullian

Was it the same production an the James Morris, Heppner DVD?


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## Pugg

DavidA said:


> Our wax OK apart from the fact I had to ask the staff to make the cinema warmer as it was not too warm in there. They obliged. I must confess seeing on the big screen beats a DVD


If your in the neighborhood drop by to see our television / music room.


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## DavidA

DavidA said:


> Our wax OK apart from the fact I had to ask the staff to make the cinema warmer as it was not too warm in there. They obliged. I must confess seeing on the big screen beats a DVD





Itullian said:


> Was it the same production an the James Morris, Heppner DVD?


Yes! Different cast! In this one at least Pogner looked marginally older than Walther!


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## DavidA

Pugg said:


> If your in the neighborhood drop by to see our television / music room.


Offer accepted!


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## Bellinilover

albertfallickwang said:


> Does anyone know whether any of these broadcasts are released on CD or downloadable methods?


I don't believe these broadcasts are being released on CD or digital download. However, if you're interested in hearing some broadcasts from the past, many have been released on CD on the Sony Classical label. They include a 1966 L'ELISIR D'AMORE with Bergonzi and Peters, a 1962 TOSCA with Price, Corelli, and MacNeil, an ERNANI with a similar cast, and a 1968 LUISA MILLER with Caballe, Tucker, and Milnes. Just go to Amazon.com.


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## hpowders

My brother went. Complained to me that he would have to sit there for 6 hours.

He was center parterre yet, and he was complaining! I would absolutely die to see and hear Meistersinger from that, one of the best seats in the entire opera house! I had to restrain myself from really ripping into him!!


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## Woodduck

I heard the _Meistersinger_ broadcast. I'd probably give it a B-minus. I didn't find Michael Volle's Sachs extraordinary purely from an aural standpoint, but I admit I always have old Friedrich Schorr's legato in my head when I listen to this opera. His characterization was good. Botha sang solidly as Walther, not quite the equal of Heppner in his prime. Annette Dasch was not solid enough as Eva; the voice lacked purity and consistency, and she was quite weak in the quintet, which just sounded like a bunch of old opera singers working out. Pity. Johannes Martin Kranzle was a terrific Beckmesser, with a rich and focused baritone that provided me with the greatest vocal pleasure of the afternoon. Levine knows the score, but I wish he'd avoid letting the momentum sag sometimes in slower music in pursuit of expressiveness, as in the Act III prelude (listening to his _Parsifal_ is like watching paint dry). After that sorry quintet, the third act picked up momentum and ended thrillingly; even that expendable speech about Holy German Art (why did Wagner let Cosima talk him into keeping that in?) didn't annoy me much.


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## Gaspard de la Nuit

I saw Meistersinger in HD on Saturday.......this person who smelled like smoke was sitting near me so I had to change seats in the middle of the prelude and I had a few other distractions but I saw it nonetheless.

One thing people should know is that seeing the broadcasts on the big screen is in certain ways (acoustically and otherwise) inferior to seeing it in person - but in some ways it's better. For example, the guy who sang Pogner, Hans-Peter Konig. I saw him sing Fafner and Hunding a year and a half ago at the Met. Over the broadcast he sounds really dry. He sounds nothing like that in real life, his voice was so incredibly dark, resonant and booming that you wouldn't believe it. If you could hear that over the broadcast, EVERYONE would be talking about it. The microphone really takes away the overtones from certain voices, especially the larger ones. The size and color of voices, all of which are very real elements of opera, just don't come through that well on the broadcast or on recordings.

That said, I reckon you can probably hear certain voices more clearly over the broadcast/ microphone than if you were sitting too far back in the opera house, especially since the Met is very cavernous, as are many American opera houses compared to Europe.

Anyway, I really liked the opulent/ traditional production. I actually wish they would do Wagner's other works in this fashion, especially the most esoteric ones - when the work is already so mystical and philosophical, why make people struggle with understanding the symbolism of the staging when it's already allegoric on its own? I think the lavish/ conservative productions are better. I didn't really like the LePage ring, it's the only one I've seen live but oh well.

The thing that makes Meistersinger is Wagner's score, which is among the most passionate and intricate music ever written, astonishing given that it's a light-hearted comedy. It doesn't have the level of chromaticism or harmonic freedom as Wagner's other mature scores, but the harmonies still tend to be rich and complex, alternately full of delicate beauty and excitable energy. I feel like this opera in some sense has more music in it than Wagner's other ones, even if the music doesn't achieve quite the same level of heart-stopping drama as Die Walkure. Yet it still carries the drama as much as it does in any of Wagner's works. At time the beauty of the orchestration is unignorable.

In spite of how 'melodic' it is, Meistersinger still has so much character and evokes atmosphere as much as any work of art could. It is certainly funny at times....for me the part where the night watchman comes on stage the second time, while feathers from the epic pillow-fight are still falling through the air, not realizing that anything of the sort has happened. Beckmesser's humiliation got chuckles, but overall I think what people find funny probably shifted over time so that most of what was funny when Wagner wrote it is probably like 'whatev' today.



Woodduck said:


> I heard the _Meistersinger_ broadcast. I'd probably give it a B-minus. I didn't find Michael Volle's Sachs extraordinary purely from an aural standpoint, but I admit I always have old Friedrich Schorr's legato in my head when I listen to this opera. His characterization was good. Botha sang solidly as Walther, not quite the equal of Heppner in his prime. Annette Dasch was not solid enough as Eva; the voice lacked purity and consistency, and she was quite weak in the quintet, which just sounded like a bunch of old opera singers working out. Pity. Johannes Martin Kranzle was a terrific Beckmesser, with a rich and focused baritone that provided me with the greatest vocal pleasure of the afternoon. Levine knows the score, but I wish he'd avoid letting the momentum sag sometimes in slower music in pursuit of expressiveness, as in the Act III prelude (listening to his _Parsifal_ is like watching paint dry). After that sorry quintet, the third act picked up momentum and ended thrillingly; even that expendable speech about Holy German Art (why did Wagner let Cosima talk him into keeping that in?) didn't annoy me much.





DavidA said:


> Mastersingers. Great Sachs, fair rest of cast although the Walther looked every inch NOT like the dashing young knight he's supposed to be. You really had to consciously suspend disbelief here!
> Have this production on DVD in a previous incarnation from 1993. It is really good and actually does what Wagner asks which is the exception these days. Then the Walther (Heppner) was even more Falstaff like than Botha. Do we have to believe this fat little middle aged man is the dashing young knight who wins Eva's heart on a single encounter? Aren't there any thinnish tenors around these days besides Kaufmann?
> Levine's conducting was loving but still left me thinking Wagner could have shaved an hour off and still left us with a great opera instead of one that is tedious in places. But the last act was great! Even Sach's last monologue - the Teutonic equivalent of 'Rule Britannia ' - was superbly sung!


Haha, I actually think Sachs' final monologue is beautiful musically even if the words don't speak to anyone who is alive today. To me, Volle's Sachs seemed to have kind of an aggressive side to him, since I've only seen Morris' type-B Sachs on DVD. I was originally confused by it, but he explained in the interview with Renee Fleming backstage that Sachs does have a mean side to him - he humiliates Beckmesser beyond what he needed to. He seems like the all-around good guy but he really isn't. Maybe Wagner, being a vindictive human being in certain ways, thought of such a character as being the perfect protagonist but to most people he probably isn't.....

Maybe it's just me but I thought some of the cast could've acted more. Other reviewers noted that the guy who played David (forget his name) was especially convincing, and I thought so too.

I've never heard Kaufmann live but I read that his voice is on the light side for Wagner....one phenomenon in opera seems to be that large voices often are larger people - it's far from always being the case but it explains why you see leads that can sing the hell out of the score but look unconventional for the role. Wagner usually takes a mature and completely technically secure voice too, and you don't usually see that many 30-year olds singing the lead roles.

Alright, so instead of just gushing about how much I love Meistersinger I'll just say it's great even if everything isn't perfect, just make sure you have some good eats so you don't starve during it, and access to a clean bathroom.


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## DavidA

I miust confess the first act dragged for me. By the third act I was won over. Agree with most of Woodduck's points. Not a great performance but a good one held together by the great acting of the Sachs. Must confess I found Eva a bit weak and Botha unconvincing in his shape and acting. I enjoy traditional productions but this one didn't really say too much


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## Itullian

Marriage of Figaro today


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## Albert7

Itullian said:


> Marriage of Figaro today


Listening to this on KUSU digital using my iPhone. It is a really good performance and my stepdad even liked it! I don't know the cast off hand but man they are great to me.


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## DavidA

Itullian said:


> Marriage of Figaro today


Was ver disappointed in not being able, for family commitments, to see the live broadcast. Listened to the first part on the radio today but felt that some of the singing did leave something to be desired. However, it was probably better seen and heard than just heard.


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## Itullian

DavidA said:


> Was ver disappointed in not being able, for family commitments, to see the live broadcast. Listened to the first part on the radio today but felt that some of the singing did leave something to be desired. However, it was probably better seen and heard than just heard.


The singing got progressively better. Still listening.


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## DavidA

Once again Figaro tells me of Mozart's unparalleled genius as an opera composer. Whenever I listen it simply takes my breath away! Wolfie rules!


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## Itullian

DavidA said:


> Once again Figaro tells me of Mozart's unparalleled genius as an opera composer. Whenever I listen it simply takes my breath away! Wolfie rules!


and DaPonte..............


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## Albert7

The Marriage of Figaro was fabulous listening for the excerpts that I was able to catch on the bus and the supermarket yesterday. What is next?


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## DavidA

Itullian said:


> and DaPonte..............


Taken as read! Two genius' together


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## Itullian

Traviata today.

What did you think?


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## Bellinilover

Right now I'm enjoying Act III of LA TRAVIATA on the radio. I tuned in especially to hear Quinn Kelsey's Germont, and he did not disappoint. What a beautiful sound! I only hope he'll be given more Met roles after this.


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## Itullian

It held my interest.
Rebeka was passionate but not very refined. Sounded like she was yelling at times.
Kelsey was firm and acted well.
Costello was fine as Alfredo. Had some style.
Conducting was well paced.

You?


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## Balthazar

I really enjoyed it. I like that Rebeka played Violetta as mature and worldly-wise. I love that she threw out a real laugh (not sung) just before "sempre libera" - it reminded me of the real laugh that Alfredo Kraus throws into "questo o quella" in Solti's Rigoletto. Her voice is definitely very strong - I was a bit taken aback when she hit "addio del passato" at full throttle, but I think she very effectively pulled back significantly in the second verse. 

I think Stephen Costello has a great voice with an extremely rich tone - I hope to hear more from him. I noted that he eschewed the high note at the end of his caballetta so he may be a "Domingo tenor." Also, I don't know if it's particularly difficult to sing an initial "d" consonant, but I could swear that at least three times he replaced a "d" with an "m" or "n" - a bit strange. But that's what makes the live broadcasts so much fun.

I though Kelsey sang an unusually mean-spirited Germont, but to great effect, and he had great control. 

An extremely enjoyable afternoon!

P.S. I didn't comment last week, but I was pleasantly surprised at how well Figaro suited Erwin Schrott. I have been underwhelmed by his Escamillo, Don Giovanni, and Dulcamara so I was not expecting much, but I thought he did a fantastic job.


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## Bellinilover

Itullian said:


> It held my interest.
> Rebeka was passionate but not very refined. Sounded like she was yelling at times.
> Kelsey was firm and acted well.
> Costello was fine as Alfredo. Had some style.
> Conducting was well paced.
> 
> You?


Her tone struck me as dark and incisive, though the high E-flat at the end of "Sempre libera" didn't quite come off.


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## Itullian

Bellinilover said:


> Her tone struck me as dark and incisive, though the high E-flat at the end of "Sempre libera" didn't quite come off.


She hit it, but cut it short.


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## Woodduck

I agree with the general positive response. I found the conducting variable - a little limp in the Act 3 prelude - but most of the singing and acting at least good. Costello "managed" his cabaletta and I'm just as glad he didn't end it high; the piece is an awkward sing at best and really I'm for cutting it. Marina Rebeka's voice probably isn't one I could pick out of a line-up: a pleasing tone, not rich or distinctive in color. But she had the music and the character. You could hear that her portrayal is genuinely felt and theatrically effective, and I found her last lines before her death absolutely spine-tingling, as confident in speaking as in singing.


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## Itullian

Hansel and Gretel today


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## Itullian

Anyone listen?....................


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## Balthazar

I listened - light and entertaining as expected. Billed as the child-friendly holiday presentation in English, they seemed to put a lot of effort into clear enunciation - I found it surprisingly easy to follow the words. None of the voices really jumped out at me, but the characterization of the Witch seemed pretty great.

I am looking forward to Tamara Wilson's Aida next week.


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## Itullian

Aida today............

What do ya think?


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## wagner4evr

I sure hope these broadcasts survive. We went to Meistersinger and then the encore showing the following week. In the first there were 12 people. In the second, 6. O_O


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## Itullian

The tenor is killing me. :lol:


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## DavidA

wagner4evr said:


> I sure hope these broadcasts survive. We went to Meistersinger and then the encore showing the following week. In the first there were 12 people. In the second, 6. O_O


Truly dedicated! Sitting through a six hour programme twice. In the broadcast I attended it was about 50% full. Thought more people would turn up though. One cinema stopped the broadcasts after half a dozen showed up to parsifal!


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## Woodduck

Itullian said:


> The tenor is killing me. :lol:


It's time to kill Giordani. Apparently it's the only way to make him retire.


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## Itullian

The ending duet is so beautiful, I wish Verdi had nixed that Amneris prayer.
Would have been sooooooo much more beautiful imo.


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## Woodduck

Itullian said:


> The ending duet is so beautiful, I wish Verdi had nixed that Amneris prayer.
> Would have been sooooooo much more beautiful imo.


Poor Amneris! she behaves like a perfect...um, witch, gets her rival and her fantasy lover killed, and now she's _sorry_. Let the old gal pray. What else is there for an aging mezzo to do?

Speaking of aging mezzos- or is she an aging soprano singing mezzo? - Urmana is sounding a little over the hill. Giordani is long since over the hill and in the ditch. What in the name of Horus is he doing in this opera anyway? That little intermission interview in which everybody was pretending that Radames is a lyric role was positively side-splitting. Pretentious idiocy. Tamara Wilson sounds like an Aida, at least by present-day standards of dramatic singing; more vibrato than I care for, but that's what we always get nowadays. The baritone, whoever he was, was a suitable father from hell.

Not a great day at the Met. During one of the intermissions there was a woman who said that her introduction to opera was an _Aida_ starring Milanov, Del Monaco and Warren. May I heave a long, resonant sigh? (Of course we could talk about Ponselle, Caruso and Ruffo... But let's not).


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## Itullian

Woodduck said:


> Poor Amneris! she behaves like a perfect...um, witch, gets her rival and her fantasy lover killed, and now she's _sorry_.* Let the old gal pray. What's else is there for an aging mezzo to do?*Speaking of aging mezzos- or is she an aging soprano singing mezzo? - Urmana is sounding a little over the hill. Giordani is long since over the hill and in the ditch. What in the name of Horus is he doing in this opera anyway? That little intermission interview in which everybody was pretending that Radames is a lyric role was positively side-splitting. Pretentious idiocy. Tamara Wilson sounds like an Aida, at least by present-day standards of dramatic singing; more vibrato than I care for, but that's what we always get nowadays. The baritone, whoever he was, was a suitable father from hell.
> 
> Not a great day at the Met. During one of the intermissions there was a woman who said that her introduction to opera was an _Aida_ starring Milanov, Del Monaco and Warren. May I heave a long, resonant sigh? (Of course we could talk about Ponselle, Caruso and Ruffo... But let's not).


Musically, I would prefer just the 2


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## wagner4evr

DavidA said:


> Truly dedicated! Sitting through a six hour programme twice. *In the broadcast I attended it was about 50% full*. Thought more people would turn up though. One cinema stopped the broadcasts after half a dozen showed up to parsifal!


That's a relief to hear. Meistersinger I could handle, but if they'd cut Parsifal on me :devil:


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## Woodduck

Itullian said:


> Musically, I would prefer just the 2


Today, I'd have preferred just the Aida.


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## Albert7

Tonight PBS is airing on TV the Marriage of Figaro here at 8 pm MST.


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## Itullian

The Merry Widow today...................right now.......


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## Itullian

Itullian said:


> The Merry Widow today...................right now.......


Sounded good to me. Sounded like they were having fun.

Sadly its Boheme next week.
i'm soooo tired if it.


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## Woodduck

Itullian said:


> Sounded good to me. Sounded like they were having fun.
> 
> Sadly its Boheme next week.
> i'm soooo tired if it.


Four successive weekends of opera from the Met: _Aida_ (mediocre), _Hansel and Gretel_ (OK), _The Merry Widow_ (not bad), and _La Boheme_ (we'll see) next week?

Could we have "The Makropoulos Case" or "L'Incoronazione di Poppea" or "Moses und Aron" or just anything for grownups? Please?


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## Woodduck

Back at the Met today for _La Boheme_. A nice, youngish cast - clean, solid singing from everyone. That's a good start! Jean-Francois Borras is one of several fine lyric tenors currently active. He's a lightweight Rodolfo, vocally, but that's fair enough; the voice is cleanly focused and carries. Kristine Opolais was also vocally fine, though her enunciation is virtually nonexistent above the staff and turns the climaxes into vocalises. I also found her voice monochromatic and her characterization consequently bland, even in the death scene, which projected nothing of Mimi's physical weakness and little pathos. Marina Rebeka and Marius Kwiecien were satisfactory as Musetta and Marcello, and David Soar sounded suitably old and cavernous in Colline's farewell to his coat.

Solid singing notwithstanding, this was a _Boheme_ that projected, musically at least, little character or spirit. I think Opalais's bland Mimi was partly to blame; the Act I meeting with Rodolfo conveyed neither vulnerability nor ardor, and Borras's slender voice hasn't much capacity to expand emotionally. But I blame the conductor most; Riccardo Frizza went limp at transition after transition in the score. Why do some conductors think that expressiveness in Puccini always requires slowing down? Even the ending felt subdued. No tears for Mimi this time.

I'm at least relieved at having heard no strained and wobbly singing today. A little more character and sheer energy might have made this a fine _Boheme_. Next week: _Les Contes D'Hoffmann._


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## Itullian

Next.............Macbeth........Netrebko..........


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## Itullian

Anyone listen?.............


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## Bellinilover

Itullian said:


> Anyone listen?.............


I had to work yesterday, so I heard only the last act. At the risk of committing a sacrilege (as the French say), I thought Netrebko's voice sounded appropriate for Lady Macbeth. Obviously, it lacks the size of some of her predecessors in the part (e.g. Birgit Nilsson), but I'd say the "steeliness" of its timbre makes up for that, at least in part. I mean, Renata Scotto sang Lady Macbeth, and surely Netrebko's voice is at least as big as hers. I think Netrebko deserves applause for tackling the part. I mean, how many sopranos have ever been able or will ever be able to sing Lady Macbeth? Even for most "Verdi sopranos" it's out of the question. At least her timbre has the appropriate "cutting" edge unlike, say, that of Renata Tebaldi or Leontyne Price.

Lucic sounded great as Macbeth in "Pieta, rispetto, amore." I don't think I've ever heard him sing better in all my (admittedly limited) experience of hearing him.


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## Itullian

Anyone listen to Iolanta/Bluebeard's Castle today?
Gergiev/Netrebko


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## wagner4evr

Itullian said:


> Anyone listen to Iolanta/Bluebeard's Castle today?
> Gergiev/Netrebko


Yep, we just saw them and I've been wondering what everyone's opinion is too. Although Bluebeard is probably in my top five musically, sadly I much preferred Iolanta's production. I _really_ liked how the former's cinematic approach contributed to the visual experience and the creation of seven separate sets/rooms. However, I'm a bit on the fence about the execution. On the one hand I found it fantastically immersive (loved the elevator), but on the other I just couldn't connect with some of the imagery it was _supposed_ to be referencing. An armory represented by light pouring into the kitchen, resplendent jewels by a bathtub, a magnificent garden by a gargantuan white curtain and bowl of flowers, the lake of tears by what looked like a large shower lol. From the standpoints of practicality and the modern take, I certainly can't fault it; I'm just creatively challenged that way, I guess. The only thing in Iolanta we didn't care for was the lack of any 'colorful' transformation at the end. The strobe/spot lights didn't do much for the climax imho. Vocals were _great_ though


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## Itullian

wagner4evr said:


> Yep, we just saw them and I've been wondering what everyone's opinion is too. Although Bluebeard is probably in my top five musically, sadly I much preferred Iolanta's production. I _really_ liked how the former's cinematic approach contributed to the visual experience and the creation of seven separate sets/rooms. However, I'm a bit on the fence about the execution. On the one hand I found it fantastically immersive (loved the elevator), but on the other I just couldn't connect with some of the imagery it was _supposed_ to be referencing. An armory represented by light pouring into the kitchen, resplendent jewels by a bathtub, a magnificent garden by a gargantuan white curtain and bowl of flowers, the lake of tears by what looked like a large shower lol. From the standpoints of practicality and the modern take, I certainly can't fault it; I'm just creatively challenged that way, I guess. The only thing in Iolanta we didn't care for was the lack of any 'colorful' transformation at the end. The strobe/spot lights didn't do much for the climax imho. Vocals were _great_ though


Yeah, it sounded great, thank you.


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## Albert7

Itullian said:


> Next.............Macbeth........Netrebko..........


Probably not. After hearing that MacBeth aria on her Verdi aria I know thAt Netrebko is the wrong voice for the part. I prefer Zampieri.


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## mountmccabe

I saw the theater transmission, too.

I did not really know _Iolanta_, but I quite enjoyed it. I, too, expected a bright and colorful ending but I am not sure it was necessary. The slow transition from dark to light was effective as is. I also found it interesting how they created a well-defined sense of space. I mean, not that they always had to treat the boundaries of the room as walls but that it meant something to be inside versus outside and how this played out for the scene 3 duet (which was stunning). Netrebko and Beczala sounded wonderful together. Elchin Azizov also stood out as Ibn-Hakia.

After that clear and ordered world _A kékszakállú herceg vára_ left me very unsettled. I, too, love this opera and yeah, I understand it's supposed to be somewhat harrowing but I am not sure they achieved this fairly. Or, at least, with the video projections and largely metaphoric set I frequently had no idea what we were seeing, especially in relation to what one might see in the opera house. It was especially striking after how clear the Tchaikovsky was. I really need to see it again to know what I think of it.

I really liked Treliński's idea of pairing these operas, linking them. That worked really well for me and I didn't think they overdid it.


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## Itullian

Don Giovanni today....


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## Itullian

Guess no one listened..........


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## Albert7

Itullian said:


> Guess no one listened..........


Who was in the cast this time?


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## Itullian

oh noooooooooooo!!!!!!!!!!!!!!!!

Carmen this Saturday.

The pain the pain...........:lol:


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## Albert7

Itullian said:


> oh noooooooooooo!!!!!!!!!!!!!!!!
> 
> Carmen this Saturday.
> 
> The pain the pain...........:lol:


Who's in the cast of this?


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## Itullian

albertfallickwang said:


> Who's in the cast of this?


Garanca and Kaufmann.


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## Woodduck

Itullian said:


> Garanca and Kaufmann.


Garanca's gorgeous to look at. But can she convey the character over the air? I'd expect Kaufmann to do so quite well.


----------



## MAuer

Itullian said:


> Garanca and Kaufmann.


If Kaufmann has recovered from the flu by then. He's being replaced at this evening's performance by Yonghoon Lee because he was too ill to travel last Sunday, but he's indicated he hopes to be recovered and on this side of the pond in time for Saturday's matinee performance.


----------



## Becca

Woodduck said:


> Garanca's gorgeous to look at. But can she convey the character over the air? I'd expect Kaufmann to do so quite well.


All you have to do is to listen/watch the Met DVD of the Garanca/Alagna Carmen to answer that!


----------



## rodrigorajao

Is this Met production of Iolanta the same as the DG album released recently? That sounds great, and I recommend everyone to buy it, even if it isn't the best opera around.


----------



## Itullian

MAuer said:


> If Kaufmann has recovered from the flu by then. He's being replaced at this evening's performance by Yonghoon Lee because he was too ill to travel last Sunday, but he's indicated he hopes to be recovered and on this side of the pond in time for Saturday's matinee performance.


What is this, Kaufmann central? :lol:


----------



## Woodduck

Itullian said:


> What is this, Kaufmann central? :lol:


Why not? We don't have many tenors worth talking about. Now if this were 1915...


----------



## mountmccabe

rodrigorajao said:


> Is this Met production of Iolanta the same as the DG album released recently? That sounds great, and I recommend everyone to buy it, even if it isn't the best opera around.


No, the DG album has a different orchestra and conductor. The cast is different as well other than Netrebko and Markov.


----------



## Albert7

Itullian said:


> What is this, Kaufmann central? :lol:


Hey hey hey, Kaufmann is already legendary so we have some awesomeness coming up.


----------



## MAuer

Itullian said:


> What is this, Kaufmann central? :lol:


This might pass for Kaufmann central:
http://www.jkaufmann.info/


----------



## Albert7

MAuer said:


> This might pass for Kaufmann central:
> http://www.jkaufmann.info/


Thanks, I really needed that. Good website too.


----------



## Woodduck

MAuer said:


> This might pass for Kaufmann central:
> http://www.jkaufmann.info/


Excellent website. I particularly enjoyed this part:

The force majeur recording is of Siegmund von Jonas Kaufmann. He gives the game not only abundance of euphony, but she also sings with the greatest expressive power; Moreover, it provides for the "Wälse» -Call or in the ecstatic moments of the duet (for example in "To flourish because, Wälsungenblut") for real thrill. Above all, he convinced by a vocal and verbal act, which can be seen every gesture of the figure in a sound mirror. His voice is reminiscent - especially in the dark coloring of the lower octave - increasingly Jon Vickers. Remarkable how supple succeed dynamic transitions from the Piano Forte, which hardly ever the impression arises that he. With two voices, either modal or capitate, sings Impressive is especially the continuity of his singing, the rounding of the tone even in moments of dramatic intensification. 

I wonder whether he will sing C_armen_ with his modal voice or his capitate one?

P.S. Love the leopard suit. Where can I get one?


----------



## Itullian

I will listen to this.


----------



## MAuer

Woodduck said:


> Excellent website. I particularly enjoyed this part:
> 
> The force majeur recording is of Siegmund von Jonas Kaufmann. He gives the game not only abundance of euphony, but she also sings with the greatest expressive power; Moreover, it provides for the "Wälse» -Call or in the ecstatic moments of the duet (for example in "To flourish because, Wälsungenblut") for real thrill. Above all, he convinced by a vocal and verbal act, which can be seen every gesture of the figure in a sound mirror. His voice is reminiscent - especially in the dark coloring of the lower octave - increasingly Jon Vickers. Remarkable how supple succeed dynamic transitions from the Piano Forte, which hardly ever the impression arises that he. With two voices, either modal or capitate, sings Impressive is especially the continuity of his singing, the rounding of the tone even in moments of dramatic intensification.
> 
> I wonder whether he will sing C_armen_ with his modal voice or his capitate one?
> 
> P.S. Love the leopard suit. Where can I get one?


Yeah, another direct word-for-word translation from some other language. You could check with the Salzburg Festival to see if they have any leftover leopard suits from some of their other productions.


----------



## Itullian

Who's gonna listen?


----------



## Woodduck

Itullian said:


> Who's gonna listen?


I've scheduled my dusting and vacuuming for _Carmen_ today. Nature abhors a vacuum, and so do I. Perhaps a spoonful of sugar will help the medicine go down. But of faux-Spanish camp and housecleaning, which is the sugar and which is the medicine?

I must hope for Kaufmann-medicine. No Garanca-tea of it, alas.


----------



## Itullian

If I can get past the overture....................


----------



## Woodduck

Itullian said:


> If I can get past the overture....................


It is not such a bad overture, paesan. Coraggio.


----------



## Woodduck

A quick googling indicates that Kaufmann is still down with the flu and that Yonghoon Lee will sing Jose today.

Elina Garanca will be Carmen, Ailyn Perez will be Micaela and Gabor Bretz will be Escamillo.


----------



## Itullian

Woodduck said:


> A quick googling indicates that Kaufmann is still down with the flu and that Yonghoon Lee will sing Jose today.
> 
> Elina Garanca will be Carmen, Ailyn Perez will be Micaela and Gabor Bretz will be Escamillo.


Oh man
I wanted to hear the Kaufmann................


----------



## Kivimees

Woodduck said:


> Nature abhors a vacuum, and so do I.


Request permission for future use.


----------



## hpowders

Woodduck said:


> A quick googling indicates that Kaufmann is still down with the flu and that Yonghoon Lee will sing Jose today.
> 
> Elina Garanca will be Carmen, Ailyn Perez will be Micaela and Gabor Bretz will be Escamillo.


I'm tired of Carmen. Now with Kaufmann gone. can't they just do something else in its place like Peter Grimes or Lulu?

How long can it take to rearrange the staging? Three hours?


----------



## hpowders

Writing just after the Flower Song:

A performance of Carmen sinks or swims with Act Two.

This one didn't set my heart palpitating. None of the singers rose above average for a Met performance.

The decision to start the pounding, stamping dancing right after the Act Two prelude instead of going directly into the Act Two music was clumsy and ill-advised.

I haven't heard Carmen in a very long time. This performance of Act Two didn't motivate me to hear it again anytime soon.


----------



## Sloe

I am listening to the Carmen broadcast on radio and now I hear set in Franco´s Spain.
Regietheater have obviously been established at Metropolitan. I hope there will be an end to the talk of euro trash productions now.


----------



## Albert7

Woodduck said:


> A quick googling indicates that Kaufmann is still down with the flu and that Yonghoon Lee will sing Jose today.
> 
> Elina Garanca will be Carmen, Ailyn Perez will be Micaela and Gabor Bretz will be Escamillo.


Ugh! No Kaufmann means no go for me.

I just viewed the Carmen with Alagna and Garanca on DVD and it was great because my dad wanted to see it.

However, wished they did it with Kaufmann and Garanca... totally legendary pairing if this were to happen.


----------



## Itullian

Bored as usual with this opera


----------



## Woodduck

Kivimees said:


> Request permission for future use.


I ask only 20% of the royalties.


----------



## Albert7

Itullian said:


> Bored as usual with this opera


 Too bad that Garanca single-handedly can't save the performance.


----------



## Woodduck

Pluses and minuses for _Carmen_ on radio, as usual. I was startled right off the bat by the frantic speed of the overture. Fortunately maestro Louis Langree got that out of his system quickly and conducted a pretty standard performance. His name indicates French ancestry, but no one in the cast was French, and accents and diction were variable. The performance did not feel French on the whole.

Jonas Kaufmann, unfortunately, was sick and couldn't appear. His replacement, Yonghoon Lee, has been making a name for himself in dramatic tenor roles. He has a strong, dark voice, if not the most elegant French style: his "Flower song" was pretty much what heavy voices usually make of it (no soft singing), and he was generally effective without being exciting, though he rose to a really intense final scene, making of it the best moment of the entire afternoon. I thought the bass-baritonal Escamillo (Gabor Bretz) good though not exceptional, the Micaela (Ailyn Perez) very good.

This opera, of course, depends on the Carmen, and different singers bring different viewpoints and temperaments to the part. Quite honestly I could not tell from listening what Garanca's viewpoint is. She has a weighty, mature-sounding mezzo, and seems content most of the time to produce a stream of lush tone with minimal attempts to color or inflect it. Whatever she may have been doing physically on stage - and I gather that she's had several years of playing the part - not much intention or feeling comes across in the voice. It's interesting that when she was asked in the intermission interview what her thoughts were on the character, she said that she found Carmen basically mysterious. Well, that's hardly a basis for a characterization! I would suggest she think about coming up with a more specific conception, and then figure out how to make her voice convey it. Her physical beauty doesn't reach the ear.

I gather the production is visually strong, and the Met audience sounded very happy with what they saw and heard. In a way it's unfair to judge the musical effect alone, but that's all we get over the radio. Those who saw the HD transmission will no doubt have different impressions.


----------



## Albert7

Woodduck said:


> Pluses and minuses for _Carmen_ on radio, as usual. I was startled right off the bat by the frantic speed of the overture. Fortunately maestro Louis Langree got that out of his system quickly and conducted a pretty standard performance. His name indicates French ancestry, but no one in the cast was French, and accents and diction were variable. The performance did not feel French on the whole.
> 
> Jonas Kaufmann, unfortunately, was sick and couldn't appear. His replacement, Yonghoon Lee, has been making a name for himself in dramatic tenor roles. He has a strong, dark voice, if not the most elegant French style: his "Flower song" was pretty much what heavy voices usually make of it (no soft singing), and he was generally effective without being exciting, though he rose to a really intense final scene, making of it the best moment of the entire afternoon. I thought the bass-baritonal Escamillo (Gabor Bretz) good though not exceptional, the Micaela (Ailyn Perez) very good.
> 
> This opera, of course, depends on the Carmen, and different singers bring different viewpoints and temperaments to the part. Quite honestly I could not tell from listening what Garanca's viewpoint is. She has a weighty, mature-sounding mezzo, and seems content most of the time to produce a stream of lush tone with minimal attempts to color or inflect it. Whatever she may have been doing physically on stage - and I gather that she's had several years of playing the part - not much intention or feeling comes across in the voice. It's interesting that when she was asked in the intermission interview what her thoughts were on the character, she said that she found Carmen basically mysterious. Well, that's hardly a basis for a characterization! I would suggest she think about coming up with a more specific conception, and then figure out how to make her voice convey it. Her physical beauty doesn't reach the ear.
> 
> I gather the production is visually strong, and the Met audience sounded very happy with what they saw and heard. In a way it's unfair to judge the musical effect alone, but that's all we get over the radio. Those who saw the HD transmission will no doubt have different impressions.


I wish that we could get a future Met HD DVD for this but they already have the one with Alagna so unlikely.


----------



## Itullian

La Donna del Lago tomorrow.

DiDonato and Florez

Anyone gonna listen?


----------



## Pugg

Itullian said:


> La Donna del Lago tomorrow.
> 
> DiDonato and Florez
> 
> Anyone gonna listen?


And watching at the Live HD Transmission


----------



## Woodduck

Itullian said:


> La Donna del Lago tomorrow.
> 
> DiDonato and Florez
> 
> Anyone gonna listen?


It should be worthwhile for those two, if nothing else.


----------



## Itullian

Anyone listening?

It's been pretty good.


----------



## Bellinilover

Itullian said:


> Anyone listening?
> 
> It's been pretty good.


I saw it in the movie theater, and it was highly enjoyable. Stellar singing from Florez and Di Donato, but I think John Osborn in the second tenor part stole the show.


----------



## Itullian

Bellinilover said:


> I saw it in the movie theater, and it was highly enjoyable. Stellar singing from Florez and Di Donato, but I think John Osborn in the second tenor part stole the show.


What was the production like?


----------



## mountmccabe

I watched the HD broadcast as well. Paul Curran's production felt very straightforward and traditional to me. 

Elena definitely lit up for the king-in-disguise but her affections never actually wavered. The king's love for Elena seemed very real and very deep. Neither Rodrigo nor Malcolm seemed like much in the first act (Malcolm was distraught at hearing Douglas order Elena to marry Rodrigo but it came off as weakness, not intensity of feeling) but both were stronger in the act two.

Costumes were kilts and swords, peasant outfits, and then fancy gold finery for when we get to the palace.

Act 2 started with some battle rubble instead of a thick wood. They also skipped the cave and used a little forest for that bit. This seemed to be more for theatrical expedience than an attempt to change things around.

The flooring for the piece was more high desert with some moss and flowers than Scottish highlands, an artifact of the production's original home in Santa Fe and their open air theater. At the Met the background was a large screen that was fairly static during scenes except when fog or clouds rolled in. In the first act this mostly showed a lake and the mountains in the distance; in the second act it was a large grass-covered hill.


----------



## Pugg

Bellinilover said:


> I saw it in the movie theater, and it was highly enjoyable. Stellar singing from Florez and Di Donato, but I think John Osborn in the second tenor part stole the show.





mountmccabe said:


> I watched the HD broadcast as well. Paul Curran's production felt very straightforward and traditional to me.
> 
> Elena definitely lit up for the king-in-disguise but her affections never actually wavered. The king's love for Elena seemed very real and very deep. Neither Rodrigo nor Malcolm seemed like much in the first act (Malcolm was distraught at hearing Douglas order Elena to marry Rodrigo but it came off as weakness, not intensity of feeling) but both were stronger in the act two.
> 
> Costumes were kilts and swords, peasant outfits, and then fancy gold finery for when we get to the palace.
> 
> Act 2 started with some battle rubble instead of a thick wood. They also skipped the cave and used a little forest for that bit. This seemed to be more for theatrical expedience than an attempt to change things around.
> 
> The flooring for the piece was more high desert with some moss and flowers than Scottish highlands, an artifact of the production's original home in Santa Fe and their open air theater. At the Met the background was a large screen that was fairly static during scenes except when fog or clouds rolled in. In the first act this mostly showed a lake and the mountains in the distance; in the second act it was a large grass-covered hill.


These two together sums it up precisely.
Thanks guys.:tiphat:


----------



## Balthazar

Thanks for posting the reviews. I will try to make it to the encore on Wednesday.


----------



## Balthazar

Went to see Rossini last night and the theatre lost the feed (or something of the sort) halfway through the first act.  

I never even got to hear Osborn sing. Hopefully they will re-broadcast this summer or make it available online. What I heard, I enjoyed.


----------



## Itullian

Manon tomorrow
Damrau, Grigolo
Anyone going, or listening?


----------



## Woodduck

Itullian said:


> Manon tomorrow
> Damrau, Grigolo
> Anyone going, or listening?


I'll be listening.


----------



## Woodduck

From all the reviews, and from what came over the radio today, The Met's _Manon_ with Diana Damrau and Vittorio Grigolo is a pretty exciting show. The singers certainly gave it their all. Grigolo has a strong lyric tenor, bright and vibrant, and he uses it with uninhibited ardor, making as convincing a young lover as one could desire. His musical choices weren't always respectful of the musical line, but at least he made choices and seemed involved in the meaning of what he was saying. This can be said of Damrau too - her Manon sounded completely involved at every moment - but I am less persuaded by her actual singing. Damrau strikes me as yet another prominent singer whose timbre lacks individuality - I doubt that I could pick her out in a blind test - and such singers depend on technique and personality, both of which Damrau has demonstrated plenty of. But I don't find the present state of her vocalism ingratiating. Manon does present a challenge to a voice of her sort; light-voiced, bright-toned coloraturas can succeed with it - Beverly Sills comes to mind, though hers was a voice of greater distinctiveness - but it really needs a little more mid-range strength and richness than such voices tend to have. From the sound she produced today, I fear Damrau may be succumbing to the same temptations to overstress her instrument which shortened the career of Sills. There was too often a sense of forcing, and her vibrato was awfully intrusive, frequently making pitch indistinguishable; her showpiece aria and gavotte in act 3 (among other passages) were not pleasant to my ear. I've enjoyed Damrau in lighter comic fare (e.g. Rossini) where her coloratura virtuosity is front and center. Perhaps, at 43 years old, she's willing to make vocal sacrifices to do what she wants. That's her right, but I won't be going out of my way to hear the result, her vivid personality notwithstanding.


----------



## Itullian

I only dozed twice. 
But that's me and French opera.


----------



## Woodduck

Itullian said:


> I only dozed twice.
> But that's me and French opera.


Are you sure it isn't old age?


----------



## Itullian

Woodduck said:


> Are you sure it isn't old age?


YUP, I'm ok with Wagner, Strauss and Mozart 

And Faust and Hoffman


----------



## Albert7

Itullian said:


> La Donna del Lago tomorrow.
> 
> DiDonato and Florez
> 
> Anyone gonna listen?


I plan to catch the PBS transmission from Great Performances whenever that happens in the future. I love this opera so much .


----------



## Woodduck

Itullian said:


> YUP, I'm ok with Wagner, Strauss and Mozart
> 
> And Faust and Hoffman


Hoffmann? _Hoffmann?_ _*Hoffmann?!*_


----------



## Itullian

Woodduck said:


> Hoffmann? _Hoffmann?_ _*Hoffmann?!*_


I love Hoffy 
One of the first operas I ever bought.


----------



## Albert7

What's on for next weekend?


----------



## Itullian

Looking forward to Lucia..............


----------



## Woodduck

Itullian said:


> Looking forward to Lucia..............


...or dreading it, as the case may be (Calleja gets one's hopes up, but who are Benini, Shagimuratova, Salsi, and Miles?).


----------



## hpowders

Looking forward to Cavalleria Rusticana/Pagliacci. Won't be tuning in until then!

Melodrama is my opera. Melodrama is my life.


----------



## Itullian

Woodduck said:


> ...or dreading it, as the case may be (Calleja gets one's hopes up, but who are Benini, Shagimuratova, Salsi, and Miles?).


We'll soon find out paisan.


----------



## DavidA

Sadly I have a prior engagement tonight so I'll miss the transmission!


----------



## Itullian

I'm ready for Lucia


----------



## Woodduck

Ah, Lucy, Lucy, Lucy! Dear, sad, loony Lucy! How did you fare today?

It's much easier to report on a performance when you can rave about it or pan it. It's rare that these broadcasts make life easy that way. I managed to find today's offering pleasant and effective and, for a few moments here and there - mainly when Joseph Calleja was singing in the cemetery - moving. Calleja was easily the most satisfying of the three principals, bringing his consistently clean vocalism, with it's mellow lyric tone and quick vibrato, to a sympathetic portrayal. Calleja can sing softly, effectively enough that I wish he'd do more of it. The one thing his voice lacks is ring; unlike some lyric tenors, the sound doesn't open out and thrill on top, which limits a bit the voice's dramatic potential. But perhaps that will prevent him from the unwise sallies into spinto territory that seem to tempt so many lyric singers nowadays. Our Lucia, Albina Shagimuratova, is apparently young, and her ability to find more dimensions to Lucia's personality will no doubt increase with time. She has a rather relentlessly bright timbre which I found, in conjunction with her lack of imagination, tiring to listen to. The mad scene was handled well but left no remarkable impression; the coloratura was managed, the high E-flats were strong, the girlish scream at one point quite unnecessary... The audience seemed to adore her. The third principal, Enrico, was very strongly projected by Luca Salsi, a bass-baritone of Ruffo-like darkness and (apparent) power, if not tonal refinement. A most suitable villain. Maurizio Benini's direction felt both dramatic and considerate of his singers.

I gather this production is set in the 19th century. I guess someone somewhere has an explanation for that. I don't much care to hear it.


----------



## Itullian

I wasn't moved by it. I was glad the conductor left most of the music in.
The singers where fine to me.
It just didn't grab me. No gravitas, which this opera can have.
I didn't like the tempi much either.
6 out of 10


----------



## Woodduck

Itullian said:


> I wasn't moved by it. I was glad the conductor left most of the music in.
> The singers where fine to me.
> It just didn't grab me. No gravitas, which this opera can have.
> I didn't like the tempi much either.
> 6 out of 10


You're a hard man, Itullian. For the first time ever, I was kinder than you (though I think your score is about right). But don't expect too much of this agreeableness. I have a reputation to protect.

I found it interesting that when asked at intermission whose recordings of Lucia she listened to, Shagimuratova didn't mention Callas. I guess she was hoping we'd all forget about that one.


----------



## Itullian

Woodduck said:


> You're a hard man, Itullian. For the first time ever, I was kinder than you (though I think your score is about right). But don't expect too much of this agreeableness. I have a reputation to protect.
> 
> I found it interesting that when asked at intermission whose recordings of Lucia she listened to, *Shagimuratova didn't mention Callas*. I guess she was hoping we'd all forget about that one.


Yes, I noticed that too. And Callas is THE Lucia.
I thought the Mozart quiz was interesting. They didn't do too well.
Me neither.
I did really like Pillar Lorengar's Moxart.
And B. Frittoli was cute.


----------



## Balthazar

The singing was lovely, but I am disappointed that the Met has reverted to the flute accompaniment for the mad scene instead of Donizetti's original orchestration for the glass armonica, which so beautifully accompanied Netrebko and Dessay in recent seasons.










Shagimuratova sings a very robust Lucia and plays it relatively straight without too much of the heart-breaking fragility that Dessay imparted to the role nor the all-out crazy that Netrebko liked to indulge in.


----------



## Woodduck

Itullian said:


> Yes, I noticed that too. And Callas is THE Lucia.
> I thought the Mozart quiz was interesting. They didn't do too well.
> Me neither.
> I did really like Pillar Lorengar's Moxart.
> And B. Frittoli was cute.


In the quiz I guessed Schwarzkopf and Steber, but didn't recognize Della Casa and Lorengar. All great sopranos.


----------



## Woodduck

Balthazar said:


> The singing was lovely, but I am disappointed that the Met has reverted to the flute accompaniment for the mad scene instead of Donizetti's original orchestration for the glass armonica, which so beautifully accompanied Netrebko and Dessay in recent seasons.
> 
> Shagimuratova sings a very robust Lucia and plays it relatively straight without too much of the heart-breaking fragility that Dessay imparted to the role nor the all-out crazy that Netrebko liked to indulge in.


I wasn't aware they had used the glass harmonica before. I wonder if they reverted because that's what Shagimuratova is used to.

She needs to grow into the role. She's too young and healthy. It needs a bit of both fragile and crazy.


----------



## Itullian

WOW
Domingo sings Ernani Saturday.
Wonder how he's sounding these days?


----------



## Woodduck

Itullian said:


> WOW
> Domingo sings Ernani Saturday.
> Wonder how he's sounding these days?


Are we really so hard up for baritones? Or are we just indulging an old man who has nothing better to do?

If we can listen through the ancient sound, we can hear some real Verdi singing:






















Just some points of reference, eh?


----------



## Itullian

No Domingo today


----------



## Woodduck

I guess we've been waiting to hear what old Placido is sounding like this year. Well, I'm pretty sure he doesn't sound more like an actual baritone than he did last year! Still, it would have been nice to have a Silva in today's broadcast _Ernani_ who sounded a bit less like a bass-baritone and contrasted more with the bass Dmitri Belosselskiy, the Carlo, than Luca Salsi did. Salsi learned just 30 minutes before the performance that he was to take over for an ailing Domingo, and deserves credit for doing quite a creditable job on short notice. Having heard him last week in _Lucia di Lammermoor_, in which he played the villain, I find his rather deep and somewhat rough voice apt for that sort of role (Silva is the merciless villain in _Ernani_). It is not so apt for the finer vocal demands of bel canto, of which _Ernani_ is essentially a late specimen, and perhaps Domingo would have brought a bit more of the needed lightness and flexibility to the assignment.

The opera is characteristic of that phase of Verdi's output in which the graces of an older tradition have not been left behind, but in which great dramatic force is required at the same time. In other words, the singers must be able to do everything well. That's a tall order, taller at this point in time than in recorded memory, and no one in today's performance could really challenge such exponents of this music as Battistini, Pinza and Ponselle - or even, for that matter, MacNeil, Tozzi and Price (who, with Bergonzi, gave us an excellent recording of the opera). Francesco Meli, the Ernani, has a pleasant tenor of sufficient strength but no striking character; he often seemed to be pushing hard to achieve a heroic tone that isn't really in his voice. Belosselskiy, an apparently powerful bass, gave us a vocally solid if unremarkable rendition of Carlo's aria, "Infelice." The only major female character, Elvira - whose misfortune it is to be desired by all three men - was sung with intelligence and force by Angela Meade, a singer you are apt to like or not depending on your tolerance for heavy vibrato. A vibrato that often sounds like a trill, and a trill that spans a major third when it should span two adjacent notes, isn't my idea of bel canto, but Ms. Meade was the soprano of the day and her enthusiasm counted for much. The minor roles were well-enough cast, and James Levine kept the show moving with spirit. The audience clearly enjoyed an opera that most of them have probably never experienced in the house.

_Ernani_ was Verdi's most popular opera before he came out with _Il Trovatore_, and both were no doubt enjoyed for the same reason: a continuous succession of great arias. _Trovatore_ retains its popularity, while _Ernani_ is "revived" from time to time. I suspect we'd hear it more often if its vocal demands were easier to fulfill. Some day, perhaps.


----------



## Itullian

Don Carlo tomorrow.
Anyone gonna listen?

5.000
YAYYYYYYYYY:clap::guitar::trp:


----------



## graziesignore

I'm going to listen to Don Carlo, but unfortunately Yong-Hoon Lee has cancelled. I didn't catch the name of his replacement.


----------



## Itullian

Relaxing and waiting for the Met.


----------



## graziesignore

I love Don Carlo, but to be honest I find the first scene to be sorta boring. I'm always all like, "OK, break it up you two, let's get to the stuff about Flanders"


----------



## Itullian

I hope its a good performance cause Don Carlo can easily put me to sleep.


----------



## Marschallin Blair

Itullian said:


> I hope its a good performance cause Don Carlo can easily put me to sleep.






























Sure. . . with 'Solti' doing it. Bad conducting can certainly ruin a great opera.

Karajan's EMI/BPO is fantastic in its dramatic overlay as is his live Vienna State Opera from the late seventies as well- which certainly has its moments. Both performances have Freni who is dramatically solid as Queen Elisabetta, and of course Baltsa as Princess Eboli- who's exciting as hell. The only other singer of the role who even comes close in technical agility or dramatic intensity is Shirley Verrett.

The Horst Stein/Vienna State Opera performance from the early seventies doesn't have the best sound, but its dramatically thrilling in its conducting- Corelli's certainly 'on' and Verrett's incandescent.

_Don Carlo's_ a tremendous opera. Unfortunately there's not very many tremendous conductors capable of pulling it off.


----------



## hpowders

I don't know about the rest of you, but I'm having serious trouble listening to this Don Carlo.

In the friendship duet, the voices didn't blend well at all and the Princess Eboli doing the Song of the Veil sounds like the one who should be banished from the kingdom instead of the Countess Aremberg.


----------



## graziesignore

Honestly the only one I'm not having trouble listening to is whoever is singing Elisabetta. Furlanetto is a bit disappointing, too.

The last Don Carlo I saw/listened to was the 1985 Royal Opera production... needless to say, this one doesn't match up. :-(


----------



## Itullian

Hate me. I don't think it's a great opera and I don't think Verdi was at his most inspired here. It has some great parts, but that's it for me.
And in order to come off needs great input from singers and conductor.
mho


----------



## Itullian

This one isn't making it so far.


----------



## DavidA

Marschallin Blair said:


> Karajan's EMI/BPO is fantastic in its dramatic overlay as is his live Vienna State Opera from the late seventies as well- which certainly has its moments. Both performances have Freni who is dramatically solid as Queen Elisabetta, and of course Baltsa as Princess Eboli- who's exciting as hell. The only other singer of the role who even comes close in technical agility or dramatic intensity is Shirley Verrett.
> 
> _Don Carlo's_ a tremendous opera. Unfortunately there's not very many tremendous conductors capable of pulling it off.


Is the Karajan live interpretation very different from his studio effort? I have noticed that he can very different creature live in the theatre to what he is in the studio.


----------



## graziesignore

Well, a poorly sung Don Carlo is indeed a very long 3 and a half hours or whatever (four?) But with a good cast in top form, it's a story I actually like a lot (I was a very boring child and probably still am today), more so if they try to make something interesting out of the admittedly bizarre ending. There's something about the way so many inflexible personalities are playing out against the backdrop of the Inquisition. (I also like it when the Carlo is presented as a serious nutter on the verge of a nervous breakdown, a la Hamlet.) So much opera is incredibly childish, but this is one I wouldn't mind seeing as a movie - I mean, a really well directed, well acted, well sung opera movie. And the Rodrigo/Phillip Act II duet is one of my all time favorites in Verdi. (If done well.)


----------



## Itullian

Karajan Don Carlo EMI
Another recording ruined by knob fiddling.


----------



## Itullian

So much in this opera sounds like an Italian carnival.


----------



## Marschallin Blair

Itullian said:


> So much in this opera sounds like an Italian carnival.


Unfailingly perceptive.

Poor arbiters of taste like Karajan and Giulini should have went 'full carnie' and did "Aqualung."


----------



## Marschallin Blair

DavidA said:


> Is the Karajan live interpretation very different from his studio effort? I have noticed that he can very different creature live in the theatre to what he is in the studio.


Truth to tell, the live Vienna State Opera performance is uneven dramatically: sometimes I feel the tempi are a bit too slow _vis-a-vis_ Karajan's EMI Berlin endeavor. The sound quality is 'good' and not great.

The singing is a little less polished on the live performance, even with Baltsa- but at the same time, her live singing is more visceral and dramatic in some of the phrasing- some of which is the best I've ever heard for the role.


----------



## DavidA

Itullian said:


> Karajan Don Carlo EMI
> Another recording ruined by knob fiddling.


Not this time. However it is true that these discs sport of huge range of dynamics. Perhaps HvK didn't realise that ordinary people have neighbours!


----------



## Marschallin Blair

DavidA said:


> Not this time. However it is true that these discs sport of huge range of dynamics. Perhaps HvK didn't realise that ordinary people have neighbours!


Yeah, the balances are botched- but the performance is still absolutely majestic.

If the shoddy, execrable-sounding early fifties Maria Callas live recordings can be remastered to such stunning success, I don't see why the Karajan _Don Carlos _can't be given the same refurbishment as well.


----------



## Itullian

Yeah, I wish they could fix his Tristan too. I can't listen to it as is.

Only so much you can do, I guess.


----------



## Itullian

I figured out I don't really like this opera.


----------



## Itullian

Marschallin Blair said:


> Unfailingly perceptive.
> 
> Poor arbiters of taste like Karajan and Giulini should have went 'full carnie' and did "Aqualung."


Since this forum is for classical music talk, i'm flattered.


----------



## Woodduck

I was looking forward to hearing _Don Carlo_ today. It's an opera that needs to be experienced a number of times, and in various of its extant editions, to be appreciated fully, and I'm really just getting to know it. Alas, this was not a great day at the Met.

Yonghoon Lee, the tenor originally scheduled to sing the difficult role of Carlo, could hardly have failed to do a better job than his substitute Ricardo Tamura, who hadn't the voice for the part to begin with - his act one aria (as cruelly positoned in this opera as "Celeste Aida" is in its own) was dreadful - and then proceeded to lose what voice he had, occasioning an announcement that he was not feeling well but would continue anyway. The remainder of the cast had to be an improvement on him, but proved variable, occasionally rising to competence but rarely to anything memorable. Veteran Hvorostovsky as Rodrigo warmed up as he went along, reaching his best form in his final scene and treating us to some fine, long, legato phrasing. He is a still an outstanding artist and one of our finest baritones, now a bit past his best. Furlanetto, another old guy whose prime years are even farther behind him, worked hard to express Philip's sorrows with a woofy voice not inappropriate to the elderly king but unlikely to challenge memories of his former self, much less a Hines or a Pinza. The women carried their parts well, with Frittoli's high notes tending to spread but her singing still quite solid otherwise, and Gubanova's big, warm mezzo generating some real frisson in Eboli's big scena.

_Don Carlo_ strikes me as a difficult opera to bring off as a whole. This is partly because there _is_ no whole; Verdi's multiple alterations leave us with a body having an uncertain number of arm and legs. What's certain, though, is that it contains some of his finest music, and in the last two acts he attains a degree of emotional depth and dramatic power he may never have surpassed. It's no accident that, in spite of an indisposed tenor, today's performance achieved its greatest force in acts four and five. Still, for a full appreciation of the opera's power it would've been good to hear singing more like this:

Jussi Bjorling as Carlo: 



 joined by Robert Merrill's Rodrigo. If this is what _Don Carlo_ sounds like, I don't know _what_ opera I was listening to today! Bjorling proves, as he usually did, that a strong lyric tenor can sing almost anything if the voice is perfectly poised, focused, and unforced, so that its natural resonance is maximized.

Alessandra Marc: 



 No wobblies here, my friends! Probably the most gorgeous singing I've ever heard in this music, by a voice made for it. Whatever happened to Marc? Why isn't she on more of the major studio recordings of Verdi operas?

Roger Soyer: 



 I could not believe the loveliness of this man's singing. This is a basso cantante, capable of the kind of endless legato and delicate shading we rarely hear in low voices. He reminds me of Pol Plancon, singing the French version in 1907: 



 Maybe it helps to be French!

Next week we'll have a taped performance from 2014 of Shostakovich's _Lady Macbeth of Mtsensk_ with Eva-Maria Westbroek. A sample:


----------



## Itullian

Why does the Met play rebroadcasts on some Saturdays?
Is there no performance on some Saturdays?


----------



## Woodduck

Itullian said:


> Why does the Met play rebroadcasts on some Saturdays?
> Is there no performance on some Saturdays?


I don't know. Possibly they're repeating something in the house, so they want to give us something different on the air.


----------



## DavidA

Don Carlo is another of Verdi's operas which suffers from a less than satisfactory storyline. The ending is truly bizarre. The five act version was far too long to be acceptable (the first version was in French I believe?) so Verdi cut it back. Probably a wise decision as he was a practical man of the theatre. However, of course, the same does not apply on disc where the listener can make his own cuts.
In seeing some of the recent Met broadcasts I do wonder sometimes where the great singers have gone. Or perhaps they are far more spread out now (in different opera houses) than they used to be? Or are we just spoiled because of the excellence of casts that have been assembled for CD?


----------



## DavidA

Itullian said:


> Yeah, I wish they could fix his Tristan too. I can't listen to it as is.
> 
> Only so much you can do, I guess.


The latest remastering of the Tristan are in fact much better I believe. Pity Karajan didn't have a stronger minded producer for his later work rather than a bunch of doormats which were willing to give into his every whim. He appeared to be at his best when working with genuinely creative producers like Legge and Culshaw who were geniuses in their own field. As someone said of Karajan's stage productions: "Karajan really deserves a better producer than Karajan."
A pity DECCA and Culshaw didn't ask Karajan to conduct Tristan instead of Solti, who at the time (on his own admission) was "too inexperienced." Even with the makeshift tristan of Uhl we might have had something memorable. As it is the EMI Tristan is flawed but still my favourite version to listen to. Mind you, to really be kept awake at night listen to his Bayreuth version with Modl and Vinay! Hair-raising performance of unbelievable intensity! Apparently HvK had to be helped from the pit afterwards!


----------



## Itullian

How could HvK not hear what he was doing!!??


----------



## Pugg

Itullian said:


> How could HvK not hear what he was doing!!??


Off cause he did, he drove the technicians of EMI almost crazy with his outrages demands during the recording of Don Carlos.
_His way or no way _


----------



## Marschallin Blair

Itullian said:


> Since this forum is for classical music talk, i'm flattered.


There's nothing I should love better.

http://www.talkclassical.com/22386-jethro-tull-fans-here.html?highlight=


----------



## Itullian

Marschallin Blair said:


> There's nothing I should love better.
> 
> http://www.talkclassical.com/22386-jethro-tull-fans-here.html?highlight=


:tiphat:...................


----------



## Itullian

Shostakovich's Lady Macbeth of Mtsensk tomorrow.
Anyone interested?


----------



## Woodduck

Itullian said:


> Shostakovich's Lady Macbeth of Mtsensk tomorrow.
> Anyone interested?


Definitely interested. Never heard the piece. Tomorrow being a taped performance, it'll probably be pretty good. The reviews in 2014 were favorable as far as I've checked.


----------



## Itullian

Woodduck said:


> Definitely interested. Never heard the piece. Tomorrow being a taped performance, it'll probably be pretty good. The reviews in 2014 were favorable as far as I've checked.


Did you listen?


----------



## Woodduck

Itullian said:


> Did you listen?


I did, though I missed the first 1/2 hour. It was all new to me, and seems a fairly impressive work. Mixed reactions to the singing as usual. I'd like to hear a good recording. I'll bet Vishnevskaya would have been fantastic in it. She recorded it with Gedda under Rostropovitch - a classic, I gather.


----------



## Itullian

Woodduck said:


> I did, though I missed the first 1/2 hour. It was all new to me, and seems a fairly impressive work. Mixed reactions to the singing as usual. I'd like to hear a good recording. I'll bet Vishnevskaya would have been fantastic in it. She recorded it with Gedda under Rostropovitch - a classic, I gather.


Sounded pretty good to me.
Especially the orchestral parts.


----------



## Itullian

Cav/Pag tomorrow
Alvarez, Westbroek, Racette


----------



## Woodduck

Itullian said:


> Cav/Pag tomorrow
> Alvarez, Westbroek, Racette


I hope Racette is in decent voice. Her Maddalena in _Andrea Chenier_ last year was bad; "La mamma morta" was so weak and wobbly I wanted to hang myself. Another fine lyric soprano wanting to be Birgit Nilsson. She's no young chicken any more, so I guess she feels she hasn't much to lose. Except her voice of course. But we must keep an open mind.


----------



## Albert7

Itullian said:


> Shostakovich's Lady Macbeth of Mtsensk tomorrow.
> Anyone interested?


I love that opera so much!


----------



## Woodduck

Albert7 said:


> I love that opera so much!


It was last week, you realize?


----------



## DavidA

Hoping to see the double bill Cav and Pag broadcast tonight.


----------



## Itullian

La commedia e finite


----------



## DavidA

Just seen Cav and Pag directed by McVicker. The Cav was a bit undercooked - very dark, more like midnight mass rather than Easter Day. Pag was fantastic though, with a bit of comedy thrown in. McVicker seemed to be sending out a warning in both to beware the evils of strong drink! Most enjoyable evening with an almost full house at the cinema.


----------



## Woodduck

La commedia may be finita, but the Parade of the Wobblies marches on. No, I don't mean the Industrial Workers of the World. I mean another vibrato-fest by our esteemed leading sopranos. I sat with teeth clenched waiting for Santuzza to open her mouth, and my expectations were pretty well met by Eva-Marie Westbroeck. But, as it turned out, she couldn't hope for more than the silver medal up against our Nedda, Patricia Racette, the entire upper half of whose voice now has a vibrato you could fly a squadron of fighter jets through, and whose high ascents in her _uccelli_ aria were virtually pitchless and truly excruciating. She'll be back next season as Butterfly. Better get some bug spray.

I'm really too weary of this sort of thing to summon the energy for a real review here, which I'm sure is just fine with everyone who's as tired of hearing me complain about the Age of Vibrato as I am of enduring it. Suffice to say that the men were, in general, more listenable. George Gagnidze (Alfio and Tonio) has a rich, vibrant baritone suited to the repertoire, and a fine dramatic sense. Marcelo Alvarez (Turiddu and Canio) sounded in firm vocal estate, if really too light and boyish for Canio's great moments. But actually, my pleasantest moment was the brief scene in _Cav_ in which Lola pops in for her bit of singing. This was accomplished by a young soprano named Ginger Jackson, who had focused tones and a nice ping to her sound that made me wish she'd been our Santuzza. Now she just needs a good stage name.

The productions had plenty of zip and were no doubt engaging in the house; _Pagliacci_ was set in the 1940s, with the comic troupe tansformed into vaudevillians. Sounds plausible.

Anyway, I'm ready now for the classic "Voi lo sapete" of Claudia Muzio. No wobblies here, folks. This is the genuine article.


----------



## DavidA

Itullian said:


> La commedia e finite


This one was sung by Tonio this evening (as Leoncavello's wrote it) and not by Canio (as stolen by Cariso at the first performance).


----------



## DavidA

Woodduck said:


> La commedia may be finita, but the Parade of the Wobblies marches on. No, I don't mean the Industrial Workers of the World. I mean another vibrato-fest by our esteemed leading sopranos. I sat with teeth clenched waiting for Santuzza to open her mouth, and my expectations were pretty well met by Eva-Marie Westbroeck. But, as it turned out, she couldn't hope for more than the silver medal up against our Nedda, Patricia Racette, the entire upper half of whose voice now has a vibrato you could fly a squadron of fighter jets through, and whose high ascents in her _uccelli_ aria were virtually pitchless and truly excruciating. She'll be back next season as Butterfly. Better get some bug spray.
> 
> I'm really too weary of this sort of thing to summon the energy for a real review here, which I'm sure is just fine with everyone who's as tired of hearing me complain about the Age of Vibrato as I am of enduring it. Suffice to say that the men were, in general, more listenable. George Gagnidze (Alfio and Tonio) has a rich, vibrant baritone suited to the repertoire, and a fine dramatic sense. Marcelo Alvarez (Turiddu and Canio) sounded in firm vocal estate, if really too light and boyish for Canio's great moments. But actually, my pleasantest moment was the brief scene in _Cav_ in which Lola pops in for her bit of singing. This was accomplished by a young soprano named Ginger Jackson, who had focused tones and a nice ping to her sound that made me wish she'd been our Santuzza. Now she just needs a good stage name.
> 
> The productions had plenty of zip and were no doubt engaging in the house; _Pagliacci_ was set in the 1940s, with the comic troupe tansformed into vaudevillians. Sounds plausible.
> 
> Anyway, I'm ready now for the classic "Voi lo sapete" of Claudia Muzio. No wobblies here, folks. This is the genuine article.


I did notice the extreme wobble on Santuzza. Frankly Rackett's visual performance was so engaging and her singing so committed that I didn't really notice the faults Woodduck has pointed to. Agreed about Ginger Jackson.


----------



## Belowpar

Cav/Pag was my first experience of these broadcasts and I must say I enjoyed it. It’s been a decade since we last saw Cav, in Sicily no less! I know it’s not the smart thing to admit but I much prefer Cav, it’s an unusual piece with all the choral singing and the melodies do hit home. 
Before attending I worried about seeing the actors in such close up 20’ high (I haven’t watched a lot of DVD’s recorded form the stage) but I though most of the players acquitted themselves pretty well as actors. Woodduck may have some issues with Eva-Marie Westbroeck’s singing but she was compelling to watch in a part that can seem like a whinging woman wronged; she retained her dignity and for me her voice had a heft that delivered a big effect well suited to verismo.

Overall I did find the sound a bit of challenge. There was a point where Westbroeck was sitting and the microphone didn’t quite pick her voice up properly. Mostly the sound was good, although the mix favored the voices and it was really only lacking in the big moments where one felt the lack of that visceral excitement that comes from hearing an Orchestra live. By the second half I was more used to it.

In the preamble they talked of 16 million having already seen previous broadcasts and it does make me wonder if this tail will start to wag the dog. Particularly in the 1970’s there was a lot of debate whether there was some pressure on Opera singers to slim down and look better, especially for young romantic roles, and whether this would come to affect casting choices and careers. Woodduck singled out Ginger Jackson’s singing but it is worth noting she looks particularly fine in front of a camera and as Dame Belowpar said “Given the choice it was easy to understand Turriddu’s actions” I muttered something in reply pretending I hadn’t noticed. I’m sure this effect was even more noticeable on the big screen than live, as Westbroeck was by no means unattractive herself. One day will it be one cast for the Studio, one cast for the Oepening night and an third for HD broadcasts?

For Pag. I found the prologue with the microphone and the showman outfit somehow didn’t sit well with the rest but apparently that’s just me. It’s hard enough for actors to play drunk, to do that and sing as well? As I say not my favourite piece.

For those who haven’t been I would highlight one more point. The Lady and I went to see an Opera on the big screen, apparently the rest of the audience went to the Cinema for a night out. As soon as the lights went up for the interval we headed for our customer refreshment. We were amazed that after returning from a 35 minute interval, suitably refreshed, apparently we were the only ones who’d moved! I’d love to see the Met Opera Quiz but earlier posts on this thread talk of the Mastersingers evening lasting 6 hours! Too long for me to sit still I’m afraid.

Will go again but thankfully can’t see it replacing the real thing for us. AT £25 per ticket it wasn’t cheap either, but if you don’t live near an Opera house it must be a godsend.


----------



## Itullian

*Un Ballo in Maschera* tomorrow
Levine; Radvanovsky, Stober, Zajick, Beczala, Hvorostovsky


----------



## Woodduck

Itullian said:


> *Un Ballo in Maschera* tomorrow
> Levine; Radvanovsky, Stober, Zajick, Beczala, Hvorostovsky


Might be the best-looking cast lineup of the season.


----------



## Albert7

Woodduck said:


> Might be the best-looking cast lineup of the season.


Hopefully the best singing cast, not just the best looking.


----------



## graziesignore

Here I was so bummed because I forgot Ballo was on today, because Beczala was in it... now it turns out he's sick and replaced by Tamura?? Lucky me...


----------



## Woodduck

Today's _Un Ballo in Maschera_ from the Met was easy on the ears. That's no small thing in these days of rampant vibratoitis and small-voiced tenors pretending to be Otello. We were offered here a group of credible voices in roles well-suited to them.

In the role of Amelia we had the cleanly focused voice of Sondra Radvanovsky, easily taking in the wide range and expressive demands of the part and never suffering a loss of quality, from her well-integrated chest tones clear up to the treacherous, unprepared high notes Verdi demands in the cadenzas of her arias. There is an odd quality of resonance, a sort of "bottled-upness," to Radvanovsky's timbre which tends to obscure her vowel sounds; her diction is often less clear than I'm sure she intends it to be. But I'm very grateful to have heard clear pitches and cleanly articulated lines, particularly in the ensembles where the big vibratos of singers so often reduce the composer's harmonies to incomprehensible noise. At the moment I'd rather not pick nits or invoke the great Verdi sopranos of the past, content to savor the pleasing contrast between Radvanovsky and most of the other leading ladies the Met has been serving up of late.

Much the same level of accomplishment was evident in Dmitri Hvorostovsky's Ankerstrom (this production chose the Swedish, as opposed to the Bostonian, setting). He is 53 now, and it's good to hear that his baritone, one of the most attractive in the business, is holding up well. The role suits him, and he probably managed that great test of a Verdi baritone, the heartbreaking "Eri tu," as well as anyone could these days. In this case, though, I feel obliged to point out that the bar has been set very high by some of the master Verdians of the past - Amato and Stracciari come first to mind - and that Hvorostovsky's relative inflexibilty of rhythm and dynamics keeps him out of that high company. This is largely a question of style; our singers, by and large, don't have the innate sense their predecessors did of how to bend a phrase and color the tone for maximum expressivity - or, in most cases, to be frank, the technique to do it even if they should want to. Suffice to say that Hvorostovsky pretty well lives up to present-day expectations in this sort of repertoire.

Now what is going on with tenors lately? Why are they all getting sick and canceling and leaving these broadcasts in the hands of competent but unexciting second-stringers? A couple of weeks ago we had Yonghoon Lee leaving the role of Don Carlo in the less-than-adequate hands of Ricardo Tamura, who himself was apparently not well even while performing. The week before that Domingo (singing baritone, however) pulled out of _Ernani._ And on March 7 we missed hearing Jonas Kaufmann in _Carmen_, a performance his presence might have improved greatly. Well, today we lost Piotr Beczala to the abovementioned Ricardo Tamura, who must be grateful for all the unexpected exposure he's getting. The exposure isn't altogether flattering, however; he's the possessor of a rather dry and unmemorable timbre, secure but unexciting at the top, which may matter less in the house than it does on radio. He did sing with spirit and wasn't an actual liability except perhaps in the passionate love duet, where some ring and thrill in the voice, pitted against a soaring soprano, is really essential.

The part of Ulrica, the black sorceress, is not a long one, but it is interesting for its strange character, and for its low tessitura which suggests a true contralto. The role was a natural for Marian Anderson when she made her belated Met debut in it, and if mezzo Dolora Zajick hasn't quite that sort of depth to her tone she does have the role well within her voice. Her portrayal captured nicely the character's forceful and enigmatic nature. The part of Oscar the page was sung with ease and spirit by soprano Heidi Stober, and those of the conspirators were well-taken. Levine was his reliable self in the pit.

I've long been rather fond of _Ballo_ among Verdi's middle-period works, not because I think it's necessarily one of his greatest (though opinions will differ about that) but probably for the focused simplicity of its plot and the curious juxtaposition of darkness and levity in its characters and music. It is definitely a work with a flavor of its own, a flavor compounded of diverse ingredients. Today's performance was a good representation of the opera, on the whole, though had Beczala participated it would no doubt have been even better.

I gather the production was updated to Sweden of the early 20th century. I can't imagine a good reason for doing that, and reviews of the concept in the press were not terribly favorable. Not that the profession of opera reviewing is particularly well-staffed these days, mind you; the opera critic of the Guardian, Seth Colter Walls, refers to Sondra Radvanovsky's "wild, dark-hued, house-rocking vibrato." Sorry, Seth, but (leaving aside the question of how a vibrato can have a hue or rock a house) a wild vibrato is precisely what Sondra Radvanovsky does _not_ have - and I, for one, am deeply thankful. Good grief! What would he say about Patricia Racette?


----------



## Itullian

Last one folks............

Stravinsky's The Rake's Progress
May 9, 2015 10:00 am PT
Levine; Claire, Blythe, Appleby, Finley, Sherratt

Le Commedia e Finita.............


----------



## Woodduck

Itullian said:


> Last one folks............
> 
> Stravinsky's The Rake's Progress
> May 9, 2015 10:00 am PT
> Levine; Claire, Blythe, Appleby, Finley, Sherratt
> 
> Le Commedia e Finita.............


One of the 20th century's greatest operas. The production is getting excellent reviews, especially tenor Paul Appleby as Tom Rakewell.


----------



## Itullian

Woodduck said:


> One of the 20th century's greatest operas. The production is getting excellent reviews, especially tenor Paul Appleby as Tom Rakewell.


I'll be listening Yoda.


----------



## Marschallin Blair

Woodduck said:


> One of the 20th century's greatest operas. The production is getting excellent reviews, especially tenor Paul Appleby as Tom Rakewell.


Why do you rate _The Rake's Progress_ so highly?


----------



## Woodduck

Marschallin Blair said:


> Why do you rate _The Rake's Progress_ so highly?


Musically interesting, literate, good characters, theatrically effective, amusing, touching. One of a kind.

I haven't heard it for thirty-some years and look forward to what should be a good performance.


----------



## Marschallin Blair

Woodduck said:


> Musically interesting, literate, good characters, theatrically effective, amusing, touching. One of a kind.
> 
> I haven't heard it for thirty-some years and look forward to what should be a good performance.


I've only heard the Nagano with Bumbry eons ago- admittedly perhaps not the best introduction to Stravinksy's work- and I was non-plussed.

But that was in a different millennium.


----------



## Woodduck

Marschallin Blair said:


> I've only heard the Nagano with Bumbry eons ago- admittedly perhaps not the best introduction to Stravinksy's work- and I was non-plussed.
> 
> But that was in a different millennium.


It's musically neo-classical, deliberately stylized and semi-archaic, with harpsichord-accompanied recits and tuneful, if quirky, arias. I cant say I loved it years ago (not being a lover of Igor in general) and I have no expectations now, except that I don't expect to be bored, at least if the singing/acting is good. It's in English; I don't own a libretto, but I imagine much of it will be intelligible.

Are you aware that Schwarzkopf was Anne Truelove at the premiere? The recording is available. Can't say how good it is.


----------



## Marschallin Blair

Woodduck said:


> It's musically neo-classical, deliberately stylized and semi-archaic, with harpsichord-accompanied recits and tuneful, if quirky, arias. I cant say I loved it years ago (not being a lover of Igor in general) and I have no expectations now, except that I don't expect to be bored, at least if the singing/acting is good. It's in English; I don't own a libretto, but I imagine much of it will be intelligible.
> 
> Are you aware that Schwarzkopf was Anne Truelove at the premiere? The recording is available. Can't say how good it is.


I'm inexcusably not- and will have to remedy that before Greg Mitchell never talks to me ever again.


----------



## Woodduck

Marschallin Blair said:


> I'm inexcusably not- and will have to remedy that before Greg Mitchell never talks to me ever again.


 I just remedied it for you. You are now aware. That's all he has a right to expect. You may tell him I said so.


----------



## Marschallin Blair

Woodduck said:


> I just remedied it for you. You are now aware. That's all he has a right to expect. You may tell him I said so.


I really had no idea what the two doyens would expectorate of it.


----------



## Woodduck

Marschallin Blair said:


> I really had no idea what the two doyens would expectorate of it.


I'm doyen to know what Greg thinks.


----------



## Marschallin Blair

Woodduck said:


> I'm doyen to know what Greg thinks.


You'll never paint him into a coroner. He's too sweet.


----------



## Woodduck

Marschallin Blair said:


> You'll never paint him into a coroner. He's too sweet.


Coroner, _n., archaic:_ in England, an official responsible for safeguarding the private property of the Crown.

I gather he has some pretty valuable jewels.


----------



## Marschallin Blair

Woodduck said:


> Coroner, _n., archaic:_ in England, an official responsible for safeguarding the private property of the Crown.
> 
> I gather he has some pretty valuable jewels.


The staff at jewelery stores usually have hearts of gold.


----------



## Woodduck

Marschallin Blair said:


> The staff at jewelery stores usually have hearts of gold.




It may be possible to interpret the foregoing as dealing with a rake's progress, but I suggest we not get too deeply into it.

I'm headed over to the Parsifal thread, where I will learn to resist temptation.


----------



## Itullian

30 min till curtain


----------



## Mahlerian

Well, Claire as Anne is a bit of a disappointment. She overshot her high C and warbles constantly in her high register. Finley is a fine Shadow, and Appleby a isn't bad Tom. Levine is doing a good job with the tricky score, so it's not a complete bust.


----------



## Itullian

I kinda enjoyed it. Kinda


----------



## Woodduck

Mahlerian said:


> Well, Claire as Anne is a bit of a disappointment. She overshot her high C and warbles constantly in her high register. Finley is a fine Shadow, and Appleby a isn't bad Tom. Levine is doing a good job with the tricky score, so it's not a complete bust.


Pretty much agree. I think the singers all suited their parts well. Claire's voice is very pretty, but as often with sopranos her diction is sometimes a problem, and since I don't know the libretto well (I haven't read it in many years) I was sometimes frustrated. Auden's libretto is really too good to miss. Gerald Finley is one fine baritone, and he was the singer I most enjoyed. Clear-toned voices (not much vibrato) are essential in Stravinsky's music, where precision of pitch is needed to make his spicy dissonances clear, especially in ensembles. In Verdi you can guess what the harmony is supposed to be even if singers' wobbles obscure it (and we have to guess far too often). In this music you really have to hear every note. These singers weren't too bad in that respect.

I did enjoy the performance when I could hear the words.


----------



## Woodduck

Itullian said:


> I kinda enjoyed it. Kinda


I kinda think that's funny. :lol:


----------



## Itullian

Woodduck said:


> Pretty much agree. I think the singers all suited their parts well. Claire's voice is very pretty, but as often with sopranos her diction is sometimes a problem, and since I don't know the libretto well (I haven't read it in many years) I was sometimes frustrated. Auden's libretto is really too good to miss. Gerald Finley is one fine baritone, and he was the singer I most enjoyed. Clear-toned voices (not much vibrato) are essential in Stravinsky's music, where precision of pitch is needed to make his spicy dissonances clear, especially in ensembles. In Verdi you can guess what the harmony is supposed to be even if singers' wobbles obscure it (and we have to guess far too often). In this music you really have to hear every note. These singers weren't too bad in that respect.
> 
> *I did enjoy the performance when I could hear the words*.


That's why I think opera in English is futile.
I need the words anyway.


----------



## Itullian

Sad that the season's over and this thread will fade away.

I guess "La Commedia e Finita", huh?


----------



## Woodduck

Itullian said:


> Sad that the season's over and this thread will fade away.
> 
> I guess "La Commedia e Finita", huh?


I don't know why the Met doesn't offer year-long opera out of its broadcast archives. Surely they can find some rich tycoon to sponsor it. Or are all the modern-day tycoons 35-year-old rock fans? Sometimes I forget how old I am.


----------



## Belowpar

Itullian said:


> That's why I think opera in English is futile.
> I need the words anyway.


It's been studied and 'natives' only ever understand about 35% of the libretto they are hearing in their own language. So you may as well say Opera in Itullian is futile.

That said, I heard the beginnning and remembered many more pressing things I wanted to do.


----------



## Itullian

Belowpar said:


> It's been studied and 'natives' only ever understand about 35% of the libretto they are hearing in their own language. *So you may as well say Opera in Itullian is futile.*
> That said, I heard the beginnning and remembered many more pressing things I wanted to do.


What I meant was u might as well listen to the language it was written in.


----------



## Belowpar

Itullian said:


> What I meant was u might as well listen to the language it was written in.


Maestro (that is an oversized baton you are holding in your avatar, right?)

Your writings are normally perfectly clearly expressed, but I am struggling to understand why you chose an Opera written in English to make the comment?


----------



## KenOC

Belowpar said:


> Maestro (that is an oversized baton you are holding in your avatar, right?)


I thought it was Walter White with a pool cue.


----------



## Itullian

Belowpar said:


> Maestro (that is an oversized baton you are holding in your avatar, right?)
> 
> Your writings are normally perfectly clearly expressed, but I am struggling to understand why you chose an Opera written in English to make the comment?


I didn't. Opera performed in English.
That's my language


----------



## Itullian

KenOC said:


> I thought it was Walter White with a pool cue.


Haha, It's Ian's flute.


----------



## Itullian

The Met Saturday broadcasts are on again with this Saturdays broadcast of La Boheme!

Here we go 

Barbara Frittoli and Ramon Vargas.


----------



## Woodduck

Itullian said:


> The Met Saturday broadcasts are on again with this Saturdays broadcast of La Boheme!
> 
> Here we go
> 
> Barbara Frittoli and Ramon Vargas.


Thanks for the heads up.

Boheme, huh?

No. I will _not _say ho hum.


----------



## gardibolt

Woodduck said:


> I don't know why the Met doesn't offer year-long opera out of its broadcast archives. Surely they can find some rich tycoon to sponsor it. Or are all the modern-day tycoons 35-year-old rock fans? Sometimes I forget how old I am.


Well, they do on Sirius/XM.

http://www.metopera.org/Season/Radio/Sirius-XM/

All current and vintage Met broadcasts, all the time (well, pretty much all the time).


----------



## Woodduck

gardibolt said:


> Well, they do on Sirius/XM.
> 
> http://www.metopera.org/Season/Radio/Sirius-XM/
> 
> All current and vintage Met broadcasts, all the time (well, pretty much all the time).


I've never heard of this. What is it? How do we hear these performances?


----------



## Itullian

Woodduck said:


> I've never heard of this. What is it? How do we hear these performances?


It's subscription radio called Sirius.


----------



## gardibolt

Sirius/XM is a satellite radio service. If you buy a new car, you almost always get a 3-month free trial of it these days, and one of their stations is the Met one (currently channel 74). It's kind of expensive but we drive around a lot and it offers feed of all baseball games, among other sports, and find it worthwhile for that. There are a couple classical music stations on it as well, and many niches (1940s big band has a channel, salsa, blues, have their own channels--there's even one that plays nothing but Springsteen, news, enough talk radio to make your ears bleed, and sports of every variety). It's very nice for not losing a station as you drive from here to there and then having to hunt down a replacement; you just have uninterrupted service everywhere other than in tunnels and parking garages.

They also offer an Internet subscription if you don't have the hardware/don't want to buy the hardware, and that offers even more stations. I think there are several levels of service, so make sure you have the stations you want in a particular package.

They used to be two separate services, Sirius and XM Radio, but they merged a few (five?) years back. If you do try them out, you can always get a good renewal deal by calling them to cancel just before your renewal date and they'll give you a much, much lower rate to stick with them.

Here's their about us page:
http://www.siriusxm.com/whatissiriusxm


----------



## Itullian

Luckily KUSC.ORG carries it.

7,000th post!!!!!

:clap: :guitar: :cheers: :trp:


----------



## Woodduck

Itullian said:


> Luckily KUSC.ORG carries it.
> 
> 7,000th post!!!!!
> 
> :clap: :guitar: :cheers: :trp:


I suppose I needn't add my congratulations to the pre-emptive Wagnerian apotheosis you have already conferred upon yourself, but I will do it anyway because I am a connoisseur of all things Wagnerian.

Heil dir, paesan.


----------



## Itullian

Met starts today!


----------



## Woodduck

Itullian said:


> Met starts today!


Radio on, pen (well, mouse) at the ready.


----------



## nina foresti

Hmmmmmm! It's eerily quiet here.
Could it be because you don't want to be the first to say that dear and lovely Barbara Frittoli has lost it? That she was singing all over the place and her highs were wobbling way too much even when they were on key?
That the once beautiful voice of Vargas has changed and diminished in a way I cannot actually express. I guess the best I can describe it is, he sounded tired.
Of course, this is just my own personal opinion and for all I know there are some of you who thought these singers were wonderful.


----------



## Woodduck

nina foresti said:


> Hmmmmmm! It's eerily quiet here.
> Could it be because you don't want to be the first to say that dear and lovely Barbara Frittoli has lost it? That she was singing all over the place and her highs were wobbling way too much even when they were on key?
> That the once beautiful voice of Vargas has changed and diminished in a way I cannot actually express. I guess the best I can describe it is, he sounded tired.
> Of course, this is just my own personal opinion and for all I know there are some of you who thought these singers were wonderful.


Vargas is 55. Frittoli is 48. My question to the Met is: "Why?" The world is teeming with fresh-voiced young talent. They may not be Bjoerlings and Tebaldis, or Pavarottis and Frenis, but they can surely do a credible and ingratiating _Boheme._ Vargas and Frittoli are in better shape than a lot of singers in their age bracket, and for all I know they still look great onstage, but they don't need to be the Mimi and Rodolfo coming out of my loudspeakers.

The other two principals were younger and sounded better. Anna Maria Martinez was a rich-voiced Musetta (she should have played Mimi, and is in fact better known in that role) whose main fault was incomprehensible diction. Best was Hungarian baritone Levente Molnar, whose dark-hued, masculine voice with its quick vibrato had me looking forward to his every entrance. I want to hear more from him.

These days it takes great singing to get me interested in this chestnut. Let's sample some:






I go now. Must find those tissues.


----------



## Barbebleu

M


Woodduck said:


> Vargas is 55. Frittoli is 48. My question to the Met is: "Why?" The world is teeming with fresh-voiced young talent. They may not be Bjoerlings and Tebaldis, or Pavarottis and Frenis, but they can surely do a credible and ingratiating _Boheme._ Vargas and Frittoli are in better shape than a lot of singers in their age bracket, and for all I know they still look great onstage, but they don't need to be the Mimi and Rodolfo coming out of my loudspeakers.
> 
> The other two principals were younger and sounded better. Anna Maria Martinez was a rich-voiced Musetta (she should have played Mimi, and is in fact better known in that role) whose main fault was incomprehensible diction. Best was Hungarian baritone Levente Molnar, whose dark-hued, masculine voice with its quick vibrato had me looking forward to his every entrance. I want to hear more from him.
> 
> These days it takes great singing to get me interested in this chestnut. Let's sample some:
> 
> 
> 
> 
> 
> 
> I go now. Must find those tissues.


An absolute belter of a duet. Where are singers like this now? I'm not sure they exist or are ever likely to again. Ah well, at least I have my recordings to keep me going.


----------



## Woodduck

Barbebleu said:


> An absolute belter of a duet. Where are singers like this now? I'm not sure they exist or are ever likely to again. Ah well, at least I have my recordings to keep me going.


Maybe it's unfair to invoke two of the greatest singers of the 20th century, but people ought to know what opera can sound like at its best. For all the emphasis placed on staging and acting nowadays, the human voice is still at the heart of this glorious art form.


----------



## Barbebleu

Thank goodness for gems like this


----------



## Barbebleu

And this.


----------



## Barbebleu

Woodduck said:


> Maybe it's unfair to invoke two of the greatest singers of the 20th century, but people ought to know what opera can sound like at its best. For all the emphasis placed on staging and acting nowadays, the human voice is still at the heart of this glorious art form.


Couldn't agree more.


----------



## Barbebleu

Or even this!






I could go on all night posting these little gems but you get the picture. No comparable singers today, sadly.


----------



## Itullian

Rigoletto next.


----------



## Woodduck

Itullian said:


> Rigoletto next.


Chestnut #2. Pack that house!

One of the great tests for a baritone. Do you know who it will be? They probably told us at the end of _Boheme_ but I didn't stick around for all the dreadful smiley-faced gushing by the two sports - er, opera - announcers.


----------



## Itullian

Woodduck said:


> Chestnut #2. Pack that house!
> 
> One of the great tests for a baritone. Do you know who it will be? They probably told us at the end of _Boheme_ but I didn't stick around for all the dreadful smiley-faced gushing by the two sports - er, opera - announcers.


RIGOLETTO (Verdi) 
Roberto Abbado; Nadine Sierra, Nancy Fabiola Herrera, Piotr Beczala, Željko Lučić, Dimitry Ivashchenko


----------



## hpowders

Are they still broadcasting? I can't remember the last time I heard a memorable performance from the Met on the radio. Milton Cross, where are you????


----------



## Becca

Woodduck said:


> Vargas is 55. Frittoli is 48. My question to the Met is: "Why?" The world is teeming with fresh-voiced young talent. They may not be Bjoerlings and Tebaldis, or Pavarottis and Frenis, but they can surely do a credible and ingratiating _Boheme._ Vargas and Frittoli are in better shape than a lot of singers in their age bracket, and for all I know they still look great onstage, but they don't need to be the Mimi and Rodolfo coming out of my loudspeakers.


The Met never has been much on promoting fresh, new talent. They have too many season ticket holders who want big names.


----------



## Woodduck

hpowders said:


> Are they still broadcasting? I can't remember the last time I heard a memorable performance from the Met on the radio. Milton Cross, where are you????


Dear old Milton (who of course began as young Milton in 1897)! He was the voice of the Met's Saturday broadcasts from their very start in 1931, and was fortunate to preside over their golden years, all the way up to 1975. That was just about the time that singing went into decline - vocal giants like Tebaldi, Price, Schwarzkopf, Moffo, Nilsson, Corelli, Bergonzi, Del Monaco, Tucker, Vickers, Merrill, and Tozzi retiring or soon to do so - and Verdi and Wagner went begging for voices capable of realizing their works' dimensions.

Cross shouldered the job of announcing the broadcasts alone, as did his successor, Peter Allen. Now we have a pair (one of whom is the very knowledgeable Ira Siff, a.k.a. Vera Galupe-Borszkh), who keep up a steady stream of chatter in a tone of mutual affection so thick and sweet you can eat it with a spoon. I believe the transition from one announcer to two coincided with a similar multiplication in sports announcers, and with a drastic increase in bantering cameraderie between those glamorous-yet-folksy people who bring us news and weather on TV. We now also get casual and spontaneous-sounding interviews with the lead singers backstage between acts, who tell us how thrilled they are to be singing role X and working with the other lead singers of the afternoon, who all agree that they're thrilled too. It makes us feel warm and welcome, like members of the family.

Personally, I'm more interested in feeling like I'm hearing a fantastic performance. But that rarely happens. Maybe it never did happen very often - but Tebaldi! Price! Schwarzkopf! Moffo! Bergonzi! Corelli...


----------



## hpowders

The last time I heard a memorable Met broadcast was the young Joan Sutherland's American debut in Lucia. Electrifying!
I realize this post dates me, but it was worth it!


----------



## nina foresti

Becca said:


> The Met never has been much on promoting fresh, new talent. They have too many season ticket holders who want big names.


Do the names Grigolo, Opolais, Fabiano, Antonenko, Lee, Barton, Meade, Yoncheva, Peretyatko, Camarena, Hymel ring a bell?
If not, stick around.


----------



## Woodduck

nina foresti said:


> Do the names Grigolo, Opolais, Fabiano, Antonenko, Lee, Barton, Meade, Yoncheva, Peretyatko, Camarena, Hymel ring a bell?
> If not, stick around.


Bryan Hymel is in fact in the alternate cast for the present production of _Boheme_. Would that he had sung for the matinee broadcast!

The Met does of course have a young artists program. Things may be a little better now than they were decades ago, when practically every young American singer, no matter how talented, trundled off to Europe to get experience and make a reputation before the Met would consider casting them. America has been slow to accept its own. The singers you mention are mostly not American, and not so very young. Hymel is 36, Grigolo 38, Opolais 36, Antonenko 40, Lee 42, Barton 34, Meade 38, Yoncheva 34, Peretyatko 35, Camarena 39. Historically, most noteworthy singers are singing major roles by their mid-twenties, often in major houses, but rarely at the Met.


----------



## Itullian

Rigoletto tomorrow.


----------



## Itullian

First Act, not bad.


----------



## DavidA

Duke is a bit of a bawler. Krauss would turn n his grave at the inelegance!

Rigoletto seems to be forcing his tone in Mei Signori. And he went horribly out of tune in the vengeance duet! Gilda sounds good though!


----------



## Woodduck

_Rigoletto._ A masterpiece of dramatic concision with enough good tunes for three ordinary operas. The Met's current offering is set in Las Vegas in 1960, complete with such cultural anomalies as dukes and curses. Hmmm. Maybe "the duke" is a mob nickname...

Apparently this is a very effective production dramatically, visually impressive and well-acted. The crowd seemed to love it, so I'll take their word for it. But then they also seemed to love the awful caterwauling of Piotr Beczala. I should never have spent time yesterday listening to various great tenors singing "La donna e mobile" (winner: Caruso - What nonchalance! What control! What a cadenza!). Zeljko Lucic is a solid, dramatically aware Rigoletto, if also somewhat on the descending side of the hill vocally. The best singing of the afternoon was by Nadine Sierra, a born Gilda, who can actually float a high note and sing everything written for her with ease and beauty. Her cadenza with Beczala at the end of their act one duet was amazing: he, bellowing desperately in some unidentifiable key, she soaring like a bird, unfazed by the wreckage beneath her. It was horrifying and delightful.

Next week: _La Donna del Lago_, with Joyce di Donato and Lawrence Brownlee.


----------



## nina foresti

Sadly, I sat and listened to that train wreck of Beczala's as well. I am hoping that he only had a cold but no announcement was forthcoming as I expected there to be. Actually, I thought the audience was giving him nothing more than polite applause. The effusiveness went to Gilda.
Through my pain for him I did discover the new and beautiful voice of Nadine Sierra. What a stellar Met debut. We shall be hearing a lot from her.
As far as the production itself is concerned, I went into it last season with trepidation and suspicion. I was very prepared to hate it and silently boo the director, so most shocked was I to find that the weird production actually worked. And why did it work for me? Because with all its glitzy upgrading to the present, including a Cadillac car, the staging did not interfere with the singers and the singing. There were no distractions.


----------



## DavidA

Sierra was truly the star of the evening. She was the only. Vouce I'd want to hear again on an audio only experience. Mnd you, sheis quite a looker too!


----------



## Itullian

Woodduck said:


> _Rigoletto._ A masterpiece of dramatic concision with enough good tunes for three ordinary operas. The Met's current offering is set in Las Vegas in 1960, complete with such cultural anomalies as dukes and curses. Hmmm. Maybe "the duke" is a mob nickname...
> 
> Apparently this is a very effective production dramatically, visually impressive and well-acted. The crowd seemed to love it, so I'll take their word for it. But then they also seemed to love the awful caterwauling of Piotr Beczala. I should never have spent time yesterday listening to various great tenors singing "La donna e mobile" (winner: Caruso - What nonchalance! What control! What a cadenza!). Zeljko Lucic is a solid, dramatically aware Rigoletto, if also somewhat on the descending side of the hill vocally. The best singing of the afternoon was by Nadine Sierra, a born Gilda, who can actually float a high note and sing everything written for her with ease and beauty. Her cadenza with Beczala at the end of their act one duet was amazing: he, bellowing desperately in some unidentifiable key, she soaring like a bird, unfazed by the wreckage beneath her. It was horrifying and delightful.
> 
> Next week: _*La Donna del Lago*_*, with Joyce di Donato and Lawrence Brownlee*.


Anyone listening?


----------



## Sloe

Itullian said:


> Anyone listening?


I have heard La Donna del Lago with Joyce di Donato before and I appreciated it.


----------



## Woodduck

Itullian said:


> Anyone listening?


Yup. Di Donato and Brownlee are their usual excellent selves. About time we got some first-rate singing from this source. The other mezzo (pants role) is good but doesn't sound the least bit male. She has a big vibrato on sustained notes yet manages the fioriture well.

All this intermission chitchat is driving me crazy. I remember when they had a quiz almost every week, singers' round tables, historical recordings, and other interesting stuff.


----------



## Tsaraslondon

Woodduck said:


> _Rigoletto._ A masterpiece of dramatic concision with enough good tunes for three ordinary operas. The Met's current offering is set in Las Vegas in 1960, complete with such cultural anomalies as dukes and curses. Hmmm. Maybe "the duke" is a mob nickname...
> 
> Apparently this is a very effective production dramatically, visually impressive and well-acted. The crowd seemed to love it, so I'll take their word for it. But then they also seemed to love the awful caterwauling of Piotr Beczala. I should never have spent time yesterday listening to various great tenors singing "La donna e mobile" (winner: Caruso - What nonchalance! What control! What a cadenza!). Zeljko Lucic is a solid, dramatically aware Rigoletto, if also somewhat on the descending side of the hill vocally. The best singing of the afternoon was by Nadine Sierra, a born Gilda, who can actually float a high note and sing everything written for her with ease and beauty. Her cadenza with Beczala at the end of their act one duet was amazing: he, bellowing desperately in some unidentifiable key, she soaring like a bird, unfazed by the wreckage beneath her. It was horrifying and delightful.
> 
> Next week: _La Donna del Lago_, with Joyce di Donato and Lawrence Brownlee.


Setting the opera in gansgsterland is not particularly original. Back in 1982 Jonathan Miller set the opera in 1950s gangsterland New York. It was an enormous success, largely, because the opera did transfer quite well ti this new milieu, but also because Miller is a real opera lover, who understands opera and its conventions very well. The last act, with Gilda watching the Duke seduce Maddalena through the windows of a diner, was pure genius.

You can get a taste of it here.


----------



## Woodduck

GregMitchell said:


> Setting the opera in gansgsterland is not particularly original. Back in 1982 Jonathan Miller set the opera in 1950s gangsterland New York. It was an enormous success, largely, because the opera did transfer quite well ti this new milieu, but also because Miller is a real opera lover, who understands opera and its conventions very well. The last act, with Gilda watching the Duke seduce Maddalena through the windows of a diner, was pure genius.
> 
> You can get a taste of it here.


It's very well done, but...

I don't like hearing this 1850s Italian music sung in English by 1950s New Yorkers. I just can't believe in it. I wouldn't call it regie, but it feels surreal, like a weird dream.


----------



## Tsaraslondon

Woodduck said:


> It's very well done, but...
> 
> I don't like hearing this 1850s Italian music sung in English by 1950s New Yorkers. I just can't believe in it. I wouldn't call it regie, but it feels surreal, like a weird dream.


The ENO perform all operas in English. This is only a snippet, but it really did work very well in the theatre, was hugely popular, and stayed in the ENO repertoire for 30 years.

The updated *La Boheme* I saw this year should be buried without trace. I hope it never sees the light of day again. Mind you, considering the problems of the current English National Opera, the company may never see another season anyway.


----------



## Sloe

GregMitchell said:


> Setting the opera in gansgsterland is not particularly original.


The directors have their favourite settings.
Personally I prefer the more unusual settings if they are going to make so called alternative settings that are not disgusting or disturbing.


----------



## Woodduck

GregMitchell said:


> The ENO perform all operas in English. This is only a snippet, but it really did work very well in the theatre, was hugely popular, and stayed in the ENO repertoire for 30 years.
> 
> The updated *La Boheme* I saw this year should be buried without trace. I hope it never sees the light of day again. Mind you, considering the problems of the current English National Opera, the company may never see another season anyway.


I imagine it would be easier to get into if I saw the whole thing.

I gather the ENO has been having problems. Is it just box office? People aren't coming to performances?


----------



## Tsaraslondon

Woodduck said:


> I imagine it would be easier to get into if I saw the whole thing.
> 
> I gather the ENO has been having problems. Is it just box office? People aren't coming to performances?


Well audiences have definitely dwindled, but I honestly think that is more due to falling standards than anything else. During the period Miller directed this *Rigoletto*, the theatre was usually packed. I can remember any number of terrific productions, both of regular repertoire, like *La Traviata* and *Salome*, but also of less frequently performed works, like *Lady Macbeth of Mtsensk* and *War and Peace*.


----------



## Woodduck

Well, it's that season at the Met when weird things appear on stage, always sung in English, before an audience full of kiddies. Often it's _Hansel and Gretel_, which is weird in a good way, and not bad even in translation. Today it's _The Barber of Seville_ by Joey Littlerose - I mean, Gioacchino Rossini - which is weird in a way that the kiddies will probably enjoy but crotchety old Woodduck cannot.

I started the broadcast in good faith, and was stunned to hear an "overture" that lasted about thirty seconds! No, I didn't count the seconds. I didn't know I was going to have to. This was followed by a condensed version of Almaviva/Lindoro's serenade, sung decently in English but mostly incomprehensible anyway. I could tell it was going to be a trying afternoon, but I listened on through the "Largo al factotum" and "Una voce poco fa," or what would have been those arias if they hadn't sounded weird. That was enough. It's quiet here now, and I think I'll take a walk while the sun's shining.

For anyone who cares, tenor Taylor Stayton is another "Rossini tenor" of the sort we've had lots of recently - high, bright, excellent coloratura. Baritone Elliot Madore sings well but is not vocally striking. Isabel Leonard has a fine, free mezzo but lacks charm.

You might think that a comedy like this would work perfectly in English. In the theater, maybe it does. But to my ear, it's just...

Weird.


----------



## nina foresti

I am embarrassed to admit that I really dislike operas in English (save for anything Menotti and Vanessa).
I lasted through "Largo al factotum" and found it so strange not to be hearing the Italian (and I swear I think the kids would have loved it better done that way) that I finked out.


----------



## gardibolt

Heard a pretty good 1982 Parsifal with Levine on Dec. 23 (Thomas Stewart as Amfortas, and Jerome Hines' last performance as Gurnemanz--Mignon Dunn was a quite serviceable and nicely dark Kundry) and a very good 1957ish Butterfly under Mitropoulos (though limited sound quality) on Dec. 24 on the Sirius XM Met channel.


----------



## Itullian

Next week.............The Bat :tiphat:


----------



## Woodduck

Itullian said:


> Next week.............The Bat :tiphat:


You mean _Casey at the Fledermaus?_

So far this season is a popular hit parade: _Boheme, Rigoletto, Barber, Fledermaus_... there was _La Donna del Lago_ for something a little different, if not earth-shaking. I'm bored. I'm feeling a yen for something obscure, esoteric, ponderous, neurotic, and atonal, preferably sung in ancient Greek or Klingon. Maybe SeptimalTritone could suggest something.


----------



## Lyricus

nina foresti said:


> I am embarrassed to admit that I really dislike operas in English (save for anything Menotti and Vanessa).
> I lasted through "Largo al factotum" and found it so strange not to be hearing the Italian (and I swear I think the kids would have loved it better done that way) that I finked out.


I don't think it necessarily has to do with English per se, but rather translations feel like translations and rarely fit the music perfectly. At least that's my limited experience with both English and Italian translations.


----------



## Tsaraslondon

nina foresti said:


> I am embarrassed to admit that I really dislike operas in English (save for anything Menotti and Vanessa).
> I lasted through "Largo al factotum" and found it so strange not to be hearing the Italian (and I swear I think the kids would have loved it better done that way) that I finked out.


Is it just Menotti and Barber you're ok with? How do you feel about Purcell's "Dido and Aeneas", or Handel's English Orotirios (now mostly staged), like "Semele" or "Hercules", or Britten's operas?


----------



## Itullian

I missed it. How was The Bat?


----------



## Woodduck

Itullian said:


> I missed it. How was The Bat?


Entertaining, as it should be, with some very funny lines and everyone having a blast. The singing as such was "Metropolitan average," which is to say not a patch on Schwarzkopf, Streich, Gedda, Dermota, Prey, Metternich, et al. Guess those folks were otherwise engaged.


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## Sloe

Woodduck said:


> Well, it's that season at the Met when weird things appear on stage, always sung in English, before an audience full of kiddies. Often it's _Hansel and Gretel_, which is weird in a good way, and not bad even in translation. Today it's _The Barber of Seville_ by Joey Littlerose - I mean, Gioacchino Rossini - which is weird in a way that the kiddies will probably enjoy but crotchety old Woodduck cannot.


It seems like you are not the only one thinking like that. No Metropolitan broadcasts for me lately.


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## Woodduck

Sloe said:


> It seems like you are not the only one thinking like that. No Metropolitan broadcasts for me lately.


It's been a humdrum season so far. Next week we'll have Anna Bolena, with Sondra Radvnovsky and Jamie Barton.


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## Itullian

Bolena might be interesting.......


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## Sloe

Woodduck said:


> It's been a humdrum season so far. Next week we'll have Anna Bolena, with Sondra Radvnovsky and Jamie Barton.


That one I will get to hear.


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## nina foresti

Well you are finally in for a treat. No more Christmas fluff and stuff. Bolena is the real thing with not one, but two spectacular voices. Enjoy!


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## Woodduck

*Donizetti: Anna Bolena*

I don't know this opera very well, having heard it complete only once some years ago and in excerpts by Maria Callas and Beverly Sills (I haven't heard Sutherland's recording), so I'll say little about the opera itself except that it's full of effective Donizetti arias and ensembles, and that the title role obviously demands a superior singing actress. The Met promised us a fine cast today, but unfortunately the Jane (Giovanna) Seymour, Jamie Barton , is indisposed and has been replaced by a mezzo named Milijana Nikolic.

Attention must focus first on Sondra Radvanovsky, who has been highly praised in the role of Anna. I can see why, as she is very musical and alert to the drama, and brings to the music an inherently suitable instrument, cleanly focused, sizable, and well-projected in all registers. She has weaknesses: her diction is often incomprehensible, and I'm surprised at the lack of precision in some of her coloratura, given that she's doing a lot of the bel canto repertoire. Her top notes are free and exciting, though, and her high pianissimi really ravishing. She may be the closest thing we have at present to a successor to the three sopranos mentioned above. How close is that? I'm not sayin'... 

I can't offer much reassurance about Milijana Nikolic, who knows what she's doing but simply lacks the vocal purity and flexibility needed in this repertoire. She is a young woman, to judge by her picture on the Met broadcast web site, but her fruity sound and heavy vibrato make her character sound old - I can imagine her as Mistress Quickly - and I was weary of her within minutes (or maybe seconds). Unfortunately she sings a great deal in this opera, and that makes the absence of Jamie Barton quite painful.

By contrast, the other mezzo in the production, Tamara Mumford, who sings the pants role of Smeaton (Anna's page who's in love with her), is vocally and musically splendid, her voice clean and focused and her line and style impeccable. Her serenade with harp in the first scene was simply gorgeous, possibly the loveliest single piece of singing I've heard from the Met so far this season, and she is, for me, the highlight of this production. More of her, please!

The male principals - baritone Ildar Abdrazakov as Henry VIII, and tenor Stephen Costello as Percy - are generally fine. Abdrazakov has a dark, bass-baritonal timbre and makes a satisfyingly severe Henry. Young Costello's attractive voice is technically unfinished and he needs to work at freeing it up around the passaggio, but he managed some nice, albeit somewhat detached, piano effects. Any attempt at dynamic gradation is welcome in a tenor nowadays.

Apparently we are to hear all three operas in Donizetti's "Tudor Trilogy" this season. For lovers of bel canto that's something to be grateful for.

Next week: Bizet's, _Les Pecheurs de Perles_, which hasn't been heard at the Met for 100 years, strangely.


----------



## Bellinilover

I heard ANNA BOLENA this afternoon, though I only got to listen closely to the last two or three scenes. Since it's the only portion of the opera I know, the final Mad Scene is the only part I feel I can judge. In this I thought Sondra Rodvanovsky was superb, especially in the "Dolce guidami" section -- and, yes, I'm familiar with the great Callas recording from the late 1950's. Sondra, I felt, achieved an astonishing degree of shading with what is already a very distinctive voice. 

As I said, I don't know the rest of the opera, but the rendition of the tenor aria ("Vivi tu," I think it's called) by Stephen Costello sounded first-class.

Edited to add: Oh yeah...I didn't think the "substitute" mezzo-soprano sounded particularly good (who knows how short a notice she had), and -- it may have been my imagination -- I don't think the audience was too enthusiastic about her either. I didn't get a chance to hear Ildar Abdrazakov as Henry, which is too bad because he's generally a big favorite of mine.


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## Pugg

Slightly off topic but I saw Sondra Rodvanovsky yesterday a a transmission from Madrid ; Norma.
Great voice in every way, can't wait to see her do Roberto Devereux :tiphat:


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## Itullian

Tomorrow at the Met..................
LES PÊCHEURS DE PERLES (Bizet) – New Production 
Gianandrea Noseda; Diana Damrau, Matthew Polenzani, Mariusz Kwiecien, Nicolas Testé


----------



## Woodduck

Good performance of _The Pearl Fishers_ today. Matthew Polenzani was exceptional, singing his aria with ravishing floated pianissimi. So nice to have a tenor who can do this! He impressed me in _Cosi fan tutte_ a few years ago with a gorgeous "Un aura amorosa," and he seems to be taking good care of his voice. Kwiecien was fine, and Damrau was very good too, though I'm not a fan. Really fine production all around, and good that the piece is back in the repertoire. It's full of beautiful music and superb dramatic writing. A terrible shame Bizet didn't live to compose more operas.

Next week: _Tannhauser,_ with Bothe, Westbroeck and Mattei.


----------



## DavidA

Woodduck said:


> Good performance of _The Pearl Fishers_ today. Matthew Polenzani was exceptional, singing his aria with ravishing floated pianissimi. So nice to have a tenor who can do this! He impressed me in _Cosi fan tutte_ a few years ago with a gorgeous "Un aura amorosa," and he seems to be taking good care of his voice. Kwiecien was fine, and Damrau was very good too, though I'm not a fan. Really fine production all around, and good that the piece is back in the repertoire. It's full of beautiful music and superb dramatic writing. A terrible shame Bizet didn't live to compose more operas.
> 
> Next week: _Tannhauser,_ with Bothe, Westbroeck and Mattei.


Pearl Fishers - terrific. Watched the broadcast. Sadly missed the very beginning due to problem with parking. Too many cars and too few spaces at the cinema! Production was terrific - using the resources of modern theatre without doing anything silly. The singers spot on - all three principles. To my surprise the cinema was packed out. It's only usually half full for broadcasts.


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## Guest

Just got back from Les Pêcheurs de Perles. Agreed about the high level of singing but the "modern-day setting" of the production was a bit difficult to buy. Modern t-shirt wearing dudes in the "slums" in Sri Lanka sacrificing virgins to the God Brahma? Not so sure... but very spectacular and great production overall.


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## Woodduck

DoReFaMi said:


> Just got back from Les Pêcheurs de Perles. Agreed about the high level of singing but the "modern-day setting" of the production was a bit difficult to buy. Modern t-shirt wearing dudes in the "slums" in Sri Lanka sacrificing virgins to the God Brahma? Not so sure... but very spectacular and great production overall.


So you didn't know that the T-shirt was invented in ancient Ceylon? Why do you suppose all those delightful cotton goods say "Made in India?"


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## mountmccabe

DoReFaMi said:


> Just got back from Les Pêcheurs de Perles. Agreed about the high level of singing but the "modern-day setting" of the production was a bit difficult to buy. Modern t-shirt wearing dudes in the "slums" in Sri Lanka sacrificing virgins to the God Brahma? Not so sure... but very spectacular and great production overall.


The religious and sexual attitudes are European. This was more akin to Vestal virgins; Vesta was a Roman goddess. The attitudes on display are closer to Catholicism (see 19th Century France) than any Vedic religion.

That is to say, I find "Norma in Ceylon" a bit difficult to buy on that level, no matter when it is set.

So I had no problem with the modern setting. I thought it fit the music well, and the action was clear.


----------



## Pugg

DoReFaMi said:


> Just got back from Les Pêcheurs de Perles. Agreed about the high level of singing but the "modern-day setting" of the production was a bit difficult to buy. Modern t-shirt wearing dudes in the "slums" in Sri Lanka sacrificing virgins to the God Brahma? Not so sure... but very spectacular and great production overall.


Amen to this, nothing to add :tiphat:


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## DavidA

mountmccabe;1002013[B said:


> ]The religious and sexual attitudes are European. [/B]This was more akin to Vestal virgins; Vesta was a Roman goddess. The attitudes on display are closer to Catholicism (see 19th Century France) than any Vedic religion.
> 
> That is to say, I find "Norma in Ceylon" a bit difficult to buy on that level, no matter when it is set.
> 
> So I had no problem with the modern setting. I thought it fit the music well, and the action was clear.


Oh yes which is not surprising as it was written by a Frenchman who had never been outside France, I believe. I thought that when they were singing about their home in heaven. Hindus believe in reincarnation! But it is an opera - fantasy!


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## Itullian

Woodduck said:


> Good performance of _The Pearl Fishers_ today. Matthew Polenzani was exceptional, singing his aria with ravishing floated pianissimi. So nice to have a tenor who can do this! He impressed me in _Cosi fan tutte_ a few years ago with a gorgeous "Un aura amorosa," and he seems to be taking good care of his voice. Kwiecien was fine, and Damrau was very good too, though I'm not a fan. Really fine production all around, and good that the piece is back in the repertoire. It's full of beautiful music and superb dramatic writing. A terrible shame Bizet didn't live to compose more operas.
> 
> *Next week: Tannhauser, with Bothe, Westbroeck and Mattei.*




Finally, a great opera. :tiphat:


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## Woodduck

Itullian said:


> Next week: Tannhauser, with Bothe, Westbroeck and Mattei.
> 
> Finally, a great opera. :tiphat:


Hmmmmm.....

Of that cast, only Mattei doesn't scare me.


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## DavidA

Won't be nothing with Tannhauser. Tends to encourage somnolence!


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## Itullian

Woodduck said:


> Hmmmmm.....
> 
> Of that cast, only Mattei doesn't scare me.


We shall see


----------



## nina foresti

Seems interesting that there has not been any mention of the magnificent and wondrous underwater work created by the director Woolcock, the best part of her directorial ideas. They were really quite special and beautifully done. 
I was not as enthused with the opera itself. I kind of found it a bore, especially the first act. I was worried for Kwiecien who I am normally a fan of, and who seemed to be weak in his portrayal of the leader of the group. He seemed more like an innocent young boy than a strong advocate. But happily, in the final act he came alive and gave a truly fine performance. I felt he was the strongest of the three. Polenzani was his usual fine self and Damrau delivered as well, albeit with some very annoying and distracting stage work, constantly working with that veil which was silly and unnecessary but then again, not her fault. She does what she is instructed to do by a lesser than savvy director.
The music and the singing made the day for me. The opera itself came and went and that's that!

It just dawned on me that perhaps the above posts were written by posters who only heard the opera and did not see the HD production in a theater near them. If so, too bad. The HDs are some of the best things to come from the Met and a big thanks is owed to Peter Gelb for bringing them to the world.


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## mountmccabe

I am not sure if the performance of _Tannhäuser_ being broadcast on Saturday was the one they did the Live in HD (October 31, 2015) or not.

From the Live in HD I was mesmerized by Peter Mattei, and also liked Eva-Maria Westbroek. I was fine with Johan Botha's singing, but was watching him was a problem. I did not like Levine's conducting or the playing of the orchestra.

There was a thread about that Live in HD.


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## Seattleoperafan

Does anyone listen to Met Opera Radio on Sirius? The operas are great, especially the historic ones, but for the filler material which they play between the operas it is like the same 25 numbers they have been playing for 7 years or more. Repeated ad nauseum. It doesn't do to complain like it does at the other Sirius channels. So frustrating.


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## nina foresti

Seattleoperafan said:


> Does anyone listen to Met Opera Radio on Sirius? The operas are great, especially the historic ones, but for the filler material which they play between the operas it is like the same 25 numbers they have been playing for 7 years or more. Repeated ad nauseum. It doesn't do to complain like it does at the other Sirius channels. So frustrating.


That makes 2 of us. And what is worse, they never announce who the singers are. My car Sirius only lists the composer (well la-de-dah!) and the opera but never the singer. Drives me crazy.


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## Woodduck

nina foresti said:


> That makes 2 of us. And what is worse, they never announce who the singers are. My car Sirius only lists the composer (well la-de-dah!) and the opera but never the singer. Drives me crazy.


Ridiculous. It's like going to the hospital and having your gall bladder removed by an anonymous staff member.


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## Tsaraslondon

Woodduck said:


> *Donizetti: Anna Bolena*
> 
> Attention must focus first on Sondra Radvanovsky, who has been highly praised in the role of Anna. I can see why, as she is very musical and alert to the drama, and brings to the music an inherently suitable instrument, cleanly focused, sizable, and well-projected in all registers. She has weaknesses: her diction is often incomprehensible, and I'm surprised at the lack of precision in some of her coloratura, given that she's doing a lot of the bel canto repertoire.


This is something I've been going on about for ages. I didn't hear this *Anna Bolena*, but I have heard parts of Radvanovsky's Norma and her Verdi recital. A lack of precision, and tonal nuance is evident here too. Doesn't this bother people anymore? Apparently not, even those who profess a love of Sutherland, whose precision in coloratura (if not in diction) was legendary. The notes are there. They have to be sung. If the composer asks for a trill or a chromatic scale, then the singer should deliver them. We would not accept such technical deficiencies in instrumentalists. Why do we accept them in singers?

Netrebko is due to sing Norma at the Met. Her other forays into the bel canto repertoire do not inspire confidence in her ability to sing the notes. Or do they just not matter anymore?


----------



## Balthazar

I saw the encore performance of _The Pearl Fishers_ last night. Damrau was lovely. Kwiecien started a bit shaky but really opened up by the third act. Polenzani seems much more confident and at ease than in years past -- and he sounded great. I commented here last summer on his noticeable development after seeing the video of his Nemorino in the Munich _L'Elisir d'amore_.

I appreciated the modern-day setting in a rather generic Asian fishing village. Particularly in the beginning of the third act where the rather monochrome background of Zurga's office helped to keep the focus on the fiery exchange between Zurga and Leilah (see below).








It created a dramatically different atmosphere from the last time I saw the work staged a few years back with day-glo sets and costumes by British designer Zandra Rhodes:








Always nice to see a different creative team's take on an opera. :tiphat:


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## Tsaraslondon

Balthazar said:


> I saw the encore performance of _The Pearl Fishers_ last night. Damrau was lovely. Kwiecien started a bit shaky but really opened up by the third act. Polenzani seems much more confident and at ease than in years past -- and he sounded great. I commented here last summer on his noticeable development after seeing the video of his Nemorino in the Munich _L'Elisir d'amore_.
> 
> I appreciated the modern-day setting in a rather generic Asian fishing village. Particularly in the beginning of the third act where the rather monochrome background of Zurga's office helped to keep the focus on the fiery exchange between Zurga and Leilah (see below).
> 
> 
> 
> 
> 
> 
> 
> 
> It created a dramatically different atmosphere from the last time I saw the work staged a few years back with day-glo sets and costumes by British designer Zandra Rhodes:
> 
> 
> 
> 
> 
> 
> 
> 
> Always nice to see a different creative team's take on an opera. :tiphat:


I saw Zandra Rhodes day-glo production of *Aida* at the English National Opera a few years back. Unfortunately though the sets and costumes were eccentrically attractive, the production itself was decidedly old fashioned. I don't think the Aida and Radames looked at each other once, delivering their duets, hands clasped side by side but without any other connection to each other. The rest wasn't much better, the singing and conducting dull. It put my niece off opera for life. And they wonder why the ENO is in trouble.


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## DavidA

GregMitchell said:


> I saw Zandra Rhodes day-glo production of *Aida* at the English National Opera a few years back. Unfortunately though the sets and costumes were eccentrically attractive, the production itself was decidedly old fashioned. I don't think the Aida and Radames looked at each other once, delivering their duets, hands clasped side by side but without any other connection to each other. The rest wasn't much better, the singing and conducting dull. It put my niece off opera for life. And they wonder why the ENO is in trouble.


The ENO's productions aim to be cheap and sensational. They appear to be able bases see with drugs / sex - the recent Carmen where Carmen and her friends were whores and hookers. There was also gratuitous violence. All this wretchedly clumsy over emphasis does is to detract from the plot and the music. Same with the drug-fuelled Boheme which I won't be seeing. If they want audiences how about some productions that resemble the composer's intentions?


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## Woodduck

*Wagner: Tannhauser*

Purple is a good Wagnerian color, isn't it?

_Tannhauser_ is Wagner's unfinished opera. At least he seems to have regarded it so, saying to Cosima shortly before his death "I still owe the world a _Tannhauser_." After the transformation he worked upon the opera's opening scene, turning a hausfrau of a Venus into a vision of sensual beauty, he continued to feel that further revisions of the opera were needed. Those, along with the symphonies he said he wanted to write after getting _Parsifal_ under his belt, were never to come about. What we have is an imperfect but still great opera, with Wagner's most problematic hero at its center: a man who lives in a perpetual state of ambivalence, torn between his erotic urges and his attempts to function in conventional society, and who is finally rescued from himself only by the death of the only person who accepts him as the conflicted mess he is.

Tannhauser is a notoriously difficult role to sing, and in this rebroadcast of a performance from October 31 of last year Johan Bothe has a very decent go at. His voice is not beautiful; it's nasal and a bit thin-sounding, though apparently strong enough. I've never heard a dramatic tenor make the song in praise of Venus sound less than strenuous, so he's off the hook there. I must say that the Venus he has to sing to here doesn't deserve his praises: Michele de Young sounds frumpy, her sopranoish mezzo or mezzoish soprano vibrato-ridden and dull as dishwater, so that Wagner's gorgeous post-Tristan music goes almost completely to waste. The deficit of vocal beauty in this Venusberg makes the voice of the shepherd a welcome relief. Further relief comes with Peter Mattei's Wolfram. His lovely, well-focused baritone, lacking only in fullness and ease at the very top, makes Tannhauser's return seem a fine idea, even if coming back to this rather dull Thuringian crowd is otherwise as inexplicable as Dorothy's return from the emerald city to cornfields and Auntie Em.

On to the Wartburg, where Eva-Maria Westbroek's fervent Elisabeth sounds more or less as I'd have expected from last season's _Cavalleria Rusticana_ - dramatically dedicated, vocally warm and attractive in her lower range, but afflicted with the modern disease of vibratoitis from her midrange on up. What is it with opera singers these days? I complain about this week after week as I listen to these broadcasts, but they just keep coming at me, these wretched wobblers. But relief comes in the form of Gunther Groissbock's landgrave: a clean, well-focused, mellifluous voice, even if he doesn't do much to make his part interesting. A bit more savoring of the words would help to get his earthbound "address" off the ground. The song-contest shows up the contrast between Mattei's smooth vocalism and Bothe's nasality. Westbroek's heroic defense of Tannhauser is excruciatingly wobble-ridden, if sincere. ( I think it's only fair to point out that the microphone in these broadcasts, bringing singers close up and eliminating natural hall-resonance, creates an unflattering voice-image which is different from what we'd hear in the house. Anyone who sounds fine on these broadcasts is fine indeed.)

Act three brings us the most moving moments in the opera: the pilgrim's chorus, Elisabeth's prayer, Wolfram's "O du mein holder Abendstern," and Tannhauser's "Rome narrative." There are premonitions of Wagner's later works, from the orchestral depiction of Tannhauser's pilgrimage to Rome in the prelude hinting at the act 3 prelude to _Parsifal_, to the exchanges between Tannhauser and Wolfram reminiscent of Tristan and Kurwenal, to the Pope's damnation of Tannhauser foreshadowing Alberich's curse on the ring. The singers here all acquit themselves well from a dramatic standpoint, almost making me forgive their vocal shortcomings. Mattei's song to the evening star disappoints slightly, his phrasing not quite as seamless and cello-like as that of the cellos that take up the tune after he's finished. But then, when it comes to this melody I will always have certain singers in my head. Try Joseph Schwartz:






James Levine holds the performance together with his usual expertise, providing many expressive moments and never slowing things down to a fatal degree, though I caught myself thinking that his tempos during the early part of act 3 would work better in the theater.

Not a memorable _Tannhauser,_ then, but representative of Wagner singing today and decent routine for the Met.

Hmmmm... Is that what they call faint praise? No purple prose to match the purple headline.

Next week: _Turandot_ with Nina Stemme.


----------



## Itullian

Woodduck said:


> *Wagner: Tannhauser*
> 
> Purple is a good Wagnerian color, isn't it?


Enjoyed the first act. Botha just ok

It's the 10/31/15 performance.


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## DavidA

Itullian said:


> Enjoyed the first act. Botha just ok
> 
> *It's the 10/31/15 performance.*


Probably a good thing:

http://slippedisc.com/2016/01/breaking-met-offers-refunds-to-operagoers-blocked-by-blizzards/


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## Bellinilover

Itullian said:


> Enjoyed the first act. Botha just ok
> 
> It's the 10/31/15 performance.


I saw that performance in the movie theater and just finished listening to the radio broadcast. I think Botha took most of the first scene with Venus to warm up. It was great to hear Mattei again.


----------



## Bellinilover

DavidA said:


> Probably a good thing:
> 
> http://slippedisc.com/2016/01/breaking-met-offers-refunds-to-operagoers-blocked-by-blizzards/


Yes, it was felicitous. I'm snowed in, and I'm several hours south of New York.


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## Woodduck

DavidA said:


> Probably a good thing:
> 
> http://slippedisc.com/2016/01/breaking-met-offers-refunds-to-operagoers-blocked-by-blizzards/


Yeah, horrible weather in New York. I think the matinee today was _Boheme,_ which, God knows, we don't need to hear again, not unless they've resurrected Bjorling and De Los Angeles.


----------



## Itullian

Bellinilover said:


> Yes, it was felicitous. I'm snowed in, and I'm several hours south of New York.


Hope you're ok.


----------



## Woodduck

Bellinilover said:


> I saw that performance in the movie theater and just finished listening to the radio broadcast. I think Botha took most of the first scene with Venus to warm up. It was great to hear Mattei again.


How many hours? I'm from southern New Jersey/Maryland.


----------



## Itullian

Next Saturday..................

TURANDOT (Puccini) 
Paolo Carignani; Nina Stemme, Anita Hartig, Marco Berti, Alexander Tsymbalyuk


----------



## DavidA

Itullian said:


> Next Saturday..................
> 
> TURANDOT (Puccini)
> Paolo Carignani; Nina Stemme, Anita Hartig, Marco Berti, Alexander Tsymbalyuk


Hope to watch the broadcast.


----------



## Itullian

Anyone listen?...............


----------



## nina foresti

Besides Zeffirelli's magnificent production, the star of the show for me was clearly the Liu of Anita Hartig. Not only did she perform her arias with beauty but she, herself, is adorable to watch. She will go far. I'll put my money on her.

I heard some say that the radio made Stemme sound wobbly. Interesting because she did not wobble in the theater and believe me, I am a wobble hater. Maybe it doesn't like her like it doesn't like Giordani. Her role is a thankless one and she did reach those highs and sustain them -- she's just not a very exciting Turandot.

Berti reminds me of Giordani in looks and even sounds like a mediocre version of him ( I was all but wishing that, in fact, it would have been Giordani) but he massacred "Nessun dorma." He rushed it, he never held the last high note and he was off key toward the end. Maybe he was just too tired by then.

I enjoyed the opera anyway as Puccini always delivers for me, and was happy to discover another lovely young soprano as well.


----------



## Sloe

I woke up at 8 and had other things to do so I only heard the end. I am intending to listen to it later.
Of what I heard it was good.

Considering the Tannhäuser broadcast I can say that it enhanced my appreciation for the opera and that must be a sign that it was good.


----------



## Woodduck

nina foresti said:


> Besides Zeffirelli's magnificent production, the star of the show for me was clearly the Liu of Anita Hartig. Not only did she perform her arias with beauty but she, herself, is adorable to watch. She will go far. I'll put my money on her.
> 
> I heard some say that the radio made Stemme sound wobbly. Interesting because she did not wobble in the theater and believe me, I am a wobble hater. Maybe it doesn't like her like it doesn't like Giordani. Her role is a thankless one and she did reach those highs and sustain them -- she's just not a very exciting Turandot.
> 
> Berti reminds me of Giordani in looks and even sounds like a mediocre version of him ( I was all but wishing that, in fact, it would have been Giordani) but he massacred "Nessun dorma." He rushed it, he never held the last high note and he was off key toward the end. Maybe he was just too tired by then.
> 
> I enjoyed the opera anyway as Puccini always delivers for me, and was happy to discover another lovely young soprano as well.


Well, Mme. foresti, from what I heard on radio I agree with you entirely (except about Giordani, who is finished as far as I'm concerned). Hartig was the vocal star of the show. As for that unsympathetic pair of lusters (lovers being too benign a term for the odd creatures which populate this opera), we could not for one moment imagine that we were back at the Met fifty years ago being lifted out of our seats by the phenomenal voices of Nilsson and Corelli. Stemme is not bad, not good; Berti is bad, not good. I'll add only that the conductor, some Italian guy whose name I didn't catch, was routine, failing to vitalize the transitions between "numbers," which themselves tended to fall rather flat, like an underdone souffle. Without great singers, a conductor needs to do more than hold things together. I caught myself thinking more than once that maybe this score isn't as good as I thought it was; some of Puccini's other works are definitely more foolproof, or conductorproof (I'm thinking of _Boheme_ and _Tosca_ in particular, which seem to survive almost anything done to them), and if Puccini had lived I suspect he would have made a few revisions to the existing music as well as composed a final scene.


----------



## nina foresti

"I agree with you entirely (except about Giordani, who is finished as far as I'm concerned)"

Well actually my friend, it looks like we agree after all because my remark was actually tongue-in-cheek. Much as I have heard some very fine Giordani in the past, I watched with shock the sad change that happened to his cords. But today, I would have welcomed his voice such as it is, because I believe it would actually have been an improvement, is all I was trying to say.


----------



## Itullian

Next up..................

CAVALLERIA RUSTICANA (Mascagni) / PAGLIACCI (Leoncavallo) 
Fabio Luisi; Violeta Urmana, Yonghoon Lee, Ambrogio Maestri; Barbara Frittoli, Roberto Alagna, George Gagnidze, Alexey Lavrov


----------



## Woodduck

Itullian said:


> Next up..................
> 
> CAVALLERIA RUSTICANA (Mascagni) / PAGLIACCI (Leoncavallo)
> Fabio Luisi; Violeta Urmana, Yonghoon Lee, Ambrogio Maestri; Barbara Frittoli, Roberto Alagna, George Gagnidze, Alexey Lavrov


Huh... Urmana sounds like a better choice for Santuzza than Westbroek was last season. Alagna as Canio? Wonder what singing Otello has done to his lovely lyric tenor? Guess we'll find out.


----------



## nina foresti

Woodduck said:


> Huh... Urmana sounds like a better choice for Santuzza than Westbroek was last season. Alagna as Canio? Wonder what singing Otello has done to his lovely lyric tenor? Guess we'll find out.


Um, I hate to burst your bubble but you will not be finding out about Alagna's Canio because he is being replaced by ..... (wait for it) ..... Marco Berti!
That's right!
They had to replace him because Alagna was needed in _Manon Lescaut_ since Kaufmann once again canceled all his performances.


----------



## Woodduck

nina foresti said:


> Um, I hate to burst your bubble but you will not be finding out about Alagna's Canio because he is being replaced by ..... (wait for it) ..... Marco Berti!
> That's right!
> They had to replace him because Alagna was needed in _Manon Lescaut_ since Kaufmann once again canceled all his performances.


Marco Berti! Ah no! Taci! Taci t'imploro!


----------



## nolangoh

I listened to Turandot but unfortunately I fell asleep during In questa reggia until the end of Act 2. But I suddenly woke up when it was Nessun Dorma, I listened to it completely but fell asleep again until the end. (Because it is very late here when it is broadcasted. I wish to share my views:

- Anita was the STAR. Her Signore ascolta completely amazed me. 

- Marco Berti did ok I think, though he is not super good or excellent. 

- I think the conductor, Maestro Carignani did a great job. The tempo imo was just right, and I THANK him gratefully for not stopping after Nessun Dorma. Because if Puccini does not put a fermata or say stop, NESSUN shall stop!

- I don't want to say anything bad about singers but I just don't prefer Nina's voice. I know not every one is Birgit Nilsson but a voice must have the power and intensity to sing Turandot, which Nina dies not have imo, or does not have enough. In fact I watched some of her performances on Youtube and I found out that her voice just does not have the qualities of being an excellent Wagnerian soprano. Her voice is big in the middle but when it goes up it just sounds so dry. I have no idea how Elektra is gonna sound like.


----------



## Woodduck

Will Stemme's Elektra be broadcast this season? She is certainly ambitious in taking it on. It's a vocal acting, more than just a vocal, challenge. Turandot is mainly the latter; you have to be able to hurl those brilliant high notes like spears. I agree that Stemme doesn't quite have them, although she showed that she can get through the part without sounding pained. That's something, I guess.


----------



## nina foresti

_Elektra:_ Saturday, April 30, 1 pm. Also in HD.


----------



## Woodduck

nina foresti said:


> _Elektra:_ Saturday, April 30, 1 pm. Also in HD.


Aha. Thanks. ............


----------



## Sloe

nolangoh said:


> - I don't want to say anything bad about singers but I just don't prefer Nina's voice. I know not every one is Birgit Nilsson but a voice must have the power and intensity to sing Turandot, which Nina dies not have imo, or does not have enough. In fact I watched some of her performances on Youtube and I found out that her voice just does not have the qualities of being an excellent Wagnerian soprano. Her voice is big in the middle but when it goes up it just sounds so dry. I have no idea how Elektra is gonna sound like.


She sang Elektra in Vienna last year. 
I heard it on radio and I liked it.


----------



## Pugg

nolangoh said:


> I listened to Turandot but unfortunately I fell asleep during In questa reggia until the end of Act 2. But I suddenly woke up when it was Nessun Dorma, I listened to it completely but fell asleep again until the end. (Because it is very late here when it is broadcasted. I wish to share my views:
> 
> - Anita was the STAR. Her Signore ascolta completely amazed me.
> 
> - Marco Berti did ok I think, though he is not super good or excellent.
> 
> - I think the conductor, Maestro Carignani did a great job. The tempo imo was just right, and I THANK him gratefully for not stopping after Nessun Dorma. Because if Puccini does not put a fermata or say stop, NESSUN shall stop!
> 
> - I don't want to say anything bad about singers but I just don't prefer Nina's voice. I know not every one is Birgit Nilsson but a voice must have the power and intensity to sing Turandot, which Nina dies not have imo, or does not have enough. In fact I watched some of her performances on Youtube and I found out that her voice just does not have the qualities of being an excellent Wagnerian soprano. Her voice is big in the middle but when it goes up it just sounds so dry. I have no idea how Elektra is gonna sound like.


Perhaps when you had seen it, you thought different. 
I liked it a lot and even booked tickets for a reprise


----------



## Itullian

Next up..................

CAVALLERIA RUSTICANA (Mascagni) / PAGLIACCI (Leoncavallo) 
Fabio Luisi; Violeta Urmana, Yonghoon Lee, Ambrogio Maestri; Barbara Frittoli, Roberto Alagna, George Gagnidze, Alexey Lavrov


----------



## DavidA

Itullian said:


> Next up..................
> 
> CAVALLERIA RUSTICANA (Mascagni) / PAGLIACCI (Leoncavallo)
> Fabio Luisi; Violeta Urmana, Yonghoon Lee, Ambrogio Maestri; Barbara Frittoli, Roberto Alagna, George Gagnidze, Alexey Lavrov


Saw these at the cinema relay


----------



## Pugg

DavidA said:


> Saw these at the cinema relay


How much did you liked it on a scale of 1 to 10 ?


----------



## DavidA

Pugg said:


> How much did you liked it on a scale of 1 to 10 ?


About 7 for Cav and 8 for Pag. Pretty well done.


----------



## nina foresti

Marco Berti shined today. I think the role of Canio fits him much better than that of Calaf.
I thought he delivered very well today and really brought it home.


----------



## Itullian

I thought they were ok. A 7, I guess.
Too much melodramatic screaming for me.


----------



## nina foresti

Itullian said:


> I thought they were ok. A 7, I guess.
> Too much melodramatic screaming for me.


Well it IS verismo!! :lol:


----------



## Pugg

nina foresti said:


> Well it IS verismo!! :lol:


​


----------



## Sloe

I am listening to Cavallieria rusticana now. I must say that I really don´t think Santuzza is that good.
The other ones are fine.


----------



## Itullian

Next up................

IL TROVATORE (Verdi) 
Marco Armiliato; Angela Meade, Dolora Zajick, Marcello Giordani, Dmitri Hvorostovsky, Kwangchul Youn


----------



## Itullian

Todays opera Il Trovatore..............


----------



## Itullian

Turned it off after 2 Acts. Corny opera,


----------



## DavidA

Itullian said:


> Turned it off after 2 Acts.


That bad was it?


----------



## Sloe

DavidA said:


> That bad was it?


Not everyone likes Il Trovatore.
I can say when I listened to Pagliacci I just longed for Canio to stab Nedda so it would be over.


----------



## Jeffrey Smith

It has enough famous moments to be overfamiliar, and with a cheap set, bad acting,cetc. you can get a very forgettable result: the MET DVD with Pavarotti as Manrico is one such.

On the other hand, with a cheap set and sensible direction you can get a performance so good the drama comes across even if the audience is not familiar with the story and knows little Italian...as happened to me when I saw in 1977 during the MET's spring tour.
.Il *Trovatore {437}** Atlanta Civic Center, Atlanta, Georgia: 05/7/1977.*
*
Atlanta, Georgia
May 7, 1977

IL TROVATORE {437}
Giuseppe Verdi--Salvatore Cammarano

Manrico.................Carlo Bergonzi
Leonora.................Renata Scotto
Count Di Luna...........Cornell MacNeil
Azucena.................Fiorenza Cossotto
Ferrando................Ivo Vinco
Ines....................Shirley Love
Ruiz....................John Carpenter
Messenger...............Lou Marcella
Gypsy...................Edward Ghazal

Conductor...............James Levine*


----------



## Pugg

Stop complying , be glad you have such a opportunity.:tiphat:

I would love to have such a change to listen every week from the MET.


----------



## Adair

This program used to be broadcast every Saturday at 2 PM, sponsored by Texaco. I think it is how we Americans learned about opera! It is how I first heard Pelleas, and Woyzek, as a teen.


----------



## DavidA

Itullian said:


> Turned it off after 2 Acts. Corny opera,


Corny but what great music!


----------



## Itullian

MARIA STUARDA (Donizetti) 
Riccardo Frizza; Sondra Radvanovsky, Elza van den Heever, Celso Albelo, Patrick Carfizzi, Kwangchul Youn


----------



## Itullian

Anyone listening?


----------



## Woodduck

Itullian said:


> Anyone listening?


Yeah, but I'm furious at discovering that there is no libretto available online. It's still under copyright 81 years after Berg's death! That is ridiculous. I've seen _Lulu_ and heard it before, and I have plot synopses and can follow the action, but was looking forward to following the dialogue more closely. The opera is very conversational, and without a libretto I actually find myself wishing it were sung in translation (not something I usually wish for).

All I can say is that the performance sounds like a good one.


----------



## nina foresti

It's a shame that you are not offered the Met HD productions at a theater near you. I saw _Lulu_ at the HD a month or so ago and found Petersen quite wonderful.
I cannot truthfully say that I was enamored of the opera itself, however.


----------



## Woodduck

_Lulu_ is musically complex and rich, and I can enjoy it for that. I don't find my emotions touched very often by its characters or story. They are mostly a bunch of misguided, unpleasant people who use and abuse each other, end up killing each other or themselves, and don't enlist my sympathies. I think the music reflects this, only occasionally bursting into the kind of post-Wagnerian lyricism that actually moves me (the kind Berg also employs to focus the emotional meaning of Wozzeck's pathetic plight). It does have those gorgeous moments, though, and it's a fascinating score throughout that keeps me listening just to hear what interesting idea Berg will present next.


----------



## Pugg

nina foresti said:


> It's a shame that you are not offered the Met HD productions at a theatre near you. I saw _Lulu_ at the HD a month or so ago and found Petersen quite wonderful.
> I cannot truthfully say that I was enamoured of the opera itself, however.


But we do have Roberto Devereux to look forward to with : Sondra Radvanovsky :tiphat:


----------



## graziesignore

OMG is anyone listening to this Madama Butterfly trainwreck on the radio????

Where did they dig up this tenor and this baritone??


----------



## DavidA

graziesignore said:


> OMG is anyone listening to this Madama Butterfly trainwreck on the radio????
> 
> Where did they dig up this tenor and this baritone??


Was hoping to at least see this at the cinema this evening but detained through illness!


----------



## graziesignore

Lucky you (if this is the cast you were going to see). At one point, my WQXR feed went out, as if the Met suddenly realized that good singing was never going to come back to it, and killed itself.

Edited to add: The tenor is Alagna. Didn't even recognize him. He has improved somewhat since the beginning of the first act.


----------



## Woodduck

Act One was all I could take. Sheer mediocrity. Alagna sounds like hell now. Opolais is uninteresting; too bad they didn't broadcast the alternate cast with Anna Maria Martinez. Don't know the other singers and don't care.


----------



## nina foresti

Having just returned from the HD I think my main problem with Opolais (who has a lovely voice without doubt and even expressed some acting ability in the last act) is that she is just too mature and classy for that part. If only I could have seen a 15 year old vulnerable, impressionable girl in the first act who matured from fear, wondering, sadness and heartbreak in the last acts, perhaps I could have accepted her but even the love scene was missing something for me because the chemistry between 
the two was non - existent.
I do not know what has happened to Alagna but perhaps he has a cold. It didn't sound like "my Alagna."
Maria Zifchak should be given mention. She was nothing short of superb.
Despite these shortcomings, I sobbed my way through the entire thing and used up 4 tissues. It remains my 5th favorite opera.
Viva Puccini!
PS. Woodduck: So sorry you tuned out. The last acts improved greatly (Alagna wasn't in most of them) and Opolais finally showed some good intense acting and pulled it through.
(still can't warm to that bald headed puppet though).


----------



## Pugg

nina foresti said:


> Having just returned from the HD I think my main problem with Opolais (who has a lovely voice without doubt and even expressed some acting ability in the last act) is that she is just too mature and classy for that part. If only I could have seen a 15 year old vulnerable, impressionable girl in the first act who matured from fear, wondering, sadness and heartbreak in the last acts, perhaps I could have accepted her but even the love scene was missing something for me because the chemistry between
> the two was non - existent.
> I do not know what has happened to Alagna but perhaps he has a cold. It didn't sound like "my Alagna."
> Maria Zifchak should be given mention. She was nothing short of superb.
> Despite these shortcomings, I sobbed my way through the entire thing and used up 4 tissues. It remains my 5th favorite opera.
> Viva Puccini!
> PS. Woodduck: So sorry you tuned out. The last acts improved greatly (Alagna wasn't in most of them) and Opolais finally showed some good intense acting and pulled it through.
> (still can't warm to that bald headed puppet though).


Thanks heaven for small mercy's he's not in the last act, he was horrible.


----------



## nina foresti

I was in-house today and short of having to look at that stupid wig on Calleja's head, I found his voice to be simply outstanding. I could not believe it. 
Listening to him was like a trip down memory lane of past singers in their prime. A very special voice.

Haroutunian was a stand-out as Amelia. How nice to have discovered yet another fine soprano. She'll be around for a while to give us much pleasure.

I am a Furlanetto lover from the word go, despite some stuff I've read about pushing, barking and huffing etc. None of that was audible today. I thought he did a wonderful job.

Domingo was much, much better than I expected him to be. Yes, he is old and it shows but I must say that he still has a fine sound to his voice and did a splendid job given that he is not a true baritone. I am not at all certain that by his insisting to still stay around, as someone mentioned, (one impossibly tough thing to handle -- to hang up the ropes) precludes another from singing the role as well. He still manages to thrill enough people and brings in the ticket sales and I think that's an important thing. And besides, I'd much rather see him emoting up there on the stage rather than doing that "thing" he does in the pit.
Speaking of which, it was heartwarming to see Jeemy back where he belongs.

I love this opera and had myself one heckuva good time today.

Thank you Giuseppe V.


----------



## Itullian

Next:
ROBERTO DEVEREUX (Donizetti) – New Production 
Maurizio Benini; Sondra Radvanovsky, Elīna Garanča, Matthew Polenzani, Mariusz Kwiecien


----------



## Pugg

I am so exited.....can't wait :tiphat:


----------



## nina foresti

Pugg said:


> I am so exited.....can't wait :tiphat:


Make that 2 of us!
We drove all the way up to Toronto years ago to see her in a terrible regie production of Aida (corporate boardrooms and such and she was the clean up maid -- ugh) and in those days they used to really give her some pretty harsh criticism which made us very angry.
Today they are all walking around with their tails between their legs.


----------



## Pugg

nina foresti said:


> Make that 2 of us!
> We drove all the way up to Toronto years ago to see her in a terrible regie production of Aida (corporate boardrooms and such and she was the clean up maid -- ugh) and in those days they used to really give her some pretty harsh criticism which made us very angry.
> Today they are all walking around with their tails between their legs.


That's the world called internet, don't let it bother you.
Self observed "I know it all" people are poor in mind .
Water of a duck's back I say


----------



## graziesignore

Enjoying this Roberto Devereux though I would rather be seeing it in HD right now...

Is it just me, or is Mariusz Kwiecien sounding a bit worn these days though? Heavy vibrato going on at the moment. For some reason, although I adore baritones, I have never warmed up to Kwiecien as much as I want to. Very enjoyable to watch, but "just okay."


----------



## DavidA

Just got back from seeing Roberto Devereaux HD broadcast. Tremendous production - didn't realise bel canto could be so dramatic. Singing superb as was acting, production and the dramatic conducting. What a treat!


----------



## nina foresti

David A: As usual you hit the nail right on the head!
Sondra Radvanovsky was simply "Rad"vishing today. This is her coup. 
She owns it through and through. How she lasted with all that energy to the end is a miracle and shades of the strong Olivero muscles she must house in her throat.

Kudos to magnificent Garanca, Kwiecien, and Polanzani the big 3, who were superb as well. 

This offering topped the Met opera schedule for this season.
No wonder this fabulous Donizetti opera is done so rarely. It's a killer. The role makes "Norma" look like a stroll in the park.

I saw history being made today. Lucky me.


----------



## mountmccabe

I also really enjoyed _Roberto Devereux_. My favorite Polenzani is great friends with Kwiecień but betrays him buddy opera this year!

Elīna Garanča (Sara) was really stunning. There were some fantastic singing from Sondra Radvanovsky (Elisabetta) - some beautiful quiet, tender moments - but I think I overall I do not prefer her voice. I am not sure what about it seems off. Her acting was penetrating, and even though I don't love her voice she was amazing in Act 3.

There were moments when Matthew Polenzani (as Roberto) and the orchestra seemed to be out of sync, perhaps this was during that duet with Sara at the end of Act 1. His Act 3 farwell was really beautiful. Mariusz Kwiecień as Nottingham didn't make a huge impression as Nottingham, though his rage against Sara was powerful.

Other than possibly some syncing issues I was happy with Benini and the orchestra. The music was lively and bright.

As for the production, there were Tudor period costumes, but it was not otherwise traditional (though I will not be surprised to hear it called traditional just because of the costumes).

It was mostly presented as a play within a play, a single set was on stage, and most of the time the chorus - also in Elizabethan-era costumes - watching intently. Presenting the opera as a play within a play worked for me. It makes sense of some of the artificial/non-naturalistic choruses. And having the on-stage audience clap after every number wasn't a problem because the audience in house was going to do that anyway; this made it OK, the clapping from the in-house audience was strong rather than tentative (there was more clapping in the theater where I saw this, too).

There were a few revealing mistakes, or at least I hope that's what they were. At one point the camera was so low you could see a lit, modern, house light shining down. Then during Polenzani and Garanca's duet there was an open mic where voices and other noises could be heard, though not very distinctly. It sounded like backstage/control chatter though I can't be sure. This could have been a cute meta moment, but not during a lovely, quiet duet! I expect it will be edited away for the DVD, if not already for replays.

Having Elisabetta be her real age was interesting. She wobbled around the stage, and eventually was without her wig and fancy gowns. She is not really presented as aged in the opera, but there are many references to death and aging, and there is much about Elisabetta's isolation and powerlessness. I was a little surprised that she took off her wig when alone (well, only the mute ladies in waiting were there). This was no great reveal to any other characters, and when others showed up they didn't react to her being out of costume.

One thing this did was make her seem really inconsequential in Act 2; Nottingham does not care at all about the Queen. He is completely for Roberto until he realizes the betrayal, at which point he seethes (to himself) about how he was wronged. Perhaps having him as his true age of 65 (to the Queen's 67) would have tempered this somewhat.

Regarding the opera itself, I really enjoyed the dramatic irony of Act 2, though I was let down by the way the above scene happened. Nottingham realizes he has been betrayed while silent. We get a look, not a change while he was singing. The drama is conveyed by the acting, not the voices or even the orchestra.


----------



## nina foresti

graziesignore said:


> Enjoying this Roberto Devereux though I would rather be seeing it in HD right now...
> 
> Is it just me, or is Mariusz Kwiecien sounding a bit worn these days though? Heavy vibrato going on at the moment. For some reason, although I adore baritones, I have never warmed up to Kwiecien as much as I want to. Very enjoyable to watch, but "just okay."


I am starting to become convinced that hearing certain voices over the airwaves produces vibrato that actually isn't there at all. The HD emitted not one drop of vibrato from Kwiecien today.
I think certain singers have a love affair with the airwaves and others (Giordani, Opolais, etc.) sound entirely different than they do in HD or in-house. Perhaps Kwiecien is one of those.


----------



## Woodduck

nina foresti said:


> I am starting to become convinced that hearing certain voices over the airwaves produces vibrato that actually isn't there at all. The HD emitted not one drop of vibrato from Kwiecien today.
> I think certain singers have a love affair with the airwaves and others (Giordani, Opolais, etc.) sound entirely different than they do in HD or in-house. Perhaps Kwiecien is one of those.


The microphone does expose qualities in voices which are less obvious in the acoustics of an auditorium (or in the shower, where even I sound good). Kwiecien's voice does have something of a pushed quality these days, the vibrato slower and more throbbing than a fresh voice would exhibit. I think modern audiences are used to this sort of sound, especially in "dramatic" voices, but a loosening and inconsistency in the vibrato is a typical sign of oversinging (among other possible causes).

Here is Kwiecien a few years ago in _Don Carlo_:






A handsome voice, showing signs of trouble when he applies pressure, yet better than he sounds now. Compare with Hvorostovsky, among recent baritones:






But for a truly revealing comparison, go back a few years: Riccardo Stracciari, in 1914:






I know it's unfair, but how else can we understand what we're hearing these days?


----------



## Becca

I will not disagree with Woodduck's commentary (I am not that stupid!) but it must be remembered that YouTube typically uses an aggressive lossy compression scheme which can easily produce artifacts on playback. I suggest that the only valid way to do a comparison is when both use the same non-lossy technology.


----------



## Pugg

mountmccabe said:


> I also really enjoyed _Roberto Devereux_. My favorite Polenzani is great friends with Kwiecień but betrays him buddy opera this year!
> 
> Elīna Garanča (Sara) was really stunning. There were some fantastic singing from Sondra Radvanovsky (Elisabetta) - some beautiful quiet, tender moments - but I think I overall I do not prefer her voice. I am not sure what about it seems off. Her acting was penetrating, and even though I don't love her voice she was amazing in Act 3.
> 
> There were moments when Matthew Polenzani (as Roberto) and the orchestra seemed to be out of sync, perhaps this was during that duet with Sara at the end of Act 1. His Act 3 farwell was really beautiful. Mariusz Kwiecień as Nottingham didn't make a huge impression as Nottingham, though his rage against Sara was powerful.
> 
> Other than possibly some syncing issues I was happy with Benini and the orchestra. The music was lively and bright.
> 
> As for the production, there were Tudor period costumes, but it was not otherwise traditional (though I will not be surprised to hear it called traditional just because of the costumes).
> 
> It was mostly presented as a play within a play, a single set was on stage, and most of the time the chorus - also in Elizabethan-era costumes - watching intently. Presenting the opera as a play within a play worked for me. It makes sense of some of the artificial/non-naturalistic choruses. And having the on-stage audience clap after every number wasn't a problem because the audience in house was going to do that anyway; this made it OK, the clapping from the in-house audience was strong rather than tentative (there was more clapping in the theater where I saw this, too).
> 
> There were a few revealing mistakes, or at least I hope that's what they were. At one point the camera was so low you could see a lit, modern, house light shining down. Then during Polenzani and Garanca's duet there was an open mic where voices and other noises could be heard, though not very distinctly. It sounded like backstage/control chatter though I can't be sure. This could have been a cute meta moment, but not during a lovely, quiet duet! I expect it will be edited away for the DVD, if not already for replays.
> 
> Having Elisabetta be her real age was interesting. She wobbled around the stage, and eventually was without her wig and fancy gowns. She is not really presented as aged in the opera, but there are many references to death and aging, and there is much about Elisabetta's isolation and powerlessness. I was a little surprised that she took off her wig when alone (well, only the mute ladies in waiting were there). This was no great reveal to any other characters, and when others showed up they didn't react to her being out of costume.
> 
> One thing this did was make her seem really inconsequential in Act 2; Nottingham does not care at all about the Queen. He is completely for Roberto until he realizes the betrayal, at which point he seethes (to himself) about how he was wronged. Perhaps having him as his true age of 65 (to the Queen's 67) would have tempered this somewhat.
> 
> Regarding the opera itself, I really enjoyed the dramatic irony of Act 2, though I was let down by the way the above scene happened. Nottingham realizes he has been betrayed while silent. We get a look, not a change while he was singing. The drama is conveyed by the acting, not the voices or even the orchestra.


Splendid unbiased review, I whole agree with every word from you.:tiphat:
That's coming from someone who's a Beverly Sills fan in the Devereux role


----------



## Pugg

nina foresti said:


> I am starting to become convinced that hearing certain voices over the airwaves produces vibrato that actually isn't there at all. The HD emitted not one drop of vibrato from Kwiecien today.
> I think certain singers have a love affair with the airwaves and others (Giordani, Opolais, etc.) sound entirely different than they do in HD or in-house. Perhaps Kwiecien is one of those.


The sound on this side of the pond was quite good this time.
Nothing beats the real thing I keep telling myself


----------



## DavidA

mountmccabe said:


> I also really enjoyed _Roberto Devereux_. My favorite Polenzani is great friends with Kwiecień but betrays him buddy opera this year!
> 
> *Elīna Garanča* (Sara) was really stunning. There were some fantastic singing from *Sondra Radvanovsky* (Elisabetta) - some beautiful quiet, tender moments - but I think I overall I do not prefer her voice. I am not sure what about it seems off. Her acting was penetrating, and even though I don't love her voice she was amazing in Act 3.
> 
> There were moments when Matthew Polenzani (as Roberto) and the orchestra seemed to be out of sync, perhaps this was during that duet with Sara at the end of Act 1. His Act 3 farwell was really beautiful. Mariusz Kwiecień as Nottingham didn't make a huge impression as Nottingham, though his rage against Sara was powerful.
> 
> Other than possibly some syncing issues I was happy with Benini and the orchestra. The music was lively and bright.
> 
> As for the production, there were Tudor period costumes, but it was not otherwise traditional (though I will not be surprised to hear it called traditional just because of the costumes).
> 
> It was mostly presented as a play within a play, a single set was on stage, and most of the time the chorus - also in Elizabethan-era costumes - watching intently. Presenting the opera as a play within a play worked for me. It makes sense of some of the artificial/non-naturalistic choruses. And having the on-stage audience clap after every number wasn't a problem because the audience in house was going to do that anyway; this made it OK, the clapping from the in-house audience was strong rather than tentative (there was more clapping in the theater where I saw this, too).
> 
> There were a few revealing mistakes, or at least I hope that's what they were. At one point the camera was so low you could see a lit, modern, house light shining down. *Then during Polenzani and Garanca's duet there was an open mic where voices and other noises could be heard, though not very distinctly. *It sounded like backstage/control chatter though I can't be sure. This could have been a cute meta moment, but not during a lovely, quiet duet! I expect it will be edited away for the DVD, if not already for replays.
> 
> Having Elisabetta be her real age was interesting. She wobbled around the stage, and eventually was without her wig and fancy gowns. She is not really presented as aged in the opera, but there are many references to death and aging, and there is much about Elisabetta's isolation and powerlessness. I was a little surprised that she took off her wig when alone (well, only the mute ladies in waiting were there). This was no great reveal to any other characters, and when others showed up they didn't react to her being out of costume.
> 
> One thing this did was make her seem really inconsequential in Act 2; Nottingham does not care at all about the Queen. He is completely for Roberto until he realizes the betrayal, at which point he seethes (to himself) about how he was wronged. Perhaps having him as his true age of 65 (to the Queen's 67) would have tempered this somewhat.
> 
> Regarding the opera itself, I really enjoyed the dramatic irony of Act 2, though I was let down by the way the above scene happened. Nottingham realizes he has been betrayed while silent. We get a look, not a change while he was singing. The drama is conveyed by the acting, not the voices or even the orchestra.


Agree whole heartedly about Garanča. Radvanovsky's voice appeared somewhat harsh at times but that was not inappropriate for the role she was playing - an embittered, ageing queen. The historical queen was an ageing woman by this time. Her acting was amazing, as was the general standard of acting and pacing of the drama.
I was also distracted by some off stage noises as if a microphone had been left on backstage. Would happen during the love duet! However, nothing detracted from the general excellence of the evening's entertainment.


----------



## nina foresti

David A said: "I was also distracted by some off stage noises as if a microphone had been left on backstage. Would happen during the love duet! However, nothing detracted from the general excellence of the evening's entertainment. "
Yes, me too! Strangest thing! At first I thought it was the prompter and then realized that it was indeed two people arguing behind the curtain.
What was THAT all about, I wonder!


----------



## nina foresti

Woodduck said:


> The microphone does expose qualities in voices which are less obvious in the acoustics of an auditorium (or in the shower, where even I sound good). Kwiecien's voice does have something of a pushed quality these days, the vibrato slower and more throbbing than a fresh voice would exhibit. I think modern audiences are used to this sort of sound, especially in "dramatic" voices, but a loosening and inconsistency in the vibrato is a typical sign of oversinging (among other possible causes).
> 
> Here is Kwiecien a few years ago in _Don Carlo_:
> 
> 
> 
> 
> 
> 
> A handsome voice, showing signs of trouble when he applies pressure, yet better than he sounds now. Compare with Hvorostovsky, among recent baritones:
> 
> 
> 
> 
> 
> 
> But for a truly revealing comparison, go back a few years: Riccardo Stracciari, in 1914:
> 
> 
> 
> 
> 
> 
> I know it's unfair, but how else can we understand what we're hearing these days?


Thank you for these examples. Because of you I happened on another rendition that I would never have considered.
Listen to this gem by Battistini. Perhaps his voice isn't sugar sweet but his interpretation is astonishingly fresh and unique. His emotions come right through that old mike.

Of course to me nothing touches Hvorostovsky in this aria. It's his. He owns this one.


----------



## TTVV

nina foresti said:


> David A said: "I was also distracted by some off stage noises as if a microphone had been left on backstage. Would happen during the love duet! However, nothing detracted from the general excellence of the evening's entertainment. "
> Yes, me too! Strangest thing! At first I thought it was the prompter and then realized that it was indeed two people arguing behind the curtain.
> What was THAT all about, I wonder!


I have just been to an encore screening - i.e. a repeat broadcast some 20 hours later - by which time I assumed the Met would have adjusted the sound during the love duet to remove the "noises off". But they hadn't, there it all was again, which either means the Met is treating its audiences as stupid/deaf/beneath contempt or the technical problem is very serious (e.g. the extraneous sounds are somehow on a singer's feed mike, but how would that happen?) If they want to release this on dvd they will need to find a solution.


----------



## Pugg

TTVV said:


> I have just been to an encore screening - i.e. a repeat broadcast some 20 hours later - by which time I assumed the Met would have adjusted the sound during the love duet to remove the "noises off". But they hadn't, there it all was again, which either means the Met is treating its audiences as stupid/deaf/beneath contempt or the technical problem is very serious (e.g. the extraneous sounds are somehow on a singer's feed mike, but how would that happen?) If they want to release this on DVD they will need to find a solution.


I am wondering if that ( the DVD) recording could be the answer to this strange sound you heard? 
I mean, extra microphone or something like that?


----------



## TTVV

Pugg said:


> extra microphone or something like that?


Yes, they use many microphones when they do a Live In HD - and some fader seems to have been up when it should have been down - but that doesn't explain why there wasn't better balanced sound, without the backstage row, at least on the second transmission. Hence my point about the dvd.


----------



## Woodduck

nina foresti said:


> Thank you for these examples. Because of you I happened on another rendition that I would never have considered.
> Listen to this gem by Battistini. Perhaps his voice isn't sugar sweet but his interpretation is astonishingly fresh and unique. His emotions come right through that old mike.
> 
> Of course to me nothing touches Hvorostovsky in this aria. It's his. He owns this one.


Battistini, called "The King of Baritones," was a wonder. Verdi and Wagner both knew him! And to think that we can still hear him and feel ourselves in contact with opera in that era.


----------



## DavidA

Next season at the Met looks exciting

http://www.metopera.org/season/in-cinemas/


----------



## graziesignore

Not sure how we switched to the subject of baritones and specifically Don Carlo, but as far as I'm concerned Zancanaro is the last word on Rodrigo de Posa.


----------



## Pugg

graziesignore said:


> Not sure how we switched to the subject of baritones and specifically Don Carlo, but as far as I'm concerned Zancanaro is the last word on Rodrigo de Posa.


And when was Don Carlo on exactly?


----------



## Figleaf

nina foresti said:


> Thank you for these examples. Because of you I happened on another rendition that I would never have considered.
> Listen to this gem by Battistini. Perhaps his voice isn't sugar sweet but *his interpretation is astonishingly fresh and unique. His emotions come right through that old mike.*
> 
> Of course to me nothing touches Hvorostovsky in this aria. It's his. He owns this one.


Great point. That kind of larger than life uniquenesss is exactly what makes nineteenth century singers so fascinating.


----------



## mountmccabe

TTVV said:


> I have just been to an encore screening - i.e. a repeat broadcast some 20 hours later - by which time I assumed the Met would have adjusted the sound during the love duet to remove the "noises off". But they hadn't, there it all was again, which either means the Met is treating its audiences as stupid/deaf/beneath contempt or the technical problem is very serious (e.g. the extraneous sounds are somehow on a singer's feed mike, but how would that happen?) If they want to release this on dvd they will need to find a solution.





TTVV said:


> Yes, they use many microphones when they do a Live In HD - and some fader seems to have been up when it should have been down - but that doesn't explain why there wasn't better balanced sound, without the backstage row, at least on the second transmission. Hence my point about the dvd.


Some comments from Facebook from people that work on the Live in HD transmissions:



> It was a backstage mic that was inadvertently turned on in the TV mix. It was not present in the radio mix so the radio listeners did not hear the muttering.





> it was repaired immediately after in the tape room as they restriped the TV audio from the clean tracks (house recording tracks).
> 
> So the Encore will be perfect !!!!


They are clearly speaking of the encore broadcasts that start on Wednesday; for those the audio has been fixed.

That does not explain the screening you saw, TTVV. I wonder if what is shown at your theater was still from the original transmission?

I'd really be interested to hear how it goes from anyone that sees future encores.


----------



## Tsaraslondon

Slightly off topic I know, but all this talk of an offstage mike being left on reminds me of a similar thing that happened during a performance of a production of *Evita* that I was in. It was just around the time one of the Royals had a baby.

The scene was the one in which Eva gets rid of Peron's mistress. There is a long pause, during which Eva puts a few things in the silent mistress's suitcase, before pushing her out of the door. During the silence the audience clearly heard a conversation between two of the chorus members, whose mikes had been left on by mistake.

"So has she had it then?"
"Yes, she had it last night."

Eva's next (sung) line was "I like your conversation, you've a catchy turn of phrase." Jacqui Scott, who was playing Eva, was dying inside, but somehow managed to keep a straight face till the end of the scene.


----------



## Itullian

Next
OTELLO (Verdi) – New Production 
Adam Fischer; Hibla Gerzmava, Aleksandrs Antonenko, Alexey Dolgov, Željko Lučić, James Morris


----------



## Itullian

No Otello listeners?


----------



## nina foresti

Itullian said:


> No Otello listeners?


Sadly, a trainwreck if ever there was one.
I just knew it was going to happen.
I listened to Antonenko's voice in the first act and remarked that he sounded like he was in trouble and I doubted that he'd ever be able to make it to the end. So disheartened was I that I actually turned it off for 2 more acts and came back in the last act to feel some relief that he actually sounded like he was okay and was going to make it after all -- only to have the curtain rise again at the end before the curtain calls as someone came out and announced that because he was unable to sing anymore they quickly got a tenor to replace him from the wings for the last act while Antonenko mouthed the words on stage. 
How very very sad.
I hope he didn't ruin his voice for good. (Shades of Villazon.)


----------



## Woodduck

nina foresti said:


> Sadly, a trainwreck if ever there was one.
> I just knew it was going to happen.
> I listened to Antonenko's voice in the first act and remarked that he sounded like he was in trouble and I doubted that he'd ever be able to make it to the end. So disheartened was I that I actually turned it off for 2 more acts and came back in the last act to feel some relief that he actually sounded like he was okay and was going to make it after all -- only to have the curtain rise again at the end before the curtain calls as someone came out and announced that because he was unable to sing anymore they quickly got a tenor to replace him from the wings for the last act while Antonenko mouthed the words on stage.
> How very very sad.
> I hope he didn't ruin his voice for good. (Shades of Villazon.)


What's interesting is that I didn't know I was hearing a different singer in Act 4.


----------



## graziesignore

LOL, I never realized Antonenko was gone either, until the announcement!

The only thing I enjoyed about this broadcast was Lucic.


----------



## Woodduck

graziesignore said:


> LOL, I never realized Antonenko was gone either, until the announcement!
> 
> The only thing I enjoyed about this broadcast was Lucic.


I'll give it maybe a C+. There were some good things along the way, but in the end I wasn't moved. Lucic was a strong Iago, the best thing about the performance, I agree. But I also found Fischer's leadership both forceful and lyrical, and I liked the rich timbre of Gerzmava's Desdemona, though some high notes were a little raw. Antonenko and his almost indistinguishable stand-in were both pretty strenuous. I don't know whether Antonenko was ill (no one said he was) or just blew himself out; you could certainly feel it coming, as he had to transpose a few notes down in Act 3. Is he considered a leading Otello these days? At least we didn't get Alagna pretending to the part.

I'd like to comment on the Met chorus. Am I the only one who's always found that vibrato-ridden bunch of aspiring, failed, and superannuated divas annoying? The great ensemble scene of Act 3 was ghastly today; I know there were pitches and chords in there somewhere but it was hard to discern them much of the time. Put on one of the Bayreuth recordings from the fifties and sixties, when the chorusmaster there was Wilhelm Pitz, and you'll hear an entirely different conception of choral sound, one that actually sounds choral. I realize the Italian and German traditions are different, and this is Verdi and not Wagner. But a complex and extended choral scene demands a lot more clarity than we got this afternoon.


----------



## Itullian

Next...........
ELEKTRA (R. Strauss) – New Production 
Esa-Pekka Salonen; Nina Stemme, Adrianne Pieczonka, Waltraud Meier, Burkhard Ulrich, Eric Owens


----------



## Pugg

Itullian said:


> Next...........
> ELEKTRA (R. Strauss) - New Production
> Esa-Pekka Salonen; Nina Stemme, Adrianne Pieczonka, Waltraud Meier, Burkhard Ulrich, Eric Owens


I am going to see it in Live transmission


----------



## DavidA

Off to see Elektra at cinema. Obsession, madness, murder....... A good evening ahead! :lol:


----------



## Barbebleu

The BBC are broadcasting it tonight. They played some extracts, I assume from a previous performance, and Nina Stemme seems to have developed a rather alarming wobble. Hopefully it won't be in too much evidence tonight.


----------



## Barelytenor

I have never been able to enjoy _Elektra, _it just sounds like so much screaming to me! Can somebody help me to appreciate it? It doesn't help that my main CD of this is with Eva Marton when she was apparently long in the tooth.

Best Regards, :tiphat:

George


----------



## Barbebleu

Just finished listening to Elektra from the Met on BBC radio 3. Very good. Nina Stemme was better than I feared.


----------



## Woodduck

I'm afraid I'm with barelytenor. _Elektra_ doesn't fall gratefully on my ear. The only recording I've been able to listen to (rarely) is the Solti with Birgit Nilsson, and only because Nilsson could actually sing the music with absolute steadiness and beauty of tone. I could only get through about an hour of today's wobblefest.

I love what Ernestine Schumann-Heink, the first Klytemnaestra, said about the opera: "We have seen the outermost limits of this art in Wagner. Strauss has gone beyond him and has reached an end. I think Strauss himself sees it. We were a lot of mad women."


----------



## Barelytenor

Woodduck said:


> I'm afraid I'm with barelytenor. _Elektra_ doesn't fall gratefully on my ear. The only recording I've been able to listen to (rarely) is the Solti with Birgit Nilsson, and only because Nilsson could actually sing the music with absolute steadiness and beauty of tone. I could only get through about an hour of today's wobblefest.
> 
> I love what Ernestine Schumann-Heink, the first Klytemnaestra, said about the opera: "We have seen the outermost limits of this art in Wagner. Strauss has gone beyond him and has reached an end. I think Strauss himself sees it. We were a lot of mad women."


Was that giant CLUNK we just heard, the ending of the Romantic era? My wonderful professor for the 19th Century Romantic Music course, Dr. Robert Bailey back at Yale in the old days (quite a while back, now that I think of it), dated the end of said era to 1949, the year that Strauss died. Although I think he killed a lot of lesser sopranos before he got his own comeuppance. i was fortunate enough to hear Ms. Nilsson sing in concert back then at Woolsey Hall as well, and have loved her power and vocal mastery ever since. Woodduck thanks for the tip, I must seek out that recording to see if my appreciation goes up. A tad.

Best Regards, :tiphat:

George


----------



## Bellinilover

Barbebleu said:


> Just finished listening to Elektra from the Met on BBC radio 3. Very good. Nina Stemme was better than I feared.


Oh, I thought she was sensational! She has such an alluring, pure sound. If there's one thing I can't stand, it's an unstable, guttural soprano voice singing in ELEKTRA (or in SALOME, for that matter).

Eric Owens (Orest) sounded great, too; I've actually heard him live a few times, most notably two months ago in Kurt Weill's LOST IN THE STARS. I'm honestly not sure whether Waltraude Meier was good or not; I don't think Alexandra P. is to my taste. A couple of the serving maids sounded pretty poor, IMO.


----------



## Bellinilover

Barelytenor said:


> Was that giant CLUNK we just heard, the ending of the Romantic era? My wonderful professor for the 19th Century Romantic Music course, Dr. Robert Bailey back at Yale in the old days (quite a while back, now that I think of it), dated the end of said era to 1949, the year that Strauss died. Although I think he killed a lot of lesser sopranos before he got his own comeuppance. i was fortunate enough to hear Ms. Nilsson sing in concert back then at Woolsey Hall as well, and have loved her power and vocal mastery ever since. Woodduck thanks for the tip, I must seek out that recording to see if my appreciation goes up. A tad.
> 
> Best Regards, :tiphat:
> 
> George


Personally, I don't care for Solti in general; I've never owned his ELEKTRA, though I did hear it when I was in college. The ELEKTRA I own -- and it's one of my favorite opera recordings -- is the Sinopoli, from 1994 or so. Alessandra Marc is Elektra, Deborah Voigt Chrysothemis, Hannah Schwartz Klytaemnestra, and Samuel Ramey Orest.

To me Strauss always sounds Romantic, basically. I think too many people sort of lump him in with Berg and Schoenberg; to be frank, I can hardly bear to listen to those two composers -- whereas Strauss is one of my all-time favorites, right up there with Bellini and Verdi.


----------



## Jeffrey Smith

Those who enjoy Owens but are like me not keen on the screamfest can find him here in the Recognition Scene


----------



## arpeggio

Just walked in the door. One of the _Electra_ fans. There maybe be screaming but they are awesome screams. What you expect? Electra is a real psycho. "O mio babbino caro" would not work here.


----------



## Barelytenor

LOL, well said.


----------



## DavidA

Just returned from the Strauss scream fest at the cinema broadcast. It iwas overwhelming - Karajan conducted it rarely because he said it totally drained him - but I must confess I prefer operas a bit more tuneful! But that's just me.
One problem I found in the broadcast was that the orchestra appeared somewhat recessed and the balance favoured the singers. Anyone else find this? 
Thought the three women were good with Meier outstanding. Doesn't she look good still? Younger than her daughters! :lol: all three acted well and coped well vocally with enormously demanding roles. OK Stemme isn't Nilsson but who is? 
Owens sounded good but didn't look right - he looked older than his mother - and his stage movements were stiff - but that might have been the production. Didn't find him at all convincing I'm afraid, as the young avenger.
The production was strange especially at the end. What is it getting at? The libretto says: 'At last Elektra begins to dance. As she reaches the climax of her dance, she falls to the ground: Elektra is dead. Chrysothemis goes into the Palace to be with her brother. Banging on the Palace door, she calls for her brother. There is no answer.' Where was this? Presumably she was left in madness at the Met which rather misses the point!

One thing occurred to me at the end - if you think your family is disfunctional, look at this lot! :lol:


----------



## arpeggio

^^^^
Wow. I am glad I know very little about the opera. I am familiar with the music. Sometimes ignorance is bliss.


----------



## interestedin

DavidA said:


> One problem I found in the broadcast was that the orchestra appeared somewhat recessed and the balance favoured the singers. Anyone else find this?


I only heard the radio boradcast but: Yes, very much.


----------



## Bellinilover

DavidA said:


> Just returned from the Strauss scream fest at the cinema broadcast. It iwas overwhelming - Karajan conducted it rarely because he said it totally drained him - but I must confess I prefer operas a bit more tuneful! But that's just me.
> One problem I found in the broadcast was that the orchestra appeared somewhat recessed and the balance favoured the singers. Anyone else find this?
> Thought the three women were good with Meier outstanding. Doesn't she look good still? Younger than her daughters! :lol: all three acted well and coped well vocally with enormously demanding roles. OK Stemme isn't Nilsson but who is?
> Owens sounded good but didn't look right - he looked older than his mother - and his stage movements were stiff - but that might have been the production. Didn't find him at all convincing I'm afraid, as the young avenger.
> The production was strange especially at the end. What is it getting at? The libretto says: 'At last Elektra begins to dance. As she reaches the climax of her dance, she falls to the ground: Elektra is dead. Chrysothemis goes into the Palace to be with her brother. Banging on the Palace door, she calls for her brother. There is no answer.' Where was this? Presumably she was left in madness at the Met which rather misses the point!
> 
> One thing occurred to me at the end - if you think your family is disfunctional, look at this lot! :lol:


I'm glad to hear the production was as awe-inspiring as it's rumored to be! It's a funny thing: I hear ELEKTRA as melodious and have always found its melodies very easy to sing/hum. As for the ending, have you ever read or seen Henrik Ibsen's play THE MASTER BUILDER? The ending of this ELEKTRA production, as described, reminded me of that: in both dramas, the heroines are so overwhelmed by their deepest desires finally coming true that they're literally unable to move. There's a sense of overwhelming relief but also of let-down or of not being able to rejoice because of the enormity of what happened. So it seems that Chereau's conception of the ending of ELEKTRA was inspired by the same sort of thing. (And Ibsen, of course, was writing at the same time Strauss was: in the age of psychoanalysis.) The way I hear it that heaviness, that emotional paralysis, is already present in the music of ELEKTRA's final scene.


----------



## mountmccabe

_Elektra_ was phenomenal. Certainly the best HD I saw all year. I had shivers once Orest and Elektra started interacting, which quickly developed into tears. It was riveting.

I am sad I was not able to see this in the house; Nina Stemme sounded fantastic and had an intensely commited portrayal. I love those first "Agamemnon"s are; they weren't as haunting here as they can be, but the monologue built steadily and had a powerful, stunning climax.

The Klytämnestra in this production is more human than most, less snarling and evil. That doesn't quite first with what Hoffmanthal has written, but Waltraud Meier does a fantastic job of selling it. I thought she definitely looked older than her Elektra, though she also looked much more refined, as is only appropriate.

I also really liked Eric Owens as Orest. He was rather static, but that made his emotion in the recognition scene stand out that much more. It's also a nice level of irony, Elektra runs around frantically but does nothing, Orest is slow and static, but kills Klytämnestra and Aegisth.

I loved the lighting in the production; you can see time flow in the light from the sun, as it rises to our right and sets to our left (you don't see the sun, but the light shifts). I liked the set, simple, with room for movement.

One curious thing about the production that stood out to me was that we see Orest kill Klytämnestra. Her corpse lies on stage, barely visible in the dark as Aegisth arrives. Eventually Elektra brings her candle to the body, and we see the horror on Aegisth's face as he cries out and is killed. And he is killed by the tutor, not Orest.

Then, after all of this, we see Orest walk past everyone (silently, of course) and out the front gate. Elektra's dance peters out as she disassociates from the world, and then she sits staring blankly, numb.

"Elektra liegt starr" is clearly generally taken as meaning that she is dead; what do we have from Strauss and Hoffmansthal on the subject?


----------



## Pugg

From the 35 tickets sold only 30 turned up,we ending up sitting with 10 others in the end.
I have noting against the singers but can't stand this kins of productions, never again .


----------



## TTVV

Pugg said:


> can't stand this kins of productions, never again .


And what kind would that be? Might I ask what you are referring to? I thought the production exemplary so am puzzled.


----------



## DavidA

mountmccabe said:


> _Elektra_ was phenomenal. Certainly the best HD I saw all year. I had shivers once Orest and Elektra started interacting, which quickly developed into tears. It was riveting.
> 
> I am sad I was not able to see this in the house; Nina Stemme sounded fantastic and had an intensely commited portrayal. I love those first "Agamemnon"s are; they weren't as haunting here as they can be, but the monologue built steadily and had a powerful, stunning climax.
> 
> The Klytämnestra in this production is more human than most, less snarling and evil. That doesn't quite first with what Hoffmanthal has written, but Waltraud Meier does a fantastic job of selling it. I thought she definitely looked older than her Elektra, though she also looked much more refined, as is only appropriate.
> 
> I also really liked Eric Owens as Orest. He was rather static, but that made his emotion in the recognition scene stand out that much more. It's also a nice level of irony, Elektra runs around frantically but does nothing, Orest is slow and static, but kills Klytämnestra and Aegisth.
> 
> I loved the lighting in the production; you can see time flow in the light from the sun, as it rises to our right and sets to our left (you don't see the sun, but the light shifts). I liked the set, simple, with room for movement.
> 
> One curious thing about the production that stood out to me was that we see Orest kill Klytämnestra. Her corpse lies on stage, barely visible in the dark as Aegisth arrives. Eventually Elektra brings her candle to the body, and we see the horror on Aegisth's face as he cries out and is killed. And he is killed by the tutor, not Orest.
> 
> Then, after all of this, we see Orest walk past everyone (silently, of course) and out the front gate. Elektra's dance peters out as she disassociates from the world, and then she sits staring blankly, numb.
> 
> "*Elektra liegt starr" is clearly generally taken as meaning that she is dead; what do we have from Strauss and Hoffmansthal on the subject?*


The words mean 'Elektra lies rigid'. I suppose Cherau's interpretation - of complete madness? - is possible but probably not what the authors had in mind. But certainly the merits of the production, acting and singng far outweighed any deficiencies.

One thing - I read on the first night Elektra entered and then everything came to a stop. The orchestra lights had failed!

http://www.latinpost.com/articles/1...mes-unforgettable-portrayal-of-title-role.htm


----------



## Itullian

Last opera of the season.........

DIE ENTFÜHRUNG AUS DEM SERAIL (Mozart) 
James Levine; Albina Shagimuratova, Kathleen Kim, Paul Appleby, TBA, Hans-Peter König, Matthias von Stegmann


----------



## Pugg

Itullian said:


> Last opera of the season.........
> 
> DIE ENTFÜHRUNG AUS DEM SERAIL (Mozart)
> 
> James Levine; Albina Shagimuratova, Kathleen Kim, Paul Appleby, TBA, Hans-Peter König, Matthias von Stegmann


Lest have summer first 
Before you know it, the whole she bang starts again :tiphat:


----------



## Woodduck

Three operas into the 2016-2017 season, today, December 17, we're being given Strauss's _Salome_ with the 52-year-old Patricia Racette portraying the adolescent necrophiliac stripper. Speaking purely as a listener, I'm not a fan of this opera. The Met website says "Strauss's score combines the grandeur of Wagner's epics with the focus and emotional punch of the short Italian verismo operas." This is ridiculous nonsense. _Salome_ is decorative, high-class kitsch, inhumane and fundamentally hollow, with a John the Baptist whose empty pomposity and ersatz-heroic music could only have been created by an atheist (and I say that as an atheist). But then the main purpose of the work is to titillate and/or scandalize, and it does those things pretty well, so _chacun a son gout._

Most of the performers today are quite good (Jokanaan is Zeljko Lucic), but unfortunately that doesn't describe Ms. Racette's current vocal estate. Her lovely lyric soprano hasn't fallen comfortably on the ear for years, and I kid you not when I say that much of her singing above the staff is an excruciating pitchless wobble which completely undermines the best vocal moments in the opera. The final scene - the highlight of the opera - is thus ruined. In her favor, she's obviously dramatically involved, and she must be a pretty good actress, since there are some complimentary reviews. She's been moving into dramatic soprano repertoire, and I gather she's now taken on Minnie in _La Fanciulla del West_, a real voice killer. I guess she doesn't have much to lose at this point.

The production, according to the Met website, "places the scene in a non-specific contemporary setting." I can't begin to imagine why. I suppose beheadings are still _au courant_ in some contemporary settings.


----------



## Pugg

Are there any other members going to see Nabucco today or listen to it?


----------



## Granate

Pugg said:


> Are there any other members going to see Nabucco today or listen to it?


Watched it yesterday in Málaga. The Theatre was crowded. Funny thing I was reading about "Rigoletto" instead of "Nabucco" (Facepalm). I do not regret discovering this opera at all. I had on my right two italian women who were chatting during half of the piece, and I brought sweets and two bottles of water because the place was *boiling!*

*I would throw two bunches of roses to Abigaille's Liudmyla Monastyrska.* Both her voice and interpretation skills starred yesterday night. Fenena's Jamie Barton was correct at her role and served a good interpretation of the character. Dmitry Belosselskiy (Zaccaria) was the downer for me. I don't know if it was his character or his voice but I was always brought down by his interventions.
I wish Ismael's Russell Thomas had more stage. His parts were touching but after Act I he was like gone. Plácido Domingo has never been a tenor of my taste. His baritone role as Nabucco was the best I had heard from him yet. It is not that I particularly liked this Verdi conversion, but for me he fulfilled his main role. The chorus was brilliant. They even repeated "Va, pensiero".

Since Abigaille's appeared I inmediately fell on her side. She went from military acting, sassy countess, to empowered queen. I don't think she deserved that finale. For me the plot was a fresh turn for an early Verdi work.

I long for more performances like this. Worth the 14€.


----------



## Don Fatale

Saw it in Malta last night. I particularly enjoyed Liudmyla Monastyrska's powerhouse performance, whilst Russell Thomas was always pleasing in tone and acting. Not exactly a cast made for HD though. :-/

I get why some don't like Domingo's tone in baritone roles, but I'm grateful to still have this legend singing.

I detected some variable sound and volume levels (microphone placement?), but that and momentary picture issues I can live with, unlike some in the cinema who felt the need to verbally mutter every time there was a little picture or sound breakup.


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## Pugg

Don Fatale said:


> Saw it in Malta last night. I particularly enjoyed Liudmyla Monastyrska's powerhouse performance, whilst Russell Thomas was always pleasing in tone and acting. Not exactly a cast made for HD though. :-/
> 
> I get why some don't like Domingo's tone in baritone roles, but I'm grateful to still have this legend singing.
> 
> I detected some variable sound and volume levels (microphone placement?), but that and momentary picture issues I can live with, unlike some in the cinema who felt the need to verbally mutter every time there was a little picture or sound breakup.


We had that also, I did ask the operator once if they could do something about it but they have no time to do so.


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## Sonata

I think I'm going to go see the Live in HD of Rusalka and Eugene Onegin this season... trying to decide if I want to cough up the cost for both.


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## Pugg

> Granate; I long for more performances like this. Worth the 14€.





Sonata said:


> I think I'm going to go see the Live in HD of Rusalka and Eugene Onegin this season... trying to decide if I want to cough up the cost for both.


Tickets in my country are €34,50 on the "Live"night,
Repeats (not all being showed) later in the year are €14.00


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## Don Fatale

Tickets in Malta for this one were €18, however I'm not a fan of this venue even though it's in an arts complex. Not sure I'd pay more _unless_ the cinema experience was considerably better. i.e. like these Everyman cinemas in the UK.


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## nina foresti

Pugg said:


> Are there any other members going to see Nabucco today or listen to it?


Had my tickets in hand but Mother Nature had other plans for us like ice and snow. So we will now get to see the Encore on Wednesday evening instead and are looking forward to it (if we can get out of our driveway by then that is!)


----------



## Pugg

nina foresti said:


> Had my tickets in hand but Mother Nature had other plans for us like ice and snow. So we will now get to see the Encore on Wednesday evening instead and are looking forward to it (if we can get out of our driveway by then that is!)


We had that in the morning, by 15.00 p.m our time it was safe, even drove ourselves .


----------



## nina foresti

Woodduck said:


> Three operas into the 2016-2017 season, today, December 17, we're being given Strauss's _Salome_ with the 52-year-old Patricia Racette portraying the adolescent necrophiliac stripper. Speaking purely as a listener, I'm not a fan of this opera. The Met website says "Strauss's score combines the grandeur of Wagner's epics with the focus and emotional punch of the short Italian verismo operas." This is ridiculous nonsense. _Salome_ is decorative, high-class kitsch, inhumane and fundamentally hollow, with a John the Baptist whose empty pomposity and ersatz-heroic music could only have been created by an atheist (and I say that as an atheist). But then the main purpose of the work is to titillate and/or scandalize, and it does those things pretty well, so _chacun a son gout._
> 
> Most of the performers today are quite good (Jokanaan is Zeljko Lucic), but unfortunately that doesn't describe Ms. Racette's current vocal estate. Her lovely lyric soprano hasn't fallen comfortably on the ear for years, and I kid you not when I say that much of her singing above the staff is an excruciating pitchless wobble which completely undermines the best vocal moments in the opera. The final scene - the highlight of the opera - is thus ruined. In her favor, she's obviously dramatically involved, and she must be a pretty good actress, since there are some complimentary reviews. She's been moving into dramatic soprano repertoire, and I gather she's now taken on Minnie in _La Fanciulla del West_, a real voice killer. I guess she doesn't have much to lose at this point.
> 
> The production, according to the Met website, "places the scene in a non-specific contemporary setting." I can't begin to imagine why. I suppose beheadings are still _au courant_ in some contemporary settings.


I hear you about the current state of Racette's voice but I wonder if you could possibly consider that the airwaves can make a real mess of a voice sometimes and like to attack certain singers more than others (can you say Giordani?)
Having seen Racette in-house at the last performance, I heard little to none of those squally highs.
But what really has me excited is your comment that she may be considering Minnie. Fingers crossed because she is such a stage animal that the Poker Scene will just HAVE to be magic to behold. I guess if La Divina could go on and on after the fact, Racette, with her incredible ability to inhabit a character, might also try it for a while longer too.


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## Sonata

Pugg said:


> Tickets in my country are €34,50 on the "Live"night,
> Repeats (not all being showed) later in the year are €14.00


Unfortunately my theater doesn't have repeats. It's $26 American at my theater, which isn't bad, but I'm attempting to be somewhat frugal because we're still paying on a my nasal surgery and other medical expenses.


----------



## Pugg

Sonata said:


> Unfortunately my theater doesn't have repeats. It's $26 American at my theater, which isn't bad, but I'm attempting to be somewhat frugal because we're still paying on a my nasal surgery and other medical expenses.


Oh dear, sorry to hear that.


----------



## Sonata

Pugg said:


> Oh dear, sorry to hear that.


That's sweet, but no need to be sorry. It was the best decision I could have made, the surgery improved my health greatly


----------



## Granate

After watching Gounod's Romeo and Juliet trailer in the theatre, I was thinking about changing my ticket to a further one. I am between Rusalka or Rosenkavalier with Pugg as the star . Which should I pick?


----------



## Pugg

Granate said:


> After watching Gounod's Romeo and Juliet trailer in the theatre, I was thinking about changing my ticket to a further one. I am between Rusalka or Rosenkavalier with Pugg as the star . Which should I pick?


For historic reasons I would go for Rosenkavalier , last time to see Mrs Fleming on any opera stage in the world.
My friends from London paid 450 UK pound the other night to see her shine, and she did .


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## Woodduck

Heard acts 1 and 2 of _Boheme_ today. Michael Fabiano is 33 and has been singing opera only since 2007. He's already showing signs of strain. It doesn't bode well for our "tenor situation."

At least we didn't get a rerun of last years elderly Bohemians, Ramon Vargas ( now 56) and Barbara Frittoli (49). On the other hand, I'd have welcomed back Anna Maria Martinez and Levente Molnar in the supporting cast. Personally, I no longer want to hear this opera without truly great singers. Where are you, JB and VDLA?


----------



## Bonetan

Woodduck said:


> Three operas into the 2016-2017 season, today, December 17, we're being given Strauss's _Salome_ with the 52-year-old Patricia Racette portraying the adolescent necrophiliac stripper. Speaking purely as a listener, I'm not a fan of this opera. The Met website says "Strauss's score combines the grandeur of Wagner's epics with the focus and emotional punch of the short Italian verismo operas." This is ridiculous nonsense. _Salome_ is decorative, high-class kitsch, inhumane and fundamentally hollow, with a John the Baptist whose empty pomposity and ersatz-heroic music could only have been created by an atheist (and I say that as an atheist). But then the main purpose of the work is to titillate and/or scandalize, and it does those things pretty well, so _chacun a son gout._
> 
> Most of the performers today are quite good (Jokanaan is Zeljko Lucic), but unfortunately that doesn't describe Ms. Racette's current vocal estate. Her lovely lyric soprano hasn't fallen comfortably on the ear for years, and I kid you not when I say that much of her singing above the staff is an excruciating pitchless wobble which completely undermines the best vocal moments in the opera. The final scene - the highlight of the opera - is thus ruined. In her favor, she's obviously dramatically involved, and she must be a pretty good actress, since there are some complimentary reviews. She's been moving into dramatic soprano repertoire, and I gather she's now taken on Minnie in _La Fanciulla del West_, a real voice killer. I guess she doesn't have much to lose at this point.
> 
> The production, according to the Met website, "places the scene in a non-specific contemporary setting." I can't begin to imagine why. I suppose beheadings are still _au courant_ in some contemporary settings.


I will always defer to your opinions on such things, but I have to say I love the music in Salome, specifically Johanaan's. I've studied & coached the role & it's a real treat to sing! However, that doesn't mean what you say is not true lol


----------



## nina foresti

Woodduck said:


> Heard acts 1 and 2 of _Boheme_ today. Michael Fabiano is 33 and has been singing opera only since 2007. He's already showing signs of strain. It doesn't bode well for our "tenor situation."
> 
> At least we didn't get a rerun of last years elderly Bohemians, Ramon Vargas ( now 56) and Barbara Frittoli (49). On the other hand, I'd have welcomed back Anna Maria Martinez and Levente Molnar in the supporting cast. Personally, I no longer want to hear this opera without truly great singers. Where are you, JB and VDLA?


Sadly, I was there today in-house and was shocked at the unflattering change in Fabiano's voice. I was wondering if maybe they were going to come out and announce that he was ill or something but obviously not so. What happened to him??
How very sad after his superb showing several years ago in _I Lombardi_ at Carnegie Hall.
Besides JB and Vdla (and not meaning to compare with them), there was also an unforgettable Rolando Villazon Rodolfo at the beginning of his career which was shown on PBS.
As far as tenors today go, we happen to have a plethora of really fine ones starting with, Beczala, Calleja, Hymel, Kaufmann, Grigolo, Florez, Polanzani, even Alagna.


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## Becca

nina foresti said:


> As far as tenors today go, we happen to have a plethora of really fine ones starting with, Beczala, Calleja, Hymel, Kaufmann, Grigolo, Florez, Polanzani, even Alagna.


and Gregory Kunde


----------



## Woodduck

nina foresti said:


> Sadly, I was there today in-house and was shocked at the unflattering change in Fabiano's voice. I was wondering if maybe they were going to come out and announce that he was ill or something but obviously not so. What happened to him??
> How very sad after his superb showing several years ago in _I Lombardi_ at Carnegie Hall.
> Besides JB and Vdla (and not meaning to compare with them), there was also an unforgettable Rolando Villazon Rodolfo at the beginning of his career which was shown on PBS.
> As far as tenors today go, we happen to have a plethora of really fine ones starting with, Beczala, Calleja, Hymel, Kaufmann, Grigolo, Florez, Polanzani, even Alagna.


Yes, we do have a few very good tenors. I have to note, though, that some of those you list are on the decline, and most of them are of the light "lyric tenor" variety which is always relatively common. Alagna has been sounding worn out for some years, Beczala was awful in 2015's _Rigoletto_, and Kaufmann's is the only large voice of the lot, which we occasionally get to hear when he isn't indisposed. The Met puts on _Boheme_ season after season, and none of the broadcasts from the last several years has given us a vocally memorable Rodolfo. I must reiterate that we do have a "tenor situation" (as well as a number of other "situations" of vocal scarcity which make some operas central to the repertoire hard to cast satisfactorily).


----------



## nina foresti

It is true that we lack a Corelli/Tucker/del Monaco/Caruso type tenor robusto voice today and I'm not at all sure why (sorry about Giordani who I had high hopes for).
But I will take Joseph Calleja for the time being as a top tenor of today who, to me, has a sound that echoes that of the golden era of opera singers. Same is true of Sondra Radvanovsky.
In fairness to Beczala, you might have gotten a poor performance day from him. He has delivered some really beautiful singing of late and continues to develop his acting skills which is more than I can say for poor Vargas with a once-upon-a-time beautiful sounding voice but acts like a stick onstage.
An interesting footnote: Beczala has volunteered to record a duplication of the Caruso sound just like in the Mapleson days to see what his voice would have sounded like back then. Wouldn't that be fun to have heard what Callas, Corelli, Jussi, Pav and other icons would have sounded like back then and would we have denounced them or lauded them?


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## Woodduck

nina foresti said:


> It is true that we lack a Corelli/Tucker/del Monaco/Caruso type tenor robusto voice today and I'm not at all sure why (sorry about Giordani who I had high hopes for).
> But I will take Joseph Calleja for the time being as a top tenor of today who, to me, has a sound that echoes that of the golden era of opera singers. Same is true of Sondra Radvanovsky.
> In fairness to Beczala, you might have gotten a poor performance day from him. He has delivered some really beautiful singing of late and continues to develop his acting skills which is more than I can say for poor Vargas with a once-upon-a-time beautiful sounding voice but acts like a stick onstage.
> An interesting footnote: Beczala has volunteered to record a duplication of the Caruso sound just like in the Mapleson days to see what his voice would have sounded like back then. *Wouldn't that be fun to have heard what Callas, Corelli, Jussi, Pav and other icons would have sounded like back then and would we have denounced them or lauded them?*


It would be interesting. Acoustic recording did rob voices of overtones, but it didn't disguise the technical quality of singing.


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## nina foresti

Becca said:


> and Gregory Kunde


and Lawrence Brownlee


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## Woodduck

For whatever reason, we now have a number of good Rossini tenors, which were hard to come by in the '50s. Other categories are not so fortunate. The mid-20th century had Bjorling, Corelli, Bergonzi, Del Monaco, Di Stefano, Domingo, Pavarotti, Kraus, Valletti, Vickers, Tucker, Peerce, Gedda, Wunderlich, Dermota, Haefliger, Traxel, Schock, Melchior, Svanholm, Windgassen, Poncet, Simoneau, Lemeshev, Kozlovsky, Atlantov...


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## Pugg

Today, for Europe evening: 

Diana Damrau and Vittorio Grigolo are winning rave reviews in the title roles of Bartlett Sher’s new production of Gounod’s Roméo et Juliette, conducted by Gianandrea Noseda, which comes to your local cinema this Saturday, January 21, at 12:55 PM.


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## Pugg

For the U.K members : *BBC 3 radio*, this is live on tonight.


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## nina foresti

Pugg said:


> Today, for Europe evening:
> 
> Diana Damrau and Vittorio Grigolo are winning rave reviews in the title roles of Bartlett Sher's new production of Gounod's Roméo et Juliette, conducted by Gianandrea Noseda, which comes to your local cinema this Saturday, January 21, at 12:55 PM.


Just returned from one of the most satisfying operas I have ever seen.
Both Grigolo and Damrau were so on their "A" game that they actually lost their personas to the extent that they BECAME Romeo et Juliette. It was a spectacular production and I urge anyone who is lucky enough to have the Encore performance in their neighborhood theater on Wednesday -- run -- do not walk. You won't be sorry. It is a historical production!!!!!!


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## DavidA

nina foresti said:


> Just returned from one of the most satisfying operas I have ever seen.
> Both Grigolo and Damrau were so on their "A" game that they actually lost their personas to the extent that they BECAME Romeo et Juliette. It was a spectacular production and I urge anyone who is lucky enough to have the Encore performance in their neighborhood theater on Wednesday -- run -- do not walk. You won't be sorry. It is a historical production!!!!!!


Yes its was fabulous with Damrau and Grigolo on top form. The production had a few quirks but was essentially undistracting (as it should be) and allowed the stars the room to flourish. Top class!


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## Pugg

nina foresti said:


> Just returned from one of the most satisfying operas I have ever seen.
> Both Grigolo and Damrau were so on their "A" game that they actually lost their personas to the extent that they BECAME Romeo et Juliette. It was a spectacular production and I urge anyone who is lucky enough to have the Encore performance in their neighbourhood theatre on Wednesday -- run -- do not walk. You won't be sorry. It is a historical production!!!!!!


And the sound was fantastic this time at our theatre.


I really do hope some company did recorded it for posterity.


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## DavidA

Pugg said:


> And the sound was fantastic this time at our theatre.
> 
> 
> I really do hope some company did recorded it for posterity.


It will become available on DVD no doubt


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## TTVV

Sorry to add a sour note. I have never warmed to this Gounod opera (Faust is MUCH more fun) although early on there is a humdinger of a soprano aria, a tune everyone knows without knowing where it comes from. Given the A list casting, and the general gloriousness of Live in HD, I thought to give this opera another go, in the hope of being converted. It didn't work for me.

Sadly the auto-pilot wannabe Broadway production did nothing for me, so I ended up passing the time by trying to work out what is missing with Damrau. After all she sings the notes - as far as I can tell not just nearly all of them but more than many other singers - and hits pretty much spot on, and yet? Her Lucia in London was similarly absolutely fine but still not what it should have been. Is the voice just a bit bland? Or is it something else (there are those who insist to me that she has worked herself beyond her range but isn't that what every professional singer has to do?) Anyone feel as I do or have some technical observation which might help?


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## DavidA

TTVV said:


> Sorry to add a sour note. I have never warmed to this Gounod opera (Faust is MUCH more fun) although early on there is a humdinger of a soprano aria, a tune everyone knows without knowing where it comes from. Given the A list casting, and the general gloriousness of Live in HD, I thought to give this opera another go, in the hope of being converted. It didn't work for me.
> 
> Sadly the auto-pilot wannabe Broadway production did nothing for me, so I ended up passing the time by trying to work out what is missing with Damrau. After all she sings the notes - as far as I can tell not just nearly all of them but more than many other singers - and hits pretty much spot on, and yet? Her Lucia in London was similarly absolutely fine but still not what it should have been. Is the voice just a bit bland? Or is it something else (there are those who insist to me that she has worked herself beyond her range but isn't that what every professional singer has to do?) Anyone feel as I do or have some technical observation which might help?


The opera is certainly not Mozart but not many operas are! I thought Damrau acted well (she was convincing as a teenager even if she obviously was not quite that in HD) and sang well. The notes were glorious. The voice is a little cool perhaps - why she made such a good Queen of Night. But again it had a youthful quality in it.Put it down to experience mate and don't see the opera again. You're not likely to see it better performed


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## Sonata

nina foresti said:


> and Lawrence Brownlee


I love Lawrence Brownlee


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## TTVV

DavidA said:


> You're not likely to see it better performed


Hm, not everyone agrees (didn't bother to mention the lousy singing by some of the secondaries, but hadn't considered illness):-

http://parterre.com/2017/01/21/broadcast-romeo-et-juliette/#disqus_thread


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## Woodduck

TTVV said:


> Sorry to add a sour note. I have never warmed to this Gounod opera (Faust is MUCH more fun) although early on there is a humdinger of a soprano aria, a tune everyone knows without knowing where it comes from. Given the A list casting, and the general gloriousness of Live in HD, I thought to give this opera another go, in the hope of being converted. It didn't work for me.
> 
> Sadly the auto-pilot wannabe Broadway production did nothing for me, so I ended up passing the time by trying to work out what is missing with Damrau. After all she sings the notes - as far as I can tell not just nearly all of them but more than many other singers - and hits pretty much spot on, and yet? Her Lucia in London was similarly absolutely fine but still not what it should have been. Is the voice just a bit bland? Or is it something else (there are those who insist to me that she has worked herself beyond her range but isn't that what every professional singer has to do?) Anyone feel as I do or have some technical observation which might help?


I didn't see _Romeo_ but merely heard it on radio. I gather that the pairing of Grigolo and Damrau is attractive and exciting onstage, and I suspect I'd have enjoyed the opera more with the visual aspect. Both singers have good voices a little lacking in color and character that become less pleasing as they get higher and louder. At times the vibratos were indistinguishable from trills, which hurt Damrau at the climax of her waltz song. These are basically pleasant lyric voices that can sound forced in the dramatic climaxes. But this seems the norm rather than the exception with singers nowadays.


----------



## nina foresti

Woodduck said:


> I didn't see _Romeo_ but merely heard it on radio. I gather that the pairing of Grigolo and Damrau is attractive and exciting onstage, and I suspect I'd have enjoyed the opera more with the visual aspect. Both singers have good voices a little lacking in color and character that become less pleasing as they get higher and louder. At times the vibratos were indistinguishable from trills, which hurt Damrau at the climax of her waltz song. These are basically pleasant lyric voices that can sound forced in the dramatic climaxes. But this seems the norm rather than the exception with singers nowadays.


I truly believe that this is one of those operas that you only get a little part of if you haven't seen it live. It is a package and you are missing a lot that might make your criticisms not seem quite so up front. Not only that but hearing over the airwaves might have possibly distorted the singing. It's happened before.
It was a fulfilling afternoon in opera is the only way I can say it. Those two made the audience sit up and take notice -- but ya hadda be there!!!


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## Sonata

nina foresti said:


> I truly believe that this is* one of those operas that you only get a little part of if you haven't seen it live. *It is a package and you are missing a lot that might make your criticisms not seem quite so up front. Not only that but hearing over the airwaves might have possibly distorted the singing. It's happened before.
> It was a fulfilling afternoon in opera is the only way I can say it. Those two made the audience sit up and take notice -- but ya hadda be there!!!


For me, (a little off topic, sorry) this was La Traviata. I have historically been a opera listener and not viewer. I always thought the first part of Act III was boring. The music too sedate. But after watching a wonderful production, I am won over. (I didn't see it live, but I think your point still applies)


----------



## Woodduck

nina foresti said:


> I truly believe that this is one of those operas that you only get a little part of if you haven't seen it live. It is a package and you are missing a lot that might make your criticisms not seem quite so up front. Not only that but hearing over the airwaves might have possibly distorted the singing. It's happened before.
> It was a fulfilling afternoon in opera is the only way I can say it. Those two made the audience sit up and take notice -- but ya hadda be there!!!


I wasn't reviewing the production, only the singing as I heard it. I'm sure I would have enjoyed the opera more in the theater. And I'm aware that it takes great singers to sound great on the radio broadcasts. When I hear some of those, I won't fail to mention it!


----------



## nina foresti

Woodduck said:


> I wasn't reviewing the production, only the singing as I heard it. I'm sure I would have enjoyed the opera more in the theater. And I'm aware that it takes great singers to sound great on the radio broadcasts. When I hear some of those, I won't fail to mention it!


Actually I don't happen to believe it has as much to do with the quality of the singers' voices so much as it does the mechanisms of recorded equipment which can distort some voices and not others.
An example is Marcello Giordani whose voice does not have a love affair with on-air technology, yet many audience members who saw that very same performance live will attest to the fact that those off sounds were definitely not heard in-house.
Not all voices have this fate but it does not mean that the ones that do are not necessarily singing well. I think I would more likely believe those who witnessed the in-house voice rather than those who judge purely from a radio sound.


----------



## Woodduck

nina foresti said:


> Actually I don't happen to believe it has as much to do with the quality of the singers' voices so much as it does the mechanisms of recorded equipment which can distort some voices and not others.
> An example is Marcello Giordani whose voice does not have a love affair with on-air technology, yet many audience members who saw that very same performance live will attest to the fact that those off sounds were definitely not heard in-house.
> Not all voices have this fate but it does not mean that the ones that do are not necessarily singing well. I think I would more likely believe those who witnessed the in-house voice rather than those who judge purely from a radio sound.


A vibrato wide enough to be a trill is no doubt less offensive with a house acoustic around it. But it's still an objective attribute. The Met broadcasts don't distort voices so much as fail to flatter them. It shows them up close, with little resonance around them (like a camera without a soft-focus filter); you hear everything clearly, including every flaw of tone or technique.

I didn't say that Damrau and Grigolo sang badly. But they aren't Bjorlng and De Los Angeles, or even the young Alagna and Gheorgiu. If they put on a good show, more power to them.


----------



## Pugg

nina foresti said:


> Actually I don't happen to believe it has as much to do with the quality of the singers' voices so much as it does the mechanisms of recorded equipment which can distort some voices and not others.
> An example is Marcello Giordani whose voice does not have a love affair with on-air technology, yet many audience members who saw that very same performance live will attest to the fact that those off sounds were definitely not heard in-house.
> Not all voices have this fate but it does not mean that the ones that do are not necessarily singing well. I think I would more likely believe those who witnessed the in-house voice rather than those who judge purely from a radio sound.


I did book tickets for the reprise in about 6 weeks time, hardly ever done that.


----------



## znapschatz

Granate said:


> Watched it yesterday in Málaga. The Theatre was crowded. Funny thing I was reading about "Rigoletto" instead of "Nabucco" (Facepalm). I do not regret discovering this opera at all. I had on my right two italian women who were chatting during half of the piece, and I brought sweets and two bottles of water because the place was *boiling!*
> 
> *I would throw two bunches of roses to Abigaille's Liudmyla Monastyrska.* Both her voice and interpretation skills starred yesterday night. Fenena's Jamie Barton was correct at her role and served a good interpretation of the character. Dmitry Belosselskiy (Zaccaria) was the downer for me. I don't know if it was his character or his voice but I was always brought down by his interventions.
> I wish Ismael's Russell Thomas had more stage. His parts were touching but after Act I he was like gone. Plácido Domingo has never been a tenor of my taste. His baritone role as Nabucco was the best I had heard from him yet. It is not that I particularly liked this Verdi conversion, but for me he fulfilled his main role. The chorus was brilliant. They even repeated "Va, pensiero".
> 
> Since Abigaille's appeared I inmediately fell on her side. She went from military acting, sassy countess, to empowered queen. I don't think she deserved that finale. For me the plot was a fresh turn for an early Verdi work.
> 
> I long for more performances like this. Worth the 14€.


That was the last Live at the Met my wife and I attended, along with party of other opera buffs. I was well satisfied by the performance, and a friend of ours, who had never before experienced any full performance of an opera, loved it. The 74 year old Placido Domingo in full baritone voice while lying on his front was quite a feat, I thought, and I concur with Granate's *I would throw two bunches of roses to Abigaille's Liudmyla Monastyrska.* And the Met chorus, as always, was magnificent. My wife, the daughter of an opera singer (bass baritone)/voice teacher, who is much more discerning than I in these matters, thought Monastyrska tended to flatten out a bit on the high notes, but that's the price a true connoisseur pays for an expert ear. I, an ignorant peasant, was okay with all I heard. I wouldn't dare offer a critique of the singing, nor would I have the inclination to do so. Levine, my favorite met conductors of them all, did a wonderful job in his final Met performance, and I am saddened to see him retire. Our venue in Columbus was excellent, with good, comfortable seats, and our large bag of popcorn lasted to the end. A fine opera experience.


----------



## Meyerbeer Smith

I just saw Gounod's _Roméo et Juliette_. (Australia's two months behind the US.) One of the best productions I've seen from the Met.

Watching and listening to it has left me cold; some beautiful passages, but not a patch on _Faust_. That's an epitaph for Gounod, whose parts are often greater than the whole. All his operas - except maybe for _La nonne sanglante_ - have some wonderful numbers, but lack drama.

This, however, was terrific, and I enjoyed myself right from the start. It's a beautiful production to watch; it's updated to the 18th century, but this works, and the story is told straight.

Damrau and Grigolo can both act, as well as sing - and, in Grigolo's case, clamber up pillars and leap onto platforms. Damrau might be 40-something, but she's convincing as a teenage girl, who obviously doesn't want to marry Pâris. She makes "Je veux vivre" (composed for Mme Miolan-Carvalho's ego) something more than a bravura piece, and the scene where she drinks the potion is good theater.

The Act III finale (moved to after the intermission) was powerful and moving - and the sword-fight was brilliantly done. Some cuts (the Épithalame from Act IV).

And the French pronunciation was better than I expected!

The Met audience were enthusiastic - BRAVO! BRAVA! BRAVI! - and with good reason.

ADDENDUM: I still think that the last act is weaker than the others, and could have been tightened. Massenet's _Werther_ and _Manon_ suffer from the same problem.


----------



## Granate

Anyone's going to comment on Rusalka, La Traviata and Idomeneo? (Met Live in HD)

I saw La Traviata and Idomeneo in the HD Live screenings. 
The cinematography and scenery in la Traviata was delightful, but if you check out the original and legendary 2005 Salzburg staging you would be underwhelmed with the Met. Although on screen every singer seems to sing wonderfully, the acting and voices of Netrebko and Villazón in Salzburg cannot be matched.
And Idomeneo was not that good. Nadine Sierra is terrific though. I had listened to the Gardiner recording with a lot of joy, but for me the Met staging and half of the cast did't do really well. We were surprised that prince Idamante was played by a soprano (Alice Coote), as it was originally intended for a tenor castrato. Matthew Polenzani wasn't singing a great Idomeneo either. To be more specific, I expected that the four main singers acted and sung well, but only Nadine Sierra and Elza van den Heever (Elettra) would pass this.
I had to eat chocolate to avoid falling asleep in Act II. 4th out of 4 screenings with the Met Live.
Libretto-wise, what's up with Ilia narrating for six minutes everything that has happened and everything she feels in the opening scene? Opening narration is sin in script-writing, but theatre is theatre and Mozart is 25 when he premiered this work.


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## DavidA

Just listening to Fidelio from the Met. Sounds pretty awful. The Florestan is dreadfully thin of voice. Why should anyone pay to hear it?


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## Pugg

DavidA said:


> Just listening to Fidelio from the Met. Sounds pretty awful. The Florestan is dreadfully thin of voice. Why should anyone pay to hear it?


Thank goodness you could stay at home this time.


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## Amara

Today's Met HD of _Onegin_ has been my favorite broadcast of the season! HDs don't get better than this. Perfection from all involved. Anna Netrebko at the top of her game both as a singer and an actor. I will admit that I've never "gotten" Peter Mattei before in any of his HDs, but today he completely turned me into a fan. He was perfect, and I see now that _Onegin_ works well with a slightly older actor in the title role, to emphasize his worldliness in contrast to Tatiana's naivete. (I had only seen _Onegin_ once before, the previous HD with Kwiecien, whose performance I also love.)

Conductor Robin Ticciati and tenor Alexey Goldov made their first HD appearances, and I hope the Met brings them back soon. Ticciati was a breath of fresh air and a soulful, animated conductor. Goldov is a consummate actor, bringing a lot to Lenski. His performance when Onegin flirted with Olga, mouthing silent words in anger, was brilliant.


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## DavidA

Amara said:


> Today's Met HD of _Onegin_ has been my favorite broadcast of the season! HDs don't get better than this. Perfection from all involved. Anna Netrebko at the top of her game both as a singer and an actor. I will admit that I've never "gotten" Peter Mattei before in any of his HDs, but today he completely turned me into a fan. He was perfect, and I see now that _Onegin_ works well with a slightly older actor in the title role, to emphasize his worldliness in contrast to Tatiana's naivete. (I had only seen _Onegin_ once before, the previous HD with Kwiecien, whose performance I also love.)
> 
> Conductor Robin Ticciati and tenor Alexey Goldov made their first HD appearances, and I hope the Met brings them back soon. Ticciati was a breath of fresh air and a soulful, animated conductor. Goldov is a consummate actor, bringing a lot to Lenski. His performance when Onegin flirted with Olga, mouthing silent words in anger, was brilliant.


Just to say I also saw the broadcast of Eugene Onegin (I didn't know the work at all) and thought it was brilliant. Singing, dancing, playing and conducting made a great evening. Anna Netrebko has her detractors but I cannot for the life of me see why. Thought Mattei looked a little mature for the part (he says he's 26 in the final Act) but was totally convincing apart from that. Alexey Goldov was brilliant and no-one let the side down. Great conducting from Ticciati wo was a new name to me. Great evening!


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## Pugg

I dud received a text message from the friends I gave our tickets and they say almost the same as David.
Well I had other things ( family stuff) this time.

Bring on Der Rosenkavalier .


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## Granate

Pugg said:


> I dud received a text message from the friends I gave our tickets and they say almost the same as David.
> Well I had other things ( family stuff) this time.
> 
> Bring on Der Rosenkavalier.


I have to sell that ticket. It's so unlucky that the very same afternoon I have my graduation ceremony.

I subscribe Amara and DavidA. It was my second experience with Eugene Onegin but for the first time watching the opera. I had read the synopsis before but I was not prepared for what I saw. I was getting too sentimental over the time and I found the performance so impressive that I was devastated. The four protagonists plus the prince could not do it better. Best moment? Tatyana's letter song by Netrebko. I haven't listened to many sopranos, but I am starting to shortlist her among my favourites with Callas and Janowitz.

And every time Fleming was presenting the broadcast I had the weird feeling Pugg was talking to us.


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## Scopitone

Granate said:


> And every time Fleming was presenting the broadcast I had the weird feeling Pugg was talking to us.


:lol: Well done!


----------



## Amara

Granate said:


> I subscribe Amara and DavidA. It was my second experience with Eugene Onegin but for the first time watching the opera. I had read the synopsis before but I was not prepared for what I saw. I was getting too sentimental over the time and I found the performance so impressive that I was devastated. The four protagonists plus the prince could not do it better.


Same. I had seen _Onegin_ once before, but familiarity with the opera did not lessen its emotional impact during this powerful performance. A few tears when Lenski died and Onegin began hugging his dead friend. I also tend to shed a tear at the sound of particularly beautiful music or voices, and as soon as the music to the "Letter Scene" started, tears. The orchestra sounded so amazing. Ticciati did a wonderful job. I will add that Anna could not have acted that scene better! What a triumph!


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## Pugg

> And every time Fleming was presenting the broadcast I had the weird feeling Pugg was talking to us.


With my thoughts, always.
two things wrong however, gender and age.


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## Meyerbeer Smith

_Rusalka_ yesterday. Very briefly: Luscious music, beautifully sung: the Song to the Moon, the wood nymphs' dance (shades of Mendelssohn), the Prince's aria in Act I, the Act III duet, Rusalka's final aria. All four leads (Opolais, Jovanovich, Owens and Barton) are excellent. Imaginative staging: the moon rising over Rusalka in _that_ aria; shadows in Jezibaba's Act I scene, her mutant experiments; the red room in Act II with pictures on the walls and a heap of antlers in the corner; not so keen on the ruined Act III set.

I'm not fond of the ending, though. The Prince goes to heaven (presumably), but Rusalka remains damned. Can't be much of a life being an undead creature at the bottom of a lake drowning passers-by. I'd have liked a chorus of angels saying that because the Rusalka showed forgiveness, God has forgiven her, and she will be reunited with the Prince in heaven.

Of course, what it really needed, according to some critics, is a provocative staging "about" cruelty, deceit and betrayal, in which Rusalka is a mortal girl kept in a cellar by her drunken father who rapes and beats her. That tells you more about the critics than it does about the work.

I've found several Dvorak operas on YouTube - and, fortunately, a website with a commentary on the operas and translated libretti: http://www.antonin-dvorak.cz/en/works/complete-list-by-genre. Translations are necessary - Neumím mluvit česky.


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## DavidA

Deleted....................................


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## Barbebleu

Granate said:


> We were surprised that prince Idamante was played by a soprano (Alice Coote), as it was originally intended for a tenor castrato.


I imagine that tenor castratos are a bit thin on the ground nowadays.


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## Scopitone

Is the Eugene Onegin on the HD Live (it's encore broadcast today) the same one that's on the MetOnDemand subscription? 

Much as I would like to look at Netrebko on the giant screen, I am trying to decide if it's worth the $40* or so it would cost me to go tonight when I could stream it at home. 



*ticket plus popcorn and drink - because I KNOW I cannot go to the cinema and not eat popcorn. I know how I am.


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## Amara

Scopitone said:


> Is the Eugene Onegin on the HD Live (it's encore broadcast today) the same one that's on the MetOnDemand subscription?
> 
> Much as I would like to look at Netrebko on the giant screen, I am trying to decide if it's worth the $40* or so it would cost me to go tonight when I could stream it at home.
> 
> *ticket plus popcorn and drink - because I KNOW I cannot go to the cinema and not eat popcorn. I know how I am.


The encore tonight is from last Saturday's live broadcast with Peter Mattei in the title role. The one on Met on Demand is from 2013 with Mariusz Kwiecien in the title role.

I know it's too late now, but I will just say that imo it is beyond worth it to see this production again. Netrebko is even better vocally and dramatically. And the rest of the cast was glorious. I loved the 2013 version, but I think this version is even better.


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## Scopitone

Amara said:


> The encore tonight is from last Saturday's live broadcast with Peter Mattei in the title role. The one on Met on Demand is from 2013 with Mariusz Kwiecien in the title role.
> 
> I know it's too late now, but I will just say that imo it is beyond worth it to see this production again. Netrebko is even better vocally and dramatically. And the rest of the cast was glorious. I loved the 2013 version, but I think this version is even better.


I ended up not going. But it will probably end up on the streaming subscription in the coming months.


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## Pugg

Scopitone said:


> I ended up not going. But it will probably end up on the streaming subscription in the coming months.


Perhaps the Fleming performance is on demand service , who needs anything else.


----------



## Sloe

nina foresti said:


> Having just returned from the HD I think my main problem with Opolais (who has a lovely voice without doubt and even expressed some acting ability in the last act) is that she is just too mature and classy for that part.


Opolais is born in 1979 and is younger than most Cio-Cio Sans. I also think a geisha that is the daughter of a samurai should be classy.


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## mountmccabe

The Metropolitan Opera's 50th Anniversary Gala (for the building) is this evening and is being streamed live via Sirius XM and their website.

It starts at 5:55 PM EDT.


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## Amara

Listening now. I was surprised they opened with the overture from "West Side Story" but enjoyed it!


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## Pugg

mountmccabe said:


> The Metropolitan Opera's 50th Anniversary Gala (for the building) is this evening and is being streamed live via Sirius XM and their website.
> 
> It starts at 5:55 PM EDT.


I do hope they recorded it for DVD.


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## Annied

Pugg said:


> I do hope they recorded it for DVD.


Me too! It was on too late for me to watch the live streaming.


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## nina foresti

Just some personal ramblings:
It started out as though (at least to me over the airwaves), everyone was rushing as if as if there were a fire and they had to get out fast. 
(Beczala/Calleja, Opolais, etc.). It was stand and deliver. Nothing was nuanced, so it seemed, like maybe they were directed to get in there, sing it, and leave. 
Then suddenly it began to warm up around Netrebko time and she was fine.
Highlight for me was the Handel Cornelia and Sesto duet with Blythe and Daniels.
Kudos to Damrau who went for the high note in "Sempre libera" even though it wasn't quite perfect -- but so what! She tried it and for that I give her a brava.
Grigolo was a strange mix for me. His "ah levee toi soleil" was done beautifully but I felt his "e lucevan le stelle" was a strange rendering -- slow and unusual -- not in a good way.
The Meade/Fabiano "I Lombardi" was a success but why was that all he was given to do? Nothing on his own? He must have been seething inwardly.
It was fun counting the 9 highs of Camarena's "ah mes amis".
If I had to pick one who delighted me most, I'd have to say Joyce di Donato. What a charmer.
But the cap of the evening, which brought instant tears of joy to me, was the surprise showing of Hvorostovsky -- and I didn't give a hoot whether his "Cortigiani" was perfect or not. What an exciting moment.
This opera nutcase was very fulfilled with more than 5 hours of pure joy.
Bravi tutti.


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## Pugg

Any news one recordings Nina?
CD / DVD?


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## nina foresti

Not that I know of but you can see some of the scenes on you tube. (Hurry before they decide to take it down)


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## Pugg

nina foresti said:


> Not that I know of but you can see some of the scenes on you tube. (Hurry before they decide to take it down)


Thanks, great tip. :tiphat:


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## Itullian

Anyone listening to Rosenkavalier today?


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## Amara

Watch the HD. Brilliant! First two acts were perfection, performances from the four leads (plus Polenzani as the Italian Singer!) were perfection all around. Günther Groissböck deserves to be a star after this! Renee Fleming and Elīna Garanča were amazing!


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## Pugg

Amara said:


> Watch the HD. Brilliant! First two acts were perfection, performances from the four leads (plus Polenzani as the Italian Singer!) were perfection all around. Günther Groissböck deserves to be a star after this! Renee Fleming and Elīna Garanča were amazing!


It's absolute one of the highlights from this season.
I love every minute of it.


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## The Wolf

I watch on cinema...Memorable performance!!! The whole cast was wonderful. And it wasn't for less: Last Fleming "Marschallin" and last Garanca "Octavian". Memorable.


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## Pugg

The Wolf said:


> I watch on cinema...Memorable performance!!! The whole cast was wonderful. And it wasn't for less: Last Fleming "Marschallin" and last Garanca "Octavian". Memorable.


I want to see it again, will happen in the encore series ( in cinema)


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## bestellen

I did really like Pillar Lorengar's Moxart.
And B. Frittoli was cute.


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## Pugg

bestellen said:


> I did really like Pillar Lorengar's Moxart.
> And B. Frittoli was cute.


Please enlighten us, which opera?


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## nina foresti

Pugg said:


> I want to see it again, will happen in the encore series ( in cinema)


Doesn't your theater have an Encore performance scheduled the following Wednesday at around 6:30 in the evening? 
It's such a good time to go rather than the crowded Saturday showing. Get your sandwiches and have your dinner while watching your favorite opera. This way, if you really like something you can see it again at the same theater 4 days later.


----------



## Pugg

nina foresti said:


> Doesn't your theater have an Encore performance scheduled the following Wednesday at around 6:30 in the evening?
> It's such a good time to go rather than the crowded Saturday showing. Get your sandwiches and have your dinner while watching your favorite opera. This way, if you really like something you can see it again at the same theater 4 days later.


No Nina, it is in July somewhere , starts at 10.00 am so afterwards nice late lunch.


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## Bellinilover

The Wolf said:


> I watch on cinema...Memorable performance!!! The whole cast was wonderful. And it wasn't for less: Last Fleming "Marschallin" and last Garanca "Octavian". Memorable.


I saw the Encore cinema performance tonight; it was my first time seeing DER ROSENKAVALIER. Beautiful production, and I was amazed at how little the pure timbre of Renee Fleming's voice has changed over the years. Her Act I monologue was sublime! It's too bad this is her last Marschillan ever; on the other hand, it was wise of her to want to leave us all with good memories, I suppose.


----------



## Pugg

Bellinilover said:


> I saw the Encore cinema performance tonight; it was my first time seeing DER ROSENKAVALIER. Beautiful production, and I was amazed at how little the pure timbre of Renee Fleming's voice has changed over the years. Her Act I monologue was sublime! It's too bad this is her last Marschillan ever; on the other hand, it was wise of her to want to leave us all with good memories, I suppose.


The share beauty of the voice is still there, at her age, producing that perfection, enjoining life outside opera , I make deep bow.


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## Itullian

Hello folks,
I guess it's about that time of year again when the Met starts its annual broadcasts.

Please post your reviews of each broadcast here for us to talk about and enjoy.

I may be a little late resurrecting the thread as the KUSC radio site that broadcasts in my area lists the Verdi Requiem on Dec. 2.
An English Magic flute is scheduled for this Saturday the 9th.

The official season opener is Dec. 16 with Bellini's Norma.

I will try to post each weeks opera here as they come up.

Enjoy the season!!!


----------



## Itullian

Magic Flute is on. in English.


----------



## Itullian

Anyone else listen?
I thought the singing was good, but I don't appreciate
the modern, speed demon tempos.
Hearing it in English was interesting though.


----------



## Itullian

Today's opera is Bellini's Norma, starring Angela Meade, Jamie Barton and Joseph Calleja.


----------



## Bellinilover

Itullian said:


> Today's opera is Bellini's Norma, starring Angela Meade, Jamie Barton and Joseph Calleja.


It's ending now -- wonderful singing!! I would never have imagined Calleja as Pollione; his voice has really gotten bigger in the past 7+ years. I heard Meade four years ago at Washington Opera as Norma. I think she sounds the same yet somehow more "bracing," or energized, now. Jamie Barton was outstanding; I'd never heard her before. Matthew Rose (as Oroveso) -- is he related to Peter Rose, the bass who did all those Chandos "Opera in English" recordings?


----------



## Woodduck

I'm on board with Barton and Calleja, but Angela Meade generally has me running for the exits (unfortunately the only exit here is my front door). Her vibrato will rattle your dentures right out of your mouth, and her coloratura is mediocre. This isn't bel canto, where at minimum you have to be able to draw a clean musical line. Maybe she sounds better live, but that's of no help on radio, and for me _Norma_ without a real Norma is more or less a total loss. Where was Radvanovsky today?


----------



## Rossiniano

Re: _Norma_ MET broadcast 12/16/2017

I saw _Norma_ in the house with Marina Rebeka in the title role and Joyce DiDonato as Adalgisa last October. Rebeka was the best Norma that I have heard this century. DiDonato was fine though she avoided the high C in the first act duet. Calleja was a fine Pollione. The production was traditional, visually pleasing, and featured an impressive scene change not to mention a fiery conclusion. (BTW, I refused to pay good money for the soprano who sang opening night... there I said it... but I digress.)

Today's performance featured a different conductor and a cast change for the two leading female roles. The Edition used was the same with some variants that never made it into the traditional Ricordi score. A bit more poetry from the pit would have helped. Meade sounded quite commanding during her opening recitative and began "Casta diva" decently enough, but during the B section of the aria she was only approximate with the coloratura. Then when the A section returned the voice became ragged and I'm not sure what happened when she reached for the climax of the vocal line, but it was not good!!! I won't even mention the wrong notes in the cabaletta. Well I just did and there were many. She improved in the next scene with three nicely approached high C's in the duet. Still she sounded wobbly and grating at mezzo-forte or above. A decent high D concluded the act. The second act was better, but she never quite hit the ball out of the infield did much less out of he park. Barton was decent, but again not a home run. Calleja was about the same as in the house, which as I said was quite fine. If I had paid good money to see this I would not have been a happy camper.

I'm hoping that the Meade was simply having a bad day. I have heard her in person and while I find the voice uninteresting she was never bad... simply routinely competent. She was not even that today. Indeed she seemed surprised when the intermission interviewer mentioned her wonderful rendition of "Casta diva"! I almost laughed out loud.

There was a need for some corrective Callas listening!!!

I am worried about the _Semiramide_ HD theatre presentation with Meade as I was looking forward to it.

During the intermission it was almost embarrassing the way Gelb was "apologizing"...


----------



## Woodduck

Rossiniano said:


> Re: _Norma_ MET broadcast 12/16/2017
> 
> I saw _Norma_ in the house with Marina Rebeka in the title role and Joyce DiDonato as Adalgisa last October. Rebeka was the best Norma that I have heard this century. DiDonato was fine though she avoided the high C in the first act duet. Calleja was a fine Pollione. The production was traditional, visually pleasing, and featured an impressive scene change not to mention a fiery conclusion. (BTW, I refused to pay good money for the soprano who sang opening night... there I said it... but I digress.)
> 
> Today's performance featured a different conductor and a cast change for the two leading female roles. The Edition used was the same with some variants that never made it into the traditional Ricordi score. A bit more poetry from the pit would have helped. Meade sounded quite commanding during her opening recitative and began "Casta diva" decently enough, but during the B section of the aria she was only approximate with the coloratura. Then when the A section returned the voice became ragged and I'm not sure what happened when she reached for the climax of the vocal line, but it was not good!!! I won't even mention the wrong notes in the cabaletta. Well I just did and there were many. She improved in the next scene with three nicely approached high C's in the duet. Still she sounded wobbly and grating at mezzo-forte or above. A decent high D concluded the act. The second act was better, but she never quite hit the ball out of the infield did much less out of he park. Barton was decent, but again not a home run. Calleja was about the same as in the house, which as I said was quite fine. If I had paid good money to see this I would not have been a happy camper.
> 
> I'm hoping that the Meade was simply having a bad day. I have heard her in person and while I find the voice uninteresting she was never bad... simply routinely competent. She was not even that today.
> 
> There was a need for some corrective Callas listening!!!
> 
> I am worried about the _Semiramide_ HD theatre presentation with Meade as I was looking forward to it.
> 
> During the intermission it was almost embarrassing the way Gelb was "apologizing"...


I think today was typical Meade. She isn't really suited to bel canto, which requires a clean tone and fine coloratura, and there are people who do it better. I don't know why they put her in these parts. Maybe verismo would be her thing; I can imagine her as Santuzza or Maddalena.


----------



## Amara

Rossiniano said:


> During the intermission it was almost embarrassing the way Gelb was "apologizing"...


Peter Gelb came out during the intermission to apologize? More details, please! What did he say?


----------



## Rossiniano

Woodduck said:


> I think today was typical Meade. She isn't really suited to bel canto, which requires a clean tone and fine coloratura, and there are people who do it better. I don't know why they put her in these parts. Maybe verismo would be her thing; I can imagine her as Santuzza or Maddalena.


I actually saw Ms. Mead at the MET in _Anna Bolena_ several years ago and she was competent. I subsequently saw her in an Italian concert performance of _Guglielmo Tell _and again totally competent. i also have in-house recordings of _Semiramide_ and _Ermione_, both written as dramatic coloratura vehicles by Rossini for Isabella Colbran who became his first wife. She hits all the little notes. Again, professional and competent, but there is never any magic or a feeling that you are witnessing something out of the ordinary. There is never really any "bloom" to the voice. It's just there.

If yesterday is now "typical Meade", I would not want to hear her even as Santuzza.


----------



## nina foresti

Oh dear me! my ears must finally be failing me.
Normally not a particular fan of Meade (she of the cool temperament that doesn't grab my heart), I must say that I found her performance to be superb in every way along with her two magnificent "cohorts" Barton -- a tour de force in her own right and Calleja whose voice is reminiscent of the golden age sound. I listened very carefully for those wobbles I have been reading about on another opera forum and all I can say is I must have very forgiving airwaves because I heard virtually none. 
Several of my friends were actually in-house and attested to the fact that they too never heard those blasted wobbles.
I cringe at the strength of criticism on this thread for Meade's performance and actually am astonished to think that Gelb was truly trying to apologize for the embarrassing performance. Really?


----------



## Rossiniano

Amara said:


> Peter Gelb came out during the intermission to apologize? More details, please! What did he say?


Well, in an obvious reference to the former music director, without mentioning either his name or the accusations, he kept saying something to the effect that the MET would survive. He then repeated it several times when once would have been enough and he could have easily moved on to another subject. To me he came across as guilt laden, if not personally it was at the very least a _mea culpa_ for the entire organization. At least that was my impression.


----------



## Rossiniano

nina foresti said:


> Oh dear me! my ears must finally be failing me.
> Normally not a particular fan of Meade (she of the cool temperament that doesn't grab my heart), I must say that I found her performance to be superb in every way along with her two magnificent "cohorts" Barton -- a tour de force in her own right and Calleja whose voice is reminiscent of the golden age sound. I listened very carefully for those wobbles I have been reading about on another opera forum and all I can say is I must have very forgiving airwaves because I heard virtually none.
> Several of my friends were actually in-house and attested to the fact that they too never heard those blasted wobbles.
> I cringe at the strength of criticism on this thread for Meade's performance and actually am astonished to think that Gelb was truly trying to apologize for the embarrassing performance. Really?


Please see my above post. Gelb was not referencing the performance! However, I did hear wobbles and wrong notes from Meade! And as a Callas fan I can tolerate much much in the wobble department!!!!


----------



## nina foresti

Rossiniano said:


> Well, in an obvious reference to the former music director, without mentioning either his name or the accusations, he kept saying something to the effect that the MET would survive. He then repeated it several times when once would have been enough and he could have easily moved on to another subject. To me he came across as guilt laden, if not personally it was at the very least a _mea culpa_ for the entire organization. At least that was my impression.


I too heard him say those things as well, seeming to apologize for the difficulties the Met is experiencing, but what in glory does that have to do with apologizing for the lack of a fine performance from Meade?


----------



## nina foresti

Rossiniano said:


> Please see my above post. Gelb was not referencing the performance! However, I did hear wobbles and wrong notes from Meade! And as a Callas fan I can tolerate much much in the wobble department!!!!


 "During the intermission it was almost embarrassing the way Gelb was "apologizing"..."
Those were your words so what was one supposed to think? After all you were strongly referring to Meade's poor Norma throughout your post and at no time was anything inferred about the "other episode".


----------



## Woodduck

Meade doesn't have a wobble. A wobble is a slow waver caused by oversinging, overworked vocal chords and/or inadequate breath support. Meade has a very strong vibrato which prevents her from drawing a clean, pure line, and obscures the clarity of her coloratura and even her pitch. At times it's almost as if every note has a trill on it! Historical documents are full of complaints about singer's vibratos; a pure tone has always been favored up until the verismo era, and a quick check of singers from the 19th century who recorded in their late years - Patti, Sembrich, Lehmann, Tetrazzini - gives a clear picture of what sort of vocal image was preferred in the bel canto tradition. 

The Norma I heard yesterday was a long way from Ponselle, Callas, Sutherland or Caballe. For that matter it doesn't compare with Radvanovsky.


----------



## nina foresti

Woodduck said:


> Meade doesn't have a wobble. A wobble is a slow waver caused by oversinging, overworked vocal chords and/or inadequate breath support. Meade has a very strong vibrato which prevents her from drawing a clean, pure line, and obscures the clarity of her coloratura and even her pitch. At times it's almost as if every note has a trill on it! Historical documents are full of complaints about singer's vibratos; a pure tone has always been favored up until the verismo era, and a quick check of singers from the 19th century who recorded in their late years - Patti, Sembrich, Lehmann, Tetrazzini - gives a clear picture of what sort of vocal image was preferred in the bel canto tradition.
> 
> The Norma I heard yesterday was a long way from Ponselle, Callas, Sutherland or Caballe. For that matter it doesn't compare with Radvanovsky.


This makes much more sense to me because I happen to be a fan of vibrato properly done in singers. Some of my favorites are: (Olivero/Villazon/Calleja/Gheorghiu(sort of)/Radvanovsky)


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## Rossiniano

Yes, wobble is not the correct word if thought of in the classic Callas sense. Wobbly as in unsteady yes! Actually the other words that I used "ragged" and "grating" better describe what I heard! I guess it could be called a "strong vibrato", but Pilar Lorengar and Conchita Supervia (is it a Spanish thing?) had a "strong vibrato". I think of vibrato as being associated with a healthy voice. Whatever Meade has developed it is not pleasant to the ear and not a vibrato to my ears and does not sound heslthy... at least not yesterday. I sincerely hope that she was simply not feeling well or having a bad day. We all have those.


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## Woodduck

Rossiniano said:


> Yes, wobble is not the correct word if thought of in the classic Callas sense. Wobbly as in unsteady yes! Actually the other words that I used "ragged" and "grating" better describe what I heard! I guess it could be called a "strong vibrato", but Pilar Lorengar and Conchita Supervia (is it a Spanish thing?) had a "strong vibrato". I think of vibrato as being associated with a healthy voice. Whatever Meade has developed it is not pleasant to the ear and not a vibrato to my ears and does not sound heslthy... at least not yesterday. I sincerely hope that she was simply not feeling well or having a bad day. We all have those.


I don't know... I heard her in the _Ernani_ broadcast from a season or two ago and my impressions were much the same.

Some folks don't mind a strong vibrato, and when it doesn't make the pitch "unclean" - as it didn't with Lorengar and Supervia - I don't mind it either. On the other hand, those two weren't singing Bellini, where the vocal line must be etched with the point of a needle.


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## Itullian

December 23rd opera is..............

*Le Nozze di Figaro *by Wolfgang Amadeus Mozart
An exceptional ensemble of performers-including Ailyn Pérez, Nadine Sierra, Isabel Leonard, Luca Pisaroni, Mariusz Kwiecien, and Ildar Abdrazakov-share the stage in Mozart's comic yet profound look at human nature and one crazy day in a wealthy Spanish household. Acclaimed Mozartean maestro Harry Bicket conducts Richard Eyre's high-spirited production.


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## Itullian

Anyone listening?


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## Star

Itullian said:


> Anyone listening?


Yes. Fantastic music. The finale of Act 2 runs for 110 pages! Some speeds seem a bit hectic


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## ldiat

Itullian said:


> Anyone listening?


yes love the sat show..


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## DavidA

Heard some of it in-between Christmas visitors. Thought the singing not that good though the audience was obviously enjoying it. Possibly better seen. Is it being broadcast in cinemas?


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## Rossiniano

I listened to most of it while doing things to get ready for Christmas and enjoyed it quite a bit. The singing was a tad rough in some spots, but nothing egregious to spoil things. There were a few HIP gestures in the conducting not surprisingly. At one point the horns blared out unexpectedly more than normally and that combined with the swift tempos made it ultimately work for me. I have always preferred _Don Giovanni _and may I be struck down by lightning _Il Matrimonio Segreto _as being the best example of true 18th Century Opera Buffa. To me Figaro was something finer than that, but so fine that one would prefer to listen to something else as in it was a bit too good and refined for an Opera Buffa. It has been said the Rossini in _Barbiere _captured the spirit, wit, and ironic side of Beaumarchais while Mozart in _Figaro _delved deeper into the story in a way that missed that spirit and in the process created something a bit more sophisticated. The MET broadcast seemed to offer more of the buffa while not ignoring the more serious aspects of the plot. And yes! That second act finale is my favorite section!


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## Woodduck

Listened until I got more interested in doing something else near the end of Act 2. (For some reason that always happens to me with _Figaro._ Either too much recitative or not enough winged helmets). The singing seemed like solid provincial routine, except for the sensuous and distinctive voice of the Countess, which made me sit up and take notice. Good conductorial energy.


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## Itullian

*Todays opera, Dec 30.*

*The Merry Widow by Franz Lehar*
Susan Graham sings the title role of the fabulous woman of the world who sets out to conquer glamorous old Paris and get the one thing that has eluded her-a commitment from her playboy first love. Lehár's delightful score of lush waltzes and beautiful ballads will sparkle with a supporting cast of Andriana Chuchman, Paul Groves, and the inimitable Sir Thomas Allen. Ward Stare conducts.


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## Itullian

*January 6, 2018
Hansel and Gretel by Engelbert Humperdinck*
A Met English-language holiday presentation, Richard Jones's clever production of Humperdinck's fairy-tale opera is based on the Brothers Grimm story. Donald Runnicles conducts the sweeping score and a delightful cast, including the legendary Dolora Zajick as the wayward siblings' mother. Tara Erraught and Ingeborg Gillebo share the role of Hansel, and Lisette Oropesa and Maureen McKay share the role of Gretel.


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## Sonata

Woodduck said:


> Listened until I got more interested in doing something else near the end of Act 2. (For some reason that always happens to me with _Figaro._ Either too much recitative or not enough winged helmets). The singing seemed like solid provincial routine, except for the sensuous and distinctive voice of the Countess, which made me sit up and take notice. Good conductorial energy.


It's funny, I like Figaro quite a lot, but it's my least preferred of Mozart's Big Four operas (give me Don Giovanni for the energy or Cosi for the sheer beauty of the music) Yet it seems to generally hold top spot in reputation. The local-ish opera company (two and a half hours away) is putting on Figaro in spring. maybe if budget allows I'll check it out


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## Itullian

*January 6, 2018
Hansel and Gretel by Engelbert Humperdinck*
A Met English-language holiday presentation, Richard Jones's clever production of Humperdinck's fairy-tale opera is based on the Brothers Grimm story. Donald Runnicles conducts the sweeping score and a delightful cast, including the legendary Dolora Zajick as the wayward siblings' mother. Tara Erraught and Ingeborg Gillebo share the role of Hansel, and Lisette Oropesa and Maureen McKay share the role of Gretel.


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## Itullian

*January 13, 2018
Cavalleria Rusticana by Pietro Mascagni & Pagliacci by Ruggero Leoncavallo *
Roberto Alagna takes on the leading tenor roles in both parts of opera's most popular double bill. In Cavalleria Rusticana, Ekaterina Semenchuk and Eva-Maria Westbroek share the role of the woebegone Santuzza, with Aleksandra Kurzak as the hot-blooded Nedda in Pagliacci. Nicola Luisotti conducts Sir David McVicar's production, which heightens the melo-dramaticaction of this timeless verismo pairing.


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## Rossiniano

I enjiyed the Versimo white heat! With _Cavalleria_ there is enough good material for three full length operas. Such is the intensity of the piece! The replacement Nedda sounded a bit shaky at the beginning of her aria... with some unsteady trills, but then seemed to settle down. Alagna was fine if not exactly youthful sounding.

As a further observation, when I first discovered opera many years ago Rossini, Mascagni, and Leoncavallo were all "one opera composers." That seems not to have changed for the Verismo members of the group.


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## Itullian

*January 20, 2018
Thaïs by Jules Massenet*
Ailyn Pérez is the alluring courtesan and Gerald Finley is the holy man who tries to resist her powers of seduction in Massenet's tale of sensuality versus spirituality. Emmanuel Villaume conducts.


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## Rossiniano

A unique experience! The violinist who played the Meditation actually received the longest and loudest ovation of the afternoon. And why not! That is the best part of the piece! Massenet was certainly on target when he used it extensively in the final scene. Unfortunately I always find that the concluding bars are a bit overly abrupt.


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## Itullian

*January 27, 2018
Tosca by Giacomo Puccini*
Sir David McVicar's ravishing new production offers a splendid backdrop for extraordinary soprano Sonya Yoncheva in the title role of the jealous prima donna. Vittorio Grigolo takes on the role of Tosca's revolutionary artist lover Cavaradossi, with Željko Lučić as the depraved police chief Scarpia. Emmanuel Villaume conducts


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## Itullian

Anybody listen?


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## Sloe

I missed the live transition because I was very ill. I am listening to it now.


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## Rossiniano

I listened. Mostly background while doing other things, but I enjoyed it quite a bit. Puccini always works his magic. I really enjoy Yoncheva more in these types of roles compared to Norma and Violetta. Grigolo was fine as well sounding vibrant and youthful.


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## DavidA

Sadly was double booked Saturday so missed it


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## Pugg

DavidA said:


> Sadly was double booked Saturday so missed it


No reprise in your country?


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## JeffD

Wow. I did not know about this thread. I will try and listen more often and then check in here for some commentary.


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## Rossiniano

Since this was not bumped up... February 3, 2018 Il Trovatore: 

Yonghoon Lee - Manrico
Jennifer Rowley - Leonora 
Quinn Kelsey - di Luna
Anita Rachvelishvili - Azucena

Marco Armiliato - conductor 

Not exactly the traditionally required "four greatest singers in the world", but a solid if not exceptional performance nonetheless. All had a decent mastery of their roles with pride of place going to the Azucena who sounded quite robust, involved, yet exhibited evenness in her delivery. The others did not quite have the same ease of production.


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## Bellinilover

Rossiniano said:


> Since this was not bumped up... February 3, 2018 Il Trovatore:
> 
> Yonghoon Lee - Manrico
> Jennifer Rowley - Leonora
> Quinn Kelsey - di Luna
> Anita Rachvelishvili - Azucena
> 
> Marco Armiliato - conductor
> 
> Not exactly the traditionally required "four greatest singers in the world", but a solid if not exceptional performance nonetheless. All had a decent mastery of their roles with pride of place going to the Azucena who sounded quite robust, involved, yet exhibited evenness in her delivery. The others did not quite have the same ease of production.


I love Quinn Kelsey's voice, but his sound lacked energy today, I thought. An off day, perhaps, or a "sick" (flu?) day?


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## mjohnh18

Bellinilover said:


> I love Quinn Kelsey's voice, but his sound lacked energy today, I thought. An off day, perhaps, or a "sick" (flu?) day?


I listened to the first half today, and Quinn definitely sounded sick. I've heard him in the house and over the radio many times, and this was definitely the worst he's sounded. He's one of the best Verdi baritones in the world, but I think he was under the weather today.

The being said, everyone wasn't at their best today. Maybe because it was a matinee?


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## Rossiniano

Bellinilover said:


> I love Quinn Kelsey's voice, but his sound lacked energy today, I thought. An off day, perhaps, or a "sick" (flu?) day?





mjohnh18 said:


> I listened to the first half today, and Quinn definitely sounded sick. I've heard him in the house and over the radio many times, and this was definitely the worst he's sounded. He's one of the best Verdi baritones in the world, but I think he was under the weather today.
> 
> The being said, everyone wasn't at their best today. Maybe because it was a matinee?


Yes, at one point I thought that Quinn was going to loose it, but he recovered. Perhaps it was due to the awful flu season this year. A few years ago the run of _Roberto Devereux _was plagued by illness. I caught a performance where the tenor was replaced with the understudy and the baritone barely got through the performance. The same seemed true for the _Barbiere_ broadcast last year where the entire cast, many of whom I had heard live in peak form, seemed to be totally out of it.


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## Bellinilover

mjohnh18 said:


> I listened to the first half today, and Quinn definitely sounded sick. I've heard him in the house and over the radio many times, and this was definitely the worst he's sounded. He's one of the best Verdi baritones in the world, but I think he was under the weather today.
> 
> The being said, everyone wasn't at their best today. Maybe because it was a matinee?


I've shared this before, I know, but here's my favorite performance with Quinn Kelsey:


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## Rossiniano

Bumping this up again

L'ELISIR D'AMORE 10 February 2018 
Gaetano Donizetti--Felice Romani

Adina...................Pretty Yende
Nemorino................Matthew Polenzani
Belcore.................Davide Luciano 
Dr. Dulcamara...........Ildebrando D'Arcangelo
Giannetta...............Ashley Emerson

Conductor...............Domingo Hindoyan

Very enjoyable performance. Polenzani sounded a bit frayed at the beginning. He was better by "Adina credimi". "Una furtiva lagrima" was okay, but he's done much better even though he concluded it with a nicely hushed ending. Yende sounded fresh, but expectations were not realized when she sang a somewhat overly cut version of her final cabaletta that lacked fire. Donizetti's original ending to the aria is much more convincing. This was disappointing since she had added some nice high flying embellishments to her opening scene. Plus in several earlier scenes, contrary to some of her previous broadcasts, was not afraid to hold on to and flaunt high notes.  Perhaps it was decided not to overshadow Nemorino so close to the end of the piece. The other cast members were fine and performed up to expectations. Still a good show!

On a technical note, the audio stream to which I listened began with the channels reversed for about the first minute. I then perceived a subtle "bump" and the channels reversed during the orchestral introduction with the percussion section rightfully switching to the correct (as in right in both senses of the word) channel.

PS: I will not be listening to _Parsifal_ next week... I pass the baton to others if "Itullian" does not resume the bump up role!


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## Pugg

Rossiniano said:


> Bumping this up again
> 
> L'ELISIR D'AMORE 10 February 2018
> Gaetano Donizetti--Felice Romani
> 
> Adina...................Pretty Yende
> Nemorino................Matthew Polenzani
> Belcore.................Davide Luciano
> Dr. Dulcamara...........Ildebrando D'Arcangelo
> Giannetta...............Ashley Emerson
> 
> Conductor...............Domingo Hindoyan
> 
> Very enjoyable performance. Polenzani sounded a bit frayed at the beginning. He was better by "Adina credimi". "Una furtiva lagrima" was okay, but he's done much better even though he concluded it with a nicely hushed ending. Yende sounded fresh, but expectations were not realized when she sang a somewhat overly cut version of her final cabaletta that lacked fire. Donizetti's original ending to the aria is much more convincing. This was disappointing since she had added some nice high flying embellishments to her opening scene. Plus in several earlier scenes, contrary to some of her previous broadcasts, was not afraid to hold on to and flaunt high notes. Perhaps it was decided not to overshadow Nemorino so close to the end of the piece. The other cast members were fine and performed up to expectations. Still a good show!
> 
> On a technical note, the audio stream to which I listened began with the channels reversed for about the first minute. I then perceived a subtle "bump" and the channels reversed during the orchestral introduction with the percussion section rightfully switching to the correct (as in right in both senses of the word) channel.
> 
> PS: I will not be listening to _Parsifal_ next week... I pass the baton to others if "Itullian" does not resume the bump up role!


That sums it up nicely, We were watching it ( Live from the Met) last night and we had a ball...................short however.


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## ldiat

Pugg said:


> That sums it up nicely, We were watching it ( Live from the Met) last night and we had a ball...................short however.


whats interesting to note here.is Mary Jo Heath made the comment the cast will have a meal at a point and Lidia Bastianich was cooking the meal for the cast i think she called it "PASTA D'AMORE" (i think), she also stated Lidia attends the met all the time..
ps the pasta dish is with mushrooms and tagliatelle pasta
psps we have had dinner at Lidia's restaurant in the pittsburgh


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## Annied

ldiat said:


> whats interesting to note here.is Mary Jo Heath made the comment the cast will have a meal at a point and Lidia Bastianich was cooking the meal for the cast i think she called it "PASTA D'AMORE" (i think), she also stated Lidia attends the met all the time..
> ps the pasta dish is with mushrooms and tagliatelle pasta
> psps we have had dinner at Lidia's restaurant in the pittsburgh


I heard that too and half watched the interview. Next thing, they're exhorting people to donate to the Met because it can't continue to function without public donations. I'm afraid I'd not be too impressed at my money paying to bring in chefs to cook special meals! (Unless of course I missed the bit where she said she was giving her services for free.)


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## Rossiniano

ldiat said:


> whats interesting to note here.is Mary Jo Heath made the comment the cast will have a meal at a point and Lidia Bastianich was cooking the meal for the cast i think she called it "PASTA D'AMORE" (i think), she also stated Lidia attends the met all the time..
> ps the pasta dish is with mushrooms and tagliatelle pasta
> psps we have had dinner at Lidia's restaurant in the pittsburgh


Mary Jo Heath also said that the recipe would be posted online. Here it is if you would like to give it a try! The recipe seems quite easy to prepare and also signifies an new interesting partnership with the MET and "Eataly" which is a fun place to visit for all culinary things Italian when in NYC. Ma un'po' caro! (If a bit pricey!)

https://www.metopera.org/eataly/

Buon appetito!


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## ldiat

Rossiniano said:


> Mary Jo Heath also said that the recipe would be posted online. Here it is if you would like to give it a try! The recipe seems quite easy to prepare and also signifies an new interesting partnership with the MET and "Eataly" which is a fun place to visit for all culinary things Italian when in NYC. Ma un'po' caro! (If a bit pricey!)
> 
> https://www.metopera.org/eataly/
> 
> Buon appetito!


she has made this dish on her show also on pubic tv. some meals she makes on the tv show i shake my head and say "what" but she does make some nice stuff as she says

Tutti a tavola a mangiare! (with wine)


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## Rossiniano

An addendum to my above post: I was able to listen to a recording of the _Elisir_ broadcast made from a better source compared to what I listened to on Saturday. Everyone sounded better and that definitely included Polenzani who sounded more like his normal self. Apparently his voice was most affected by how things were transmitted which was more brittle compared to the warmer and more natural sound of the second source.


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## Itullian

*February 17, 2018
Parsifal by Richard Wagner*
Met Music Director Designate Yannick Nézet-Séguin conducts Wagner's transcendental score, in François Girard's remarkable production, a mystical theatrical journey. Tenor Klaus Florian Vogt, renowned across Europe, returns to the Met following his appearances in the 2016-17 season as Florestan in Fidelio. Evelyn Herlitzius is Kundry, and Peter Mattei and René Pape bring back their highly praised interpretations of Amfortas and Gurnemanz, respectively.
Please note: this broadcast begins at 9 AM pst.


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## Itullian

I thought Seguin maintained good tempis and lingered appropriately
toward the end.
I don't care for Vogt at all. I think he carries delicacy to far. Where's the beef?
Didn't care much for Herlitzius" Kundry much. She sounded like a tired and strained voice.
The men were ok.
Wish I could see what the production was like.
The intermission features were fun and interesting.
Thank you RW for such beautiful music.:tiphat:

What did you folks think?


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## Scott in PA

Vogt is certainly not the typical voice one hears in the role of Parsifal, but I thought he brought lyricism and a decent consistency of line to the music. Herlitzius was the opposite: sufficient dramatic heft but not much line. Mattei sang beautifully throughout. Pape was good but sounded occasionally tired. Chorus maddeningly cut note lengths short. Mattei and Nezet-Seguin were the stars.


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## Woodduck

Scott in PA said:


> Vogt is certainly not the typical voice one hears in the role of Parsifal, but I thought he brought lyricism and a decent consistency of line to the music. Herlitzius was the opposite: sufficient dramatic heft but not much line. Mattei sang beautifully throughout. Pape was good but sounded occasionally tired. Chorus maddeningly cut note lengths short. Mattei and Nezet-Seguin were the stars.


I quite agree that the conductor and the Amfortas were the outstanding contributors to today's _Parsifal._ I'm going to be less charitable about some of the others!

Listening to the undernourished and monotone voice of Klaus Florian Vogt, it was impossible not to think back to the premiere of this production, in which Jonas Kaufmann emerged as a near-ideal Parsifal, perfect in vocal weight and color for a role which has to encompass not only the lyricism of Good Friday but the Tristanesque agonies in Klingsor's garden and the heroism and gravity of the compassionate healer and king. Vogt sounded in act one like the naive boy he played, but he was vocally incapable of growing up: this Cub Scout could have been devoured by Herlitzius's vibrato (it seems that skull-rattling vibratos are _de rigeur_ for dramatic sopranos nowadays, but it wasn't always so: think Leider, Flagstad, Traubel, Farrell, Norman, Nilsson, Meier...). Herlitzius, effective enough as the wild-eyed wanderer of act one, was an unseductive seductress who, however, improved once Parsifal had (understandably) resisted her blandishments. I was surprised that she had trouble with some of the high notes (although "lachte" was good); some mezzos - Ludwig, Dalis - have handled them more easily. The rest of the cast was very solid, and Peter Mattei much more than that: he is unquestionably the Amfortas of our time, singing with perfect consistency of tone and diction, and making the Grail king's pain almost unbearably palpable. The entrance of Vogt in act three was dismayingly puny after Mattei's magnificent eloquence in Amfortas' plea for death.

Somehow the power of the opera survived the absence of a real hero at its center. In addition to Mattei's contribution, credit goes to Nezet-Seguin, who clearly understands the rhythm of the work and sustains the interest at all times. The Met chorus was in better-than-average form as well, with the men impressive as the knights of the grail. Microphones didn't do justice to the tiered choirs in the temple scenes, but didn't ruin things either. In the end I was moved by the performance - but then Wagner, along with a lifetime of acquaintance with this unique, disturbing, profound and sublime music, deserves most of the credit for that.


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## Scott in PA

I don’t disagree with you about Vogt, I was being a bit more charitable. As for Herlitzius, I didn’t find her vibrato that objectionable, it was the inability to sustain an even line. Instead each phrase was a succession of articulated notes. But this is an objection I have with a lot of Wagnerian singers. 

Listening to the broadcast, I was reminded how nice it would be to have a new studio recording of Parsifal. Parsifal has so many quiet passages, and even moments of total silence, it really lends itself to a tightly controlled environment. It would be nice to dispense with all the audience coughing, shuffling, stage movements, sounds of machinery, etc. My dream cast would include Kaufmann and Elina Garanca as Kundry. Imagine what she can do with Ich sah das Kind with her sensuous mezzo. Well, I can dream…


----------



## Woodduck

Scott in PA said:


> I don't disagree with you about Vogt, I was being a bit more charitable. As for Herlitzius, I didn't find her vibrato that objectionable, it was the inability to sustain an even line. Instead each phrase was a succession of articulated notes. But this is an objection I have with a lot of Wagnerian singers.
> 
> Listening to the broadcast, I was reminded how nice it would be to have a new studio recording of Parsifal. Parsifal has so many quiet passages, and even moments of total silence, it really lends itself to a tightly controlled environment. It would be nice to dispense with all the audience coughing, shuffling, stage movements, sounds of machinery, etc. My dream cast would include Kaufmann and Elina Garanca as Kundry. Imagine what she can do with Ich sah das Kind with her sensuous mezzo. Well, I can dream…


Garanca has a luscious voice, and I don't think you can have a great Kundry who can't sound beautiful (which is why, for example, I rate Christa Ludwig and Irene Dalis above the dramatically effective but odd-voiced Martha Modl). I'm not sure Garanca has the dramatic instincts, though; I've always found her a bit anonymous.

I've been waiting decades for a _Parsifal_ to equal the old-timers, but stopped holding my breath when I felt I might pass out. The Kubelik probably comes closest to what you're looking for; it's a fine performance in beautiful sound. Me, I don't mind a little stage noise: I like the feel of a live event, and once the audience has gotten its throat cleared in Knappertsbusch's 1962 recording, I can just forget about them and be absorbed in a great performance. But...yes, we're overdue for another first-rate _Parsifal_ on recordings. Who will sing and conduct? Kaufmann and Mattei for sure, but who today can equal the likes of Hotter, Uhde, or Ludwig - not to mention Kna?


----------



## wkasimer

Woodduck said:


> But...yes, we're overdue for another first-rate _Parsifal_ on recordings. Who will sing and conduct? Kaufmann and Mattei for sure, but who today can equal the likes of Hotter, Uhde, or Ludwig - not to mention Kna?


Not sure about Kundry - I haven't heard anyone lately who isn't a screamer, and I'd like to hear some actual seduction in Act 2 a la Crespin or Ludwig. Pape is a pretty impressive Gurnemanz, but based on yesterday's broadcast, he sounding like he's a bit past his "sell by" date. Johann Martin Kraenzle would probably sing the hell out of Klingsor.


----------



## Woodduck

wkasimer said:


> Not sure about Kundry - I haven't heard anyone lately who isn't a screamer, and I'd like to hear some actual seduction in Act 2 a la Crespin or Ludwig. Pape is a pretty impressive Gurnemanz, but based on yesterday's broadcast, he sounding like he's a bit past his "sell by" date. Johann Martin Kraenzle would probably sing the hell out of Klingsor.


Never heard of Kraenzle. Who is he?

My fear with villainous roles in particular is that singers will forget about notes and declaim and shout instead. Uhde and Neidlinger sang all the notes, filling them with delicious venom.


----------



## Bonetan

Woodduck said:


> But...yes, we're overdue for another first-rate _Parsifal_ on recordings. Who will sing and conduct? Kaufmann and Mattei for sure, but who today can equal the likes of Hotter, Uhde, or Ludwig - not to mention Kna?


Kaufmann, who has a smaller voice than Vogt, has to be the most overrated singer of today, especially in Wagner. Schager eats Kaufmann for breakfast as Parsifal. & I wouldn't be surprised if there are better Amfortai with more traditional helden baritone voices over in Germany. Kaufmann & Mattei are undoubtedly fine singers, don't get me wrong about that. I just hope Schager gets the recognition he deserves as THE heldentenor of our time.


----------



## wkasimer

Woodduck said:


> Never heard of Kraenzle. Who is he?
> 
> My fear with villainous roles in particular is that singers will forget about notes and declaim and shout instead. Uhde and Neidlinger sang all the notes, filling them with delicious venom.


Kränzle has been singing Alberich and Beckmesser for the past decade or so. But he really *sings* them. He's also sung Klingsor with the same combination of vocalism and venom.


----------



## Woodduck

Bonetan said:


> Kaufmann, who has a smaller voice than Vogt, has to be the most overrated singer of today, especially in Wagner. Schager eats Kaufmann for breakfast as Parsifal. & I wouldn't be surprised if there are better Amfortai with more traditional helden baritone voices over in Germany. Kaufmann & Mattei are undoubtedly fine singers, don't get me wrong about that. I just hope Schager gets the recognition he deserves as THE heldentenor of our time.


Have you sat in the opera house and heard both Vogt and Kaufmann? I haven't, but I've heard them both singing Parsifal on radio from the Met. Kaufmann sounds like a Wagnerian hero; Vogt sounds like a nice young fellow from the local church choir, singing along with his Wagner records, imagining being a heldentenor when he grows up.

Shall we sample your three tenors in a standard Wagner test piece?
















The order I chose is my own order of descending vocal distinction. I wouldn't call any of these men heldentenors - actually I'm not sure what that term means and I wouldn't apply it to any singer less "heroic" than Melchior or maybe Vickers - but Vogt wouldn't remotely fit anyone's definition. Schager seems to be plenty loud, but his timbre is pretty ordinary. Kaufmann has a dark and distinctive timbre that I like in Wagner, but I realize that not everyone cares for it. I'm not at all sure that he could handle Siegfried or Tristan (he's been wise about tackling them), but I think Parsifal suits his particular talents extremely well.

Not to be argumentative, but why would you not be surprised if there's a better Amfortas than Mattei somewhere in Germany? What I heard on Saturday was magnificent, and I found nothing to criticize.


----------



## Bonetan

Woodduck said:


> Have you sat in the opera house and heard both Vogt and Kaufmann? I haven't, but I've heard them both singing Parsifal on radio from the Met. Kaufmann sounds like a Wagnerian hero; Vogt sounds like a nice young fellow from the local church choir, singing along with his Wagner records, imagining being a heldentenor when he grows up.
> 
> Shall we sample your three tenors in a standard Wagner test piece?
> 
> The order I chose is my own order of descending vocal distinction. I wouldn't call any of these men heldentenors - actually I'm not sure what that term means and I wouldn't apply it to any singer less "heroic" than Melchior or maybe Vickers - but Vogt wouldn't remotely fit anyone's definition. Schager seems to be plenty loud, but his timbre is pretty ordinary. Kaufmann has a dark and distinctive timbre that I like in Wagner, but I realize that not everyone cares for it. I'm not at all sure that he could handle Siegfried or Tristan (he's been wise about tackling them), but I think Parsifal suits his particular talents extremely well.
> 
> Not to be argumentative, but why would you not be surprised if there's a better Amfortas than Mattei somewhere in Germany? What I heard on Saturday was magnificent, and I found nothing to criticize.


I was watching those same clips earlier today! I actually don't like any of those. I think Botha (RIP) beats them all vocally. Schager is too forceful imo & not much beauty to be found, Vogt with his white,unheroic tone, & Kaufmann has weird mushy diction to me & sounds unnatural.

I have not heard Vogt & Kaufmann in the house, but what I have gathered from colleagues that have worked closely with them is that Vogt's sound cuts through orchestration & is heard above ensembles, while Kaufmann can get overwhelmed by the orchestra because his voice doesn't cut (I think his lack of squillo is the price he pays for the dark tone). I found that hard to believe about Vogt, but I've since read numerous reviews that said the same. I agree with you that Kaufmann has a much more attractive timbre as Parsifal, but I thought it was worth pointing out that even with that whitish choir boy sound, Vogt does indeed have the bigger voice.

Schager, while I don't like that Winterstürme, is the definition of heldentenor. He's not as versatile as Kaufmann but this might be the best real heldentenor since Vickers (I'm sure I'm leaving someone out). I hope he gets his due in the US & I think his US & Met debut in 2019 as Siegfried might just do the trick. I appreciate that you like Kaufmann's distinctive tone & can certainly hear why, but if you want a real heldentenor in the house at the peak of his powers Schager is your guy.

My comment about Mattei is mostly because I'm a jerk who doesn't want a Mozart lyric baritone intruding on Wagner rep unless he's singing Wolfram! So feel free to let me have it on that one. I deserve it lol


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## Woodduck

Bonetan said:


> My comment about Mattei is mostly because I'm a jerk who doesn't want a Mozart lyric baritone intruding on Wagner rep unless he's singing Wolfram! So feel free to let me have it on that one. I deserve it lol


OK, not another word from me!

But Mattei was tremendous!


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## Scott in PA

Bonetan said:


> Schager, while I don't like that Winterstürme, is the definition of heldentenor.


I listened to the Schager clip and was rather impressed. Some tones were rather raw ("vereeeeiiiint sind Liebe und Lenz"), but that is simply how most heldentenors sound. If you were a bit put off by his singing here, what makes you think he'll be better at Siegfried? Also note, that was a very reduced orchestra for Walküre.

I heard Kaufmann twice in the house (Siegmund and Parsifal at the Met). There was certainly no problem hearing him. His final "So blühe denn Wälsungen Blut!" far outdid Domingo or Gary Lakes in volume. (I don't have many "in house" experiences for comparison.) His "Amfortas, die Wunde!" also exceeded Domingo and Jerusalem. (Although, I did hear Vickers way back in 1978 or 79. It was my first live opera.)

Whether Kaufmann is or is not a genuine heldentenor seems to miss the point. For the roles he has so far chosen, he is certainly equal to the task. His dynamic techniques and range of expression exceed the capabilities of most heldentenors. What is the point of having a voice as loud as a foghorn if it also sounds as beautiful as one?


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## Scott in PA

By the way, the Met has announced their 2018-19 season. I thought for sure they would revive their Il Trittico from a few years back. It was first performed at the Met on Dec 14, 1918. But it's not on the schedule! They’re ignoring their own centennial anniversary!


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## wkasimer

Scott in PA said:


> Whether Kaufmann is or is not a genuine heldentenor seems to miss the point. For the roles he has so far chosen, he is certainly equal to the task. His dynamic techniques and range of expression exceed the capabilities of most heldentenors. What is the point of having a voice as loud as a foghorn if it also sounds as beautiful as one?


I agree. The insistence upon sheer volume and vocal size has provided us with such luminaries as Stephen Gould, Christian Franz, and Wolfgang Schmidt. Instead, I'll gladly take a singer with a smaller voice and some semblance of musicality.

Schager isn't ideal - I find his voice, at least on broadcasts, to be monochromatic and not very interesting - but I'm glad that he and Vinke will be singing Siegfried next time the Met does the RING.


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## Bonetan

Scott in PA said:


> I listened to the Schager clip and was rather impressed. Some tones were rather raw ("vereeeeiiiint sind Liebe und Lenz"), but that is simply how most heldentenors sound. If you were a bit put off by his singing here, what makes you think he'll be better at Siegfried? Also note, that was a very reduced orchestra for Walküre.
> 
> I heard Kaufmann twice in the house (Siegmund and Parsifal at the Met). There was certainly no problem hearing him. His final "So blühe denn Wälsungen Blut!" far outdid Domingo or Gary Lakes in volume. (I don't have many "in house" experiences for comparison.) His "Amfortas, die Wunde!" also exceeded Domingo and Jerusalem. (Although, I did hear Vickers way back in 1978 or 79. It was my first live opera.)
> 
> Whether Kaufmann is or is not a genuine heldentenor seems to miss the point. For the roles he has so far chosen, he is certainly equal to the task. His dynamic techniques and range of expression exceed the capabilities of most heldentenors. What is the point of having a voice as loud as a foghorn if it also sounds as beautiful as one?


I'm not put off by Schager's singing there, it's just not my favorite. Especially compared to his forging song. We all know the vocal requirements of Siegfried & that's where Schager has really separated himself from the pack. His Siegfried is second to none in modern times.

Not saying Kaufmann has a tiny voice, but Vogt's is bigger. I only pointed that out because I don't think people associate Vogt with having a big voice. At least I was guilty of that.

Agreed on Kaufmann's artistry, but I disagree with the idea that he has put any stamp on Parsifal that makes him the clear-cut best today. Also, I think he is as much of a heldentenor as Domingo was for whatever that's worth.


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## Woodduck

Bonetan said:


> Agreed on Kaufmann's artistry, but I disagree with the idea that he has put any stamp on Parsifal that makes him the clear-cut best today. Also, I think he is as much of a heldentenor as Domingo was for whatever that's worth.


How do you define "heldentenor"? Is it just a question of volume?


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## Bonetan

Woodduck said:


> How do you define "heldentenor"? Is it just a question of volume?


No, but I think its a big part of it. For me it's mostly about Tristan, Siegfried, & Tannhauser. So I guess it would be about the power to get over the thickest orchestration, stamina to get through those roles without strain, & the ability to sing any of those 3 roles night after night, plus the heroic sound. If you can't do those things I would put you in the jugendlich category. So for various reasons imo Kaufmann is not, Vogt is not, Domingo was not, Heppner was not etc...also, I think if there's a question about you being a heldentenor, you're probably not a heldentenor.


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## Woodduck

Bonetan said:


> No, but I think its a big part of it. For me it's mostly about Tristan, Siegfried, & Tannhauser. So I guess it would be about the power to get over the thickest orchestration, stamina to get through those roles without strain, & the ability to sing any of those 3 roles night after night, *plus the heroic sound*. If you can't do those things I would put you in the jugendlich category. So for various reasons imo Kaufmann is not, Vogt is not, Domingo was not, Heppner was not etc...also, *I think if there's a question about you being a heldentenor, you're probably not a heldentenor.*


"The heroic sound"... Aye, there's the rub. Plenty of singers can get through a Wagner opera, but I suspect that their heldentenor creds would be questioned by any number of people who have different ideas of what a heroic sound is. In the final analysis there may be only one universally acknowledged heldentenor who could really fulfill your requirements and whose voice we can hear on recordings, and he was a phenomenon unlikely to be repeated. I find it best not to take these vocal categorizations - these "fachs" - too seriously. If a guy can perform Tristan effectively, I want to hear him and I don't care what he's called.


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## wkasimer

Woodduck said:


> I find it best not to take these vocal categorizations - these "fachs" - too seriously. If a guy can perform Tristan effectively, I want to hear him and I don't care what he's called.


Amen.

For me "heldentenor" is a descriptive term, not a value judgement. It implies a dark, baritonal coloration to the voice, with ability to handle the tessitura of Wagner's "bigger" roles - Tannhauser, Tristan, Siegfried, Siegmund. So I'd certainly call Hans Beirer and Max Lorenz "heldentenors", but that doesn't imply that I want to listen to them.

On the other hand, there are singers who I'd never term "heldentenor" who have been perfectly capable of singing at least some of these roles reasonably well - Alberto Remedios, Jean Cox, Gosta Winbergh, Peter Seiffert, Ben Heppner spring to mind - although some Wagnerians dismiss them as "not real heldentenors".


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## Bonetan

wkasimer said:


> Amen.
> 
> For me "heldentenor" is a descriptive term, not a value judgement. It implies a dark, baritonal coloration to the voice, with ability to handle the tessitura of Wagner's "bigger" roles - Tannhauser, Tristan, Siegfried, Siegmund. So I'd certainly call Hans Beirer and Max Lorenz "heldentenors", but that doesn't imply that I want to listen to them.
> 
> On the other hand, there are singers who I'd never term "heldentenor" who have been perfectly capable of singing at least some of these roles reasonably well - Alberto Remedios, Jean Cox, Gosta Winbergh, Peter Seiffert, Ben Heppner spring to mind - although some Wagnerians dismiss them as "not real heldentenors".


I agree with everything here. However, like positions in basketball, these "fachs" exist & I see nothing wrong with placing singers in them. Schager's qualifications as a heldentenor really can't be questioned & I think that's a special thing. But I don't understand how Kaufmann, who is an incredible artist, has ever been called a heldentenor.

I apologize to everyone here for completely derailing this thread!!


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## Bonetan

Woodduck said:


> "The heroic sound"... Aye, there's the rub. Plenty of singers can get through a Wagner opera, but I suspect that their heldentenor creds would be questioned by any number of people who have different ideas of what a heroic sound is. In the final analysis there may be only one universally acknowledged heldentenor who could really fulfill your requirements and whose voice we can hear on recordings, and he was a phenomenon unlikely to be repeated. I find it best not to take these vocal categorizations - these "fachs" - too seriously. If a guy can perform Tristan effectively, I want to hear him and I don't care what he's called.


I threw in the "heroic sound" part specifically to eliminate Vogt even if he graduates to the big 3 lol. Covering my tracks ;-)


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## Scott in PA

*Correction*. Just to correct my earlier post, the Met is in fact doing Il Trittico next season. I don't know how I missed seeing it on the list, but I did.


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## Pugg

Pugg said:


> The whole season 2018-2019
> 
> http://www.metopera.org/Season/2018-19-season/


Here you go, you can have all a look for yourself.


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## wkasimer

Bonetan said:


> I agree with everything here. However, like positions in basketball, these "fachs" exist & I see nothing wrong with placing singers in them.


That's a decent analogy. And just because someone is called a "guard", that doesn't mean that he can't dunk, and a "center" or "power forward" can't hit a three-pointer. And it's just a definition of a position, not a measure of skill.



> Schager's qualifications as a heldentenor really can't be questioned


Why not?



> But I don't understand how Kaufmann, who is an incredible artist, has ever been called a heldentenor.


Who calls him a heldentenor? And so what? I've yet to hear him live, and he's yet to sing the real Heldentenor roles, but the sound is certainly baritonal enough, he has plenty of stamina, and he seems to negotiate the passaggio fairly well. I guess we'll really find out when he sings Tannhauser, Siegfried, or Tristan.


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## Itullian

*February 24, 2018
La Bohème by Giacomo Puccini*
The world's most popular opera returns in Franco Zeffirelli's classic production, with a series of exciting casts. Sonya Yoncheva takes on the role of the fragile Mimì, with Michael Fabiano as the poet Rodolfo. Marco Armiliato conducts.


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## Bonetan

wkasimer said:


> Why not?
> 
> Who calls him a heldentenor? And so what? I've yet to hear him live, and he's yet to sing the real Heldentenor roles, but the sound is certainly baritonal enough, he has plenty of stamina, and he seems to negotiate the passaggio fairly well. I guess we'll really find out when he sings Tannhauser, Siegfried, or Tristan.


If you said that Schager is anything other than a heldentenor I would assume you were trolling!

Many here on TC (& elsewhere) call Kaufmann a heldentenor, but like you said he has't sung any of the roles. There was even a poll here at one point asking who our favorite heldentenor was with him on the list. Tbh I'm overly protective of these terms. I can admit it! But let him sing at least ONE of the roles before we anoint him the new Melchior? We all know that's coming. It will be a tough pill for me to swallow


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## Woodduck

Itullian said:


> *February 24, 2018
> La Bohème by Giacomo Puccini*
> The world's most popular opera returns in Franco Zeffirelli's classic production, with a series of exciting casts. Sonya Yoncheva takes on the role of the fragile Mimì, with Michael Fabiano as the poet Rodolfo. Marco Armiliato conducts.


The Met can take _Boheme_ for granted. They figure it'll fill seats no matter what overripe or undercooked mediocrities they put on the stage. With pairings like De Los Angeles and Bjorling, Callas and Di Stefano, and Freni and Pavarotti ringing in our minds' ears, we oldsters don't necessarily approach this chestnut in a charitable frame of mind. Show me the money!


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## wkasimer

Bonetan said:


> If you said that Schager is anything other than a heldentenor I would assume you were trolling!


I *never* troll. It's a serious inquiry - why are you adamant that Schager is a heldentenor and Kaufmann is not?


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## Bonetan

wkasimer said:


> I *never* troll. It's a serious inquiry - why are you adamant that Schager is a heldentenor and Kaufmann is not?


Because Schager has huge power, endless stamina, & excels in those 3 signature heldentenor roles. There are many reviews that I'd be happy to dig up if you're interested that make it pretty clear that the consensus in the opera world is that this is a heldentenor of remarkable talent. Also the opinions of colleagues that are much more experienced & knowledgeable than me.

Kaufmann hasn't sung the roles, doesn't have the trumpeting power, & we'll see about the stamina. He's fantastic, but his career to this point has already made it clear that he's a spinto or jugendlicher helden. As he approaches 50 even if he sings the big 3 he's a spinto venturing into heldentenor terriroty rather than an actual heldentenor, like many of tenors that came before. Heppner, Domingo, Robert Dean Smith, etc all sang some of the helden roles credibly, but none of them were truly that. I would say the same about singers like Behrens & Voigt with the hochdramatische stuff. One can end up like Domingo & Behrens & be no worse for wear, or end up like Heppner & Voigt who quickly fizzled out when they tried this heaviest of rep.

You're right though, the labels are not terribly important in the grand scheme. If he can sing the roles well then he absolutely should & we will all be excited to hear them. But he will be taking a risk.


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## Bonetan

@wkasimer. Here's a few reviews of Schager from different writers:

https://bachtrack.com/review-siegfried-schager-barenboim-staatsoper-berlin-june-2016

https://bachtrack.com/review-trista...schager-kampe-staatsoper-berlin-february-2018

http://seenandheard-international.c...al-singing-under-barenboims-baton/#more-67234

http://seenandheard-international.c...r-cast-triumph-in-gotterdammerung/#more-75122

http://seenandheard-international.c...h-to-berlins-ring-of-the-nibelung/#more-63969


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## Itullian

*February 24, 2018
La Bohème by Giacomo Puccini*
The world's most popular opera returns in Franco Zeffirelli's classic production, with a series of exciting casts. Sonya Yoncheva takes on the role of the fragile Mimì, with Michael Fabiano as the poet Rodolfo. Marco Armiliato conducts.


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## Woodduck

_Boheme_ got off to an encouraging start today, with a bunch of youthful voices in sharp interaction. Among them, the immaculate baritone of Lucas Meacham popped out of the ensemble with startling beauty. What year is this? 1907? Do we still have singers like this? Meacham's tone production is flawless, with the tight, thrilling "brrrr" of a vibrato that harks back to the days of Amato and Stracciari, and his voice is utterly even and free right to the top of his range. I waited eagerly for Marcello's every line.

Our lovers weren't quite on this level, but hardly anyone is nowadays. Michael Fabiano, a lyric voice with a really lovely timbre, is one of our "superstar" tenors at the moment, a status he wouldn't have had fifty years ago. The top of his voice, from Ab to C, is constricted, and this has been the case for at least a few years (not a good thing, since he's only 33). A mostly very nice "Che gelida manina" was capped with a strained high C, which he unwisely insisted on giving us again by taking the (unwritten) unison ending to the act. Rodolfo and Marcello's duet in Act 4 revealed unmercifully the difference between a free voice and one that's pushed to its limits. His final, anguished "Mimi! Mimi!," though, rang out splendidly, though it's only an Ab. If he could figure out how to do that up to high C he'd be a first-rate singer.

Sonya Yoncheva is a pleasant soprano who also runs into a little difficulty on high; in her case it's the vibrato which slows markedly to a throb, at times perilously close to a wobble - and she's only 36. Her death scene was weakly characterized, vocally, and did not move me.

Susanna Phillips made a pleasant, average Musetta, Matthew Rose a satisfactory Colline, and the 77-year-old Paul Plishka, who was singing leading roles at the Met when I was getting into opera, was both Benoit and Alcindoro - and why not? Conductor Marco Armiliato was fine.

In all, a performance that started well but promised more than it delivered. I'll be watching for Meacham.


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## Rossiniano

I was only able to listen to the first act and while I enjoyed it, I as well wished that Puccini's original ending had been performed instead. In fact this was the first time in a while that have heard the tenor hit the high C in a live broadcast. Unfortunately it did not quite have the bloom and ping that would have made it work. In fact hearing it performed with the C in unison this afternoon made this lover of high notes decide that Puccini definitely knew best in this particular situation. With any luck I will be able to hear the remainder of the performance. If I I am able to do so I will post my impressions.


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## Pugg

I / we found it a very pleasant performance, not that anyone can beat Freni as Mimi or the Strats / Carreras DVD for that matter, it's nice to see such a classical production. The soprano is one of those voices i have no interest in and will be gone sooner than she came, mark my words.


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## mjohnh18

Woodduck said:


> _Boheme_ got off to an encouraging start today, with a bunch of youthful voices in sharp interaction. Among them, the immaculate baritone of Lucas Meacham popped out of the ensemble with startling beauty. What year is this? 1907? Do we still have singers like this? Meacham's tone production is flawless, with the tight, thrilling "brrrr" of a vibrato that harks back to the days of Amato and Stracciari, and his voice is utterly even and free right to the top of his range. I waited eagerly for Marcello's every line.
> 
> Our lovers weren't quite on this level, but hardly anyone is nowadays. Michael Fabiano, a lyric voice with a really lovely timbre, is one of our "superstar" tenors at the moment, a status he wouldn't have had fifty years ago. The top of his voice, from Ab to C, is constricted, and this has been the case for at least a few years (not a good thing, since he's only 33). A mostly very nice "Che gelida manina" was capped with a strained high C, which he unwisely insisted on giving us again by taking the (unwritten) unison ending to the act. Rodolfo and Marcello's duet in Act 4 revealed unmercifully the difference between a free voice and one that's pushed to its limits. His final, anguished "Mimi! Mimi!," though, rang out splendidly, though it's only an Ab. If he could figure out how to do that up to high C he'd be a first-rate singer.
> 
> Sonya Yoncheva is a pleasant soprano who also runs into a little difficulty on high; in her case it's the vibrato which slows markedly to a throb, at times perilously close to a wobble - and she's only 36. Her death scene was weakly characterized, vocally, and did not move me.
> 
> Susanna Phillips made a pleasant, average Musetta, Matthew Rose a satisfactory Colline, and the 77-year-old Paul Plishka, who was singing leading roles at the Met when I was getting into opera, was both Benoit and Alcindoro - and why not? Conductor Marco Armiliato was fine.
> 
> In all, a performance that started well but promised more than it delivered. I'll be watching for Meacham.


Very much agree with that assessment. Fabiano could be world class if he could just work out that top. Same with Yoncheva, although I thought her portrayal at the end was very moving. I thought Phillips was very disappointing, her voice is thin and harsh, and her acting was nothing special. I agree with you wholeheartedly about Meachem. I can't believe he isn't more of a presence at the Met and in other big houses around the world.


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## wkasimer

Bonetan said:


> Because Schager has huge power, endless stamina, & excels in those 3 signature heldentenor roles. There are many reviews that I'd be happy to dig up if you're interested that make it pretty clear that the consensus in the opera world is that this is a heldentenor of remarkable talent. Also the opinions of colleagues that are much more experienced & knowledgeable than me.


I read those reviews - thanks. They are uniformly positive.

But I prefer to listen and make up my own mind, so I spent some time yesterday listening to some of Schager's broadcasts and Youtube selections. I should probably wait until I hear him live (which I hope and expect to do when he sings Siegfried at the Met next spring). I was disappointed with the Met's last Siegfried, Jay Hunter Morris, because in the house he was so clearly overparted - even if he sang with some sensitivity and musicality, he simply didn't have enough voice to fill out the part. Based on what I heard yesterday, Schager seems to have the opposite problem. Unfortunately, I'd place him in the Max Lorenz/Hans Beirer category - as a singer who clearly has the vocal equipment to sing the roles, but gives little pleasure while doing so.

Yes, he's a Heldentenor - but I don't think that he's a very good one. One of my tests when listening to a Wagnerian tenor is whether I can imagine him singing anything other than Wagner. And in Schager's case, I cannot - I can't even imagine him singing a passable Lohengrin. The tone quality is ugly and monochromatic, with the vocal emission constantly pressurized. He is a profoundly unmusical singer. There's no legato to speak of, no attempt at singing meaningful phrases, and his intonation and rhythm are sloppy. And at least one of the reviews hints at all of this, mentioning his "lack of refinement".

I'm glad that he's around to sing these killer roles, but there's more to singing Wagner than making a lot of noise.


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## Bonetan

wkasimer said:


> I read those reviews - thanks. They are uniformly positive.
> 
> But I prefer to listen and make up my own mind, so I spent some time yesterday listening to some of Schager's broadcasts and Youtube selections. I should probably wait until I hear him live (which I hope and expect to do when he sings Siegfried at the Met next spring). I was disappointed with the Met's last Siegfried, Jay Hunter Morris, because in the house he was so clearly overparted - even if he sang with some sensitivity and musicality, he simply didn't have enough voice to fill out the part. Based on what I heard yesterday, Schager seems to have the opposite problem. Unfortunately, I'd place him in the Max Lorenz/Hans Beirer category - as a singer who clearly has the vocal equipment to sing the roles, but gives little pleasure while doing so.
> 
> Yes, he's a Heldentenor - but I don't think that he's a very good one. One of my tests when listening to a Wagnerian tenor is whether I can imagine him singing anything other than Wagner. And in Schager's case, I cannot - I can't even imagine him singing a passable Lohengrin. The tone quality is ugly and monochromatic, with the vocal emission constantly pressurized. He is a profoundly unmusical singer. There's no legato to speak of, no attempt at singing meaningful phrases, and his intonation and rhythm are sloppy. And at least one of the reviews hints at all of this, mentioning his "lack of refinement".
> 
> I'm glad that he's around to sing these killer roles, but there's more to singing Wagner than making a lot of noise.


I appreciate that you read the reviews & I especially appreciate that you took the time to listen for yourself & give feedback. I understand why you put him in the Lorenz camp as he could be guilty of being loud & nothing else, but I think that's a thing of the past...I can't imagine him singing anything other than Wagner either! I wouldn't go as far as to call his tone ugly or call him unmusical though. I think given his career and the overwhelmingly positive reviews that those 2 things can't possibly be true. Apparently he was guilty of a "lack of refinement" in the past, but recently he's singing with a good deal of nuance & even legato! Were you able to find much from 2017-2018? Bayreuth Parsifal from last year?...if the vocal emission is indeed constantly pressurized, his career will be over very soon. Again, I'm not sure that's possible because he's breezing through these roles repeatedly & I don't believe that can be done without a rock solid technique...like you, I hope to hear him in the house, hopefully this year, & perhaps after we have both heard him live we can revisit the topic.

Jay Hunter Morris had no business singing Siegfried anywhere, let alone the Met!!


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## nina foresti

wkasimer said:


> I *never* troll. It's a serious inquiry - why are you adamant that Schager is a heldentenor and Kaufmann is not?


Kaufmann a heldentenor? With that throat sound?


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## Bonetan

nina foresti said:


> Kaufmann a heldentenor? With that throat sound?


My sentiments exactly, but I'm resigned to the fact that I must be missing something. Frankly, he sounds weird & unnatural to me, but I acknowledge his artistry.


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## nina foresti

I too recognized a very special talent in the voice of baritone Meachem as Marcello. I look forward to many more operas with him as the baritone.
Such a lovely sound Fabiano has. Sad that his coaching was not helpful and actually hindered him. I pray he can find a new teacher who can correct this deficit in his throat before it is too "Villazon late".
The word out there is that Yoncheva has sounds of Callas. This could be a good sign or maybe a bad one. Time will tell.
I do think the final scene was done more beautifully and with more pathos than I have seen in a long time by the dampness of my Kleenex. 
Those friends were so connected to one another that it almost seemed they knew each other well backstage as well.
A delightful way to spend a rainy afternoon at the HD.


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## wkasimer

Bonetan said:


> Apparently he was guilty of a "lack of refinement" in the past, but recently he's singing with a good deal of nuance & even legato! Were you able to find much from 2017-2018? Bayreuth Parsifal from last year?...


Last summer's Bayreuth Parsifal was certainly better, but that may be a function of the role, which is shorter and less vocally demanding than Siegfried, Tristan, or Tannhauser. It's a role that's been sung very effectively by voices of much more modest means. Even so I still find Schager too stentorian here.

The hard choice will be will be which Siegfried do I go to New York to hear. I believe that Stefan Vinke is also cast for one of the cycles, and I'd love to hear him, too.


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## Bonetan

wkasimer said:


> The hard choice will be will be which Siegfried do I go to New York to hear. I believe that Stefan Vinke is also cast for one of the cycles, and I'd love to hear him, too.


I definitely want to hear Vinke too, but if you can't hear both I think I can help you make the choice given your disinclination towards Schager. Vinke's voice is even uglier! A few of the more recent reviews of Vinke:

https://bachtrack.com/review-tristan-isolde-noseda-guth-teatro-regio-turin-october-2017

http://seenandheard-international.c...the-true-hero-this-opera-requires/#more-70775

https://bachtrack.com/review-siegfried-castorf-vinke-foster-bayreuth-july-2016

https://bachtrack.com/review-tristan-isolde-vinke-theorin-liceu-barcelona-december-2017


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## wkasimer

Bonetan said:


> I definitely want to hear Vinke too, but if you can't hear both I think I can help you make the choice given your disinclination towards Schager. Vinke's voice is even uglier!


You have a point there, unfortunately.


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## The Conte

I've heard both. Go for Schager.

N.


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## Itullian

*March 3, 2018
Madama Butterfly by Giacomo Puccini*
Anthony Minghella's stunning production of Puccini's heartbreaking opera, an instant Met classic since its 2006 premiere, returns with Ermonela Jaho in the tragic title role of the trusting geisha, with Roberto Aronica as her callous American lover, Pinkerton, and Marco Armiliato conducts.


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## Rossiniano

Reporting after the first act: The station to which I normally listen announced that the MET broadcast was not available due to the severe weather in the Northeast. They would be playing Freni/Pavarotti in place of the MET. Not thinking that this affected every station I was able to find a station that was not affected, but I was not sure to what I was listening until I heard some stage noises and audience reaction. However, I missed the first 20 minutes of the broadcast as was not sure if the announced cast was indeed performing. So far the Butterfly sounds quite convincing and the tenor decent.


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## Itullian

Same cast as listed.


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## Woodduck

Ermonela Jaho! Beautiful soprano! No wobblies! Hurray!


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## Becca

Woodduck said:


> Ermonela Jaho! Beautiful soprano! No wobblies! Hurray!


Perhaps your radio was wobbling 180 degrees out of phase with her :lol:


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## Rossiniano

Well it was a nice performance and as noted no wobbles and I double checked my connection and it was not "out of phase"!  "Un be dí" was done in quite an emotional manner. It worked, but I'm not sure how it would hold up on repeated listening. Still no wobbles and tenor Aronica sounded resonable. At a couple of places Armiliato could have milked things a bit more, but then I like my Puccini over the top at times, but no real complaints.


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## Woodduck

From photos, the Met's current Butterfly sets look absolutely stunning. Beautiful, spare Japanese design with a bit of modernist abstraction. I'll never attend this opera (too sad - I can barely stand to listen to it), but congratulations to them on a non-regie update of tradition. It can be done!


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## Itullian

*March 10, 2018
Semiramide by Gioachino Rossini*
This masterpiece of dazzling vocal fireworks makes a rare Met appearance-its first in nearly 25 years-with Maurizio Benini on the podium. The all-star bel canto cast features Angela Meade in the title role of the murderous Queen of Babylon, who squares off in breathtaking duets with Arsace, a trouser role sung by Elizabeth DeShong. Javier Camarena, Ildar Abdrazakov, and Ryan Speedo Green complete the stellar cast


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## Pugg

I am going like now watching it in two hours. :angel:


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## Itullian

Good Semiramide if you like that sort of thing.
But why does the orchestra sound so anemic?


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## Woodduck

Itullian said:


> Good Semiramide if you like that sort of thing.
> But why does the orchestra sound so anemic?


Because it isn't Wagner?


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## Itullian

Woodduck said:


> Because it isn't Wagner?


ha, no. 
I've heard Rossini sound much more rich than today.


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## Woodduck

I enjoyed _Semiramide_ more than I expected to. I'm not generally keen on Rossini as a composer of serious opera - if an opera in which every male plus one transvestite is in love with a queen who's actually the mother of one of them qualifies as serious (yeah, I know, it's "opera _seria_"...).

Two singers in today's cast were masters of Rossini's killer coloratura: mezzo Elizabeth DeShong and tenor Javier Camarena. DeShong's voice was tonally rich and clear and handled with assurance from its contralto-like depths to its soprano-like top, and her dramatic intensity never compromised her vocally. A dazzling performance. Camarena was similarly confident in the most intricate music, and his high notes were mind-blowing. Angela Meade was good, though my misgivings about her big vibrato in bel canto repertoire have been stated before (recalling that Sutherland sang Semiramide with the requisite clarity - but it would have been a great role for Callas, and it's too bad she never performed any of it except "Bel raggio"). Baritone Ildar Abdrazakov, though he reportedly enjoys singing bel canto roles, sounded resonant but rough and vibrato-ridden, with a lot of his music coming across as pitchless growling and rumbling.

While I haven't exactly been converted to opera seria fanhood, I did come away respecting Rossini's skill in the genre as well as happy to have discovered the stunning singing of a superb mezzo-soprano.


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## Rossiniano

Well like Woodduck I was also pleasantly surprised by the _Semiramide_ broadcast. I was able to see the HD Transmission performance in a very comfortable almost sold out theatre. I went into the performance expecting very little, and perhaps that was the reason that I was astonished by the results.

Let me first state the main downside, and this I feel was the reason for Itullian's complaints regarding the orchestra not sounding as alive as Rossini's brilliant orchestration customarily does. I lay the main fault at Maestro Benini. Not only did he not bring out the best in Rossini, but his cuts revealed a lack of respect for the symmetry and balance that is the hallmark of Rossini's style. Plus, why did he institute a _più mosso _at virtually every final cadence? There is already enough excitement written into such passages and to further energize such seactions smacked of too much of a good thing. The result was that more actually sounded like less.

The smaller roles were all done quite nicely and especially the Oroe of Ryan Speedo Green. Ilda Abdrazakov was a menacing Assur who got around most or the coloratura unscathed. Elizabeth DeShong sounded like a true contralto that should be the Arsace of choice as opposed to the usual mezzo with only a passable lower register and Indeed the shear power of her voice in the vicinity of middle C was indeed quite impressive. This was the first time that I had heard her and was quite impressed. Still, by a slight margin Javier Camarena was even more astounding in the somewhat peripheral tenor role of Idreno. From his embellished opening phrase to the conclusion of his final aria he was astonishing not only with his clarion high notes but also his impeccable handling of the florid challenges thrown his way by Rossini. It must be remembered that the tenor's first act aria was cut during the initial run of performances in 1823 because of its extreme difficulty. It seemed like a cakewalk for Camarena.

This brings us to the title role. It was from Angela Meade that I expected very little and especially in light of her recent _Norma_ broadcast. (See my comments in the "Angela Mead as Semiramide" thread.) However, she seemed to have her unruly voice mostly under control. There were a few passages of smudged or inaccurate coloratura such as in the initial statement of "Dolce pensiero", but she nailed things for the most part. She was for me the most pleasant surprise of the afternoon.

So in summation an enjoyable afternoon and a good way to spend a rainy day. In spite of any shortcomings the the exuberance that is the hallmark of Rossini's style overcame all in the final analysis.


----------



## Pugg

We had a wonderful evening, I'll give to you too step in great predecessor like Sutherland to sing this role.


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## Rossiniano

Being a _Semiramide_ fanatic, I recorded the MET broadcast and had the opportunity to listen and concentrate solely on the musical aspects of the performance without being distracted by the visual components. In general I stand by my original assessment. Abdrazakov if anything seemed more impressive on repeated hearing and I noticed a few more missteps by Mead and her voice sounded a tad more shrill via my sound system compared to the theatre system, but she still sounded better than on other recent occasions. Again the fly in the ointment was Benini who should learn to trust the composer's original tempo markings. While the score was not overly trimmed a few less internal cuts would have benefitted the situation. At least he did follow the suggestion of the late Philip Gosset in several places where choral sections were cut so as to preserve the orchestral introductions to those pieces with the results being structures that mirrored similar situations from other Rossini scores. This is something that Bonynge failed to do in the recording with Sutherland and Horne.


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## Itullian

*March 17, 2018
Elektra by Richard Strauss*
Christine Goerke sings her first Elektra at the Met in Patrice Chéreau's landmark production, a sensation at its Met premiere last spring, which the Wall Street Journal called "revolutionary … a triumph on all fronts." Yannick Nézet-Séguin conducts Strauss's shattering score, a tour de force for the singers and the orchestra alike.


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## Woodduck

No comments yet on Elektra?

Maybe tomorrow...


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## mountmccabe

Going back to _Semiramide_ for a bit, I mostly agree with what others have written.

I'm starting to see the "rare opera only put on with the right singers" as an insult. I really felt it with this one; the only draw was the singing, and when it was less than extraordinary then that's nothing much left.

I agree that the orchestra sounded weak. Maybe I should just avoid this style Rossini.


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## ldiat

from instagram: metoperaí ¼í¾¡í ¼í¾¢í ¼í¾  Get ready for a rollicking ride when the Met meets the Coney Island boardwalk with Mozart's CosÃ¬ fan tutte!


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## JosefinaHW

In response to Post No. 608: I was so annoyed when I received the announcement from the Met about that type of setting for Cosi!!! I ADORE most of the music to that opera, although I think the music is wasted on the libretto; most of the music is so beautiful it deserves a much more profound libretto, IMO, of course. Then on top of the lousy story-line, the producer/director have to trash the piece up even more with tacky costumes and cotton candy. Even worse, you know there's gonna' be some terribly awkward adolescent scene under the boardwalk! :scold:


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## Pugg

JosefinaHW said:


> In response to Post No. 608: I was so annoyed when I received the announcement from the Met about that type of setting for Cosi!!! I ADORE most of the music to that opera, although I think the music is wasted on the libretto; most of the music is so beautiful it deserves a much more profound libretto, IMO, of course. Then on top of the lousy story-line, the producer/director have to trash the piece up even more with tacky costumes and cotton candy. Even worse, you know there's gonna' be some terribly awkward adolescent scene under the boardwalk! :scold:


I saw some pictures and I do have cinema tickets, not sure what to do. 
Stay in or just dive in and sit it trough.


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## ldiat

JosefinaHW said:


> In response to Post No. 608: I was so annoyed when I received the announcement from the Met about that type of setting for Cosi!!! I ADORE most of the music to that opera, although I think the music is wasted on the libretto; most of the music is so beautiful it deserves a much more profound libretto, IMO, of course. Then on top of the lousy story-line, the producer/director have to trash the piece up even more with tacky costumes and cotton candy. Even worse, you know there's gonna' be some terribly awkward adolescent scene under the boardwalk! :scold:


and on the promo film i watched there is a "fire/flame Dancer"


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## Woodduck

_Elektra._ Am I the only one who heard/saw it?

I wasn't terribly impressed by what came over my radio. Christine Goerke was the main attraction, and she's apparently considered one of the best (maybe the best) dramatic soprano presently taking on roles like Elektra and Brunnhilde. Her voice is powerful and steady, with a full low register, and her musical and dramatic instincts are fine. But something weird happens to her vibrato from about E or F up to B and C. It's not a wobble; the pulsation is quick, but the span of pitch is wide, and it vibrates below the sung pitch, making her intonation sound flat - painfully so on the highest notes, which really _were_ flat. The effect of these high notes on me was akin to listening to someone running a chain saw, and the refreshingly beautiful, Viennese-waltzy interlude of the "recognition scene," so desperately needed in this crazy opera, was spoiled. I dreamed nostalgically of someone named Birgit and her silver spearpoint high Cs...

The other ladies - Elza van den Heever as Chrysothemis and Michaela Schuster as Klytemnaestra - were very good if not phenomenal. The Orest, Mikhail Petrenko, sounded threadbare and unresonant; perhaps he was unwell, although no announcement was made. The conducting was fine as far as I could tell; it's such a frantically busy score, there's just too much to pay attention to, but the energy didn't flag.

I gather that the physical production by Patrice Chereau, spare, modern, grim and gray, impresses. But on a purely musical level, this opera needs a phenomenal cast to make me care. I'm sympathetic to the sentiments expressed by the first Klytemnaestra, Ernestine Schumann-Heink: "I will never sing it again. _Es war furchtbar!_ We were a set of madwomen. The music is maddening...There is nothing beyond _Elektra._ Music can go no further... We have come to a full stop. I believe Strauss himself sees it." Strauss did see it, of course, and he immediately set about finding a logical setting for the schmaltzy Viennese waltz tunes that somehow crept into _Salome_ and _Elektra._


----------



## Bonetan

Woodduck said:


> _Elektra._ Am I the only one who heard/saw it?
> 
> I wasn't terribly impressed by what came over my radio. Christine Goerke was the main attraction, and she's apparently considered one of the best (maybe the best) dramatic soprano presently taking on roles like Elektra and Brunnhilde. Her voice is powerful and steady, with a full low register, and her musical and dramatic instincts are fine. But something weird happens to her vibrato from about E or F up to B and C. It's not a wobble; the pulsation is quick, but the span of pitch is wide, and it vibrates below the sung pitch, making her intonation sound flat - painfully so on the highest notes, which really _were_ flat. The effect of these high notes on me was akin to listening to someone running a chain saw, and the refreshingly beautiful, Viennese-waltzy interlude of the "recognition scene," so desperately needed in this crazy opera, was spoiled. I dreamed nostalgically of someone named Birgit and her silver spearpoint high Cs...


I did not hear the performance, but this is not the 1st time I have heard that Goerke's top has become unattractive & problematic. I've never heard such a vivid description though, so many thanks for that Woodduck! I hope she can correct it because the Met has huge plans for her & we can't have another poorly sung Met Brünnhilde! Am I right???

Here's a review that echoes your feelings: http://parterre.com/2018/03/02/the-mania-event/


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## ldiat

ldiat said:


> and on the promo film i watched there is a "fire/flame Dancer"


it reads 2017-2018 met season from dress rehearsal.. can t find flame dancer


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## Woodduck

Bonetan said:


> I did not hear the performance, but this is not the 1st time I have heard that Goerke's top has become unattractive & problematic. I've never heard such a vivid description though, so many thanks for that Woodduck! I hope she can correct it because the Met has huge plans for her & we can't have another poorly sung Met Brünnhilde! Am I right???
> 
> Here's a review that echoes your feelings: http://parterre.com/2018/03/02/the-mania-event/


Some of the comments after that review speculate that Goerke may be headed (or ought to head) for mezzo or even contralto territory. From what I heard on Saturday, that makes sense. She does have the solid low voice for it. Fricka, Klytemnaestra, even Erda should suit her, and then there's Carmen, Dalila, Amneris, etc. Moving down might be tough on the ego, but others have done it gracefully, notably Regina Resnik.


----------



## Bonetan

Woodduck said:


> Some of the comments after that review speculate that Goerke may be headed (or ought to head) for mezzo or even contralto territory. From what I heard on Saturday, that makes sense. She does have the solid low voice for it. Fricka, Klytemnaestra, even Erda should suit her, and then there's Carmen, Dalila, Amneris, etc. Moving down might be tough on the ego, but others have done it gracefully, notably Regina Resnik.


Isn't it fascinating that some hear a singer who is the best in her repertoire & others hear a singer who is in the wrong repertoire altogether?? Even more fascinating is that she was singing lyric coloratura rep before her vocal crisis. This voice is all over the map!

If this issue with her top is how her voice functions, rather than a technical issue, I think you're correct & she would be better served moving down.


----------



## Woodduck

Bonetan said:


> Isn't it fascinating that some hear a singer who is the best in her repertoire & others hear a singer who is in the wrong repertoire altogether?? Even more fascinating is that she was singing lyric coloratura rep before her vocal crisis. This voice is all over the map!
> 
> If this issue with her top is how her voice functions, rather than a technical issue, I think you're correct & she would be better served moving down.


It could turn out that her move into dramatic soprano rep was a bad idea, which would be a shame, but she wouldn't be the first to yield unwisely to that temptation. Deborah Voigt, imo, shouldn't have taken on Isolde and Brunnhilde even without the additional problem of the weight loss.

It's perhaps no slam against Goerke to say that she's a victim of the sheer scarcity of sopranos capable of doing these big roles. For all I know she may actually be the best Brunnhilde around right now. I hope she's in good shape for next season's _Walkure,_ or her scene with Eva-Maria Westbroek (Sieglinde) will give us some curiously contrasting vibratos!


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## JosefinaHW

Pugg said:


> I saw some pictures and I do have cinema tickets, not sure what to do.
> Stay in or just dive in and sit it trough.


I would never suggest that you not go to a performance, unless I thought it would be deeply disturbing. You can always close your eyes if it gets that bad. By the way, I am still hoping that someday you will watch again the ritualized performances of the St. Matthew and St. John Passions!


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## Pugg

JosefinaHW said:


> I would never suggest that you not go to a performance, unless I thought it would be deeply disturbing. You can always close your eyes if it gets that bad. By the way, I am still hoping that someday you will watch again the ritualized performances of the St. Matthew and St. John Passions!


From the top of my head we have at least 3 different performance on the Mezzo and the Brava/ Stingray channel. 
And we are going to see one in real, with the parents and the in-laws.


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## JosefinaHW

Pugg said:


> From the top of my head we have at least 3 different performance on the Mezzo and the Brava/ Stingray channel.
> And we are going to see one in real, with the parents and the in-laws.


Is it a performance by the Berlin Philharmonic? With Mark Padmore and Magdalena Kozena?


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## Pugg

JosefinaHW said:


> Is it a performance by the Berlin Philharmonic? With Mark Padmore and Magdalena Kozena?


Not that I am aware off, most are from the Netherlands, but if I let you know.


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## Itullian

*March 24, 2018
Turandot by Giacomo Puccini*
Puccini's grand spectacle of legendary China stars Martina Serafin in the role of the ice princess and Aleksandrs Antonenko as the unknown prince who must thaw her heart or die. Maria Agresta, Hei-Kyung Hong, and James Morris are among the other remarkable artists featured in this cherished Franco Zeffirelli production, led by Marco Armiliato


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## Woodduck

Turandot.

Good conducting. Very fine Liu sung by Guanqun Yu. Martina Serafin's Turandot was OK except on loud high notes (yes, you're supposed to laugh). Marcelo Alvarez is no longer OK on any notes and should retire. I'd sooner have heard "Nessun dorma" sung by Andrea Boccelli. Even popera is better than flopera.

If this is the best the Met can offer the ears of the world on a Saturday we may as well have bombs-away John Bolton make Lincoln center his first target. Or is it too close to Trump Tower (or not close enough)?


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## Itullian

^^^He sounded pretty bad to me too.


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## Rossiniano

The orchestra, chorus, and conducting were the best part. I thought that it was just me regarding Alvarez. When Calaf makes his entrance I always want to hear Franco Corelli and when it is not he I always feel disappointed! To me the Liù sounded a bit too unsteady in "Signore ascoltami", but improved by the final act. When Serafin entered (and they made a point of saying no relation to Tullio!) it sounded as if someone cranked up the volume on my stereo! I guess loud is good for Turandot, or at least that is what is expected. This opera being one of my special operas, it cannot fail to move me. Therefore I enjoyed it in the final analysis.

Also, this not being a political forum I thought the Woodduck above meant to reference Michael Bolton. Well, he did attempt to sing "Nessun dorma"! As bad as it was, better that it be he than John!

Finally the quiz!!!!! First, obviously I knew that the second tenor was Corelli! . However, I can't believe the sleepless nights that the plot of _Turandot_ seems to have caused at least one and possibly two of the panelists! Shoot! It works! Even what Alfano did works! Plus, could not Puccini have wanted to try something different compared to his previous operas!!??! Yes, a heroine that is seen before she's heard as opposed to the opposite for starters and does not follow the usual profile. If one felt the need to rewrite the libretto of any operas to make them more cogent I can think of about a dozen others starting with _Il Trovatore_!


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## Woodduck

Rossiniano said:


> Finally the quiz!!!!! First, obviously I knew that the second tenor was Corelli! . However, I can't believe the sleepless nights that the plot of _Turandot_ seems to have caused at least one and possibly two of the panelists! Shoot! It works! Even what Alfano did works! Plus, could not Puccini have wanted to try something different compared to his previous operas!!??! Yes, a heroine that is seen before she's heard as opposed to the opposite for starters and does not follow the usual profile. If one felt the need to rewrite the libretto of any operas to make them more cogent I can think of about a dozen others starting with _Il Trovatore_!


Plenty of people have problems with the plot of Turandot. I mean, the pair of unlikely lovers practically get it on on top of Liu's coffin! To the extent that it works, it does because its opera - where, as Anna Russell says, you can do just about anything as long as you sing it.


----------



## Rossiniano

Woodduck said:


> Plenty of people have problems with the plot of Turandot. I mean, the pair of unlikely lovers practically get it on on top of Liu's coffin! To the extent that it works, it does because its opera - where, as Anna Russell says, you can do just about anything as long as you sing it.


Well even though Puccini MIGHT have revised things if he had lived the power of the music no mstter what the words moves me personally more than any other Puccini opera. Yes, virtually all the others have better plots (most had better sources to begin with) but Puccini was moving into a different territory musically, harmonically, orchestrally, etc. and _Turandot_ was a grand experiment for him. It is the last great Italian opera in my book (sorry if others disagree, but it's my book  ) the last of a long line of operas that spanned the 100 years from _Semiramide_ of 1823 which was the opera that set the base line standards for Italian Opera and whose roots can be traced through _Turandot_.


----------



## Woodduck

Rossiniano said:


> Well even though Puccini MIGHT have revised things if he had lived the power of the music no mstter what the words moves me personally more than any other Puccini opera. Yes, virtually all the others have better plots (most had better sources to begin with) but Puccini was moving into a different territory musically, harmonically, orchestrally, etc. and _Turandot_ was a grand experiment for him. It is the last great Italian opera in my book (sorry if others disagree, but it's my book  ) the last of a long line of operas that spanned the 100 years from _Semiramide_ of 1823 which was the opera that set the base line standards for Italian Opera and whose roots can be traced through _Turandot_.


Puccini was willing to try new ideas in harmony and orchestration all along, and _Turandot_ is not alone in being experimental. The _Trittico_ operas are strikingly different from his earlier works, and _La Fanciulla del West_ is similarly unique in its atmosphere. The exotic setting and strange story of _Turandot_ inspired some fascinating new sounds, notably that repeated bitonal chord that makes me think of an executioner's ax chopping of the heads of Turandot's suitors. The only part of the opera I don't like is Ping, Pang and Pong going on about nothing interesting. I also wonder if Puccini would have gone back and written a better transition into "Nessun dorma"; I find the existing lead-in awkwardly abrupt. We'll never know how he'd have handled the final scene; unlike a lot of people I think Alfano did a pretty good job, but I wish opera companies would use his original long version.


----------



## Rossiniano

Woodduck said:


> Puccini was willing to try new ideas in harmony and orchestration all along, and _Turandot_ is not alone in being experimental. The _Trittico_ operas are strikingly different from his earlier works, and _La Fanciulla del West_ is similarly unique in its atmosphere. The exotic setting and strange story of _Turandot_ inspired some fascinating new sounds, notably that repeated bitonal chord that makes me think of an executioner's ax chopping of the heads of Turandot's suitors. The only part of the opera I don't like is Ping, Pang and Pong going on about nothing interesting. I also wonder if Puccini would have gone back and written a better transition into "Nessun dorma"; I find the existing lead-in awkwardly abrupt. We'll never know how he'd have handled the final scene; unlike a lot of people I think Alfano did a pretty good job, but I wish opera companies would use his original long version.


I initially hated the Ping Pang Pong scene with the "Lago blu", but I have since have come to consider it essential to the scheme of things. It is definitely a bit of nessesary repose in the midst of so much turmoil. I also think Alfaro did a decent job and wish that his long version could be heard as well.


----------



## Star

I see Cosi fan Tutte is broadcast from the Met on Saturday. I note reviews are mixed. Has anyone actually seen this production yet?


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## JosefinaHW

Star said:


> I see Cosi fan Tutte is broadcast from the Met on Saturday. I note reviews are mixed. Has anyone actually seen this production yet?


Here are some YouTube clips, Star. I would imagine you've watched them, but just in case. I cannot understand how anyone clicked a "like" after the 2016 Glydebourne.


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## Pugg

JosefinaHW said:


> Here are some YouTube clips, Star. I would imagine you've watched them, but just in case. I cannot understand how anyone clicked a "like" after the 2016 Glydebourne.


Keep a open mind Josefina
We are going anyway, if it's that horrible we can always leave quietly.


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## JosefinaHW

Pugg said:


> Keep a open mind Josefina
> We are going anyway, if it's that horrible we can always leave quietly.


Oh Pugg, _Cosi_ is the first opera that I listened to and immediately loved--for the music, not the libretto, as I've said about a million times--so I am extremely sensitive about this work.


----------



## Pugg

JosefinaHW said:


> Oh Pugg, _Cosi_ is the first opera that I listened to and immediately loved--for the music, not the libretto, as I've said about a million times--so I am extremely sensitive about this work.


We had it on last night, Price and Troyanos, Stunning, capital S.


----------



## Star

JosefinaHW said:


> Here are some YouTube clips, Star. I would imagine you've watched them, but just in case. I cannot understand how anyone clicked a "like" after the 2016 Glydebourne.


Seems we're going to have fun with fire eaters and circus performers anyway. Reviews appear to fall into the 'love it' / 'hare it' category


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## DavidA

JosefinaHW said:


> Oh Pugg, _Cosi_ is the first opera that I listened to and immediately loved--for the music, not the libretto, as I've said about a million times--so I am extremely sensitive about this work.


Don't let it worry you. It is filled with some of the sublimest music ever written. But, after all, the plot of daft (but no dafter than many operas) and it is only an opera. Nothing to get upset about.


----------



## JosefinaHW

DavidA said:


> Don't let it worry you. It is filled with some of the sublimest music ever written. But, after all, the plot of daft (but no dafter than many operas) and it is only an opera. Nothing to get upset about.


Agreed re/ the music, just gorgeous. Imagine what the man could have done with great texts!


----------



## Itullian

*March 31, 2018
Così fan tutte by Wolfgang Amadeus Mozart*
A winning cast comes together for Phelim McDermott's clever vision of Mozart's comedy about the sexes, set in a carnivalesque, funhouse environment inspired by 1950s Coney Island-complete with bearded ladies, fire eaters, and a Ferris wheel. Manipulating the action are the Don Alfonso of Christopher Maltman and the Despina of Tony Award-winner Kelli O'Hara, with Amanda Majeski, Serena Malfi, Ben Bliss, and Adam Plachetka as the pairs of young lovers who test each other's faithfulness. David Robertson conducts.


----------



## Star

Just returned from the broadcast of Cosi fan tutte from the Met. That was different! But tremendously enjoyable - which is, I believe, the purpose of an evening at the opera. My first thoughts as late here


----------



## Rossiniano

I would love to get the take of others who saw the visuals of this production. They announced that the overture was staged and hence one would hear laughter and applause. Of course we also heard some applause during the second act that was not announced ahead of time when the audience applauded a bit prematurely at one point. However, we will blame Mozart for that!

All kidding aside, after what seemed to be bit of a rough start for both of the sisters things settled down and the performance was enjoyable. I once almost fell asleep during the second act of _Cosí_ years ago at the MET. Somehow I doubt that would happen during this production! At any rate, _Cosí_ is my least favorite of the DaPonte operas, but I rather enjoyed it more than I had expected this afternoon


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## Pugg

We loved it, nice singeing good acting, alas only the subscription holders in the public, so half empty house.


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## JosefinaHW

I'm glad you all enjoyed yourselves! I have no desire to see a boardwalk/circus setting with 1950s clothes, so for the time being when I want to watch the opera I'll put in the 2006 Glyndebourne.


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## Pugg

JosefinaHW said:


> I'm glad you all enjoyed yourselves! I have no desire to see a boardwalk/circus setting with 1950s clothes, so for the time being when I want to watch the opera I'll put in the 2006 Glyndebourne.


Let me know when, I bring the cake and some nibbles and soda. :angel:


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## JosefinaHW

Pugg said:


> Let me know when, I bring the cake and some nibbles and soda. :angel:


They broke the mold when they made you, Pugg! :kiss:


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## DavidA

I come from the belief that Cosi is one of the greatest operas ever written despite it's improbable plot. Of course, it's not alone in that among opera.
I thought it was a most innovative production which also did justice to what the story is all about. Yes the setting on Cony Island was ridiculous but opera is a ridiculous art form and Cosi may be played as a farce as it was here. I thought the ending particularly moving with the lovers realising their mistakes - the women having been seduced and the men getting in over their heads. One might argue that the staging was too busy for the music (but this had somewhat to do with a somewhat faceless and flaccid direction from the pit) but let's remember that Mozart - like most opera composers - was out to entertain an audience and he would have been delighted with the night. Opera is not a sacred art form and as long as the production interprets (and not hinders) what the music has to say I'm game for a different take. One thing - it was never boring.
The singing was good without being outstanding - thought it a bit loud and unvaried but this may have been due to Mozart in a very large house. The acting was excellent and the circus troop were - interesting!
What was incredibly frustrating was the ability of our cinema - one of Cineworld's chain - to pick up the broadcast. We missed the very beginning and then it appeared without subtitles. It continued this way then during Florilegia's great aria went down and then reappeared with subtitles. This was most annoying but really enjoyed the final hour when everything was working. You would have thought a leading cinema brand wold have properly trained projectionists, but as the guy sitting next to me said, "They only seem to know how to switch it on and off!"


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## Itullian

*April 7, 2018
Lucia di Lammermoor by Gaetano Donizetti*
The role of the fragile title heroine who teeters between love and madness is performed by soprano Olga Peretyatko-Mariotti, who has impressed audiences with dazzling bel canto portrayals at the Met. Vittorio Grigolo takes on the role of her lover in this chilling production by Tony Award-winning director Mary Zimmerman. Roberto Abbado conducts.


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## Bellinilover

I love Vittorio Grigolo, but Olga Peretyatko's appeal is lost on me, unfortunately. The baritone (Massimo something? I'd never heard of him before) sounded awfully flat in spots.

I'm hoping that LUCIA I'm seeing tomorrow at Virginia Opera will be better than this broadcast.


----------



## Rossiniano

Well, this was better than the first performance that was also broadcast albeit online. Olga P-M barely slithered up to the high D before slithering down at the end of her aria and the duet with Enrico. The D at the end of the second act could barely be heard, but seemed to be sustained longer. I like the fact that she did not take the high option at the end of the cadenza as the lower ending makes more sense in the context of things. Regarding the cadenza it would have been better to use the traditional version instead of adding a couple of extra "leitmotif-like" themes which sounded totally out of place. Of course based on what came before I did not expect her to sustain the E-flat at the end of the mad scene and she didn't. I hate to be focusing on the climactic high notes, but this is what Lucia has always been known for. Still, if she eliminated the high notes and the performance was advertised as being more or less "come scritto" along with the glass harmonica being the focal factors it would have been a more satisfying performance as the high notes aside her performance was decent. 


As mentioned by Bellinilover the baritone sounded a bit challenged at times. Grigolo sounded colorful of voice and dramatic in quality, but I also detected a strained quality that I hope was due to how the microphone picked up his voice. The conducting, a couple of extra cuts aside, was decent in a quite dynamic manner. The new version of the glass harmonica came through loud and clear which was not always the case in the past where due to the size of the venue the MET doubled it with the traditional flute. Finally, I wish the MET would use a more accurate score. In the final bars at the words "Il Nume in ciel" important brass parts fail to appear and it robs the ending of an important underpinning that adds support to the voice as opposed to the orchestra remaining silent. 


The audience seemed to enjoy the show.


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## Itullian

^^^^^ I agree with this review.
I wasn't crazy about the tenor or the Lucia.
They both sounded strained to me.
I liked the glass harmonica. Fittingly spooky.
The conducting was ok mostly and rose to
the occasion at dramatic points.
7/10 I guess. mho


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## Woodduck

Saturday's _Lucia di Lammermoor_ proudly sustained the Met's reputation for vocal mediocrity. Everyone, to their credit, seemed to be working hard to be dramatic, but often that had unintended vocal consequences, with excessive pressure put on some light voices. Vittorio Grigolo, in what ought to be an ideal role for him, pushed his voice unmercifully, and at climaxes the tone, not very full-bodied to begin with, went out of focus and grated. The soprano with the fifty-syllable name had good expressive instincts and decent coloratura but not the vocal clarity one wants in bel canto. Her cadenza in the mad scene sounded hesitant and mechanical, like a student doing singing exercises (not helped by the interesting-sounding but sluggishly articulated glass harmonica), Moreover, her trills were awful, and her high notes were desperate efforts that tended not to arrive at the intended pitch. The baritone had a commanding vocal presence, if not much subtlety. The sextet was the expected yelling contest. The conductor sustained the dramatic tension well.

The Met's last stab at this opera could at least boast the clean, compact tenor tones of Joseph Calleja. Today's outing might have made for a good time in the theater, but on radio it was a thing which I can't imagine anyone wanting to hear twice.


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## Itullian

*April 14, 2018
Luisa Miller by Giuseppe Verdi*
Plácido Domingo adds yet another role to his legendary Met career in this rarely performed Verdi gem, a heart-wrenching tragedy of fatherly love. Sonya Yoncheva sings the title role opposite Piotr Beczała in the first Met performances of the opera in more than ten years. Bertrand de Billy conducts.


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## Itullian

Dang
Was that a screech I just heard?!


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## Woodduck

Itullian said:


> Dang
> Was that a screech I just heard?!


Probably................


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## Star

Just seen the broadcast. Oh my, brilliant evening. Viva Yoncheva, bless her! Viva Verdi!


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## Bellinilover

Star said:


> Just seen the broadcast. Oh my, brilliant evening. Viva Yoncheva, bless her! Viva Verdi!


I saw the HD broadcast, too, of what is one of my all-time favorite operas. Mostly wonderful, with the bass-baritone singing Wurm particularly impressive. I loved Piotr Beczala. My only problem was Domingo. As much as I loved him as a tenor, he really should pack it in, imo. He was an ideal Rodolfo decades ago, but Miller? I was actually cringing during his rather under-sung Act I aria, and thanking God he didn't go for the high note at the end of the cabaletta.


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## Bellinilover

Itullian said:


> Dang
> Was that a screech I just heard?!


If you're talking about Sonya Yoncheva -- yes, she made kind of an odd sound at the end of her duet with Domingo; it sounded like she had to clear her throat. Singers are human; even "the greats" of the past had momentary glitches.


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## Woodduck

Bellinilover said:


> I saw the HD broadcast, too, of what is one of my all-time favorite operas. Mostly wonderful, with the bass-baritone singing Wurm particularly impressive. I loved Piotr Beczala. My only problem was Domingo. As much as I loved him as a tenor, he really should pack it in, imo. He was an ideal Rodolfo decades ago, but Miller? I was actually cringing during his rather under-sung Act I aria, and thanking God he didn't go for the high note at the end of the cabaletta.


Domingo is amazing for 77, but he's no baritone. Good Verdi baritones are in short supply, but surely the Met should do its best to find them and put musical excellence over family loyalty. There are certainly character parts Domingo could play, just as some other superstars have done. Giovanni Martinelli, a great Calaf in _Turandot_ in his prime, sang the emperor at the age of 82.


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## Pugg

Star said:


> Just seen the broadcast. Oh my, brilliant evening. Viva Yoncheva, bless her! Viva Verdi!





Bellinilover said:


> I saw the HD broadcast, too, of what is one of my all-time favorite operas. Mostly wonderful, with the bass-baritone singing Wurm particularly impressive. I loved Piotr Beczala. My only problem was Domingo. As much as I loved him as a tenor, he really should pack it in, imo. He was an ideal Rodolfo decades ago, but Miller? I was actually cringing during his rather under-sung Act I aria, and thanking God he didn't go for the high note at the end of the cabaletta.


Bless you both, we had a wonderful evening too, even with Domingo.


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## DavidA

Bellinilover said:


> I saw the HD broadcast, too, of what is one of my all-time favorite operas. Mostly wonderful, with the bass-baritone singing Wurm particularly impressive. I loved Piotr Beczala. My only problem was Domingo. As much as I loved him as a tenor, he really should pack it in, imo. He was an ideal Rodolfo decades ago, but Miller? I was actually cringing during his rather under-sung Act I aria, and thanking God he didn't go for the high note at the end of the cabaletta.


I didn't know Luisa Miller apart from listening to my recording of the first Act which I had only just got round to playing the day before but I must confess I was stunned by this production. I agree Wurm was marvellous as was the Walter - the duet for the basses was wonderfully sung. Thought Beczala a bit of a bawler in comparison to some of the great tenors - the young Domingo, Bergonzi, etc - but he sang with passion and fervour. However, for me the star was Yoncheva who sang and acted the title role superbly. She made you believe in the character and the audience was in love with her. And her enthusiasm at the curtain calls! 
As for Domingo, it was his 149th role (can you believe it) but sadly his voice was a distinct liability in Act 1. He is not a true baritone - rather an over-the-hill tenor. However, his sheer craftsmanship and dramatic presence made the last act duet most effecting. But the audience obviously felt that just seeing a living legend on stage was enough and he got a huge ovation. Incidentally I notice that in old age he can no longer take a proper bow - possible back problems? 
However, none of this detracted from a really good evening which was made even better by a complimentary ticket! :lol:


----------



## Bellinilover

DavidA said:


> I didn't know Luisa Miller apart from listening to my recording of the first Act which I had only just got round to playing the day before but I must confess I was stunned by this production. I agree Wurm was marvellous as was the Walter - the duet for the basses was wonderfully sung. Thought Beczala a bit of a bawler in comparison to some of the great tenors - the young Domingo, Bergonzi, etc - but he sang with passion and fervour. However, for me the star was Yoncheva who sang and acted the title role superbly. She made you believe in the character and the audience was in love with her. And her enthusiasm at the curtain calls!
> As for Domingo, it was his 149th role (can you believe it) but sadly his voice was a distinct liability in Act 1. He is not a true baritone - rather an over-the-hill tenor. However, his sheer craftsmanship and dramatic presence made the last act duet most effecting. But the audience obviously felt that just seeing a living legend on stage was enough and he got a huge ovation. Incidentally I notice that in old age he can no longer take a proper bow - possible back problems?
> However, none of this detracted from a really good evening which was made even better by a complimentary ticket! :lol:


A couple points. First, I have a hard time listening to Miller's music without "hearing" Sherrill Milnes singing it (he's Miller on both the DVD and the audio recording I have). Second, I actually found Domingo hard to _watch_ because of the limited mobility you mention; I just found him physically rather inexpressive. (Incidentally, I'd object to the idea that Miller is supposed to be _that old_; since people generally married/had children at quite young ages back then, I'd put his age more at 50-55.) Third, I agree about Yoncheva, though I did notice that her highest notes are sort of wiry--but then, so were those of Renata Scotto (another great Luisa), even when she was in her prime. Last, I didn't think anyone could ever equal James Morris as Wurm, but Dmitry Bolossielsky (sp) did today.


----------



## bman40

*Luisa*



Bellinilover said:


> A couple points. First, I have a hard time listening to Miller's music without "hearing" Sherrill Milnes singing it (he's Miller on both the DVD and the audio recording I have). Second, I actually found Domingo hard to _watch_ because of the limited mobility you mention; I just found him physically rather inexpressive. (Incidentally, I'd object to the idea that Miller is supposed to be _that old_; since people generally married/had children at quite young ages back then, I'd put his age more at 50-55.) Third, I agree about Yoncheva, though I did notice that her highest notes are sort of wiry--but then, so were those of Renata Scotto (another great Luisa), even when she was in her prime. Last, I didn't think anyone could ever equal James Morris as Wurm, but Dmitry Bolossielsky (sp) did today.


I watched the broadcast yesterday, and I agree with most comments above, I felt Placido was good - but his performance seems a bit flat. I too heard the 'screech' from Ms. Yoncheva. I found the last act very moving, and well done.


----------



## DavidA

bman40 said:


> I watched the broadcast yesterday, and I agree with most comments above, I felt Placido was good - but his performance seems a bit flat. *I too heard the 'screech' from Ms. Yoncheva. *I found the last act very moving, and well done.


Must confess I didn't notice this. Just noticed how much of a genius Verdi was at creating characters with music.


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## Guest

I didn't notice the screech but I heard Domingo clear his throat in the first act. This was my first live stream ever, and I enjoyed it immensely. The final act was very powerful, particularly when Rodolfo sings 'My God!' when he realises that he's poisoned Luisa even though she's innocent. 

I found Yoncheva fine for a modern singer, but I prefer Ricciarelli in this.


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## Itullian

*April 21, 2018
The Exterminating Angel by Thomas Adès*
Following the rapturous response to his last opera, The Tempest, the Met presents the American premiere of Thomas Adès's The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name. Hailed by the New York Times at its 2016 Salzburg Festival premiere as "inventive and audacious … a major event," The Exterminating Angel is a surreal fantasy about a dinner party from which the guests can't escape. Tom Cairns, who wrote the libretto, directs the new production, and Adès conducts his own adventurous new opera.


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## Woodduck

On radio the first five minutes do not bode well. Awful music.


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## Woodduck

10:25, PST. This is not going to win friends for opera. People who think opera is a lot of yelling and screaming are having their case made for them.


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## Itullian

Seems like they'll do anything to avoid a melody.

What's all the yelling and screaming about? :lol:


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## Woodduck

Here's what Ades says about the music: "All the characters on the stage think they’re at an elegant party, so the music needs to allow them to enjoy the party. There are waltzes, there’s melody. There should be a feeling of elegance—it’s supposed to be glittering. But at the same time, the audience has a sense that they’ve entered a kind of vortex of horror, without knowing it, so the music also has these undertows and distortions. It should be enjoyable but also disconcerting."


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## Itullian

Sounds like every other modern opera to me.


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## Woodduck

I gave up after 40 minutes. 40 minutes I'll never get back.


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## Sloe

I heard the Exterminating Angel on radio when it premièred did not know it was that bad. Thought it was rather good with exciting and engaging music. I especially liked the ending.


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## Pugg

Woodduck said:


> I gave up after 40 minutes. 40 minutes I'll never get back.


That long Mr Wood


----------



## Woodduck

Pugg said:


> That long Mr Wood


I had enough housework to fill the time.


----------



## Rossiniano

Sloe said:


> I heard the Exterminating Angel on radio when it premièred did not know it was that bad. Thought it was rather good with exciting and engaging music. I especially liked the ending.


Good to hear a different opinion! Yes! The best part was the abrupt ending. That much I will agree with! It was effective. I actually listened to most of the first act... got a headache from hearing the high soprano incessantly chirping away. I then ran some errands and caught most of the third act. More of the same. I could not understand any of the words. The only word that came through clearly in both acts that I heard was "harpsichord".

As Itullian said... it sounds like all the other modern operas to me. At least I gave it a chance and returned for the final act... in that regard Mr. Woodduck used his time more wisely... of that I'm sure! Still, at least I got those errands done yesterday afternoon so it was not a total loss of my time!


----------



## Sloe

Rossiniano said:


> Good to hear a different opinion! Yes! The best part was the abrupt ending. That much I will agree with! It was effective. I actually listened to most of the first act... got a headache from hearing the high soprano incessantly chirping away. I then ran some errands and caught most of the third act. More of the same. I could not understand any of the words. The only word that came through clearly in both acts that I heard was "harpsichord".
> 
> As Itullian said... it sounds like all the other modern operas to me. At least I gave it a chance and returned for the final act... in that regard Mr. Woodduck used his time more wisely... of that I'm sure! Still, at least I got those errands done yesterday afternoon so it was not a total loss of my time!


Way better than Sciarrono's operas according to me. Even better than Kaja Sariaho. And not all modern operas sound the same. If it har ont problem that it also share with Most contemporary operas is that it is only the orchestra that stands for the memorable parts while the singers don't have any memorable parts.


----------



## Rossiniano

Sloe said:


> Way better than Sciarrono's operas according to me. Even better than Kaja Sariaho. And not all modern operas sound the same. If it har ont problem that it also share with Most contemporary operas is that it is only the orchestra that stands for the memorable parts while the singers don't have any memorable parts.


I totally agree that there is usually more emphasis on the orchestra with modern works and that's where most of the interest lies. Of course that criticism was aimed at Mozart, Rossini, and Wagner among many others in times past. Still, I had higher hopes for this piece since so much press was given to the fact that the highest written note ever sung on stage at the MET was a feature of the lwork. That made me think that there might be a greater emphasis in the vocal aspects of the score. All that I heard was relentless chirping by the operatic soprano character in the upper register that turned out to be way too much of a not so good thing. The other singers simply chirped their piercing sounds in a lower register.


----------



## Woodduck

Rossiniano said:


> I totally agree that there is usually more emphasis on the orchestra with modern works and that's where most of the interest lies. Of course that criticism was aimed at Mozart, Rossini, and Wagner among many others in times past.


The vocal writing in a lot of modern operas really doesn't flatter the voice or seduce the ear. As you and Sloe point out, the shifting of the musical focus to the orchestra in the 19th century certainly started this trend, and there are passages in Wagner and even in Italian opera that can sound vocally ungainly unless the singer takes care to sing with fine phrasing and legato (and of course some things are not meant to sound beautiful). Strauss pushed this tendency even further, but he still knew how to write flatteringly for singers when he chose to.

It isn't merely the problem of competition from the orchestra, as it could be in late Romantic opera. Too much modern music is simply unvocal in its melodic angularity, its extreme tessitura, and its heedless setting of words that renders them virtually unpronounceable and indecipherable. The old composers cut their teeth in an operatic milieu and knew well the works of their predecessors, and they understood the demands they were making on singers. It seems pretty evident that a lot of modern composers don't have similar experience to teach them what works and what doesn't.


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## Barelytenor

So. Massenet's _Cendrillon_ this Saturday in my local theater. Worth going?

It's not an opera I know. What should I be looking/listening for?

Kind regards, :tiphat:

George


----------



## Barelytenor

Itullian said:


> *April 21, 2018
> The Exterminating Angel by Thomas Adès*
> Following the rapturous response to his last opera, The Tempest, the Met presents the American premiere of Thomas Adès's The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name. Hailed by the New York Times at its 2016 Salzburg Festival premiere as "inventive and audacious … a major event," The Exterminating Angel is a surreal fantasy about a dinner party from which the guests can't escape. Tom Cairns, who wrote the libretto, directs the new production, and Adès conducts his own adventurous new opera.


I bought the DVD of _The Tempest_ and my own response was less than "rapturous." I made it halfway through the first act. I'm not sure Ades can write a decent melody. And the librettist Meredith Oakes positively butchered Shakespeare by producing blunt, rhyming couplets that rapidly become extremely tiresome to the listener.

Kind regards, :tiphat:

George


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## Thomyum2

I was able to attend a performance of The Tempest at the Santa Fe Opera (I think it was the US premier, if I remember correctly). While not exactly easy to listen to, I did think it was quite an impressive work - it reminded me a lot of Britten in spots and overall felt kind of like Britten 'on steroids'. I think it would be a tough opera to try to listen to from a recording - I think you really need to experience it live to get the full effect of both the music and the drama - so I'm not surprised by some of the reactions. I unfortunately missed the broadcast last weekend, but based on my first experience, I would like to hear and explore more of Ades' music.


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## DavidA

Woodduck said:


> I gave up after 40 minutes. 40 minutes I'll never get back.


I did switch the radio on when in the car and hastily switched it off again when I heard the screaming.


----------



## DavidA

Barelytenor said:


> So. Massenet's _Cendrillon_ this Saturday in my local theater. Worth going?
> 
> It's not an opera I know. What should I be looking/listening for?
> 
> Kind regards, :tiphat:
> 
> George


It looks sumptuous


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## Itullian

*April 28, 2018
Cendrillon by Jules Massenet*
"Glorious," raved the New York Times when Joyce DiDonato sang the title role of Cendrillon at the Royal Opera in 2011. "Her performance was thoroughly enchanting." Now, for the first time ever, Massenet's sumptuous take on the Cinderella story comes to the Met, with DiDonato starring in the title role. She is paired with mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the imperious Madame de la Haltière. Bertrand de Billy conducts Laurent Pelly's imaginative storybook production.


----------



## Star

Itullian said:


> *April 28, 2018
> Cendrillon by Jules Massenet*
> "Glorious," raved the New York Times when Joyce DiDonato sang the title role of Cendrillon at the Royal Opera in 2011. "Her performance was thoroughly enchanting." Now, for the first time ever, Massenet's sumptuous take on the Cinderella story comes to the Met, with DiDonato starring in the title role. She is paired with mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the imperious Madame de la Haltière. Bertrand de Billy conducts Laurent Pelly's imaginative storybook production.


Hope to make it


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## Barelytenor

*Massenet Cendrillon Preview on YouTube with Joyce Di Donato*






Less than one hour to go. I am pumped! In ca. 1978-79 I got to perform in the chorus of Dallas Opera with Frederica von Stade as _Cenerentola_ in the Rossini version, opposite Rockwell Blake as Don What'shisname (Don Octave?), Claudio Desderi as Dandini "il cavaliere," and the incomparable Paolo Montarsolo mugging and singing his tutu off as "Noi, Don Magnifico." I have loved the Rossini version ever since. But the Cendrillon is still pretty much a cipher to me. Should be a real treat!

So. Here's the film version, first bit, of Rossini's _La Cenerentola _as well on YouTube with (most of) the above-mentioned cast:






Kind regards, :tiphat:

George


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## Star

Some enchanted evening at Met broadcast of Cendrillon. Simply wonderful production, singing, costumes and some really good acting. And the wonderful French language. Great evening! Hope others enjoyed it as much as I did.


----------



## Sonata

Barelytenor said:


> Less than one hour to go. I am pumped! In ca. 1978-79 I got to perform in the chorus of Dallas Opera with Frederica von Stade as _Cenerentola_ in the Rossini version, opposite Rockwell Blake as Don What'shisname (Don Octave?), Claudio Desderi as Dandini "il cavaliere," and the incomparable Paolo Montarsolo mugging and singing his tutu off as "Noi, Don Magnifico." I have loved the Rossini version ever since. But the Cendrillon is still pretty much a cipher to me. Should be a real treat!
> 
> So. Here's the film version, first bit, of Rossini's _La Cenerentola _as well on YouTube with (most of) the above-mentioned cast:
> 
> 
> 
> 
> 
> 
> Kind regards, :tiphat:
> 
> George


That's so cool! Thanks for sharing


----------



## Rogerx

Star said:


> Some enchanted evening at Met broadcast of Cendrillon. Simply wonderful production, singing, costumes and some really good acting. And the wonderful French language. Great evening! Hope others enjoyed it as much as I did.


Thank you, the wife and I are going in two weeks on Monday seeing this in Antwerp, we live nearby and the afternoon suits older people better then evenings.


----------



## DavidA

Rogerx said:


> Thank you, the wife and I are going in two weeks on Monday seeing this in Antwerp, we live nearby and the afternoon suits older people better then evenings.


I hope there are some encore performances near us so I can catch up.


----------



## Barelytenor

I loved the production as well, so sumptuous and clever, all the walls and decor had the French text and colors from the original Perrault _fable._ The costumes and choreography of the women presenting themselves to the bored Prince were alone worth the price of admission, and then you got to see a reprise as they all tried to fit on the glass slipper. I loved the singing overall but I think Kathleen Kim stole the show as the Fairy Godmother. Her voice is on the small soubrette side but it has a real bite and resonance on those high notes which is both unusual and quite spectacular!

DO NOT DAWDLE if you want to see this one, I don't know about elsewhere but in these parts, at least, there is only one encore, and that is the following Wednesday evening (which of course is church choir rehearsal night everywhere in the Deep South of America).

PS I was also quite encouraged by the large number of children visible in the live Met audience, as well as a good showing at my local movie theater. The girl in front of me at the box office asked the cashier, "Tell me, are the Met operas subtitled?" and the cashier clearly had no idea, so I said, "Yes! They all are." and she said, "Oh, good, I'm so glad. Nobody likes opera anymore!" and then proceeded to buy a ticket to some stupid Avengers film. Duh-oh!

Kind regards, :tiphat:

George


----------



## Bonetan

Barelytenor said:


> The girl in front of me at the box office asked the cashier, "Tell me, are the Met operas subtitled?" and the cashier clearly had no idea, so I said, "Yes! They all are." and she said, "Oh, good, I'm so glad. Nobody likes opera anymore!" and then proceeded to buy a ticket to some stupid Avengers film. Duh-oh!


I find this offensive George! The Avengers films are awesome :lol:


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## Barelytenor

Rapiers at dawn! Or the first one to successfully sing through Act II of Tosca. Either way, I win!

Kind regards, :tiphat:

George


----------



## Star

Barelytenor said:


> I loved the production as well, so sumptuous and clever, all the walls and decor had the French text and colors from the original Perrault _fable._ The costumes and choreography of the women presenting themselves to the bored Prince were alone worth the price of admission, and then you got to see a reprise as they all tried to fit on the glass slipper. I loved the singing overall but I think Kathleen Kim stole the show as the Fairy Godmother. Her voice is on the small soubrette side but it has a real bite and resonance on those high notes which is both unusual and quite spectacular!
> 
> DO NOT DAWDLE if you want to see this one, I don't know about elsewhere but in these parts, at least, there is only one encore, and that is the following Wednesday evening (which of course is church choir rehearsal night everywhere in the Deep South of America).
> 
> PS I was also quite encouraged by the large number of children visible in the live Met audience, as well as a good showing at my local movie theater. The girl in front of me at the box office asked the cashier, "Tell me, are the Met operas subtitled?" and the cashier clearly had no idea, so I said, "Yes! They all are." and she said, "Oh, good, I'm so glad. Nobody likes opera anymore!" and then proceeded to buy a ticket to some stupid Avengers film. Duh-oh!
> 
> Kind regards, :tiphat:
> 
> George


I agree that Kathleen Kim stole the show both with her (fiendishly difficult) singing and her looks. Someone near me remarked "The sexiest Fairy Godmother ever!"

I was surprised at the number of children there, but the opera was so visually enchanting that they would have coped. It was also very funny visually.


----------



## Pugg

Rogerx said:


> Thank you, the wife and I are going in two weeks on Monday seeing this in Antwerp, we live nearby and the afternoon suits older people better then evenings.





DavidA said:


> I hope there are some encore performances near us so I can catch up.


I missed mime too, family matters, seeing it later this year in Den Haag as reprise.


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## Sonata

Pugg said:


> I missed mime too, family matters, seeing it later this year in Den Haag as reprise.


no reprises for me  our theatre shows the live run only.


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## Rogerx

Sonata said:


> no reprises for me  our theatre shows the live run only.


I am living on the border between Holland and Belgium, we go on a Monday afternoon two weeks later, half price and not being late home at night, the wife and I are not getting younger but still like to go out from time to time.


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## Itullian

*May 5, 2018
Roméo et Juliette by Charles Gounod*
Bartlett Sher's production of Gounod's sumptuous Shakespeare adaptation was a hit of the 2016-17 Met season ("a revelation" declared the Huffington Post). Now the sweeping tragedy returns with Ailyn Pérez and Bryan Hymel, both celebrated in French repertoire, as the star-crossed young lovers. Plácido Domingo conducts.

This is the last broadcast of this season friends. 
Thank you all for enjoying this thread :tiphat:


----------



## Itullian

Is this a popular opera? Doesn't come close to Faust.
Where's the beef?


----------



## nina foresti

Some might say it by-passes Faust (including me).
However, the tenor you are hearing is not the indisposed Bryan Hymel but rather Charles Castronova as Romeo (who sounds more like Otello).


----------



## Sloe

Itullian said:


> Is this a popular opera? Doesn't come close to Faust.
> Where's the beef?


It is probably the most popular and well known Romeo and Julia opera.
I think it is better than Faust as the opera is on top most of the time and is full of memorable parts.


----------



## Itullian

^^^Not one memorable melody.


----------



## Sloe

Itullian said:


> ^^^Not one memorable melody.


The opera contains Je veux vivre dans ca reve one of the most popular arias there is.


----------



## Woodduck

Itullian said:


> Is this a popular opera? Doesn't come close to Faust.
> Where's the beef?


It's a meal of pastries.


----------



## Woodduck

Charles Castronova sounds like a baritone. He's also relentlessly loud, although he made a diminuendo at the end of "Ah, leve-toi soleil," to prove he could do it.


----------



## Meyerbeer Smith

Semiramide - zombified in HD

I remember Semiramide being a LOT better. In its day, it was thought one of Rossini’s masterpieces - but you wouldn’t guess it from this production.

The singers are inadequate, the conducting sluggish, and the score cut. 

Result: 4 long and tedious hours of florid singing and conventional gestures.

It shouldn’t be boring. True, it was written for Venice, and it’s more conservative than the Naples works; the arias and duets look back to early Rossini, if not Handel. True, it suffers from pointless characters (Idreno, created to give the tenor something to do).

But there are fine passages (the S : Arsace duet in I) and powerful scenes (the Act I finale, the tomb scene). 

For it to work onstage, though, it has to be treated as theatre, rather than a concert in costume. What do we get? Fat people in silly hats standing and delivering - a stillborn drama.

It also seems elephantine because, paradoxically, it’s not big enough.

It should be spectacular : processions of Babylonians, foreigners, Indians, slaves, royal guards, satraps, princesses, and commoners, through magnificent temples, flowered bowers, and palace halls overlooking Babylon. It should be full of colour and movement. And trees.

Instead, it all looks like it takes place in Ninny’s tomb. Rows of muscle boys (and little old men) in short skirts and studded jerkins are planted there, in Rossini’s phrase, like artichokes.

As it is, this is a powerful soporific, and should come with a pharmaceutical warning.

Good news, though: Mark Elder’s Opera Rara recording comes out later this year.


----------



## nina foresti

Woodduck said:


> Charles Castronova sounds like a baritone. He's also relentlessly loud, although he made a diminuendo at the end of "Ah, leve-toi soleil," to prove he could do it.


That diminuendo was simply gorgeous in Ah! leve toi soleil" (who said there wasn't "one memorable melody?") The rest of his performance, as I said, sounded like he was doing Otello.


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## Itullian

^^^^That would be me 
And i stand by it :tiphat:


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## Itullian

Hello everyone and welcome to the 2018-2019 Metropolitan Opera broadcast season.
Here is the upcoming schedule. Mark your dates  Enjoy!
They are doing the whole Ring this year! YAY!

https://www.kusc.org/radio/programs/met-opera/


----------



## Woodduck

Itullian said:


> Hello everyone and welcome to the 2018-2019 Metropolitan Opera broadcast season.
> Here is the upcoming schedule. Mark your dates  Enjoy!
> They are doing the whole Ring this year! YAY!
> 
> https://www.kusc.org/radio/programs/met-opera/


Thanks. Time to mark my calendar.

Oops. Time to buy a calendar.


----------



## Itullian

And so it begins! This Saturday, 12-01- 2018

*December 1, 2018
Mefistofele by Arrigo Boito*
The spectacular Robert Carsen production returns to the Met for the first time since 2000, with bass-baritone Christian Van Horn as the diabolical title character, tenor Michael Fabiano as Faust, and soprano Angela Meade as Margherita. Mefistofele is the celebrated and only completed opera by Arrigo Boito-who famously collaborated with Verdi on the libretti for Otello and Falstaff.


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## pianoville

Itullian said:


> And so it begins this Saturday, 12-01- 2018
> 
> *December 1, 2018
> Mefistofele by Arrigo Boito*
> The spectacular Robert Carsen production returns to the Met for the first time since 2000, with bass-baritone Christian Van Horn as the diabolical title character, tenor Michael Fabiano as Faust, and soprano Angela Meade as Margherita. Mefistofele is the celebrated and only completed opera by Arrigo Boito-who famously collaborated with Verdi on the libretti for Otello and Falstaff.


Awesome! Where do I listen?


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## Itullian

pianoville said:


> Awesome! Where do I listen?


You can check the Mets site to find the radio station that broadcasts it in your area.
You can also hear it here.
https://www.kusc.org/


----------



## Itullian

It's Met time!


----------



## Itullian

The orchestra sounds great!


----------



## pianoville

Itullian said:


> It's Met time!


Strange, I can't find it. Is it finished already?


----------



## Itullian

Well, I really enjoyed that.
The orchestra and chorus sounded great.
I thought Van Horn was very good and Angela Meade was too.
Fabiano sounded full voiced if a little strained at the top notes.
I don't know what the production looked like, but I enjoyed the audio broadcast.
Nice to have the Met broadcasts back 

Waiting for Woodduck to check in.


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## Rossiniano

I had not listened to _Mefistofele_ in years so it was good to hear it. Tte chorus and orchestra were the real stars of the performance. Van Horn in the title role was quite good as well. Fabiano seemed to push too much and indeed sounded strained above the staff. I was disappointed in Angel Meade. She also sounded strained and wobbly as well. She did have a good trill for "L'altra notte", but did not have it under control. As an example the aria's final trill was delivered _piano_, but the last two notes... that is the concluding suffix... suddenly popped out _forte_... it made no sense other than to indicate a lack the ability to modulate her voice. In the final analysis the chorus saved the day and they are to be commended.


----------



## Woodduck

I agree that the chorus and orchestra (and conducting) were fine. The cast was pretty good, but only in the title role better than that. Mefistofele isn't a subtle character and Van Horn roared convincingly. Fabiano is sounding worn these days and is ruining the high climactic phrases, but the basic voice remains pleasing. I'll never get past the annoying vibratos of so many of our leading female stars, and Angela Meade might as well be trilling half the time. But Jennifer Check as Helen sounded even worse to me; I couldn't take more than a minute of her and turned the opera off in Act 4, missing the end.

From a vocal standpoint this mediocre cast didn't rival those on any of a number of recordings made when a major house like the Met was still able to assemble a company of great singers. If there are any of those out there, would they please call Peter Gelb and offer to work at reduced fees? I want to hear what Ira and Mary Jo sound like when they're reacting to the genuine article.

Apparently next week we get Puccini's _Trittico_ with pseudo-baritone Domingo as Gianni Schicchi.


----------



## Itullian

2nd week of Met broadcasts:

*December 8, 2018
Il Trittico by Giacomo Puccini*
Jack O'Brien's epic production of Puccini's triple bill features first-class casting: tenor Marcelo Álvarez and soprano Amber Wagner are the illicit lovers of Il Tabarro, with baritone George Gagnidze as the spurned husband; soprano Kristine Opolais sings the shattering title role of Suor Angelica, alongside mezzo-soprano Stephanie Blythe as the Principessa; and the ageless Plácido Domingo takes an unusual comedic turn in the baritone title role of Gianni Schicchi. The performances mark the centennial of the work's world premiere at the Met. Bertrand de Billy conducts.


----------



## wkasimer

Itullian said:


> 2nd week of Met broadcasts:
> 
> *December 8, 2018
> Il Trittico by Giacomo Puccini*
> Jack O'Brien's epic production of Puccini's triple bill features first-class casting: tenor Marcelo Álvarez and soprano Amber Wagner are the illicit lovers of Il Tabarro, with baritone George Gagnidze as the spurned husband; soprano Kristine Opolais sings the shattering title role of Suor Angelica, alongside mezzo-soprano Stephanie Blythe as the Principessa; and the ageless Plácido Domingo takes an unusual comedic turn in the baritone title role of Gianni Schicchi.


If that's first-class casting, I'd hate to hear what second-class sounds like.


----------



## Woodduck

wkasimer said:


> If that's first-class casting, I'd hate to hear what second-class sounds like.


One needs a "Plan B" for Saturdays nowadays.


----------



## Itullian

It's Met day! 
10:00 pst


----------



## pianoville

Love the orchestra!


----------



## pianoville

And the extremely moving ending of Suor Angelica gets ruined by early applause...


----------



## Itullian

pianoville said:


> And the extremely moving ending of Suor Angelica gets ruined by early applause...


Always the way, isn't it.


----------



## Rossiniano

pianoville said:


> And the extremely moving ending of Suor Angelica gets ruined by early applause...


Not to mention the ending of "O mio babbino caro"!!


----------



## Woodduck

Rossiniano said:


> Not to mention the ending of "O mio babbino caro"!!


Two seconds of silence is unbearable. I expect some people broke out their ipads to check messages.


----------



## Itullian

Do Ira and Mary Jo ever have a critical word to say?

Anyway, I'm no expert on Trittico, I don't care for Puccini, I thought everything sounded ok.
And even though Domingo is no baritone, I guess he has earned the right to stretch a little.


----------



## Woodduck

Itullian said:


> Do Ira and Mary Jo ever have a critical word to say?
> 
> Anyway, I'm no expert on Trittico, I don't care for Puccini, I thought everything sounded ok.
> And even though Domingo is no baritone, I guess he has earned the right to stretch a little.


I didn't listen to all of _Suor Angelica,_ since the mixture of psychological torture and pious sentimentality is unappealing to me. Opolais sounded appropriately hysterical and a bit threadbare; the bloom is definitely off her voice. It occurs to me that Puccini likes that repeated four note figure that accompanies the first scene; he uses the same effect in _Tosca._ He may have filched the idea from the temple bells in _Parsifal._ Domingo seemed OK as Schicchi, where vocal timbre doesn't matter much. To my ears the best-sounding singer today was Amber Wagner in _Il Tabarro._ Nobody was awful, though there were awful notes here and there.

The Met premiere in 1918 was a star-studded affair with Claudia Muzio as Giorgetta, Geraldine Farrar as Sister Angelica, Giuseppe De Luca as Schicchi, and Florence Easton as Lauretta. Easton was an interesting choice for Lauretta, as she's generally classifed as a dramatic soprano and sang Brunnhilde to Melchior's Siegfried.


----------



## Woodduck

.............................


----------



## Rossiniano

Interestingly the only time that I have seen the components of Il Trittico in the theatre only Angelica and Schicchi were given. It was a satisfying double bill both in length and as a study in contrasts. Therefore I listened attentively to Il Tabarro as I had not heard the piece in quite a while. It probably could be described as a shabby mini shocker even though it is hardly as melodic as Puccini’s shabby little schocker. The performance seemed decent. 

Angelica came across as powerful. Opolais nailed the character even if she did sound a bit threadbare as was noted above. 

I casually listened to Schicchi but need to note that Domingo sounded most like the Donimgo with whom I am familiar in his final spoken words where the words were Italian but somehow they sounded Spanish in the same way that his English sounds Spanish. 

The part of the afternoon that I enjoyed the most was Gerald. Martin Moore hosting the quiz. I was the one screamingly La Cenerentola for the bracelet!!! It always makes me feel good when as on rare occasions happens with Jeopardy I know something that those more erudite than I don’t know.


----------



## Woodduck

Rossiniano said:


> I casually listened to Schicchi but need to note that Domingo sounded most like the Donimgo with whom I am familiar in his final spoken words where the words were Italian but somehow they sounded Spanish in the same way that his English sounds Spanish.


Heh heh. Placido is no linguist, for sure. People always made fun of his sung German in particular, but fortunately he improved it enough that non-natives don't care.

When they mentioned that this is his 50th year with the Met, I recalled hearing his broadcast debut as Cavaradossi opposite Birgit Nilsson in 1968. He sounded fantastic then and his vocal longevity is admirable. He just needs to stay away from Rigoletto, Iago and Falstaff.


----------



## Rossiniano

Woodduck said:


> Heh heh. Placido is no linguist, for sure. People always made fun of his sung German in particular, but fortunately he improved it enough that non-natives don't care.
> 
> When they mentioned that this is his 50th year with the Met, I recalled hearing his broadcast debut as Cavaradossi opposite Birgit Nilsson in 1968. He sounded fantastic then and his vocal longevity is admirable. He just needs to stay away from Rigoletto, Iago and Falstaff.


What is amazing is that he made his operatic debut in 1961! I first heard him in 1970 at the MET as Edgardo to Sutherland's Lucia and he had already sung the role in 1962 with Lily Pons in her farewelll performance! I recall that he had a bit of steel in his voice that night that seemed to indicate more dramatic roles in his future. Interestingly he performed with his arm in a sling as he had a bicycle accident a few days prior to the performance.

Of course, we all heard of his impending demise when he sang his first Otello! In fact one critic "proved" it with an analyis of some recital recording that was released after his debut as Otello. The rub was that the recital, was recorded _before_ he ever sang a note of Otello. It only proves how much many critics know about singing!


----------



## Itullian

Week number 3 at the Met 

*December 15, 2018
La Traviata by Giuseppe Verdi*
Yannick Nézet-Séguin conducts Michael Mayer's richly textured new production, featuring a dazzling 19th-century setting that changes with the seasons. Soprano Diana Damrau plays the tragic heroine, Violetta, and tenor Juan Diego Flórez returns to the Met for the first time since 2015 to sing the role of Alfredo, Violetta's hapless lover. Baritone Quinn Kelsey is Alfredo's father, Germont, who destroys their love.


----------



## pianoville

I am so grateful for these live streams! For an opera newbie like me, this is a great way to get to know the opera repertoire better!


----------



## Itullian

Curtain going up


----------



## Itullian

Well, I didn't think much of it.
I was disappointed in Damrau.
That was one of the worst Sempre Libera's I ever heard
and she sounded strained throughout the whole thing.
Flores was mediocre as was the rest of the cast.
Seguin was boring much of the time.
When is Wagner? '


----------



## pianoville

Itullian said:


> When is Wagner? '


You took the words right out of my mouth! Let's hope we won't get an applause after every scene...


----------



## Rossiniano

The conducting was good. You could tell that Nézet-Séguin had total control over the orchestra. However, that is not what Italian opera is ultimately about, but it was a nice change from how the piece is often done. Still at times a Fausto Cleva is all that is really needed! 

Damrau lost it in “Sempre libera”. The repeated hic C’s sounded pinched and she lunged at the top notes of the downward runs. If you can’t sing the cabaletta you should not sing the role, but Tebaldi and others have done it, so what else is new! (The same is true for “Ah,non giunge” and the role of Amina and that did not stop Damrau from ruining La Sonnambula a few years ago! ) I knew that there would be no interpolated E-flat at the end of the first act. However, I did like the option she chose. There was not enough vocal intensity for “Amami Alfredo” so it sounded flat... except for the orchestra that did have intensity. There was a bit too much distracting coughing in the last act. I like the frailty to be via vocal means alone. The last note of “Addio del passato” should say it all. It was harsh and pushed. She gets extra credit for doing both verses and the first time around was better! 

Tenor and Baritone OK. I always thought that Flórez timbre is better suited to Donizetti and Verdi as opposed to Rossini. However, he does have that phenomenal agility for Rossini. 

Finally, I was TRILLED that at the very end I did not have to sing the often omitted lines, “È spenta” and “Oh mio dolor”. Made it all worthwhile!


----------



## Rossiniano

As an addendum to my post above here is something to ponder: During the second intermission just prior to the start of the third act Mr. Gelb noted that today’s performance was the best of the run. Maestro Nézet-Séguin seemed to agree.


----------



## Woodduck

I missed most of the first act and so missed "Sempre libera." I guess I lucked out. I wasn't paying close attention to the rest, but of what I heard, the cast seemed thoroughly involved dramatically and most of the singing sounded pretty solid and secure. Damrau's voice is a bit anonymous and light for the big moments, but many light-voiced sopranos have played the part. Does anyone else find Quinn Kelsey's timbre reminiscent of Leonard Warren's?


----------



## Annied

I enjoyed it, but I was in the next room working on a book I'm rebinding, so I wasn't listening carefully. I think I may have done the right thing from the sound of it!


----------



## Barelytenor

I just didn't go. Wish I had heard Kelsey though. Anyone who sounds close to Leonard Warren is tops in my book. I'm just over _Triviata,_ though, it's just so DONE.

Kind regards,

George


----------



## Bonetan

Barelytenor said:


> I just didn't go. Wish I had heard Kelsey though. Anyone who sounds close to Leonard Warren is tops in my book. I'm just over _Triviata,_ though, it's just so DONE.
> 
> Kind regards,
> 
> George


I heard him as Posa at Washington National Opera not long ago. Really impressive singing! Amazing legato


----------



## JosefinaHW

Itullian said:


> It's Met day!
> 10:00 pst


I just purchased my tickets for the encore presentation this Wednesday, Itulian. Your enthusiasm for the new season was the final factor in my decision.  Bad reviews never stop me from seeing a film, so why should they stop my first viewing of an opera performance, especially since I have never seen a full performance of _La Traviata_.

My very best wishes to you!


----------



## Itullian

JosefinaHW said:


> I just purchased my tickets for the encore presentation this Wednesday, Itulian. Your enthusiasm for the new season was the final factor in my decision.  Bad reviews never stop me from seeing a film, so why should they stop my first viewing of an opera performance, especially since I have never seen a full performance of _La Traviata_.
> 
> My very best wishes to you!


Enjoy Josefina !!


----------



## Itullian

*December 22, 2018
La Fanciulla del West by Giacomo Puccini*
Soprano Eva-Maria Westbroek sings Puccini's gun-slinging heroine in this romantic epic of the Wild West, with the heralded return of tenor Jonas Kaufmann in the role of the outlaw she loves. Tenor Yusif Eyvazov also sings some performances. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.

Enjoy! And Merry Christmas


----------



## Itullian

Curtain going up 1:00 EST  10:00 PST


----------



## Woodduck

The first act of this opera is not Puccini at his best despite some fine moments, and we're acutely aware of the need for great singers - singers like, say, Destinn, Caruso and Amato, stars of the 1910 premiere. No such luck today. Westbroek's vibrrrrrrrrrrato is annoying, and everything loud from high A on up sounds like murder in a dark alley. Lucic plays his part well but doesn't make Rance's "aria" any more interesting than it is, which is not very. Kaufmann sounds solid, though he projects little personality (not that Johnson/Ramirez has much to project). With such uncharismatic singing the conducting needs more gusto and less sentimental dawdling. I thought I _liked_ this opera...

Acts two and three are fairly foolproof - love, blood, poker, lynching and such - and Westbroek does show sympathy with the character. But with recordings of Tebaldi, Nilsson and Neblett on hand it's hard to get enthused about sympathy. In the original production the Met was able to give us the great bass Adamo Didur in the supporting role of Ashby. Today's offering demonstrates again that it's in supporting roles that most of our "stars" belong.


----------



## Itullian

I will let others comment on this as I don't care for it at all.

If the enemy captured me and wanted information, all they would
have to do is play this opera.
Ok, I'll talk! I'll talk!!


----------



## AlexD

I saw last week's La Traviata coming live from the Met at the local cinema in Reading (UK).

I thoroughly enjoyed it. it was excellently sung and the orchestra sounded great. So great that my CD (Kleiber's' 77 recording with the Bayerisches Staatsorchester)sounds rather pedestrian.

This is the third or fourth time I've seen the opera, and this time around I didn't get quite such an emotional punch from the production. Instead I found myself fascinated by the structure. I was able to see how economical Verdi was with this production - he does so much, with so little. I don't know, this is one of the opera's I'm most familiar with and I guess you get different things from every production you see. Once you know what happens, you then focus on how it happens and get a deeper understanding. 

I also found the documentary in the interval which showed how the new Director of Music went through the score with the cast and orchestra to see if they were doing what they were supposed to be doing - and trying different versions out to see which worked best in an open minded way. They also realised that they couldn't deviate too much from the score because a sequence at one point was setting up a theme or coda for later on.


----------



## AlexD

pianoville said:


> I am so grateful for these live streams! For an opera newbie like me, this is a great way to get to know the opera repertoire better!


Not just better, but cheaper too.

To get the same view in the Royal Opera House (I don't know about the Met's prices) as you'd get in the cinema you'd be paying 20 times more.

I've seen more opera (and theatre) in the last five years, than I have in the last twenty thanks to live streaming - and I'm more willing to experiment with ones that I don't know so well as it's not so much of a financial outlay. The rise and fall of the city of Mahoganny was a surprising delight, whilst Berg's Lu Lu was a challenging experience. At least, I didn't really get it 1st time around.


----------



## Rossiniano

Back to Fanciulla del West.... I never really got this “Wild West” piece and by the time I first listened to it seriously I noticed that Andrew Lloyd Webber had “borrowed” one of it’s best melodies. Of course everyone says that it is one of Puccini’s more masterful scores and based on what I heard yesterday in many ways they are correct. I heard much of what was to come in Turandot and specifically the music and situations associated with Liù. Puccini is not my favorite composer. Yes he knew how to write a melody, but I like a certain amount of classical structure associated with the melodies. At any rate, in Fanciulla the melodies are more subtle and not exactly “in your face”. The orchestration is masterful and the big moments are more restrained and understated compared to what is heard in Tosca, Boheme, and Turandot. Of course, that includes Puccini’s use of the “Andrew Lloyd Weber theme”. That probably is the reason why the piece is often considered second rate. In that regard it reminds me of Simone Boccanegra, another often misunderstood piece. 


I thought that the performance was good with the only fly in the ointment being Westbroek having difficulty above the staff and especially at the climax of her aria, still she was into the drama. Kaufmann was wonderful vocally and especially so during his third act aria, which aria is as good as anything in Puccini. He definitely has a dark sound that does not say tenor so that when he does reach for a high note is seems all the more amazing. Remainder of the cast, chorus, and conducting all good. 


The production is/was available in abbreviated form on YouTube. It is thankfully very realistic and as noted in the intermission commentary even includes a bit of horseback riding!


----------



## JosefinaHW

Rossiniano said:


> Back to Fanciulla del West.... I never really got this "Wild West" piece and by the time I first listened to it seriously I noticed that Andrew Lloyd Webber had "borrowed" one of it's best melodies. Of course everyone says that it is one of Puccini's more masterful scores and based on what I heard yesterday in many ways they are correct. I heard much of what was to come in Turandot and specifically the music and situations associated with Liù. Puccini is not my favorite composer. Yes he knew how to write a melody, but I like a certain amount of classical structure associated with the melodies. At any rate, in Fanciulla the melodies are more subtle and not exactly "in your face". The orchestration is masterful and the big moments are more restrained and understated compared to what is heard in Tosca, Boheme, and Turandot. Of course, that includes Puccini's use of the "Andrew Lloyd Weber theme". That probably is the reason why the piece is often considered second rate. In that regard it reminds me of Simone Boccanegra, another often misunderstood piece.
> 
> I thought that the performance was good with the only fly in the ointment being Westbroek having difficulty above the staff and especially at the climax of her aria, still she was into the drama. Kaufmann was wonderful vocally and especially so during his third act aria, which aria is as good as anything in Puccini. He definitely has a dark sound that does not say tenor so that when he does reach for a high note is seems all the more amazing. Remainder of the cast, chorus, and conducting all good.
> 
> The production is/was available in abbreviated form on YouTube. It is thankfully very realistic and as noted in the intermission commentary even includes a bit of horseback riding!


I enjoyed reading your intelligent review; thank you. I don't like Westerns and apart from the music of Baron Scarpia, I'm not a fan of Puccini. I DO love Verdi's music and I would be VERY interested to read your thoughts re/ _Simon Boccanegra_. Amongst other things, I'd like to know in what way has it been misunderstood?

Many Thanks!


----------



## Rossiniano

JosefinaHW said:


> I enjoyed reading your intelligent review; thank you. I don't like Westerns and apart from the music of Baron Scarpia, I'm not a fan of Puccini. I DO love Verdi's music and I would be VERY interested to read your thoughts re/ _Simon Boccanegra_. Amongst other things, I'd like to know in what way has it been misunderstood?
> 
> Many Thanks!


Well I am not an expert on Simon Boccanegra, but I can only give my reaction to it based on the few times that I have listened to it. Of course the reason that I compared it to Fianciula is due to the fact that I have had a similar reaction to both pieces

Overall it is more subtle and less classically structured compared to Verdi's earlier operas. Verdi is in a different mode even compared to the pieces that were written in the period between Boccanegra's original version and its revision. Verdi was moving away from the disguised Bel Canto forms that became a feature of his middle period and given the fact I prefer Nabucco to Falstaff is an indication of the type of structure that I prefer.

Tying things in with Puccini, Turandot is my all time favorite Puccini composition and that is due to the fact that of all his operas it has the most in common with Semiramide from 100 years earlier. Semiramide was one of compositions that set the standards for what an Italian opera was suppose to entail. Composers including Verdi initially emulated it and then reacted against it. Still elements of it can be found in operas such as late as Aida if not Boccanegra. That with Turandot Puccini was looking backwards while sounding more modern in the process is something that I find fascinating. With the revision of Boccanegra Verdi rarely looked backwards even though the contour of the fourth act of Otello owes a bit of debt to the third act of the Rossini version with its uninterrupted flow of the last scene of Shakespear's Act Four with with the second scene of Act Five.


----------



## Itullian

*December 29, 2018
The Magic Flute by Wolfgang Amadeus Mozart*
Now a holiday tradition, Julie Taymor's beloved production of Mozart's enchanting fairy tale returns in its abridged, English-language version for families. Soprano Erin Morley, last seen at the Met as a brilliant Olympia in Les Contes d'Hoffmann, is the empowered Pamina, and tenor Ben Bliss is the valiant Tamino. Baritone Nathan Gunn is the comic birdcatcher Papageno, and soprano Kathryn Lewek reprises her hair-raising rendition of the malevolent Queen of the Night. Harry Bicket conducts.

Enjoy  
And Happy New Year ! :trp: :cheers:


----------



## Itullian

Curtain going up in 40 mins


----------



## Itullian

I thought it was a nice performance.
The voices did a good job and the orchestra was fine too.
A nice abridged performance for all the kiddies.
I'm sure they loved it.


----------



## Rossiniano

Itullian said:


> I thought it was a nice performance.
> The voices did a good job and the orchestra was fine too.
> A nice abridged performance for all the kiddies.
> I'm sure they loved it.


Easily the best broadcast so far this season. I did not hear anything that troubled me. Of all the MET abridgements Flute has been the most successful to my ears. The format of the piece lends inself to sensible cutting as opposed to other pieces which can come across as totally butchered. Plus, with Mozart one has music that is simple enough for child to relate to and complex enough to be appreciated by an adult.

Actually at just under two hours in length (the timing being similar to a bathroom break challenging Wagnerian act) I wonder if the kiddies would okay with the entire enchilada in an English language version and an intermission. Still, an enjoyable afternoon both in the house and via broadcast.

OH! I must give a special shout out to the Queen of the Night! She sounded as good and actually better than any I have heard in quite a while! Actually kudos to ALL... the orchersta, chorus, conductor, and the rest of the cast!


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## JosefinaHW

Free: Live stream from Met's website: metopera.org 24 January 2019

Gerald Finley, Bartok, _Bluebeard's Castle
_Tchaikovsky,_ Iolanta
_
Also to be broadcast: 24 Jan, 2019, MetOperaRadio on SiriusXM Channel 75

Again, 9 February 2019, Toll Brothers-Metropolitan Opera International Radio Network


Gerald Finley's Facebook page posted the link to the announcement of all the performances of these two operas and cast members:

https://www.broadwayworld.com/bwwope...3WYpvLwWrHAkOI ​


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## JosefinaHW

Bartok, _Duke Bluebeard's Castle_, Film Version, 1988 (I'm preparing for the Gerald Finley performance on 24 Jan) The performance with Matthias Goerne arrives Monday!!! :devil:

Bluebeard: Robert Lloyd Judith: Elizabeth Lawrence conductor: Adam Fischer


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## Itullian

*Next up.............*

*January 5, 2019
Otello by Giuseppe Verdi*
Conducting sensation Gustavo Dudamel makes his Met debut leading Verdi's towering Shakespearean masterpiece, in the first revival of Bartlett Sher's gripping 2015 production. The cast includes dynamic tenor Stuart Skelton in the title role, star soprano Sonya Yoncheva as the devoted but doomed Desdemona, and outstanding baritone Željko Lučić as the treacherous Iago.

Be there, or be square. 
Enjoy!!!


----------



## Itullian

Curtain going up!


----------



## Woodduck

For a tenor, Otello is to Italian opera what Tristan and Siegfried are to German opera. Anyone who attempts any of them had better be prepared for the possibility of embarrassing himself at some point. At the only performance of _Tristan_ I've seen in the theater, the Tristan, Helge Brilioth, ran out of voice early in act 3 and croaked, shouted and mimed his way through what was left of his part before Birgit Nilsson swept in and sang her love-death fresh as a Nordic daisy. Nilsson happily signed programs at the stage door while Brilioth slunk past in silent humiliation. (I like to think that Birgit dropped by her compatriot's dressing room to console him before greeting her fans.)

Nothing so awful happened to our Otello today, Stuart Skelton, who has himself traversed the role of Tristan, a role for which his strong low notes and dark timbre are very suitable. The part of Otello, though, really wants more ease and squillo at the top than Skelton offers; the climaxes of phrases tended to be screams, and the voice pretty much gave out at the treacherous end of the love duet and made me apprehensive about the rest of the evening. Skelton's may be one of the more successful attempts at the role in recent years, but that isn't saying a lot. Don't throw away your recordings of Domingo, Vickers, McCracken, Del Monaco, Martinelli, Melchior, or Tamagno.

There isn't a lot to say about the others. Yoncheva's nicely felt but underpowered Desdemona ruined key moments with some shockingly weak, wavering, poorly sustained high notes; like Skelton on "Venere splende!", she gave out miserably at the end of her "Ave Maria." And Lucic demonstrated, as usual, the limitations of his rather second-rate voice. He couldn't rescue the "Credo," which too easily comes across as mustache-twirling, cartoonish villainy (I'm not convinced that giving an amoral character like Iago a "credo" was even a good idea of Boito's - or was it Verdi's? - and it needs a Tibbett or a Gobbi to make me buy into its philosophizing).

I thought Dudamel conducted admirably.


----------



## Rossiniano

Verdi’s score is very symphonic and Dudamel certainly had the orchestra under control. The opening of the first act was as it should be... electrifying. Add the excellent choral work and we were off to a good start!

This was my first time hearing Skelton and was looking forward to hearing what he was made of. I had heard good things about his Wagner so was curious. I thought that he was okay, but as Woodduck noted... hold onto Dimingo etc. I also thought that he was going to crack shortly after his entrance, but not quite... same for several other moments later on. In summation he was credible as were the rest of the principals. I agree that Yoncheva was a disappointment at the end of the Ave Maria and that Ličić sang a rather ineffective Credo. 

Fifty years ago an Italian bandmaster would get us through the score, the orchestra would have sounded a bit scrappy, and the chorus decent, but the singers would probably have saved the day. Today everything is reversed. I guess we go through cycles and today Verdi’s score came across as quite symphonic such that I wondered what a Verdi Symphony written durng the same time frame would have sounded like.


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## Woodduck

Rossiniano said:


> Fifty years ago an Italian bandmaster would get us through the score, the orchestra would have sounded a bit scrappy, and the chorus decent, but the singers would probably have saved the day. Today everything is reversed. I guess we go through cycles and today Verdi's score came across as quite symphonic such that I wondered what a Verdi Symphony written durng the same time frame would have sounded like.


People wonder about those unwritten Wagner symphonies, but a Verdi symphony is an interesting idea too. His late works certainly show a marvelous orchestral mastery. But large instrumental forms were not of great interest to the Italians through the 19th century; the only notable instrumental composers that come to mind are Sgambati and Martucci. There's Verdi's very fine string quartet, there are a few random pieces by Ponchielli and Puccini, and not much else non-operatic until the 20th century. I suppose Verdi was too old and tired to think about symphonies after writing _Falstaff_ at 79.


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## Itullian

*January 12, 2019
Adriana Lecouvreur by Francesco Cilea*
Soprano Anna Netrebko joins the ranks of Renata Tebaldi, Montserrat Caballé, and Renata Scotto, taking on-for the first time at the Met-the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion. The soprano is joined by tenor Piotr Beczała as Adriana's lover, Maurizio. The principal cast also features mezzo-soprano Anita Rachvelishvili and baritone Ambrogio Maestri. Gianandrea Noseda conducts. Sir David McVicar's staging, which sets the action in a working replica of a Baroque theater, premiered at the Royal Opera House in London, where the Guardian praised the "elegant production, sumptuously designed … The spectacle guarantees a good night out."

Here's the next opera. I have never heard it.
Enjoy!


----------



## Itullian

30 minutes to curtain.


----------



## Woodduck

And here we go...

"Well, Anna...How do you feel?"

"I'm getting emotional..."

"I guess it takes a diva like yourself to play a diva. Do you think there's anything to that?"


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## Itullian

I'm actually enjoying this cacophony. 
A lot of interesting passages and orchestrations going on.


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## Becca

Woodduck said:


> And here we go...
> 
> "Well, Anna...How do you feel?"
> 
> "I'm getting emotional..."
> 
> "I guess it takes a diva like yourself to play a diva. Do you think there's anything to that?"


There are divas and Divas ... there isn't much doubt about which category she is in!


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## Woodduck

Have intermissions always been so talky? I'd like to hear more music: selections from vintage broadcasts, arias sung by golden age singers on acoustic 78s, "identify the singer" quizzes, analyses at the piano of the music of the opera, singers talking about singing and demonstrating technique, etc.


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## Itullian

^^^^They still do that sometimes.


----------



## The Conte

Woodduck said:


> Have intermissions always been so talky? I'd like to hear more music: selections from vintage broadcasts, arias sung by golden age singers on acoustic 78s, "identify the singer" quizzes, analyses at the piano of the music of the opera, singers talking about singing and demonstrating technique, etc.


Let's face it, most of us would rather just put on the Olivero/Corelli/Basianini/Simionato recording.

N.


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## Woodduck

The Conte said:


> Let's face it, most of us would rather just put on the Olivero/Corelli/Basianini/Simionato recording.
> 
> N.


So true, Conte. So very true.

I will say that the spreading vibratos of the entire pre-geriatric cast were very well-coordinated today.


----------



## Rossiniano

Well this was the first time that I actually got through the piece and I found it quite enjoyable. The orchestration was quite imaginative and especially in the more delicate moments. I probably enjoyed the performance because I wasn't exoecting anyone to sound like Olivero, Corelli, and company who are the stuff of legends. I have heard better renditions of Adriana's first act aria but overall things went well in the vocal department.

The real winner was Maesto Cilea. He will most likely always be a "one opera composer", but one should not think of that one opera as being third rate. _Adriana_ has as much meat on her bones as many of its more famous contemporary pieces, some of which are part of the MET's currnt broadcast season.


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## Barelytenor

I have to say, I am now officially Staying Home when Her Nebs trots the boards. Enough is enough. We are both better off for it.

Kind regards, :tiphat:

George


----------



## Open Book

Woodduck said:


> Have intermissions always been so talky? I'd like to hear more music: selections from vintage broadcasts, arias sung by golden age singers on acoustic 78s, "identify the singer" quizzes, analyses at the piano of the music of the opera, singers talking about singing and demonstrating technique, etc.


The interviews with non-musicians are a waste of time for me. Costumers, makeup artists, set directors, even an animal trainer once. But I don't see how you could weave vintage recordings into it either. Wouldn't that beg comparison with the present company, something they might want to avoid?


----------



## Woodduck

Open Book said:


> The interviews with non-musicians are a waste of time for me. Costumers, makeup artists, set directors, even an animal trainer once. But I don't see how you could weave vintage recordings into it either. *Wouldn't that beg comparison with the present company, something they might want to avoid?*


It sure would. Nya-ha-ha-ha-haaaah. :devil:


----------



## dismrwonderful

I finally got to see this opera tonight in an encore HD performance thanks to Lenny. It was very good. The production was just marvelous. They used a stage-within-a-stage setting for three of the four acts which really made the action much more dynamic.

Everything in this production was very good. Singers, chorus, sets, and orchestra were all just the tops. I just want to concentrate on the things that I personally found very satisfying. The two items I would concentrate on are the staging and the role of stage manager.

The production accentuated the contrast between reality and the stage by using a a stage within a stage approach. In the first act you have the musical action going on in front while a play is being performed in the rear. It was very effective in heightening the contrasts what was real emotion and what was staged. In the third act you have a stage on which a ballet is performed before a stage audience. In the audience you have the inevitable sniping going on between characters which I found myself thinking was a rude thing to do. Following the ballet the stage is used for Adriana's vindictive monologue. In the fourth act the theater stage is the backdrop and is dead and lifeless, fitting for a death scene. Then, with Adrianna's death, players silently appear on the stage to accentuate the idea that not only a lover had just died, but an actress as well. Very effective.

The role of stage manager is, for me, a key role in the opera. His dual role as both Adriana's support as well as the protagonist of unrequited love was simple, touching, and real. In an opera that was overly complex and that required frequent suspensions of belief, I found his story line to be a refreshing contrast to the others in the story. His character has an authenticity that the others do not.

Criticisms: I thought the last act was overly melodramatic and required too much suspension of belief. In all fairness, though, there is no way to do the final act without a well ground stance in disbelief. Although this opera is classified as verismo, much of it is firmly planted in the earlier Romantic style in which plots like this were much more common. The fourth act is the weakest of the opera and I think the production dealt with it better than other productions I have watched. Although I personally had trouble with the over-the-top melodrama of the last act, I was also aware that there was a time when this type of drama was quite popular.

The truth: I had the best time at an opera that I have had in a long time. That is my real opinion. [g]

Dan


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## Meyerbeer Smith

Deleted
(thought second last page was last page)


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## Itullian

*January 19, 2019
Pelléas et Mélisande by Claude Debussy*
Debussy's only opera, a mesmerizing meditation on love and betrayal, returns to the Met stage for the first time in almost a decade, with Music Director Yannick Nézet-Séguin conducting the landmark score. A pair of brilliant young Met stars, tenor Paul Appleby and mezzo-soprano Isabel Leonard, are the naïve title lovers, and baritone Kyle Ketelsen is the imperious Prince Golaud. Ferruccio Furlanetto, as Arkel, and Marie-Nicole Lemieux, as Geneviève, complete the cast.

Be there or be square


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## AlexD

I love Debussy. Looking forward to this.


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## Itullian

Curtain up in 5 minutes


----------



## Itullian

Well, that was the first time I actually enjoyed this opera.
I think mainly because the orchestral parts were more to the front than usual.

What do you guys think?


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## Woodduck

Did anyone else listen to it? I gave it less than full attention.


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## Rossiniano

I missed it and will miss at the very least the next broadcast as well as my system is down (speakers returned to factory to be refurbished) and will be down for at least another week. It was not planned around the MET, but if I had to miss a couple of broadcasts these were the least promising from my traditionalist point of view.


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## JosefinaHW

Rossiniano said:


> I missed it and will miss at the very least the next broadcast as well as my system is down (speakers returned to factory to be refurbished) and will be down for at least another week. It was not planned around the MET, but if I had to miss a couple of broadcasts these were the least promising from my traditionalist point of view.


Very sorry to hear that you won't be able to listen to Thursday's premier of Duke Bluebeard's Castle with Gerald Finley, going on the air at 7:30PM. It will be broadcast again on Saturday, 8 February.

Do you not like this opera?


----------



## JosefinaHW

The following is a clip from a costume rehearsal I suppose. I am starting to get the feeling that this performance of _Duke Bluebeard's Castle_ is not going to be very enjoyable.

As much as I love Gerald Finley's singing (and speaking) voice I don't think it is deep enough for the role of the Duke. As to the woman, what a piercing, too-abbreviated shriek. I will listen on Thursday evening no matter what, but after I take a very long brisk walk I will probably put in the DVD of the 1988/89 Robert Lloyd & Elizabeth Laurence production.

Better had they not uploaded anything than the following:


----------



## Woodduck

JosefinaHW said:


> The following is a clip from a costume rehearsal I suppose. I am starting to get the feeling that this performance of _Duke Bluebeard's Castle_ is not going to be very enjoyable.
> 
> As much as I love Gerald Finley's singing (and speaking) voice I don't think it is deep enough for the role of the Duke. As to the woman, what a piercing, too-abbreviated shriek. I will listen on Thursday evening no matter what, but after I take a very long brisk walk I will probably put in the DVD of the 1988/89 Robert Lloyd & Elizabeth Laurence production.
> 
> Better had they not uploaded anything than the following:


That was baffling. What was she doing? Was she drunk? Being attacked by a swarm of bats?

You're right about the admirable Mr. Finley. His is not a Bluebeard voice. Nevertheless I shall listen to it on radio. How can I not? It's my favorite post-Wagner opera. I wish Bartok had written another.


----------



## JosefinaHW

Woodduck said:


> That was baffling. What was she doing? Was she drunk? Being attacked by a swarm of bats?
> 
> You're right about the admirable Mr. Finley. His is not a Bluebeard voice. Nevertheless I shall listen to it on radio. How can I not? It's my favorite post-Wagner opera. I wish Bartok had written another.


I thought his voice might have deepened since I last heard him perform!

Not related to Finley but to Matthias Goerne. Is there a term for when a baritone does something with his voice to make it sound deeper--like the opposite of falsetto?


----------



## Woodduck

No, although in the case of Siegfried impersonating Gunther in the Solti _Gotterdammerung_ the opposite of falsetto turns out to be electronic wizardry.

In general it's not a good idea to make your voice sound deeper than it is. It does bad things to the muscles and will ruin your voice if you keep it up. Do you think Goerne does that? He has a pretty dark sound to begin with, as I recall.


----------



## Itullian

*January 26, 2019
Marnie by Nico Muhly*
Composer Nico Muhly unveils his second new opera for the Met with this gripping reimagining of Winston Graham's novel, set in the 1950s, about a beautiful, mysterious young woman who assumes multiple identities. Director Michael Mayer and his creative team have devised a fast-moving, cinematic world for this exhilarating story of denial and deceit, which also inspired a film by Alfred Hitchcock. Mezzo-soprano Isabel Leonard sings the enigmatic Marnie, and baritone Christopher Maltman is the man who pursues her-with disastrous results. Robert Spano conducts.


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## Itullian

10 minutes to curtain


----------



## Itullian

Well, I made it through the cacophony.
Some interesting sounds made, but left me cold
like most modern operas.


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## Woodduck

Itullian said:


> Some interesting sounds made, but left me cold
> like most modern operas.


Yeah...

Very busy music, lots of ideas from the mind of the composer, but not much to stick in the mind of the listener. I wasn't all that annoyed to get a phone call during intermission that kept me away for the rest of the opera.

The movie was better. Let's hope Muhly doesn't make an opera out of "The Birds." Tippi Hedren doesn't deserve that.


----------



## JosefinaHW

THIS WEDNESDAY, 30 January 2019. 7:30 PM New York Time (broadcasting begins at 7:25 but opera does start at 7:30)

Don Giovanni, majority of the cast has not sung at the Met before, so there are new voices to be heard.

Luca Pisaroni *(FINALLY)* gets to play the Don himself. Some people don't think Luca has a big enough voice for the roles he has performed as bass-baritone, but you decide for yourself. It is a GREAT PITY that we will not be able to see the visuals because he is a wonderful actor. *I think this will become an historic performance.
*
Here's additional info.:

[video]https://www.metopera.org/season/2018-19-season/don-giovanni/[/video]


----------



## JosefinaHW

The link to listen to tonight's 7:30 PM (NYTime) broadcast of Luca Pisaroni as Don Giovanni:

https://www.metopera.org/Season/Radio/

It came to my attention that some people listen to local public radio, I do not know if a Wednesday evening performance is also broadcast via your public radio stations, so in case not, the above link goes live five minutes prior to the opera.

Again, very unfortunate that we can't also see Luca Pisaroni, he is a wonderful actor, but I suppose we will hear that in his voice. He was interviewed about the role on last Wed.'s broadcast of Duke Bluebeard's Castle. He said he was particularly interested in portraying what it is that instantly attracts one to the Don.

'Hope you will all be able to listen.


----------



## JosefinaHW

I listened to this evening's performance. Although I'm tired, I'm just going to watch a bit of a performance I haven't seen before.
Via MET Opera on Demand, 14 Oct 2000 Bryn Terfel as the Don; Rene Flemming as Donna Anna. I have no idea if this performance is on YouTube.


----------



## Itullian

*February 2, 2019
Carmen by Georges Bizet*
Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts Sir Richard Eyre's powerful production, a Met favorite since its 2009 premiere.

Enjoy!


----------



## JosefinaHW

Itullian said:


> *February 2, 2019
> Carmen by Georges Bizet*
> Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts Sir Richard Eyre's powerful production, a Met favorite since its 2009 premiere.
> Enjoy!


Itulian, were you able to listen to Thursday's performance of_ Don Giovanni_?


----------



## Itullian

JosefinaHW said:


> Itulian, were you able to listen to Thursday's performance of_ Don Giovanni_?


I went to the site about halfway through, but couldn't figure out what to click on to get it.


----------



## JosefinaHW

Itullian said:


> I went to the site about halfway through, but couldn't figure out what to click on to get it.


Their site is not very user friendly. You click the link to Radio: Then click the picture of Gheorghiu and Alagna. Then scroll down to the little box that shows the play symbol. You can click it anytime to hear their announcement that is where you click to listen when there is a live performance. Sorry if I didn't take you directly to the following.

https://www.metopera.org/season/radio/free-live-audio-streams/


----------



## Admiral

fwiw, and despite the decline of Western Civ noted in other threads... I'm pleased to say that my little Midwestern college town often sells out these broadcasts. The only seats left today are front row so I'll stay home and continue with my Wagner catching-up (1955 second cycle right now)


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## Itullian

*February 2, 2019
Carmen by Georges Bizet*
Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts Sir Richard Eyre's powerful production, a Met favorite since its 2009 premiere.

Enjoy!


----------



## Woodduck

Itullian said:


> *February 2, 2019
> Carmen by Georges Bizet*
> Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress...


A propos of nothing, does anyone remember this?

"Oh my darling, oh my darling 
Oh my darling, Clementine, 
You are lost and gone forever!
Dreadful sorry, Clementine!"

Drat. Now I have an earworm.


----------



## Itullian

Here comes Margaret and Ira


----------



## DavidA

Itullian said:


> *February 2, 2019
> Carmen by Georges Bizet*
> Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts Sir Richard Eyre's powerful production, a Met favorite since its 2009 premiere.
> 
> Enjoy!


I was going to this but then there was a stupendous rugby match on this evening!


----------



## Barbebleu

Woodduck said:


> A propos of nothing, does anyone remember this?
> 
> "Oh my darling, oh my darling
> Oh my darling, Clementine,
> You are lost and gone forever!
> Dreadful sorry, Clementine!"
> 
> Drat. Now I have an earworm.


In a cavern, in a canyon, excavating for a mine,
Lived a miner, fortyniner
And his name was Clementine!!:lol:

Now you've got an ear worm!


----------



## Woodduck

The idea of hearing _Carmen_ from the Met didn't fill me with the keenest anticipation. The last such event gave us Elina Garanca in a vocally lush but interpretively anonymous reading which didn't square with reports of her effectiveness in the theater. Today's Carmen, Clementine Margaine, was quite a bit more engaging: her entrance and Habanera were involving right off the bat, vocally strong and responsive to every word, and I found myself suddenly hopeful of an enjoyable morning's listening. Margaine sang with impressive abandon and sustained her audible passion for the character throughout, but after a while I grew a little weary of her rather rabidly intense delivery and missed the Gallic elegance of line the music really wants; sometimes her phrases were unnecessarily broken up by what seemed a simple surfeit of enthusiasm. The more singers you hear in this role, the more you realize how difficult it is to do its various facets musical and dramatic justice. With a bit more purely musical refinement and a bit more inwardness, Margaine might become a great Carmen (a few lessons with Callas or de los Angeles might be worth her time).

The supporting cast - alongside this arresting Carmen everyone else was "supporting" - was variable, from a mostly well-sung Micaela to a dismal Morales (fortunately a short role). Alagna's Jose was well-characterized and no doubt pleased those who didn't mind his drying tone and some painful flatness in the flower aria. He is still a strong vocalist despite the bloom being off his voice. The conducting started out very fast and remained invigorating.

Altogether a respectable _Carmen_ that was probably rewarding to watch.


----------



## DavidA

Itullian said:


> *February 2, 2019
> Carmen by Georges Bizet*
> Mezzo-soprano Clémentine Margaine reprises her remarkable portrayal of opera's ultimate seductress, a triumph in her 2017 debut performances, with impassioned tenor Roberto Alagna as her lover, Don José. Louis Langrée conducts Sir Richard Eyre's powerful production, a Met favorite since its 2009 premiere.
> 
> Enjoy!


I have seen the production before. Must confess Algana is getting on a bit now to play Jose, especially in GD


----------



## Itullian

I thought it was ok, even though Alagna sounded strained at times.
Since I don't care for this opera (it sounds corny to me),
this will probably be the last time I hear it.


----------



## Rossiniano

I’m just getting around to posting my impressions regarding Carmen. I rather enjoyed it. The Carmen was earthy and yet sounded lush of voice. A few times her phrasing was “different” from what I normally would have expected and that proved to be a bit jarring, but in general it was a fine performance. Alagna sounded better than I expected and fortunately there was a quiet ending to the flower song. Also, he was much better than the last time I had heard him in the Manon Lescaut broadcast where he barely made it through the performance. The rest of the cast at the very least was acceptable... and it was good to hear Mrs. Alagna in a role that suited her, something that has not always been the case. BTW I liked the MET’s choice of the score compared to the Opera Comique version with spoken dialog. Incidentally Carmen was the first opera that I saw at the MET. It was a 1968 student performance. I still have the program.


----------



## Woodduck

Rossiniano said:


> I'm just getting around to posting my impressions regarding Carmen. I rather enjoyed it. The Carmen was earthy and yet sounded lush of voice. A few times her phrasing was "different" from what I normally would have expected and that proved to be a bit jarring, but in general it was a fine performance. Alagna sounded better than I expected and fortunately there was a quiet ending to the flower song. Also, he was much better than the last time I had heard him in the Manon Lescaut broadcast where he barely made it through the performance. The rest of the cast at the very least was acceptable... and it was good to hear Mrs. Alagna in a role that suited her, something that has not always been the case. BTW I liked the MET's choice of the score compared to the Opera Comique version with spoken dialog. Incidentally Carmen was the first opera that I saw at the MET. It was a 1968 student performance. I still have the program.


"Mrs. Alagna" sang Micaela, right?


----------



## Bonetan

Woodduck said:


> "Mrs. Alagna" sang Micaela, right?


Yes...blah blah blah reaching 15 characters lol


----------



## Rossiniano

Bonetan said:


> Yes...blah blah blah reaching 15 characters lol


To Woodduck... yeah! What he said! Funny I was thinking how I never totally enjoyed her in her high flying coloratura days and then the commentators actually mentioned how she made he MET debut as Olympia and now was singing more lyrical roles.

Way over the 15 characters!


----------



## Open Book

I just came from the cinema where I saw the encore performance of the Met's "Carmen" with Clementine Margaine. I was stuck with a front row seat due to a sold-out performance and that was too close to see the action well. But the sound was fine and what I heard was rather surprising. Does this Carmen have a rather small voice compared to most? She seemed drowned out when she sang with anybody else and was out of breath occasionally. Most other singers overdo the aggressive bohemian gypsy act to the point of vulgarity, but she seemed more restrained, even sweet. I actually liked the performance for that reason but it seemed smaller than life and reduced her almost to a member of the ensemble. The Micaela Aleksandra Kurzak made as much of an emotional impact in her last appearance as Carmen did. It was interesting, though.

The Russian bass-baritone Alexander Vinogradov (Escamillo)during his interview expressed enthusiasm for bullfighting - in real life he's been a spectator of the sport. I admire his political incorrectness but it may be foolish.


----------



## Itullian

*February 9, 2019
Iolanta by Pyotr Ilyich Tchaikovsky & Bluebeard's Castle by Béla Bartók*
Mariusz Treliński's haunting production of the pairing of Tchaikovsky's and Bartók's one-act operas makes its first return to the stage since its Met premiere in the 2014-15 season. Soprano Sonya Yoncheva-following her triumphant 2017-18 performances as Tosca-is the blind princess, Iolanta, who discovers love for the first time, opposite tenor Matthew Polenzani as the dashing knight Vaudémont. In Bartók's chilling Bluebeard's Castle, baritone Gerald Finley is the menacing Bluebeard, and soprano Angela Denoke is his initially unsuspecting new wife. Henrik Nánási conducts.

Be there or be square.


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## Itullian

Curtain up in 5 minutes.


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## pianoville

Looking forward to Bartok!


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## JosefinaHW

Is anyone on TC an Opera Guild supporter? I'd like to know if the additional radio broadcasts that are a benefit of such support are each live performances or a replay of a previous broadcast. Thanks.


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## Itullian

I thought both operas were done very well.
The Bartok sounded great.


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## Rossiniano

*


JosefinaHW said:



Is anyone on TC an Opera Guild supporter? I'd like to know if the additional radio broadcasts that are a benefit of such support are each live performances or a replay of a previous broadcast. Thanks.

Click to expand...

The Saturday broadcasts are rebroadcast the Monday - Sunday following the initial broadcast. During the off season selected Saturday broadcasts are replayed according to the same schedule. Therefore, one need not listen on a Saturday. One can listen anytime at their convenience during the seven day rebroadcast period. *


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## JosefinaHW

Rossiniano said:


> *
> The Saturday broadcasts are rebroadcast the Monday - Sunday following the initial broadcast. During the off season selected Saturday broadcasts are replayed according to the same schedule. Therefore, one need not listen on a Saturday. One can listen anytime at their convenience during the seven day rebroadcast period. *


Many Thanks, R.


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## Itullian

Time for some Wolfy 

*February 16, 2019
Don Giovanni by Wolfgang Amadeus Mozart*
Bass-baritone Luca Pisaroni stars as opera's most notorious seducer in Mozart's masterpiece of dark comedy. Cornelius Meister makes his Met debut conducting performances that also include soprano Rachel Willis-Sørensen as Donna Anna, soprano Federica Lombardi as Donna Elvira, and basses Ildar Abdrazakov as Leporello.

Be there or be square. 
Enjoy!!


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## Itullian

15 minutes to curtain up


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## Rossiniano

I found the Don Giovanni broadcast to be quite fine. The only blemish occurred in the final section of "Non mi dir" where the soprano slid up to the staccato flourishes and did not attack them in a very clean or convincing manner. Incidentally I find that passage is stumbling block for many sopranos. Ironically the soprano earlier had added a highflying embellishment to "Or sai chi l'onore" that she executed cleanly. The only other minor quibble was that the Anna / Ottavio section of the second act final act was performed in a manner that was a bit sappy. Otherwise all was fine. The audience seemed to be enjoying things and even applauded Leporello mid aria... not to mention when the Don met his demise!


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## JosefinaHW

Rossiniano said:


> I found the Don Giovanni broadcast to be quite fine. The only blemish occurred in the final section of "Non mi dir" where the soprano slid up to the staccato flourishes and did not attack them in a very clean or convincing manner. Incidentally I find that passage is stumbling block for many sopranos. Ironically the soprano earlier had added a highflying embellishment to "Or sai chi l'onore" that she executed cleanly. The only other minor quibble was that the Anna / Ottavio section of the second act final act was performed in a manner that was a bit sappy. Otherwise all was fine. The audience seemed to be enjoying things and even applauded Leporello mid aria... not to mention when the Don met his demise!


I'm very glad that you enjoyed yourself, R. I listened to a Thursday performance of this production. I am curious, are you a fan of Luca Pisaroni?


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## Rossiniano

JosefinaHW said:


> I'm very glad that you enjoyed yourself, R. I listened to a Thursday performance of this production. I am curious, are you a fan of Luca Pisaroni?


I am not a fan of any of the singers and actually never heard of the women and tenor previously.... nor the conductor. I never even referenced Pisaroini. DidI I miss something? Did I give the impression that I was ignoring something that happened? I did loose my internet connection very biefly a few times times during the first act and one of the times was during "Fich'han dal vino". Did something happen that I should have mentioned? I referenced the two things that somewhat bothered me. If I had to name two more they would be that I was hoping to hear a bit more of the brass underpin the Don's demise and the fact that Leporello's reaction to it was a bit over the top!


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## JosefinaHW

Rossiniano! I greatly respect and admire your knowledge as an opera listener and your ability to describe the experience so well!

Period.

I am a great fan of Luca Pisaroni. My experience of his performances began (and continue) with YouTube videos and now audio recordings and DVDs. I frequently have seen criticisms of his voice as not being deep enough or big enough to perform many of the roles he has performed. This MET Opera performance is his first major performance as Don Giovanni. He has played Leporello with tremendous respect and admiration many times before.

So, I was very curious to hear the opinion of this historic performance of his by TC members with great experience.

(You did absolutely nothing wrong in your post or any of your posts: I read them eagerly.)


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## Rossiniano

JosefinaHW said:


> Rossiniano! I greatly respect and admire your knowledge as an opera listener and your ability to describe the experience so well!
> 
> Period.
> 
> I am a great fan of Luca Pisaroni. My experience of his performances began (and continue) with YouTube videos and now audio recordings and DVDs. I frequently have seen criticisms of his voice as not being deep enough or big enough to perform many of the roles he has performed. This MET Opera performance is his first major performance as Don Giovanni. He has played Leporello with tremendous respect and admiration many times before.
> 
> So, I was very curious to hear the opinion of this historic performance of his by TC members with great experience.
> 
> (You did absolutely nothing wrong in your post or any of your posts: I read them eagerly.)


Well the good news is that I did not comment on anything other than I did because I really did not find much wrong with the performance, and that includes Signor Pisaroni's participation in the proceedings. I might even say that Pisaroni was as good as many commercially recorded performances. Still, I thought that I might have missed something due to the interruptions I experienced during the first act and especially since one of then occurred during the so-called "Champagne Aria"!

While on the subject, I consider Don Giovanni to be a very special opera... possibly the greatest opera ever written when one considers both the libretto and the music. It traverses virtually every emotion in the human experience and takes one on a roller coaster ride that ultimately arrives at the fiery gates of Hell itself. Furthermore there is much drama and jocularity that overlap in Mozart's and DaPonte's "dramma giocoso"! In the final scene Leporello is slyly snitching morsels of roasted pheasant one moment and then is cowering in fear a few moments later and yelling out to Giovanni "Dite di no! Dite di no!"! Meanwhile the Don unwisely shows absolutely no fear in the face of supernatural forces that are more powerful than the human experience can comprehend. It's all absolutely masterful. This also allows many interpretive choices.

When one studies the structure of the piece it is definitely written in the style of an Opera Buffa (it has more in common with Figaro and Cosí than Idomeneo or Clemenza di Tito) with a few nods to Opera Seria so as to offer a bit of contrast stylistically. This is especially true when the seldom performed comic duet between Zerlina and Leporello is included. Plus, the character of Donna Elvira is indeed the crazy "pazzarella" that Don Giovanni references. So the comic as well as tragic possibilities are endless when interpreting the piece. It is always interesting to see the choices that are made in various productions.


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## nina foresti

Once again Thomas Hampson's able son-in-law Pisaroni proved himself. He's incredibly appealing and uses his gifts well.
Willis-Sorensen's "Non mi dir" was wonderfully performed.
I was also impressed by Abdrazakov who sometimes gets more brickbats than he deserves.
It was an enjoyable afternoon thanks to that genius W A Mozart.


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## JosefinaHW

nina foresti said:


> Once again Thomas Hampson's able son-in-law Pisaroni proved himself. He's incredibly appealing and uses his gifts well.
> Willis-Sorensen's "Non mi dir" was wonderfully performed.
> I was also impressed by Abdrazakov who sometimes gets more brickbats than he deserves.
> It was an enjoyable afternoon thanks to that genius W A Mozart.


Wonderful to know there is another Luca Pisaroni fan on the forum! :cheers:


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## JosefinaHW

nina foresti said:


> Once again Thomas Hampson's able son-in-law Pisaroni proved himself. He's incredibly appealing and uses his gifts well.
> Willis-Sorensen's "Non mi dir" was wonderfully performed.
> I was also impressed by Abdrazakov who sometimes gets more brickbats than he deserves.
> It was an enjoyable afternoon thanks to that genius W A Mozart.


Perhaps it was completely harmless but I have to say I do not like it when people identify Luca Pisaroni as Thomas Hampson's son-in-law. I don't know when his career took off--before he met Hampson's daughter or what, but after a lot more listening and watching I have to say I prefer Pisaroni to Hampson. It took me a few minutes to remember Abdrakov--it was the first time that I remember hearing him. On the Thursday prior to the Saturday broadcast, his voice was too heavy--meaning too dragging for the role of Leporello in the First Act; he was good in the second act, but not as good as Pisaroni as Leporello.

I don't understand why people don't talk more about the wonderful bass, bass-baritones, and baritones that are performing right now. Are those vintage recordings really better or is it just people who have not kept up with the wonderful performers we have today?

A little off-topic but certainly still appropriate here:


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## JosefinaHW

What the hell. One more and then onto the water music. All three are great. Buy the DVD if you don't already own it!


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## Itullian

Hard to believe it's the 13th week already.

*February 23, 2019
Rigoletto by Giuseppe Verdi*
Verdi's tragic jester returns in Michael Mayer's neon-bedecked, Las Vegas-themed production. Baritone Roberto Frontali plays the title role, and soprano Nadine Sierra reprises her portrayal of Gilda, the role that helped launch her now-blossoming Met career. Tenor Vittorio Grigolo plays the lascivious Duke, and Nicola Luisotti conducts

Be there or be square. 
Enjoy!


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## Itullian

Curtain up in 10 minutes!


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## Ianinmaschera

Sat down with Act one just getting going on BBC Radio 3, I think we've got it on a delay.


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## DavidA

Just listening. Came in late but sounds good.


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## DavidA

Horribly unstuck on Possente amor and no high C


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## DavidA

Must confess disappointed with tenor and baritone. Conductor is rushing some parts. Soprano OK


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## DavidA

Final act much better


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## Ianinmaschera

Well, really enjoyed that, some splendid singing and yer lad Verdi knew a good tune or three for sure.


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## Rossiniano

A typical 2019 operatic experience, so decent but nothing special. The tenor sounded strained and pressed to the limit, and he virtually admitted that during his intermission interview. His decision to avoid a couple of interpolated high notes was a wise choice. The soprano was okay and while she certainly did not embody the sweet teeny weeny voiced coloratura traits of the old traditional approach to Gilda, her vocalism was neither plush nor full. It was an in between approach that was pleasing when she had her voice under control which was not always totally the case. The baritone was okay, but his final “maledizione” was not delivered in a convincingly dramatic manner. The orchestral response thanks to Verdi said it all! Yep ol’ Giuseppe knew a thing or two...


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## Itullian

I agree with David. Too fast in parts. And the male leads left something to be desired.
Enjoyed most of it though.


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## Woodduck

Evidently we have to be given _Rigoletto_ and _Boheme_ regardless of the singers available. Will we ever hear a great performance of either? Who will sing it? Not sorry I missed this one.


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## Itullian

*March 2, 2019
La Fille du Régiment by Gaetano Donizetti*
Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks-including the show-stopping tenor aria "Ah! Mes amis," with its nine high Cs. Maurizio Muraro plays the comic Sergeant Sulpice with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.

Be there or be square. 
You too Woodduck 
Enjoy!!


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## DavidA

Itullian said:


> *March 2, 2019
> La Fille du Régiment by Gaetano Donizetti*
> Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks-including the show-stopping tenor aria "Ah! Mes amis," with its nine high Cs. Maurizio Muraro plays the comic Sergeant Sulpice with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.
> 
> Be there or be square.
> You too Woodduck
> Enjoy!!


 I have this production on DVD with other singers. I was pencilled in to go to this broadcast at the cinema but I have to look after two special-needs grandchildren tonight and they come first . But this opera is great fun


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## Itullian

10 minutes to curtain


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## Rossiniano

Seeing this one in HD. Theatre full! The curtain is about to go up. One minute to go! Will give my impressions later today! Fingers crossed that it will be a winner.


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## DavidA

Just waiting for grandchildren to arrive. If it's good I'll try and see an encore


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## Rossiniano

Well the MET can certainly supply Bel Canto fireworks. This was the most fun I have ever had at an operatic performance in recent memory! Everyone seemed to be on top of their game... and even the Sulpice who was supposedly down with a cold. The tenor and soprano were definitely on target. 

Pretty Yende supplied some over the top embellishments, but in a piece such as this that made sense even if more than a few eyebrows might have been raised. She can do staccato embellishments and she supplied them in spades. This was not the suave Sutherland approach and she even made Dessay from a few years back seem quite tame. This daughter was quite a handful to say the least. 

Everything Camerena did bespoke elegance and like his soprano he always delivered things with a sparkle in his eye and in his voice. The man certainly knows how to phrase in a manner that gives shape to the vocal line and even his 18 or so high C’s where delivered in such a manner. Yes! He did an encore of his cabaletta! WOW! His aria in the second act was simply ravishing. A performance for the ages. 

Last week the MET could not supply a totally satisfactory Rigoletto, but they certainly made up for it this week. What was lacking last week definitely was on display today. Other than what was done for comic effect (the lesson scene for example) I did not hear any overtly coarse sounds and even with one cast member under the weather!


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## JosefinaHW

Rossiniano said:


> Well the MET can certainly supply Bel Canto fireworks. This was the most fun I have ever had at an operatic performance in recent memory! Everyone seemed to be on top of their game... and even the Sulpice who was supposedly down with a cold. The tenor and soprano were definitely on target.
> 
> Pretty Yende supplied some over the top embellishments, but in a piece such as this that made sense even if more than a few eyebrows might have been raised. She can do staccato embellishments and she supplied them in spades. This was not the suave Sutherland approach and she even made Dessay from a few years back seem quite tame. This daughter was quite a handful to say the least.
> 
> Everything Camerena did bespoke elegance and like his soprano he always delivered things with a sparkle in his eye and in his voice. The man certainly knows how to phrase in a manner that gives shape to the vocal line and even his 18 or so high C's where delivered in such a manner. Yes! He did an encore of his cabaletta! WOW! His aria in the second act was simply ravishing. A performance for the ages.
> 
> Last week the MET could not supply a totally satisfactory Rigoletto, but they certainly made up for it this week. What was lacking last week definitely was on display today. Other than what was done for comic effect (the lesson scene for example) I did not hear any overtly coarse sounds and even with one cast member under the weather!


'Extremely glad you enjoyed yourself so much! I will look for dates when it will be broadcast again. I have wonderful news of my one, R. and all other opera lovers! I was very recently introduced to PristineClassical.com (that is not an advertisement--I make no money or receive no discounts, etc., etc.).

If you haven't already heard of this U.K. music production/?/music restoration company you really must check out their recordings! I don't like vintage recordings simply because I hate that distant, scratchy, shallow sound that is usually associated with them. Well, PristineClassical.com has "restored" many historical/vintage recordings to the point as if we were in the very best seat in any concerthall listening to the originals! Yes, I am a chronic hyperbolist, but you must experience this for yourself.

I just signed up for a streaming subscription, but you are given free seven plays and it's very cheap for just a month if you want to just try it out a bit further.

I've already listened to Furt's live Salzburger recording of Der Freischutz and I am now listening to Furt's Tristan and Isolde from 1952. My God! Folks, please go to their site and listen to at least a track or two from some of their recordings! Vintage restored to it's original perfection, if not more!

All the Best!


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## Woodduck

I didn't hear all of today's radio broadcast, but what I did hear got me to thinking about the issue of performing opera in its original language versus translating it onto the language of the audience. I usually prefer to hear opera sung in the language set by its composer. That's the way music sounds best, even if translations are singable and listenable. But listening to broadly acted French dialogue today made me wish I were hearing the work in English, my French being rudimentary or worse. I think this is a particular problem with comedy; I wanted to laugh along, but couldn't, especially without the visual element to help me. Tragedy is easier to experience in a foreign language, as the pathos of the music carries us along even if we miss some of the verbal points.

In former times opera was normally translated for different audiences, and sometimes spoken dialogue would be done in the local language even if the arias were sung in the original. I'd have welcomed either approach today. Anyone agree?


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## Becca

Yes ... depending on the compositional style. A through-composed comedy wouldn't do quite so well (are there any - ignoring Meistersinger) There is a really good Fledermaus done a few decades ago at Covent Garden with Kiri Te Kanawa and Herman Prey where the dialog goes back and forth between English & German, and the whole thing is a delight.


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## Woodduck

Becca said:


> Yes ... depending on the compositional style. A through-composed comedy wouldn't do quite so well (are there any - ignoring Meistersinger) There is a really good Fledermaus done a few decades ago at Covent Garden with Kiri Te Kanawa and Herman Prey where the dialog goes back and forth between English & German, and the whole thing is a delight.


Falstaff and Rosenkavalier are others that come to mind. I wouldn't want to translate Tristan, Aida or Die Frau ohne Schatten, but I can imagine their composers' comedies being quite enjoyable in English.


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## DavidA

I listened to second part after putting grandkids to bed. Sounded great fun and some really good singing. A great evening's entertainment, which is the purpose of opera


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## nina foresti

No. I happen to prefer an opera in the language in which it is written. They have supertitles for that. It drives me crazy when I hear Corelli doing an Italian aria in a French opera like R & J or Bjoerling doing Swedish, or Schipa doing German, etc.
I think part of my problem is that I dislike the harder sound of English and frankly, I cannot understand what they are saying anyway.

Poulenc always requested that his "Dialogues" be done in the language of the country it is being performed in. I am pleased when the Met always sticks with his French written opera done in French.

As to Yende and Camarena -- they were outstanding. I am not normally an opera buffa lover but could not miss running to the theater for those 9 high C's done magically. The audience wouldn't stop until he did a bis, again simply with perfection and holding the last note maybe a wee bit longer.
Yende was perfect for the role of Marie and has a coloratura sound that is gorgeous.
A lovely way to spend a cold afternoon.


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## Open Book

"The Magic Flute" is another comic opera with a lot of dialogue and I prefer it in its original language for consistency. English would be jarring.
I'm no expert on singers but often I hear these Met broadcasts and think, good, but are these really the world's best voices? Today watching the encore production of "Fille du Regiment" I knew there was a truly outstanding performer in every role. I would not have expected Stephanie Blythe in the small role she had - the role had more dialogue than singing, as she noted in her interview at intermission. Yende I expected to be great from her previous L'Elisir D'amore, and she was even better here. I enjoyed Alessandro Corbelli vocally and for his comedy. Yende almost clocked him with an iron in the first half. I don't have to say any more about Camarana except that it wasn't just about the high notes, he had wonderful vocal quality. The conductor pushed the music sometimes for effect, starting with the overture, which got enthusiastic applause. I liked his daring in starting off that way, but elsewhere there were s few too many distortions or too much mugging by the singers. But what a fun afternoon!


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## sharkeysnight

Woodduck said:


> I didn't hear all of today's radio broadcast, but what I did hear got me to thinking about the issue of performing opera in its original language versus translating it onto the language of the audience. I usually prefer to hear opera sung in the language set by its composer. That's the way music sounds best, even if translations are singable and listenable. But listening to broadly acted French dialogue today made me wish I were hearing the work in English, my French being rudimentary or worse. I think this is a particular problem with comedy; I wanted to laugh along, but couldn't, especially without the visual element to help me. Tragedy is easier to experience in a foreign language, as the pathos of the music carries us along even if we miss some of the verbal points.
> 
> In former times opera was normally translated for different audiences, and sometimes spoken dialogue would be done in the local language even if the arias were sung in the original. I'd have welcomed either approach today. Anyone agree?


I was thinking about exactly this while watching Albert Herring, which was very funny but also outlined a number of issues that I've noticed in almost every comic opera:

1: Even in English, operatic singing often muddles the actual phrasing, which means I was frequently having to glean the punchline from the subtitles
2: This goes for comedy in subtitled films as well, but putting the whole joke up at once means that people are going to read it, and react, before the singers have had a chance to actually deliver the gag
3: The comedic beats are literalized by being tied to the music, which can hamper the ability for the actors to find a natural flow to the humor
4: Humor is extremely ephemeral and the older the humor, the more deftly it must be handled, which often means the funniest elements aren't what's being said, but how. This is particularly prickly because not only does it mean that the humor has to be carefully translated but, from a humor standpoint, what you're seeing takes precedence over what you're hearing (even in a particularly good example, such as Mark Rylance's Twelfth Night)

It's hard for me to imagine listening to an opera broadcast and laughing, even if it was being broadcast in English, to be honest. Maybe if I was very familiar with it and could imagine it, but even listening to funny musicals I don't usually laugh.


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## Open Book

nina foresti said:


> No. I happen to prefer an opera in the language in which it is written. They have supertitles for that. It drives me crazy when I hear Corelli doing an Italian aria in a French opera


I make an exception for French operas performed in Italian. I've just been listening to a recording of "La Figlia del Reggimento" and it sounds just as good that way. Italian is superior to French for setting to music in my opinion.


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## Sloe

nina foresti said:


> No. I happen to prefer an opera in the language in which it is written. They have supertitles for that. It drives me crazy when I hear Corelli doing an Italian aria in a French opera like R & J or Bjoerling doing Swedish, or Schipa doing German, etc.


So you don´t like to hear Ingen sover?


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## Itullian

*March 9, 2019
Das Rheingold by Richard Wager*
Wagner's visionary initial installment of the Ring Cycle depicts the original sin of the theft of the sacred golden treasure, the vanity of the gods, the greed of the Nibelungen, the fratricide of the giants, and the building of Valhalla. Bass-baritone Greer Grimsley sings the role of Wotan, the conflicted lord of the gods. Mezzo-soprano Jamie Barton sings her first Wagner role at the Met as Wotan's embattled wife, Fricka.

Now we're talkin' 
And so let it begin! 
Be there or be square!


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## nina foresti

Sloe said:


> So you don´t like to hear Ingen sover?


I do. There are exceptions like O Holy Night as sung by Bjoerling. No one does it better. Brings tears every time.


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## dismrwonderful

If you missed the performance, there is a performance on You Tube that uses the same production with, or course, a different cast. It is very good.






Dan


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## Open Book

dismrwonderful said:


> If you missed the performance, there is a performance on You Tube that uses the same production with, or course, a different cast. It is very good.
> 
> Dan


By production does that mean the scenes, costumes, direction, dramatic interpretation, basically everything but the music? A recipe for everything we see rather than hear, determined by, a showrunner or whatever it's called?

How can Teatro Real, which I presume is in Europe, have the same production as the Met in New York?


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## Tsaraslondon

Open Book said:


> By production does that mean the scenes, costumes, direction, dramatic interpretation, basically everything but the music? A recipe for everything we see rather than hear, determined by, a showrunner or whatever it's called?
> 
> How can Teatro Real, which I presume is in Europe, have the same production as the Met in New York?


The "production" does indeed mean direction and design and it is not uncommon, especially in these cash strapped days, for opera houses to share a production. Geography has nothing to do with it.

Even back in the 50s, Dallas and London shared the Callas/Alexis Minotis production of *Medea* with London, and the Zeffirelli production of *Lucia di Lammermoor*, though in that instance Sutherland sang Lucia in London and Callas in Dallas (that trips off the tongue rather nicely!  ). Zeffirelli would have made a few adjustments to his direction to accomodate his two very different leading ladies.


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## Itullian

*March 9, 2019
Das Rheingold by Richard Wager*
Wagner's visionary initial installment of the Ring Cycle depicts the original sin of the theft of the sacred golden treasure, the vanity of the gods, the greed of the Nibelungen, the fratricide of the giants, and the building of Valhalla. Bass-baritone Greer Grimsley sings the role of Wotan, the conflicted lord of the gods. Mezzo-soprano Jamie Barton sings her first Wagner role at the Met as Wotan's embattled wife, Fricka.

Now we're talkin' 
And so let it begin! 
Be there or be square!


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## Itullian

10 minutes to Valhalla!


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## Woodduck

A dramatically engaged performance of *Das Rheingold* today, with a few bits of fine singing here and there - though not quite enough of them - to remind us that Wagner wanted his works sung rather than shouted and spat.

I kept thinking how hard his music must be to perform well. Maria Callas and Lilli Lehmann both opined that Wagner was easier to sing than Norma, but that's because they were actually able to sing Norma and could thus bring to Wagner the same level of vocal technique. Listening to most singers in Wagner, I'm grateful that they aren't singing Bellini.

The one time I got chills today was when Karen Cargill popped up out of the earth and warned us that the world would end. She has a rich, sensuous, powerful-sounding voice and sounds like an Erda ought to sound. I did enjoy Tomasz Konieczny's Alberich when he stuck to the written notes instead of yelling, which he might have done more regularly. His timbre is actually a bit reminiscent of Gustav Neidlinger's (oh sweet nostalgia). There was also some good, steady tone from the Donner and, I think, the Fasolt, but Greer Grimsley's Wotan is sounding a bit rough. Jamie Barton's Fricka was her first Wagner part and she was fine but nothing to tell the grandkids about. *Walkure* will tell us more.

Vocalism aside, it sounded like a vivid, theatrical performance. *Walkure* will broadcast on March 30.


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## Itullian

Well, it certainly wasn't Knappertsbusch. 
I thought the singing was ok overall.
Wotan was very good, I thought. Didn't care much for Loge. I liked Donner.
The women were satisfactory.
The orchestra sounded underpowered to me in spots and the conductor (Jordan)
seemed to miss many musical points. Drama seemed underplayed to me.
His conducting was on the fast side, which isn't my taste.
I like more gravitas in my Wagner.
I did get some chills a few times, like in the opening.
There is much more depth to these characters and music than was represented there today.
imho


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## Woodduck

Did you notice how closely the harp was miked (sorry, word police, I refuse to spell it miced)? I often wish for a bit more acoustical distance in these broadcasts. It would flatter the singers more.


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## Itullian

Yeah, I did notice that.
Like you said, more distance would probably help.


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## pianoville

Woodduck said:


> Did you notice how closely the harp was miked (sorry, word police, I refuse to spell it miced)? I often wish for a bit more acoustical distance in these broadcasts. It would flatter the singers more.


I thought that was kinda nice. In many recordings the harp can be pretty hard to hear, so I liked that it was closely miked here. It brings a lot of color to the performance! Although it maybe was just a tad to closely miked.


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## Woodduck

pianoville said:


> I thought that was kinda nice. In many recordings the harp can be pretty hard to hear, so I liked that it was closely miked here. It brings a lot of color to the performance! Although it maybe was just a tad to closely miked.


Make that two tads and we have a deal.


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## Bonetan

Woodduck said:


> The one time I got chills today was when Karen Cargill popped up out of the earth and warned us that the world would end. She has a rich, sensuous, powerful-sounding voice and sounds like an Erda ought to sound. I did enjoy Tomasz Konieczny's Alberich when he stuck to the written notes instead of yelling, which he might have done more regularly. His timbre is actually a bit reminiscent of Gustav Neidlinger's (oh sweet nostalgia). There was also some good, steady tone from the Donner and, I think, the Fasolt, but Greer Grimsley's Wotan is sounding a bit rough. Jamie Barton's Fricka was her first Wagner part and she was fine but nothing to tell the grandkids about. *Walkure* will tell us more.


I couldn't agree more!

The Erda definitely grabbed my attention immediately...I don't have the words to articulate why I feel this way, but I've always thought Konieczny's voice is much more Alberich than Wotan. This performance cemented that for me...I also thought Grimsley sounded rough. I like a more beautiful voiced Wotan. I think I'd like Grimsley better as Alberich too lol. I don't want to say its an ugly voice, but...


----------



## Open Book

GregMitchell said:


> The "production" does indeed mean direction and design and it is not uncommon, especially in these cash strapped days, for opera houses to share a production. Geography has nothing to do with it.
> 
> Even back in the 50s, Dallas and London shared the Callas/Alexis Minotis production of *Medea* with London, and the Zeffirelli production of *Lucia di Lammermoor*, though in that instance Sutherland sang Lucia in London and Callas in Dallas (that trips off the tongue rather nicely!  ). Zeffirelli would have made a few adjustments to his direction to accomodate his two very different leading ladies.


I thought geography would be important for the sharing of set pieces. The Met's massive automated set for Wagner's Ring from a few years ago was expensive and didn't look too portable.

I've always wondered how much power the rest of the production of an opera has over its musicians, particularly its conductor. What's the hierarchy? Since the production sets the tone, it must have some influence over the musical decisions. Fabio Luisi once remarked? complained? that his Met production, I forget which opera, had too elaborate a set.


----------



## Bonetan

I enjoyed this review & thought I'd share 

https://operawire.com/metropolitan-opera-2018-19-review-das-rheingold/


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## JosefinaHW

Bonetan said:


> I enjoyed this review & thought I'd share
> 
> https://operawire.com/metropolitan-opera-2018-19-review-das-rheingold/


Thanks for introducing me to _OperaWire_, Bonetan!

I hesitate to add my thoughts about the Saturday broadcast being such a newbie to all the recordings, but I enjoyed the performance. I loved the singer's voice and interpretation who played Alberich: such intensity and passion and confident use of his voice. I also thought Jamie Barton was wonderful--the evening before the performance I watched/listened to Christa Ludwig's Met Performance (the one with Samuel Ramey as Wotan)--and I thought Barton's voice was very beautiful for the role. I was interrupted several times during the performance--such is life, but I think it is going to be rebroadcast several times and posted on the Met's member page. I thought the orchestra was wonderful--again, intense, sweeping, lush, and kept the piece moving at a good pace for me. My favorite piece of music from Das Rheingold is the music during the transition from the depths of the Rhine to the "heights" of Valhalla. (You have to admit we've got a real group of winners in this opera. )

All the Best!


----------



## wkasimer

JosefinaHW said:


> the evening before the performance I watched/listened to Christa Ludwig's Met Performance (the one with Samuel Ramey as Wotan)


I assume that you actually mean James Morris, not Sam Ramey.


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## JosefinaHW

wkasimer said:


> I assume that you actually mean James Morris, not Sam Ramey.


Yes, indeed. Thank you very much, Wkasimer!


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## Itullian

*March 16, 2019
Falstaff by Giuseppe Verdi*
Baritone Ambrogio Maestri brings his larger-than-life portrayal of the title role back for the first time since his Met role debut in the 2013 - 14 season. Robert Carsen's insightful production-which moves the action to postwar England in the 1950s-features an exceptional cast that includes soprano Ailyn Pérez as Alice Ford and soprano Golda Schultz as Nannetta.

Be there or be square.


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## Itullian

7 minutes to curtain


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## Woodduck

Two minutes............


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## Itullian

I'm no Falstaff expert, but I thought it was excellent.
I enjoyed all the singers and the orchestra sounded great.
Lively conducted.

1950's production.
Curious to see how that came off.


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## DavidA

Deleted ...........................................


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## DavidA

Itullian said:


> I'm no Falstaff expert, but I thought it was excellent.
> I enjoyed all the singers and the orchestra sounded great.
> Lively conducted.
> 
> 1950's production.
> Curious to see how that came off.


Saw it at cinema and it was brilliant Life affirming!


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## Woodduck

From a purely aural standpoint, just OK. We do have a baritone crisis. Playing a comic character is no excuse for constant barking and ranting. 

I'm sure those who saw the production had more fun than I did.


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## Itullian

*March 23, 2019
Samson et Dalila by Camille Saint-Saëns*
When mezzo-soprano Elīna Garanča and tenor Roberto Alagna joined forces for a new production of Carmen at the Met, the results were electrifying. Now this star duo reunites for another sensual French opera when they open the season in the title roles of Saint-Saëns's biblical epic Samson et Dalila. Darko Tresnjak, who won a Tony Award for Best Direction of a Musical in 2014 for A Gentleman's Guide to Love & Murder, makes his Met debut directing a vivid, seductive staging, featuring a monumental setting for the last-act Temple of Dagon, where the hero crushes his Philistine enemies. Sir Mark Elder conducts the first new Met production of the work in 20 years.

Be there or be square.


----------



## Woodduck

Itullian said:


> *March 23, 2019
> Samson et Dalila by Camille Saint-Saëns*
> When mezzo-soprano Elīna Garanča and tenor Roberto Alagna joined forces for a new production of Carmen at the Met, the results were electrifying. Now this star duo reunites for another sensual French opera when they open the season in the title roles of Saint-Saëns's biblical epic Samson et Dalila. Darko Tresnjak, who won a Tony Award for Best Direction of a Musical in 2014 for A Gentleman's Guide to Love & Murder, makes his Met debut directing a vivid, seductive staging, featuring a monumental setting for the last-act Temple of Dagon, where the hero crushes his Philistine enemies. Sir Mark Elder conducts the first new Met production of the work in 20 years.
> 
> *Be there or be square.*


I'll be there but still square.


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## Itullian

10 minutes to curtain.


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## Itullian

deleted..........


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## Woodduck

I don't know who Gregory Kunde is, but he is definitely second-string casting. Maybe third-string.


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## Bonetan

Woodduck said:


> I don't know who Gregory Kunde is, but he is definitely second-string casting. Maybe third-string.


His is a peculiar story as he went from being a Rossini tenor to being one of the leading "dramatic tenors" of today. He's also quite unique as he sings both the Rossini & Verdi Otellos. I can't speak a great deal on his singing though...


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## Tsaraslondon

Woodduck said:


> I don't know who Gregory Kunde is, but he is definitely second-string casting. Maybe third-string.


Was he singing Samson? What happened to Alagna? Did he cancel again?


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## Itullian

GregMitchell said:


> Was he singing Samson? What happened to Alagna? Did he cancel again?


They didn't say, but its not Garanca either


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## Becca

Gregory Kunde also signs Berlioz (or did sing, he is now in his mid 60s). He is on the John Nelson Benvenuto Cellini recording and the Gardiner Les Troyens.

I believe that Garanca was only singing the earlier run of Samson as the NY Times review refers to Anita Rachvelishvili


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## Itullian

Yes, it was Rachvelishvili


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## Woodduck

Bonetan said:


> His is a peculiar story as he went from being a Rossini tenor to being one of the leading "dramatic tenors" of today. He's also quite unique as he sings both the Rossini & Verdi Otellos. I can't speak a great deal on his singing though...


If he's a leading dramatic tenor of today, how come I've never heard of him? And how come he sounds like that?

Oh. The second question sort of answers the first.


----------



## Woodduck

Becca said:


> Gregory Kunde also signs Berlioz (or did sing, he is now in his mid 60s). He is on the John Nelson Benvenuto Cellini recording and the Gardiner Les Troyens.
> 
> I believe that Garanca was only singing the earlier run of Samson as the NY Times review refers to Anita Rachvelishvili


If Kunde was good enough for those recordings, which have been around for a long time, and he's now in his mid-60s, I can better understand what I'm hearing today. But why does the Met have to employ the elderly in leading roles? According to the current cast list for this production, there are four people singing Samson. You'd think they'd want to show off better voices in their broadcasts. Of course Alagna's a bit over the hill now too.

Rachvelishvili sounds decent, but just. No vocal characterization at all.


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## Becca

About 10 days ago Kunde was an act 2 substitute for Antonenko in Samson.

Here he is in 2002...


----------



## nina foresti

GregMitchell said:


> Was he singing Samson? What happened to Alagna? Did he cancel again?


Alagna did the earlier run in Sept/Oct. Then Antonenko was brought in for the March run but after the first act on the 13th he was replaced by Kunde. And if you think Kunde was a lightweight, give thanks that you didn't hear Antonenko.


----------



## JoeSaunders

nina foresti said:


> And if you think Kunde was a lightweight, give thanks that you didn't hear Antonenko.


I can't speak for his performance on the 13th but man, when I saw Antonenko for the first time this January I can honestly say I have _never _heard live opera singing so bad before. He was replaced after the first night during that run too (though I believe he returned later). I seriously have no idea what explains him being cast anymore other than extremely long booking times in advance, back from when his voice was tolerable.


----------



## Bonetan

nina foresti said:


> Alagna did the earlier run in Sept/Oct. Then Antonenko was brought in for the March run but after the first act on the 13th he was replaced by Kunde. And if you think Kunde was a lightweight, give thanks that you didn't hear Antonenko.





JoeSaunders said:


> I can't speak for his performance on the 13th but man, when I saw Antonenko for the first time this January I can honestly say I have _never _heard live opera singing so bad before. He was replaced after the first night during that run too (though I believe he returned later). I seriously have no idea what explains him being cast anymore other than extremely long booking times in advance, back from when his voice was tolerable.


What happened to him?? Too many heavy roles at too young an age?


----------



## Woodduck

Bonetan said:


> What happened to him?? Too many heavy roles at too young an age?


Probably shouldn't have taken on Otello in his early thirties. His voice seemed to work well in 2008 when he was 33 (his Otello debut):






Nine years later it sounded like this:






Somebody probably told him early on that his "fach" was dramatic tenor. Even Caruso put off Otello till he was 49, and he died at 48.


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## JoeSaunders

What Woodduck said, but I'd stress that he's become even more off-key and shouty in the years since that second video.


----------



## Woodduck

JoeSaunders said:


> What Woodduck said, but I'd stress that he's become even more off-key and shouty in the years since that second video.


Then I guess we can be grateful to have had an elderly Kunde on the _Samson_ broadcast...? What does that tell us about the state of opera today (another one of my perpetual rhetorical questions)?


----------



## mountmccabe

I'm quite enjoying Günther Groissböck and Stuart Skelton in today's _Die Walküre_. I like Eva-Marie Westbroek, but I'm not a fan of her Sieglinde.

I'm not sure what to think of Philippe Jordan yet.


----------



## The Conte

Bonetan said:


> What happened to him?? Too many heavy roles at too young an age?


His technique was off, he always overused his arytenoids with too little crico-thyroid action in the top quarter of his range. (Or to put it another way, there's too much chest voice in the mix and not enough head voice at the top of his range.) A crisis was inevitable.

Interestingly Kaufmann has similar problems, but has worked continuously on his technique and chosen repertoire more wisely. His debut in Otello only came two and half years ago.

N.


----------



## Woodduck

The Conte said:


> His technique was off, he always overused his arytenoids with too little crico-thyroid action in the top quarter of his range. (Or to put it another way, there's too much chest voice in the mix and not enough head voice at the top of his range.) A crisis was inevitable.
> 
> Interestingly Kaufmann has similar problems, but has worked continuously on his technique and chosen repertoire more wisely. His debut in Otello only came two and half years ago.
> 
> N.


It's my impression and suspicion that a failure to develop the "head voice" is a major problem that besets male singers nowadays. We can go back and listen to singers of the pre-war "golden age" to hear the difference between overweighted, rigid, loud, wobbly, prematurely aged voices, so prevalent now, and supple, flexible voices capable of moving easily throughout a full range of dynamics and tone quality. What Caruso could do by controlling the mix of "head" and "chest" in this incomparable recording of "Una furtiva lagrima" truly represents a lost vocal art:


----------



## JosefinaHW

The Conte said:


> His technique was off, he always overused his arytenoids with too little crico-thyroid action in the top quarter of his range. (Or to put it another way, there's too much chest voice in the mix and not enough head voice at the top of his range.) A crisis was inevitable.
> 
> Interestingly Kaufmann has similar problems, but has worked continuously on his technique and chosen repertoire more wisely. His debut in Otello only came two and half years ago.
> 
> N.


Warm Greetings, N. Would you please listen to this brief excerpt of Matthias Goerne performing _Leb Wohl. _I chose this example of one of my favorite singers trying to make his voice sound deeper than it is. Would you explain to me in anatomical terms what he is doing to make his voice sound deeper? (I have heard the same sound from other baritones or bass baritones that I like) Many Thanks.


----------



## The Conte

What I am hearing is that he is creating more space at the back of the mouth and thus creating a more 'cavenous' sound than his natural voice. So he is probably lowering his larynx somewhat and lifting up the soft palette. The danger with this is that it can result in a swallowed sound and the voice loses brightness and 'ping'. Goerne is coping well with the balance between manufacturing a dark sound and still keeping enough head voice in the mix so that the sound carries over the orchestra. However, I can _feel_ that it isn't his natural sound and that makes me uncomfortable. I can't quite explain why, but I believe that on some level an audience instinctively knows when someone is faking it.

N.


----------



## Woodduck

JosefinaHW said:


> Warm Greetings, N. Would you please listen to this brief excerpt of Matthias Goerne performing _Leb Wohl. _I chose this example of one of my favorite singers trying to make his voice sound deeper than it is. Would you explain to me in anatomical terms what he is doing to make his voice sound deeper? (I have heard the same sound from other baritones or bass baritones that I like) Many Thanks.


Vocal timbre aside, this performance is weird - very quiet, slow, and languid. Do you hear how Goerne swells and diminishes on phrase after phrase, always fading back to stillness instead of building the phrases on each other, and never seeming to let his voice out? It creates a sort of hypnotic cadence, a sequence of soft waves that convey little sense of direction or momentum. He even looks hypnotized, swaying like a charmed snake, and the orchestra sounds almost asleep behind him. Just weird.


----------



## JosefinaHW

The Conte said:


> What I am hearing is that he is creating more space at the back of the mouth and thus creating a more 'cavenous' sound than his natural voice. So he is probably lowering his larynx somewhat and lifting up the soft palette. The danger with this is that it can result in a swallowed sound and the voice loses brightness and 'ping'. Goerne is coping well with the balance between manufacturing a dark sound and still keeping enough head voice in the mix so that the sound carries over the orchestra. However, I can _feel_ that it isn't his natural sound and that makes me uncomfortable. I can't quite explain why, but I believe that on some level an audience instinctively knows when someone is faking it.
> 
> N.


Thank you, The C. I've heard several baritones do this in very recent performances and there were no bad reviews. What worries me is that these singers will damage their gorgeous voices.

What exactly in this movement damages the voice: lowering the larynx?

P.S. It would be amazing to sit with you and watch different singers and you help us to copy what they are doing so they we can feel it for ourselves. Next best thing, a Skype Session. What do you charge a minute?


----------



## JosefinaHW

Woodduck said:


> Vocal timbre aside, this performance is weird - very quiet, slow, and languid. Do you hear how Goerne swells and diminishes on phrase after phrase, always fading back to stillness instead of building the phrases on each other, and never seeming to let his voice out? It creates a sort of hypnotic cadence, a sequence of soft waves that convey little sense of direction or momentum. He even looks hypnotized, swaying like a charmed snake, and the orchestra sounds almost asleep behind him. Just weird.


There's a lot of background information on the production of this Ring Cycle. It was performed in Hong Kong. it was a very time-limited event (I think 2-3 performances of Die Walkure). Goerne and van Zweden performed together when Goerne was at some turning-point in his career. My impression is that this was intended to be a very unique, (I can't recall the word) "X"--is it curio--piece for Goerne and of The Ring.

For me (and I suspect many others in the audience), it is an opportunity to hear a favorite singer perform Wagner. I don't remember if it was before or after that a recording called The Wagner Project was released with Goerne singing a collection of Wagner pieces. It seems to be some kind of expectation now that some baritones' careers aren't complete unless they perform Wagner operas.

I know van Zweden is very sensitive to singers, so he has softened the orchestra. As I understand it, Goerne is a very lyrical singer, so if you choose Goerne to play Wotan, particularly in a piece where he thinking of his love for his daughter, tender moments in their history together, his regret, his hopefulness, we are going to hear a tender, lyrical interpretation of the piece. He is dwelling in a particularly moment. His singing style is to sway/or move in some way to the music--he is a very physical singer. Is it wrong. Not for me, nor for those who gave the releases rave reviews and prizes, etc.. It's different. For me, it's a Goerne _Leb Wohl, _a Goerne Ring.I wish that he could"naturally" deepen his voice at moments, but I want to hear him sing this piece, so I'll take whatever he can give.

P.S. I really wanted to hear him perform the Wahn Monologue in that Wagner Project release, but he didn't do it. It wouldn't have been horrible if he couldn't perform some of the notes perfectly--he is so lyrical and expressive what he could have sung would have been beautiful.


----------



## The Conte

JosefinaHW said:


> What exactly in this movement damages the voice: lowering the larynx?


It wouldn't necessarily damage the voice. Here it isn't exaggerated and is something that is temporary for this role/aria. If a singer is pushing down on the larynx that may not damage the voice either, however the singer will never reach their full potential. The larynx should be free and flexible and at times it does need to move lower to create more space, but it should never be constricted. Some singers have made careers out of a lowered larynx technique, but they have always combined it with efficient use of the registers and so it hasn't been an issue. I'm not worried about Goerne damaging his voice just due to that excerpt.

N.


----------



## JosefinaHW

The Conte said:


> It wouldn't necessarily damage the voice. Here it isn't exaggerated and is something that is temporary for this role/aria. If a singer is pushing down on the larynx that may not damage the voice either, however the singer will never reach their full potential. The larynx should be free and flexible and at times it does need to move lower to create more space, but it should never be constricted. Some singers have made careers out of a lowered larynx technique, but they have always combined it with efficient use of the registers and so it hasn't been an issue. *I'm not worried about Goerne damaging his voice just due to that excerpt*.
> 
> N.


This is wonderful news. Thank you!


----------



## Bonetan

JosefinaHW said:


> Warm Greetings, N. Would you please listen to this brief excerpt of Matthias Goerne performing _Leb Wohl. _I chose this example of one of my favorite singers trying to make his voice sound deeper than it is. Would you explain to me in anatomical terms what he is doing to make his voice sound deeper? (I have heard the same sound from other baritones or bass baritones that I like) Many Thanks.


I'm torn about Goerne as Wotan. He really does have a beautiful voice, although this is indeed painfully slow. However, I have a hard time imagining him singing the Wanderer in Siegfried act 3. Can you all imagine him successfully handling "Wacha Wala" & what comes after?? Doesn't seem like a fit to me...


----------



## Woodduck

Bonetan said:


> I'm torn about Goerne as Wotan. He really does have a beautiful voice, although this is indeed painfully slow. However, I have a hard time imagining him singing the Wanderer in Siegfried act 3. Can you all imagine him successfully handling "Wacha Wala" & what comes after?? Doesn't seem like a fit to me...


Goerne has apparently sung Wolfram, Amfortas and Kurwenal, and done the Wanderer in concert. I can imagine him very suitable as Wolfram and perhaps not much less so as Amfortas and Kurwenal, much as former Lieder singer Fischer-Dieskau was. Wotan is the Mount Everest of bass-baritone roles. Bryn Terfel (not a bass-baritone) overreached a bit. I doubt that Goerne is vocally a natural for it - his voice, as I've heard it on recordings at least, seems more mellow than incisive - but I guess we'll see.


----------



## JosefinaHW

Bonetan said:


> I'm torn about Goerne as Wotan. He really does have a beautiful voice, although this is indeed painfully slow. However, I have a hard time imagining him singing the Wanderer in Siegfried act 3. Can you all imagine him successfully handling "Wacha Wala" & what comes after?? Doesn't seem like a fit to me...


Warm Greetings, Bonetan. Well, you can listen to this entire Ring Cycle. It is available on Amazon Music Unlimited US; Pandora; Spotify; and right now you can purchase the box set of the entire cycle from AmazonUS for spprox. $49/50. I purchased them all separately, but you save substantially by buying the box set.

I've listened to the entire Leb Wohl... "arias" sung by many different singers and my favorites are Goerne and Rene Pape. I listened (repeatedly) to that music long before I listened to the entire Walkure or the entire cycle. I am going to listen to the Barenboim Tomlinson Cycle next.

I have been listening the entire Goerne performance and I am enjoying it. I know you are used to those booming voices (technical term ) of the historic and vintage recordings. My opinion at the moment is that Wotan is a very weak character, so I don't see why he warrants one of those really deep booming voices. Specifically here, the whole set of "arias" that begins with Leb Wohl, especially Die Augende, should be sung tenderly.

Since Wotan is so weak, vascillating, short-sghted at least on an interior level, Goerne's lyric voice might be very appropriate to emphasize that aspect of Wotan. Don't be fooled either, the man can be a force of nature when he wants to.

Do you have a professional webpage?


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## Itullian

*March 30, 2019
Die Walküre by Richard Wagner
Please note: This performance begins at 9:30am*
In what is expected to be a Wagnerian event for the ages, soprano Christine Goerke plays Brünnhilde, Wotan's willful warrior daughter, who loses her immortality in opera's most famous act of filial defiance. Tenor Stuart Skelton and soprano Eva-Maria Westbroek play the incestuous twins Siegmund and Sieglinde. Greer Grimsley sings Wotan. Philippe Jordan conducts.

FINALLY 
The great Walkure!
Remember folks, this broadcast *starts an hour earlier!*
Be there or be square 
If a local station by you doesn't carry the broadcast, you can listen at
KUSC.ORG live. 
ENJOY!!!


----------



## Woodduck

Don't forget that Wotan is a god - the king of the gods, in fact. He has the majestic responsibility of upholding a moral order. At this stage of the evolution of consciousness, it's a primitive moral order based primarily on honor and glory, as represented by the notches on his spear. His weakness lies in the very inadequacy of the morality that binds him; it fosters ego, whereas a mature morality (which Brunnhilde, stripped of her godhood and subjected to life as a human woman, is eventually to enunciate) restrains and transcends ego. Wotan gives in to ego and its desire for power and renown, but he is not mean like Alberich, and he is not weak; he is conflicted, trapped in the contradictions of his own nature, and he is on a learning curve which finally brings him to the realization that what he has represented is preordained in the very course of nature to give way to higher ideals.

All of which is to say that an interpreter of the role must be able to project godlike power, even in sorrow and defeat. The music Wagner gives him asks for everything the bass-baritone voice is capable of. I wish Mr. Goerne good luck!


----------



## Bonetan

JosefinaHW said:


> I have been listening the entire Goerne performance and I am enjoying it. I know you are used to those booming voices (technical term ) of the historic and vintage recordings. My opinion at the moment is that Wotan is a very weak character, so I don't see why he warrants one of those really deep booming voices. Specifically here, the whole set of "arias" that begins with Leb Wohl, especially Die Augende, should be sung tenderly.
> 
> Since Wotan is so weak, vascillating, short-sghted at least on an interior level, Goerne's lyric voice might be very appropriate to emphasize that aspect of Wotan. Don't be fooled either, the man can be a force of nature when he wants to.
> 
> Do you have a professional webpage?


I've never thought of Wotan as a weak character, but I understand why you think of him that way. Like Woodduck said, he's conflicted, but not weak imo. He's the God of God's so as an interpreter you can never sing him with weakness, even when he's getting his *** kicked by Fricka or when everything is falling apart around him.

The orchestration for the start of Siegfried act 3 is huge. Maybe the biggest orchestral moment any singer in the Ring must go against (it is for Wotan at the very least). That's why I feel a "booming" voice is necessary. I'd be curious to see how Goerne does against it...

No I don't have a webpage right now. I've been considering it


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## JosefinaHW

Woodduck said:


> Don't forget that Wotan is a god - the king of the gods, in fact. He has the majestic responsibility of upholding a moral order. At this stage of the evolution of consciousness, it's a primitive moral order based primarily on honor and glory, as represented by the notches on his spear. His weakness lies in the very inadequacy of the morality that binds him; it fosters ego, whereas a mature morality (which Brunnhilde, stripped of her godhood and subjected to life as a human woman, is eventually to enunciate) restrains and transcends ego. Wotan gives in to ego and its desire for power and renown, but he is not mean like Alberich, and he is not weak; he is conflicted, trapped in the contradictions of his own nature, and he is on a learning curve which finally brings him to the realization that what he has represented is preordained in the very course of nature to give way to higher ideals.
> 
> All of which is to say that an interpreter of the role must be able to project godlike power, even in sorrow and defeat. The music Wagner gives him asks for everything the bass-baritone voice is capable of. I wish Mr. Goerne good luck!


I clicked like because I appreciate the time you took to respond. I need to listen and watch more before I change my mind. ADDITION: I don't mean to sound too arrogant. I know you have lived and breathed this stuff for 101 years, but I still have to hear it for myself.

Mattias Goerne doesn't need luck; he has already performed and recorded the operas.


----------



## JosefinaHW

Bonetan said:


> I've never thought of Wotan as a weak character, but I understand why you think of him that way. Like Woodduck said, he's conflicted, but not weak imo. He's the God of God's so as an interpreter you can never sing him with weakness, even *when he's getting his *** kicked by Fricka* or *when everything is falling apart around him.
> *
> The orchestration for the start of Siegfried act 3 is huge. Maybe the biggest orchestral moment any singer in the Ring must go against (it is for Wotan at the very least). That's why I feel a "booming" voice is necessary. I'd be curious to see how Goerne does against it...
> 
> No I don't have a webpage right now. I've been considering it


Yes, you guessed two major parts of it, Bonetan: I highlighted your text. I will keep an open mind.

Listening; watching; reading two different English translations, in addition to the Stewart Spencer, I purchased and have been using the older Andrew Porter; is a bit overwhelming--too much for me to really comprehend. I need to slow down, relax, and just play it in the background, etc., etc.,

I'm going to try something here. Let's see if it works:
View attachment Sieg Goerne Wache.mp3


Addition: That took forever. Maybe you all already know how to do this, but if you don't:

Where it says open with:

1. Click the arrow.
2. Click Open with Other
3. Select whatever music player is on your device. My successful option is Windows Media Player.

Let me know if it works for any of you.


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## JosefinaHW

^^^ If it works for you guys. I will add the following three numbers/pieces of music.


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## JosefinaHW

Ok, very glad it worked for you, B.  I will upload the next four numbers. It's no effort on my part, the upload is just very slow.


----------



## JosefinaHW

*Siegrfired, Goerne, Stark....*

Siegfried, Goerne, _Stark...._


----------



## Bonetan

JosefinaHW said:


> Yes, you guessed two major parts of it, Bonetan: I highlighted your text. I will keep an open mind.
> 
> Listening; watching; reading two different English translations, in addition to the Stewart Spencer, I purchased and have been using the older Andrew Porter; is a bit overwhelming--too much for me to really comprehend. I need to slow down, relax, and just play it in the background, etc., etc.,
> 
> I'm going to try something here. Let's see if it works:
> View attachment 115177


Interesting! He sings it beautifully as he does everything. This is probably the most beautiful version I've heard, but this isn't a section one sings beautifully. For me it lacks the excitement I'm used to when I hear this. Tomlinson gets me pumped up when he sings it! Goerne's is a rather subdued rendition imo.


----------



## JosefinaHW

*Siegfried, Goerne, Mein Schlaf*

Siegfried, Goerne, _Mein Schlaf..._


----------



## JosefinaHW

*Siegfried, Goerne, Wirr wird*

Siegfried, Goerne, _Wirr wird...._


----------



## JosefinaHW

Siegfried, Goerne, _Weisst du.... _ Last mp3


----------



## JosefinaHW

Bonetan said:


> Interesting! He sings it beautifully as he does everything. This is probably the most beautiful version I've heard, but this isn't a section one sings beautifully. For me it lacks the excitement I'm used to when I hear this. Tomlinson gets me pumped up when he sings it! Goerne's is a rather subdued rendition imo.


Thank you for listening. A few questions:

1. Instead of saying "booming voice"  What is Wotan's fach? I've probably read it before but now it will have meaning for me.

2. Maybe the two parts of Leb Wohl are arias, but how do you correctly reference the excerpts/corresponding CD numbers when talking about _The Ring?
_

I am looking forward to the Thomlinson Wotan: it's sitting right next to me. I remember hearing a very brief excerpt way back when we were talking about _Die Meistersinger.
_

You really should create or have someone create a professional webpage for you. And a YouTube channel.

All My Best Always!


----------



## JosefinaHW

Itullian said:


> FINALLY
> The great Walkure!
> Remember folks, this broadcast *starts an hour earlier!*
> Be there or be square
> If a local station by you doesn't carry the broadcast, you can listen at
> KUSC.ORG live.
> ENJOY!!!


Thank you for always updating and reminding us, Itulian.

I'm also going to take this opportunity to ask others about their experience of The Ring and Parsifal.

The following is a paragraph from one of Woodduck's posts in the Baroque Music Theory Thread:

A real comprehension of what Wagner was doing in his music depends first and foremost on an *intuitive sense of its organicity,* its *underlying logic,* and that depends on our ability to abandon the Classical expectation that musical form, particularly form based on tonal structures, is created and perceived "from the top down." The musical conservatives of his day were opposed to his conception of musical form; *I've known people, even musicians, who are not comfortable with it even today, and can't listen to a Wagner opera without feeling disoriented and irritated by the refusal of the music to congeal into neat structures*. Wagner's mature works are an uncompromising expression of the Romantic conception of music as the language of the soul, a language which comes "from the bottom up," and Wagner uses drama as the scaffolding on which our conscious mind can fixate while the music goes to work on our unconscious.

This sentence from the following paragraph in that thread:

*"....Wagner said 'ond should never leave a key until one has said everything necessary within it..."

*I am very worried now that my irritation and disorientation is because I don't have an ear for the organicity of the works. And, I certain don't know enough (I hope YET, but...) about the compositional use and exhaustion of keys.

Did any of you current lovers of The Ring and Parsifal experience this irritation and disorientation that I am experiencing? Could it any way be related to fact I didn't grow up reading or watching the standard fairy tales; Bond and other adventure films have been my fairy tales?


----------



## SixFootScowl

The only opera that made me feel creepy was Massenet's Cendrillon. I gave up on it after one listen. Not counting the first three, I enjoy all of Wagner's Operas but have not tried Tannhäuser yet.

I shouldn't think that having or not having read fairy tales would make much difference in listening to the Ring. I am not sure how you can surmount this discomforting feeling you get from certain Wagner operas. Maybe you should just enjoy the Wagner operas you do like for now and come back and try the Ring again some other day.


----------



## JosefinaHW

Thanks, Fritz. Maybe I'll just play the Goerne version in the background for awhile.


----------



## Woodduck

Fritz Kobus said:


> I shouldn't think that having or not having read fairy tales would make much difference in listening to the Ring.


Maybe - or maybe not, depending on the individual. I won't say that having spent many a delectable hour of my childhood lost in the myths, legends and folk tales of many lands prepared me for Wagner, or that I'd have been less sympathetic to him had I read the Hardy Boys instead, but...


----------



## Woodduck

JosefinaHW said:


> I'm also going to take this opportunity to ask others about their experience of The Ring and Parsifal.
> 
> I am very worried now that my irritation and disorientation is because I don't have an ear for the organicity of the works. And, I certain don't know enough (I hope YET, but...) about the compositional use and exhaustion of keys.
> 
> Did any of you current lovers of The Ring and Parsifal experience this irritation and disorientation that I am experiencing? Could it any way be related to fact I didn't grow up reading or watching the standard fairy tales; Bond and other adventure films have been my fairy tales?


Enjoying Wagner and understanding his techniques are two different things. If they were not, given the complexity of what he was doing musically and dramatically, hardly anyone would enjoy his operas. It's apparently not uncommon to take some time getting comfortable with his works, or at least some of them.

I do find actual dislike of Wagner to be a very interesting subject (dislike of the works, I mean; dislike of the person - requiescat in pax - is a tedious subject). His music and drama arouse strong feelings in many people, not all of them comfortable: sometimes he seems to "get" people in places where they are not accustomed to be "got." I've seen some people go into ecstasies over _Tristan_ or _Parsifal,_ while others claim unease or even revulsion. Some of these folks are pleased by _Die Meistersinger, _which they find more "normal" than the operas set in mythical and legendary realms filled with strange, larger-than-life characters driven by overwhelming passions and quests for salvation.

I seem to have been sufficiently abnormal as a young person to be completely ravished by Tristan and Isolde's hypnotic invocation of night and oblivion, but that's not to say that there were not things about Wagner that made me uneasy: I could swear, for example, that I actually experienced the vertiginous fear that Parsifal must have felt in the serpentine arms of Kundry, along with the suspicion that even listening to her creepily intimate music might be putting my soul in danger! Wagner's restless chromatic harmony had a funny way of turning me inside out and upside down, and I think that that's exactly what he intended: his music has been compared, not always with approval, to a drug trip, and its aftereffects to a hangover. I can well understand that not everyone is looking for that sort of experience at the opera!

We're all different, so your experience with Wagner won't be quite like anyone else's. I for one am always interested in how others respond to and understand this favorite composer.


----------



## Itullian

*March 30, 2019
Die Walküre by Richard Wagner
Please note: This performance begins at 9:30am*
In what is expected to be a Wagnerian event for the ages, soprano Christine Goerke plays Brünnhilde, Wotan's willful warrior daughter, who loses her immortality in opera's most famous act of filial defiance. Tenor Stuart Skelton and soprano Eva-Maria Westbroek play the incestuous twins Siegmund and Sieglinde. Greer Grimsley sings Wotan. Philippe Jordan conducts.

FINALLY 
The great Walkure!
Remember folks, *this broadcast starts an hour earlier!*
Be there or be square 
If a local station by you doesn't carry the broadcast, you can listen at
KUSC.ORG live. 
ENJOY!!!


----------



## The Conte

Itullian said:


> Be there or be square


Or be at the ballet...

N.


----------



## SixFootScowl

JosefinaHW said:


> Thanks, Fritz. Maybe I'll just play the Goerne version in the background for awhile.


Or perhaps Wallace's Lurline opera. It involves a magic ring and a river (the Rhine perhaps) and a lot of fantastic stuff. But your problem seems more to involve the musical structure and that may be where I get off easy because I am a musical theory ignoramus and so ride most music on the basic emotion and/or gut feeling level. Also, get a recording of Wagner with the voices very up front and focus more on the voices. Perhaps that will help.


----------



## Itullian

15 minutes to curtain


----------



## pianoville

Why is the brass section so quiet?


----------



## DavidA

Itullian said:


> 15 minutes to curtain


Afraid Wagner came second to family duties for me today. Took grandson to cinema this morning for a rather different theme - a transformer movie. Come to think of it, Wagner might have set an opera about transformers if they had been around in his day! :lol:


----------



## Woodduck

A question for others who listen on radio: is it my local station, or is it the Met itself, that flattens the dynamic range to such an extent that a single unaccompanied singer sometimes sounds louder than the entire orchestra? I could swear that the overzealous control room has actually turned crescendos into diminuendos. This wreaks havoc on music, Wagner in particular, and it's disgraceful.


----------



## Bonetan

As someone who always listens especially close to the Wotan I'm finding Greer Grimsley difficult to listen to. No beauty in this voice :-(


----------



## Woodduck

Bonetan said:


> As someone who always listens especially close to the Wotan I'm finding Greer Grimsley difficult to listen to. No beauty in this voice :-(


Grimsley's just getting old and worn. I think he has the right _kind_ of voice, and at low pitch and volume you can imagine how he probably used to sound. I might say the same about Eva-Marie Westbroek, who's fine except when she's high or loud, which unfortunately is most of the time. Aging wobblers both.

I thought the most compelling performance today was Jamie Barton's. She really laid on the recriminations with sharp diction and knowing inflections - almost as strong as Christa Ludwig and Margarete Klose in former days. Stuart Skelton was vocally solid and did everything right, so I'm not sure why I found him unexciting. I just didn't get the sense of Siegmund as a lonely, haunted outcast. No real complaints about Groissbock, even if he isn't Gottlob Frick (who is?).

Christine Goerke portrays Bunnhilde with sympathy and exuberance, and her vocal amplitude is obvious even over the radio. So is her tendency to flat high notes. I still say her vibrato is part of it; in her upper range the pitch fluctuation within the vibrato is sometimes so great that the tone becomes indistinguishable from a trill. That limits the expressive potential of a voice, and it robs the climaxes of the impact which only a clear, tightly focused tone can produce.

Jordan's conducting had propulsion but was short on gravitas. Much of the first act seemed rushed, slighting the music's beauty and pathos.


----------



## pianoville

Bonetan said:


> As someone who always listens especially close to the Wotan I'm finding Greer Grimsley difficult to listen to. No beauty in this voice :-(


I agree. I was greatly disappointed by his Lebwohl.


----------



## Itullian

Agree with Woodduck. A whole lotta wobbling going on. 
I thought Grimsley wasn't that good, but at times reminded me of George London.

I agree that Jordan moved to fast most the time and didn't give passages a chance to breath.
And more gravitas was definitely in order.

But as always with Wagner i had several chill moments and tears in my eyes at the end.
What music!

I will not forgive the Met for delaying the broadcast for 30 minutes and missing the beginning of the opera!!
Ridiculous and unforgivable


----------



## JosefinaHW

Itullian said:


> I will not forgive the Met for delaying the broadcast for 30 minutes and missing the beginning of the opera!!
> Ridiculous and unforgivable


I think it must have been your channel, I. I heard the entire opera right from the beginning. I LOVE the prelude to Act I. So far, Die Walkure is my favorite of The Cycle, but haven't heard the entirety of Gotterdammerung yet.


----------



## JosefinaHW

Bonetan said:


> As someone who always listens especially close to the Wotan I'm finding Greer Grimsley difficult to listen to. No beauty in this voice :-(


Agreed, I wish the singer who played Alberich in Das Rheingold would have sang Wotan.


----------



## Itullian

JosefinaHW said:


> I think it must have been your channel, I. I heard the entire opera right from the beginning. I LOVE the prelude to Act I. So far, Die Walkure is my favorite of The Cycle, but haven't heard the entirety of Gotterdammerung yet.


For reals? The site says technical difficulties from the Met broadcast caused it.


----------



## JosefinaHW

Woodduck said:


> *Enjoying Wagner and understanding his techniques are two different things. If they were not, given the complexity of what he was doing musically and dramatically, hardly anyone would enjoy his operas. It's apparently not uncommon to take some time getting comfortable with his works, or at least some of them.
> *
> I do find actual dislike of Wagner to be a very interesting subject (dislike of the works, I mean; dislike of the person - requiescat in pax - is a tedious subject). His music and drama arouse strong feelings in many people, not all of them comfortable: sometimes he seems to "get" people in places where they are not accustomed to be "got." I've seen some people go into ecstasies over _Tristan_ or _Parsifal,_ while others claim unease or even revulsion. Some of these folks are pleased by _Die Meistersinger, _which they find more "normal" than the operas set in mythical and legendary realms filled with strange, larger-than-life characters driven by overwhelming passions and quests for salvation.
> 
> I seem to have been sufficiently abnormal as a young person to be completely ravished by Tristan and Isolde's hypnotic invocation of night and oblivion, but that's not to say that there were not things about Wagner that made me uneasy: I could swear, for example, that I actually experienced the vertiginous fear that Parsifal must have felt in the serpentine arms of Kundry, along with the suspicion that even listening to her creepily intimate music might be putting my soul in danger! Wagner's restless chromatic harmony had a funny way of turning me inside out and upside down, and I think that that's exactly what he intended: his music has been compared, not always with approval, to a drug trip, and its aftereffects to a hangover. I can well understand that not everyone is looking for that sort of experience at the opera!
> 
> *We're all different, so your experience with Wagner won't be quite like anyone else's.* I for one am always interested in how others respond to and understand this favorite composer.


Extremely glad about the first paragraph. BUT, one thing I find extremely difficult is not being able to remember the vocal music in my head even as it is being sung in so much of the "non-lyrical" music. I think this is what REALLY bothers me the most. I suppose I sing in my head frequently as I listen to vocal music. There is so much in the first three operas of The Ring where I can't "hear" the melody, certainly cannot sing it--and I don't mean technically. In this way much of the vocal lines almost sound like modern or post-modern music, but not in terms of some of the latter's physical assault on the ear and the rest of the body.
Maybe when and if I have more of the text memorized and understand the translation better I will be able to have something to hang on to. Along the same lines, in many of these places the orchestration is playing something so completely different than the vocal line that I have to ignore the one to try and follow the other. Hopefully this is all because the majority of this music is so new to me.


----------



## JosefinaHW

I don't know if one's emotional response to the text, music and action should be discussed in another thread, but I am very curious about other's reactions too. As far as I can remember thus far, I haven't felt anything touch a raw nerve in me; and, in many ways I am extremely happy about that--I've made a great deal of progress working on my "stuff". I have gotten annoyed with some of the characters actions or thoughts and I'm sorry, at this moment, Siegmund and Brunnhilde are the two heroes in this story up to this point (end of Siegfried). Annoyance is extremely different than the feeling of a raw nerve having been hit.

I'm not the least bit disturbed by "incest" as it has been presented in the first three operas. I think, first, so many of the mythological creation stories have the gods and goddesses being bred from one another. My take on that has been that it was a way of explaining how beings came to be produced in the universe. It doesn't seem like people thought of multiple beings developing in different places at the same time. (This whole thing in Donnington about the Freudian and Jungian sexual desire of child and mother because of breast feeding, etc., etc., just doesn't resonate with me).

Second, none of those characters have met each other before or at least were extremely young when they did "know" each other. 

Third, I think the incorporation of the incest is a major way of Wagner telling us that this is an allegorical story; he is telling a story of the development of human beings and their consciousness. Also, the development of all/many of the major types of love: filial, paternal, erotic, agapic.... I saw that really clearly in the scenes with Siegmund and Sieglinde--they even say it, you are my x, y, z.... We aren't born knowing all those differences.


----------



## Woodduck

JosefinaHW said:


> Extremely glad about the first paragraph. BUT, one thing I find extremely difficult is not being able to remember the vocal music in my head even as it is being sung in so much of the "non-lyrical" music. I think this is what REALLY bothers me the most. I suppose I sing in my head frequently as I listen to vocal music. There is so much in the first three operas of The Ring where I can't "hear" the melody, certainly cannot sing it--and I don't mean technically. In this way much of the vocal lines almost sound like modern or post-modern music, but not in terms of some of the latter's physical assault on the ear and the rest of the body.
> Maybe when and if I have more of the text memorized and understand the translation better I will be able to have something to hang on to. Along the same lines, in many of these places the orchestration is playing something so completely different than the vocal line that I have to ignore the one to try and follow the other. Hopefully this is all because the majority of this music is so new to me.


It's just a matter of listening experience. Wagner's vocal lines vary greatly between recitative-like snatches and full-fledged tunes, with the primary musical content often in the orchestra and the vocal line tracing the outlines of the harmony or being just one thread in the texture. Singers and listeners in Wagner's day had trouble with this initially, and I'd imagine some of the music is difficult to learn.

Wagner was very, very careful at setting words (which he himself wrote) to music which would allow them to be articulated in a natural way, and this often determines the shape of the vocal part. This is especially true in the earlier parts of the _Ring_ (before he took time out to compose _Tristan_ and _Die Meistersinger_) in which he was following conscientiously his own precepts about word-setting as outlined in his essay "Opera and Drama." At that time he was trying to find a compromise between song and speech which would allow the words to project with perfect clarity, yet with the additional layers of meaning music could provide. Later, as he composed _Tristan,_ he realized that music didn't want to be subordinated to verbal articulation to that degree.


----------



## Rossiniano

Rossiniano likes his Wagner in small doses. I got home in time for the final hour and things seemed underpowered to me. The Wotan toggled between sounding right on target to wobbling off target. The Brunhiiilde sounded fine, but at this stage of the role there was not much above the staff and Goeke has bothered me in the past in that territory. The conducting seemed overly rushed, but in retrospect it was because it was underpowered. The big moments just Passed by. Perhaps more vibrato in the strings when Woton embraces Burnhilde and more ”brass” in the brass when the Seigfried theme is last heard. 

Wagnerian audiences usually do not applaud untill the final chord fades away. The ending was spoiled by the premature applause. 

Note to woodduck... I hate when broadcast signals are compressed so that the solo cello is as loud as the bass drum. That’s usually a function of the individual station. I listen via internet to KUAT from Arizona even though I am 2000 miles from that location. The sound is well balanced and natural.


----------



## wkasimer

Woodduck said:


> A question for others who listen on radio: is it my local station, or is it the Met itself, that flattens the dynamic range to such an extent that a single unaccompanied singer sometimes sounds louder than the entire orchestra? I could swear that the overzealous control room has actually turned crescendos into diminuendos. This wreaks havoc on music, Wagner in particular, and it's disgraceful.


This has been the case for Met broadcasts for many years.


----------



## JosefinaHW

Another thing that I had in the front of my mind as I began this listening of Wagner's music: The role of artists in the promotion of forming a German state of the Germanic lands. I would really like to learn more about the role the artists had in that, but I can't add another topic to my reading right now.

How much of at that Germanic spirit did Wagner (really) have? Please don't go to the Nazi thing that is not what I mean here. I remember that a German music periodical (?) was holding a contest for the composition of a Germanic mythic opera! So, again, if you want to promote the unification of a people via mythology well you very well would choose one particular race or tribe--The Walse--to tell the mythological source of that people. Well, again, brother and sister breeding the next generation, etc... That's a different type of incest or it has a totally different feel to it when you look at it in that context. (I think.)


----------



## Woodduck

Rossiniano said:


> Note to woodduck... I hate when broadcast signals are compressed so that the solo cello is as loud as the bass drum. That's usually a function of the individual station. I listen via internet to KUAT from Arizona even though I am 2000 miles from that location. The sound is well balanced and natural.


I guess I'm going to have to listen to KUAT. I have it on now, in fact. My computer speakers aren't the equal of my stereo system's, but for the sake of natural dynamics it'll be worth the sacrifice. Here's to _Siegfried!_

Thanks. :tiphat:

P.S. Where is "the opera zone"? New York?


----------



## mountmccabe

JosefinaHW said:


> Agreed, I wish the singer who played Alberich in Das Rheingold would have sang Wotan.


Tomasz Konieczny has been singing all three Wotans for years, in Vienna, Budapest, and other cities. Curious that _Das Rheingold_ was his house debut, followed quickly by Abimélech in _Samson et Dalila_.

And speaking of Wotans, I guess I missed the news (which was announced years ago) that Günther Groissböck is to be singing Wotan next summer at Bayreuth, but he mentioned it during an intermission feature today (in the Live in HD, at least). I really optimistic about how he'll do in the role, having been impressed by him on stage in other roles (Baron Ochs, Landgraf Hermann). And happy to hear him say that the number of operas he'll be singing Wotan in is to be determined.


----------



## JosefinaHW

Itullian said:


> For reals? The site says technical difficulties from the Met broadcast caused it.


I heard that fabulous prelude and even a bit of chat between the commentators too. I was listening via weta in Washington, D.C..

Itulian, I haven't checked the schedule yet, maybe they haven't announced it yet for April, but if a person is a member they can log onto the MetOpera site and listen to several new broadcasts the following week (I think). As soon as I find out the schedule I will send you a PM and you can get to hear another performance.


----------



## Woodduck

wkasimer said:


> This has been the case for Met broadcasts for many years.


So you're getting it too? Rossiniano seems to think it's at least partly caused by local stations and that the station he listens to is better. Could it be a combination of causes? Some of the dynamic transitions sound extremely awkward and amateurish.


----------



## Itullian

JosefinaHW said:


> I heard that fabulous prelude and even a bit of chat between the commentators too. I was listening via weta in Washington, D.C..
> 
> Itulian, I haven't checked the schedule yet, maybe they haven't announced it yet for April, but if a person is a member they can log onto the MetOpera site and listen to several new broadcasts the following week (I think). As soon as I find out the schedule I will send you a PM and you can get to hear another performance.


Very kind of you, but it's ok. 
I survived 
And have many recordings


----------



## JosefinaHW

mountmccabe said:


> Tomasz Konieczny has been singing all three Wotans for years, in Vienna, Budapest, and other cities.


I will search and see if any DVDs or CD recordings have been released with him in the role. TY


----------



## mountmccabe

Woodduck said:


> I thought the most compelling performance today was Jamie Barton's. She really laid on the recriminations with sharp diction and knowing inflections - almost as strong as Christa Ludwig and Margarete Klose in former days.


She is a treasure. I agree about her today, and her performance was my favorite of the SFO Ring cycles I saw in 2018.



Woodduck said:


> Jordan's conducting had propulsion but was short on gravitas. Much of the first act seemed rushed, slighting the music's beauty and pathos.


I was really disappointed, especially in the finale. There were some great moments, but they were not tied together. I really want this score to feel organic... and we did not get that today.


----------



## Bonetan

JosefinaHW said:


> Agreed, I wish the singer who played Alberich in Das Rheingold would have sang Wotan.


I don't like Konieczny's Wotan personally. The unique color of his voice is much more suited to Alberich imo. It has an evil edge to it, rather than a noble one.

One Wotan I've heard live that is much better than Grimsley at this stage is John Lundgren 

I enjoyed Goerke, but from just recordings I think I prefer Stemme & Herlitzius...has anyone heard all 3 live in the role?


----------



## Rossiniano

Woodduck said:


> I guess I'm going to have to listen to KUAT. I have it on now, in fact. My computer speakers aren't the equal of my stereo system's, but for the sake of natural dynamics it'll be worth the sacrifice. Here's to _Siegfried!_
> 
> Thanks. :tiphat:
> 
> P.S. Where is "the opera zone"? New York?


HINT...if you have a smart phone, tablet or laptop use the headphone output and get an adapter to connect it to the RCA inputs of your stereo system. Things will sound great. I did a lot of internet surfing before I stumbled on KUAT. Plus no FM station in my area briadcasts the MET... and that's currently FL.


----------



## Woodduck

Bonetan said:


> I don't like his Wotan personally. The unique color of his voice is much more suited to Alberich imo. It has an evil edge to it, rather than a noble one.


The tone quality of that Alberich - what was his name? - reminded me at moments of Gustav Neidlinger, who remains for me the peerless exponent of the part. Neidlnger had a rock-steady voice and a glorious, gloating snarl right inside the tone; he didn't have to shout and bark to make his points. I particularly admire singers who know how to find the character inside the written notes.


----------



## Woodduck

Rossiniano said:


> HINT...if you have a smart phone, tablet or laptop use the headphone output and get an adapter to connect it to the RCA inputs of your stereo system. Things will sound great. I did a lot of internet surfing before I stumbled on KUAT. Plus no FM station in my area briadcasts the MET... and that's currently FL.


Thanks. And shame on FL.


----------



## mountmccabe

Woodduck said:


> The tone quality of that Alberich - what was his name?


Tomasz Konieczny (operabase schedule/history)


----------



## Bonetan

mountmccabe said:


> And speaking of Wotans, I guess I missed the news (which was announced years ago) that Günther Groissböck is to be singing Wotan next summer at Bayreuth, but he mentioned it during an intermission feature today (in the Live in HD, at least). I really optimistic about how he'll do in the role, having been impressed by him on stage in other roles (Baron Ochs, Landgraf Hermann). And happy to hear him say that the number of operas he'll be singing Wotan in is to be determined.


Interesting! I read that he was singing the Bayreuth Wotans last year, but I assumed he was singing all 3. They're probably unsure about the Wanderer. That thing is damn high for a true bass. His Gurnemanz & Pogner at Bayreuth have been very highly regarded.


----------



## wkasimer

mountmccabe said:


> Tomasz Konieczny has been singing all three Wotans for years, in Vienna, Budapest, and other cities.


And he's recorded all three, in Janowski's second cycle on Pentatone.


----------



## Guest

I'm sorry to lower the tone, but did anyone else find the 2nd interval interview with two of the Valkyries and their handlers absolutely hilarious? It wasn't just the accidentally repetitive innuendo, but the look of them when they twigged what they were saying and tried to recover the situation but just dug themselves a deeper hole.

I tried to suppress my laughter but my shoulders were shaking, then my body started gyrating before I ended up guffawing for the first five minutes of the Ride. Funnily enough, once I started laughing a fair proportion of the audience did too, as though I had given them permission to let it all out.


----------



## Bonetan

I'm glad Grimsley isn't singing Wanderer. The high tessitura & sustained notes would not be pleasant...I would have liked to hear Volle sing all 3 Wotans.


----------



## Becca

I see that Simon Rattle has continued his Munich/Bavarian RSO Ring cycle with Walkure in February, which will be released on CD. He used Michael Volle as Wotan in Rheingold but for Walkure...

Stuart Skelton, Tenor (Siegmund)
Eric Halfvarson, Bass (Hunding)
James Rutherford, Baritone (Wotan)
Eva Maria Westbroek, Soprano (Sieglinde)
Iréne Theorin, Soprano (Brünnhilde)
Elisabeth Kulman, Mezzo-Soprano (Fricka)

P.S. Apparently Rutherford was a last minute substitute for Volle who had been scheduled.


----------



## wkasimer

Bonetan said:


> I'm glad Grimsley isn't singing Wanderer. The high tessitura & sustained notes would not be pleasant...I would have liked to hear Volle sing all 3 Wotans.


I believe that Volle is scheduled for all three in Met Cycle 2. At least I hope so....


----------



## MAS

Bonetan said:


> I'm glad Grimsley isn't singing Wanderer. The high tessitura & sustained notes would not be pleasant...I would have liked to hear Volle sing all 3 Wotans.


Late to the party - I didn't get a chance to write yesterday after I attended the Met in HD Walküre, which I enjoyed much more than I thought I would. My first encounter with Grimsley's Wotan. I liked him in 85% of the role, but found his vocal production a bit peculiar in places, very unsteady and effortful in sustained passages as stated above. But for the most part I enjoyed his portrayal. 
I also enjoyed the Völsung twins vocally, Skelton more surprisingly, since I'd never seen him before. His sound was heroic, yet he had the dynamic control to do justice to Siegmund's lovelorn youth. Westbroek I had liked in her last outing as Sieglinde and she was a little diminished at yesterday's performance, but was still masterful, though she sounded a trifle tremulous in places (but not at the "Hehrstes Wunder" passage). 
Goerke was very pleasing in the role, the voice mostly very steady and the high notes well taken - I found her sounding very assured and her acting very good. She and Grimsley had good chemistry, too. Loved her blond wig. 
I liked Groissböck's looks more than his singing, not that the latter was bad! Good thing Sieglinde wasn't swayed...
Jaime Barton was stellar, with nice forays into her chest voice and found her portrayal satisfying and commanding. 
I quite liked Philippe Jordan's pacing and traversal of the score. He is not if the slow and lugubrious school of Wagner conducting a la Levine, but a bit more modern and swift. I wonder if I liked it because the orchestra sounded just fabulous or because of his conducting of it! 
All in all, a great morning/afternoon at the Met!
Made me want to play my Rings.


----------



## JosefinaHW

mountmccabe said:


> Tomasz Konieczny (operabase schedule/history)


What a wonderful site! Thank you, M&M.


----------



## Bonetan

JosefinaHW said:


> What a wonderful site! Thank you, M&M.


I'm hoping to hear Goerne in Vienna in April


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## JosefinaHW

Bonetan said:


> I'm hoping to hear Goerne in Vienna in April


Wow! I don't begrudge you the opportunity, but I sure would like to b there, too. Is that a relatively intimate theater? I adore Robert Lloyd in the role. Then Walter Berry. They both have that fabulous deep, dark, effortlessly commanding voice for the role.

I listened to Gerald Finley's recent Met Performance: of course the man has a beautiful, powerful voice, but I think he interpreted the role as Duke Bluebeard as an evil man but I don't think he is evil at all. I think the character is the archetype but still very-alive, good, powerful man. Because he didn't get that his much less dark voice didn't work for me (and I really do love to hear the man sing!).

Goerne doesn't have Lloyd's deep dark voice either, but he is such a powerful presence AND I think he will get that The Duke is a good man. That is my impression from interviews re/ other things. He could be very successful in that role.

That site MM recommended is fabulous! I also saw that Goerne is going to perform the Dutchman!!! Be still my heart! I don't hear too many people talk about that opera on here, but that was my first Wagner opera and I ADORE the music.

Such exciting stuff, Bonetan! Have you met Goerne in person and spoken to him yet?


----------



## JosefinaHW

Bonetan, I also have to thank you. Your mention of _Walle,..._ in Siegfried, prompted me to listen to that particular recording for the first time. Then it just grabbed me by the heart. I listened and listened and listened last night! (Mind you, I had some intense adventure dreams last night and woke up feeling like I was hit by a train, which I suppose I was. :lol.

When Goerne sings Wotan--so far as I have listened--he makes it much easier for me to get the vocal line. I don't know exactly how to describe this, but Terfel and Grimmling are somewhere above or below the music--I don't mean technically speaking. Their voices aren't singing it like a song. I wonder if that is because they are not "Lyrical Bass-Baritones"?


----------



## Bonetan

JosefinaHW said:


> Wow! I don't begrudge you the opportunity, but I sure would like to b there, too. Is that a relatively intimate theater? I adore Robert Lloyd in the role. Then Walter Berry. They both have that fabulous deep, dark, effortlessly commanding voice for the role.
> 
> I listened to Gerald Finley's recent Met Performance: of course the man has a beautiful, powerful voice, but I think he interpreted the role as Duke Bluebeard as an evil man but I don't think he is evil at all. I think the character is the archetype but still very-alive, good, powerful man. Because he didn't get that his much less dark voice didn't work for me (and I really do love to hear the man sing!).
> 
> Goerne doesn't have Lloyd's deep dark voice either, but he is such a powerful presence AND I think he will get that The Duke is a good man. That is my impression from interviews re/ other things. He could be very successful in that role.
> 
> That site MM recommended is fabulous! I also saw that Goerne is going to perform the Dutchman!!! Be still my heart! I don't hear too many people talk about that opera on here, but that was my first Wagner opera and I ADORE the music.
> 
> Such exciting stuff, Bonetan! Have you met Goerne in person and spoken to him yet?


Vienna has a pretty big theater. Goerne will be singing Amfortas, which many lyric singers have been singing, so I'm sure he'll be great!

His Dutchman should be interesting. Not a whole lot of lyric baritones attempt it.

I have not met Goerne, but perhaps I will get the opportunity soon


----------



## Bonetan

JosefinaHW said:


> Bonetan, I also have to thank you. Your mention of _Walle,..._ in Siegfried, prompted me to listen to that particular recording for the first time. Then it just grabbed me by the heart. I listened and listened and listened last night! (Mind you, I had some intense adventure dreams last night and woke up feeling like I was hit by a train, which I suppose I was. :lol.
> 
> When Goerne sings Wotan--so far as I have listened--he makes it much easier for me to get the vocal line. I don't know exactly how to describe this, but Terfel and Grimmling are somewhere above or below the music--I don't mean technically speaking. Their voices aren't singing it like a song. I wonder if that is because they are not "Lyrical Bass-Baritones"?


It might be my favorite thing to sing actually. I begin my auditions with it!

I think this is because Goerne sings everything like he's singing lieder. It makes for very easy listening. Terfel & Grimsley bark a lot, which can cause you to lose the line, but Goerne never seems to do that from what I've heard...someone who knows singing more technically than I do should probably speak on that. I could be dead wrong.


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## JosefinaHW

Bonetan said:


> Vienna has a pretty big theater. Goerne will be singing Amfortas, which many lyric singers have been singing, so I'm sure he'll be great!
> 
> His Dutchman should be interesting. Not a whole lot of lyric baritones attempt it.
> 
> I have not met Goerne, but perhaps I will get the opportunity soon


Ding, Dong, Me. Sigh, I saw April in your post whipping past Vienna. I thought you were going to see him in Paris as Bluebeard. If you write to him and meet him for dinner or lunch or something, let me know ahead of time, so I can arrange for the delivery of calla lilies or something a bit more creative.


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## JosefinaHW

Bonetan said:


> *It might be my favorite thing to sing actually. I begin my auditions with it!
> *
> I think this is because Goerne sings everything like he's singing lieder. It makes for very easy listening. Terfel & Grimsley bark a lot, which can cause you to lose the line, but Goerne never seems to do that from what I've heard...someone who knows singing more technically than I do should probably speak on that. I could be dead wrong.


The music is just gorgeous! Many thanks for prompting me to listen to it at just the right moment(s), apparently.


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## Woodduck

Bonetan said:


> It might be my favorite thing to sing actually. I begin my auditions with it!
> 
> I think this is because Goerne sings everything like he's singing lieder. It makes for very easy listening. Terfel & Grimsley bark a lot, which can cause you to lose the line, but Goerne never seems to do that from what I've heard...someone who knows singing more technically than I do should probably speak on that. I could be dead wrong.


I agree with this. Goerne also has a clear timbre, and his vibrato never gets out of hand or turns into a wobble. It's nice to hear Wagner sung cleanly.


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## JosefinaHW

Woodduck said:


> I agree with this. Goerne also has a clear timbre, and his vibrato never gets out of hand or turns into a wobble. It's nice to hear Wagner sung cleanly.


Maybe I just missed it, but you don't seem to talk much about _Die Fliegende Hollander_, W. What do you think of this opera?


----------



## Woodduck

JosefinaHW said:


> Maybe I just missed it, but you don't seem to talk much about _Die Fliegende Hollander_, W. What do you think of this opera?


I like it! It was Wagner's first really Wagnerian opera, and the Dutchman himself was the first truly Wagnerian protagonist, a man whose origins and nature are mysterious and whose life has gone terribly wrong, condemning him to spend the rest of it looking for redemption and peace. He looks for it in the most Wagnerian of places: the love of a woman.

I think one reason the opera is less discussed than Wagner's later works is that it presents a simple situation offering few problems of interpretation. If we wanted to view the opera realistically we could discuss the character of Senta and speculate on her mental soundness; some modern productions portray her as seriously disturbed (they do the same thing with Elsa in Lohengrin), but I think that diminishes the work, which is at base a fantastic folk tale to which Wagner, as usual, brings a high degree of intensity and gravitas.

The music of _Dutchman_ is a somewhat mixed bag, interspersing conventional operatic features (e.g. Erik's arias) with strikingly atmospheric evocations of the sea and some terrific post-Weber spookiness. The scene in Act One with the steersman singing and falling asleep as the Dutchman's ship arrives is a masterpiece of dramatic writing, as is the final act where the choruses of the Norwegian sailors and of the Dutchman's ghostly crew are set off against each other. In some ways I think _Dutchman_ is a better opera than Wagner's next one, _Tannhauser_ (not including the superb Paris revision) in its concision and strength of atmosphere and characterization.


----------



## Bonetan

@JosefinaHW I found this for you so you could hear Konieczny's Wotan. Skip to around 2:40. For me his voice isn't the right color...


----------



## JosefinaHW

Bonetan said:


> @JosefinaHW I found this for you so you could hear Konieczny's Wotan. Skip to around 2:40. For me his voice isn't the right color...


Thank you very much. Yes, I hear what you mean. To his credit thought I like how he conveys the emotion of the text. (He was FABULOUS as Alberich in the recent Met _Das Rheingold_!)

Let me share with you the _Leb' Wohl_ and _Der Augen_. They are in two separate videos. Again, I agree with you about that bit of growl or gruffness in his voice. I will say, to practice a new term, that I think he sings a clean _Der Augen_.


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## JosefinaHW

Woodduck said:


> I like it! It was Wagner's first really Wagnerian opera, and the Dutchman himself was the first truly Wagnerian protagonist, a man whose origins and nature are mysterious and whose life has gone terribly wrong, condemning him to spend the rest of it looking for redemption and peace. He looks for it in the most Wagnerian of places: the love of a woman.
> 
> I think one reason the opera is less discussed than Wagner's later works is that it presents a simple situation offering few problems of interpretation. *If we wanted to view the opera realistically *we could discuss the character of Senta and speculate on her mental soundness; some modern productions portray her as seriously disturbed (they do the same thing with Elsa in Lohengrin), but I think that diminishes the work, which is at base a fantastic folk tale to which Wagner, as usual, brings a high degree of intensity and gravitas.
> 
> The music of _Dutchman_ is a somewhat mixed bag, interspersing conventional operatic features (e.g. Erik's arias) with strikingly atmospheric evocations of the sea and some terrific post-Weber spookiness. The scene in Act One with the steersman singing and falling asleep as the Dutchman's ship arrives is a masterpiece of dramatic writing, as is the final act where the choruses of the Norwegian sailors and of the Dutchman's ghostly crew are set off against each other. In some ways I think _Dutchman_ is a better opera than Wagner's next one, *Tannhauser (not including the superb Paris revision)* in its concision and strength of atmosphere and characterization.


Obviously I'm no expert yet, but I think one misses the point entirely to interpret these operas realistically, except Die Meister. One ruins the magic and the Romanticism.

What do you mean by the Paris revision of _Tannhauser_? Is there a DVD of this version?


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## Bonetan

Konieczny's is a strange voice isn't it?? It's instantly recognizable which is a good thing, but it sounds out of place in some roles. PERFECT for Alberich imo


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## JosefinaHW

Bonetan said:


> Konieczny's is a strange voice isn't it?? It's instantly recognizable which is a good thing, but it sounds out of place in some roles. PERFECT for Alberich imo


Yes, his voice is extremely distinctive. Yes, for Alberich and, again, I liked the intensity of the feeling he added to the role. I recently watched the film _Karajan, Second Life _and in one of the scenes he is working at the piano with someone performing Alberich, and *vK tells him convey the anguish Alberich is feeling*--I think it was one of the scenes with the Rheindaughters.


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## JosefinaHW

His voice might be good for Boris Gudanov and Faust, too. ?


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## Bonetan

JosefinaHW said:


> His voice might be good for Boris Gudanov and Faust, too. ?


I imagine him in all the Neidlinger roles, a name Woodduck mentioned. Telramund, Klingsor, Pizarro etc. I believe he's the currrent Bayreuth Telramund. I'd love to hear him in those villainous roles


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## JosefinaHW

Yes, I've made a note of that singer. I didn't mean Faust, I meant Boito's Mefistofele. Maybe more, there are so many operas I have yet to hear.

P.S. Re/ the appearance of Wotan. Your avatar is just the way I think Wotan should look if a director/producer really wants to convey that Wotan is a god. Who is your avatar, B.?


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## Bonetan

JosefinaHW said:


> Yes, I've made a note of that singer. I didn't mean Faust, I meant Boito's Mefistofele. Maybe more, there are so many operas I have yet to hear.
> 
> P.S. Re/ the appearance of Wotan. Your avatar is just the way I think Wotan should look if a director/producer really wants to convey that Wotan is a god. Who is your avatar, B.?


It's Hans Hotter, the greatest Wotan who ever lived!


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## Woodduck

Bonetan said:


> I imagine him in all the Neidlinger roles, a name Woodduck mentioned. Telramund, Klingsor, Pizarro etc. I believe he's the currrent Bayreuth Telramund. I'd love to hear him in those villainous roles


Agree again. There's a distinctive snarl in the voice. In the _Walkure_ clip he sounded like Klingsor arguing with Kundry.


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## Woodduck

JosefinaHW said:


> His voice might be good for Boris Gudanov and Faust, too. ?


Boris is really a bass role. Mephistopheles might work, although it too is really for a bass.


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## Woodduck

JosefinaHW said:


> Obviously I'm no expert yet, but I think one misses the point entirely to interpret these operas realistically, except Die Meister. One ruins the magic and the Romanticism.
> 
> What do you mean by the Paris revision of _Tannhauser_? Is there a DVD of this version?


Wagner rewrote the whole first scene for a production in Paris. It's much better than the original Dresden version. Don't know about DVDs.


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## JosefinaHW

EDIT: Please read the following post for an explanation:


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## Woodduck

JosefinaHW said:


> I lucked out there. That's the DVD I just purchased. It's on YouTube. Mine is the production performed at the Met. YouTube is performance at Bayreuth.


This is the odd Bayreuth hybrid they mounted in the '60s, where they use the Paris ballet music and then revert to the Dresden version, depriving us of the gorgeously sensual music Wagner wrote for Venus. I've never understood their rationale. We know that Wagner wanted to revise even more of the score but never got around to it, so I think it's disrespectful of his wishes to use any part of the original version of the Venusberg scene outside of a recording. Besides, the Paris version is way better!


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## JosefinaHW

Woodduck said:


> This is the odd Bayreuth hybrid they mounted in the '60s, where they use the Paris ballet music and then revert to the Dresden version, depriving us of the gorgeously sensual music Wagner wrote for Venus. I've never understood their rationale. We know that Wagner wanted to revise even more of the score but never got around to it, so I think it's disrespectful of his wishes to use any part of the original version outside of a recording. Besides, the Paris version is way better!


Thank you, W. My apologies, Everyone. The DVD I purchased is the following:

Metropolitan Opera, James Levine,
Production: Otto Schenk

Richard Bassilly: Tannhauser
Eva Marton: Elisabeth
Tatiana Troyanos: Venus
Bernd Weikl: Wolfram
John Macurdy: Hermann


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## JosefinaHW

Bonetan said:


> It's Hans Hotter, the greatest Wotan who ever lived!


Well he certainly looks like a godly Wotan! I am signing off now to watch the Otto Schenk, MET Opera, Paris Version of Tannhauser.

Thank you, B. and W. for a very enjoyable evening! :cheers:


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## Barbebleu

I find the Solti, VPO, Kollo, Dernesch, Ludwig, Paris version to be a very good reasonably modern version more than adequately recorded.


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## JosefinaHW

Itulian and Everyone Else! This Wed., 3 April, Die Walkure is going to be broadcast again in HD in Movie Theaters. Some theaters are showing two performances 12:30 PM EST and 6:30 PM Eastern Standard Time (New York Time). Check your theater listings.


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## KitMurkit

Hey. I would love to subscribe to Met’s broadcast, but I found only "on demand" on the Met website. Is there a possibility to listen LIVE broadcast (or to watch) the Met as well?


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## Itullian

*April 6, 2019
Tosca by Giacomo Puccini*
Rising star Jennifer Rowley stars in the title role of the volatile diva at the heart of Puccini's operatic thriller. Joseph Calleja brings his stylish tenor to the role of Cavaradossi and Wolfgang Koch plays the nefarious police chief Scarpia. Carlo Rizzi conducts Sir David McVicar's resplendent production.

Be there or be square


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## Itullian

14 minutes to curtain


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## nina foresti

As Toscas go, sadly this was not among one of the more stellar ones.
Calleja was forcing and in so doing lost the previous luster of his voice.
I feel like Bambi's friend Thumper: "If ya can't say anything nice, don't say nuthin' at all".


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## Woodduck

_Tosca_ is one opera I feel I can discuss while it's playing and not miss anything essential. It makes most of its effects instantaneously and unambiguously, moment by moment, and the twentieth performance isn't likely to reveal any deep meanings to you that the first one didn't. It's on-the-edge-of-your-seat melodrama, and it's the best of its kind - a fail-safe piece of musical theater. It's what Andrew LLoyd Webber might write if he were a genius and not a talented hack who knows which geniuses to plagiarize (the present one, for example).

I'm finding today's Met offering listenable, at least when the lovers are singing (about the comprimario singing Angelotti I shall hold my tongue). Joseph Calleja, though, isn't verismo material; his cleanly focused, sympathetic voice is smallish, and it does not open out at the top where it needs to ring heroically. He isn't quite warmed up for today's "Recondita armonia" and sings sharp, and the climax is tight. Cavaradossi is a problematic role dramatically, a supposed revolutionary who can easily seem a mere victim of circumstances unless he has real vocal and physical presence. Calleja impresses as a Tamino who might be a Rodolfo when he grows up (and will be next season, according to Jennifer Rowley during her interview). Rowley, as Tosca, is closer to the genuine article, with a top that really soars; but her real test will be in Act Two. Wolfgang Koch's will be too, and I hope he'll make me forget the hideous, wobbly bellow of his first act entrance on "chiesa."

On to Act Two. Koch is clearly not going to provide any ear candy. Apparently he sings a lot of Wagner, and he sounds like it (poor Richard!): a lot of vibratoless parlando and, sure enough, that wobbly bellow I was hoping he'd be rid of. A rapist rather than a seducer - but then (I'm telling myself) Scarpia is no Don Giovanni. Rowley, I'm pleased to note, has a chest voice ("Non so nulla," "torturate l'anima...") in addition to an exciting top. Her interpretive instincts are good, although the "Vissi d'arte" is a bit overwrought and externalized, punctuated with the sort of theatrical gasps that Callas disdained, as if Rowley is trying to compensate for the lack of a Tebaldi sort of fullness and weight to her sound. Still, she seems resourceful in using what nature has given her. Hopefully she won't be pushing herself too hard in heavy roles. The murder of Scarpia comes off well; she sings, rather than speaks, "E avanti a lui...," as written.

By act three we know what to expect of Calleja and Rowley. Calleja sings "E lucevan le stelle" sweetly, including a beautifully executed diminuendo which, however, is extreme enough to seem a bit of show-offery. I guess it's nice that he can do it.

Photos of the sets on the Met's web site look impressive, though I wonder if the vastness of Scarpia's quarters wouldn't have the effect of dwarfing the protagonists. This is after all a drama of relationships, and a sense of intimacy, even claustrophobia, might better keep our focus on Tosca's desperate feeling of being trapped in a cage with a drooling beast.


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## Bonetan

Woodduck said:


> Wolfgang Koch's will be too, and I hope he'll make me forget the hideous, wobbly bellow of his first act entrance on "chiesa."
> 
> On to Act Two. Koch is clearly not going to provide any ear candy. Apparently he sings a lot of Wagner, and he sounds like it (poor Richard!): a lot of vibratoless parlando and, sure enough, that wobbly bellow I was hoping he'd be rid of. A rapist rather than a seducer - but then (I'm telling myself) Scarpia is no Don Giovanni.


I totally agree, & once again I was very disappointed with the baritone. Koch can join Grimsley as singers I will avoid listening to if I can help it lol. He's some years past his best & the voice is small in addition to being unattractive...


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## Itullian

That first act entrance sounded like the Cowardly Lion singing in Wizard of Oz 

I thought Rowley did an excellent Vissi, could have done without the sobs though.


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## DavidA

I listened to the Tosca last night and it seemed a fairly standard performance with some good singing from the two principles. The Scarpia forced his tone. However one of our problems is when listening in the radio to a performance in a vast auditorium like the Met, is that the singers are trying to project their voices to the back of the auditorium over an orchestra, whereas the microphone is picking them up far nearer. And of course in an audio of a live performance, you tend to pick up the smudges and inaccuracies without the distraction of the visuals


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## Rossiniano

*
Regarding Tosca...

In a nutshell the soprano had an understanding of the role and was at her best in the first and third acts. For some reason she seemed out of sorts in the crucial second act. To cut to the chase that she sang the worst "Vissi d'arte" I have heard in recent memory did not help matters. With no legato line whatsoever.! Of course the added gasps only drew only attention to that fact. The Scarpia was rough, but given his character it was not overly a drawback. I found Calleja interesting. Here was a bel canto tenor trapped in a verismo role! I kept imagining that this would be Luigi Alva's recurring bad dream of wandering into the wrong opera on the wrong night! At any rate, I have seen Calleja as Polione and Hoffmann and that is his Fach. Still I found his shaping and shading of his third act aria the highlight of the performance and it was good to hear it done in such a manner. The conducting was routine and there was not enough power underpinning the final moments of the first and final acts. Of course the Scarpia did not help matters at the end of the first act and the conclusion of the piece was a bit matter of fact. Still Puccini infused enough into his shabby little shocker so that it works even when on autopilot. 
*


----------



## DavidA

Rossiniano said:


> *
> The conducting was routine and there was not enough power underpinning the final moments of the first and final acts. Of course the Scarpia did not help matters at the end of the first act and the conclusion of the piece was a bit matter of fact. Still Puccini infused enough into his shabby little shocker so that it works even when on autopilot.
> *


People don't seem to realise that Tosca is a conductors opera and needs a deSabata or a Karajan in the pit.


----------



## Woodduck

DavidA said:


> People don't seem to realise that Tosca is a conductors opera and needs a deSabata or a Karajan in the pit.


Good point. On the other hand, I've watched the film with Callas and Gobbi perhaps a dozen times and have never even noticed the conducting (I'll have to pay more attention next time, if I can bring myself to).


----------



## Rossiniano

DavidA said:


> People don't seem to realise that Tosca is a conductors opera and needs a deSabata or a Karajan in the pit.


Yes! And it's no wonder that deSabata/Callas and Karajan/Price are two of the most acclaimed recordings and the prime donne are quite different indeed!


----------



## Becca

Woodduck said:


> Good point. On the other hand, I've watched the film with Callas and Gobbi perhaps a dozen times and have never even noticed the conducting (I'll have to pay more attention next time, if I can bring myself to).


It would be hard to notice much else when Callas & Gobbi are going at it in act 2!


----------



## Rossiniano

Woodduck said:


> Good point. On the other hand, I've watched the film with Callas and Gobbi perhaps a dozen times and have never even noticed the conducting (I'll have to pay more attention next time, if I can bring myself to).


For some reason the second act plays itself in a very "made for TV" manner. That and a good "Visse d'arte" makes it work. I find the first act is the most symphonic and especially the way things build toward the end of the act leading to the Te Deum. The final act is filled with contrasts that require a bit more attention from the pit. There is that delicate beginning that contrasts with the rush and sweep of the final moments. The conductor needs to be in total control so that every last bit of the drama is milked out of the orchestral postlude. A lot of that was missing at the MET.


----------



## Woodduck

Rossiniano said:


> Yes! And it's no wonder that deSabata/Callas and Karajan/Price are two of the most acclaimed recordings and the prime donne are quite different indeed!


But alike in being great singers. Most of the time we have to hope that the conducting will be first-rate because the singing isn't.

I suspect that _Tosca_ is no more a "conductor's opera" than most operas written after, say, 1850. In any case people seem to want to see and hear it no matter what's done to it. I don't number myself among those people, though. Until Callas and Gobbi are reincarnated I'll be content to pretend that it's a one act opera composed in black and white.


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## Itullian

*April 13, 2019
Siegfried by Richard Wagner
Please note: This performance begins at 9am pst*
Orphaned at birth, Siegfried learns his true identity and fulfills his destiny to become Brünnhilde's savior and lover. Tenor Stefan Vinke sings the heroic title character. Christine Goerke sings Brünnhilde, and Michael Volle sings the role of the enigmatic Wanderer. Philippe Jordan conducts.

OK friends, the big day is here! For me anyway 
Remember this broadcast is starting earlier than normal.

Be there or be square!


----------



## Woodduck

I expect it to begin at 9:00 AM PST.


----------



## Itullian

Woodduck said:


> I expect it to begin at 9:00 AM PST.


That's the listed start time.
I'm tuning in at 8:30 to make sure


----------



## pianoville

Woodduck said:


> I expect it to begin at 9:00 AM PST.


Didn't it begin at 8:30 when they were playing Die Walküre?


----------



## Itullian

*April 13, 2019
Siegfried by Richard Wagner
Please note: This performance begins at 9am pst*
Orphaned at birth, Siegfried learns his true identity and fulfills his destiny to become Brünnhilde's savior and lover. Tenor Stefan Vinke sings the heroic title character. Christine Goerke sings Brünnhilde, and Michael Volle sings the role of the enigmatic Wanderer. Philippe Jordan conducts.

OK friends, the big day is here! For me anyway 
*Remember this broadcast is starting earlier than normal.*Be there or be square!


----------



## mountmccabe

Itullian said:


> *April 13, 2019
> Siegfried by Richard Wagner
> Please note: This performance begins at 9am pst*
> Orphaned at birth, Siegfried learns his true identity and fulfills his destiny to become Brünnhilde's savior and lover. Tenor Stefan Vinke sings the heroic title character. Christine Goerke sings Brünnhilde, and Michael Volle sings the role of the enigmatic Wanderer. Philippe Jordan conducts.
> 
> OK friends, the big day is here! For me anyway
> Remember this broadcast is starting earlier than normal.
> 
> Be there or be square!


I'm not sure if the casting changed or I had misread it. I guess Andreas Schager is only performing in _Siegfried_ on May 2, when there is no broadcast.

He is singing the Saturday matinee of _Götterdämmerung_ on April 27, though. (Though I'll be out of town and unable to listen).



pianoville said:


> Didn't it begin at 8:30 when they were playing Die Walküre?


The performance begins at 8:30. I'm not sure why it's being tape delayed. Maybe it's a Glyndebourne thing and they fear they'll lose listeners during the long intervals (not that the intervals today are anywhere near as long as at that festival; they are 37 and 35 minutes in the house today).

I'm not getting any radio yet, but the Free Live Audio stream on the website is starting (though they're just talking at this time (8:35 AM PST)).


----------



## mountmccabe

And at 8:37 AM the music is starting via the audio stream. My local radio, KDFC (though I'm listening on my receiver over the net because I don't get radio signals) is playing Telemann.


----------



## Itullian

5 minutes to curtain


----------



## Itullian

Man, I love that opening!
No one sets a mood like RW!!


----------



## pianoville

Itullian said:


> Man, I love that opening!
> No one sets a mood like RW!!


I completely agree! The entire opera is fantastic.


----------



## Itullian

Amazing!!!!!!!
I had chills


----------



## pianoville

Itullian said:


> Amazing!!!!!!!
> I had chills


I was a little disappointed about the forging song and didn't like Mimes voice too much, but other than that it was really good.


----------



## Itullian

I can't wait to hear the woodbird


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## Woodduck

Itullian said:


> I can't wait to hear the woodbird


She'll be chirping just for you, paesan. (She's a real looker too!)


----------



## JosefinaHW

I joined the performance Act Two mid-Scene Two, so I missed Michael Volle, but I am ready for the Wache, Wola's. Thank you, Bonetan! 'got my fingers and toes crossed for Volle.


----------



## pianoville

Act 2 was excellent! I thought it was better than act 1 (which might have something to do with my deep love for the second act). Also, what's up with the audience and their applauding before the music even has ended?


----------



## Itullian

pianoville said:


> Act 2 was excellent! I thought it was better than act 1 (which might have something to do with my deep love for the second act). Also, what's up with the audience and their applauding before the music even has ended?


That was a bit annoying.
What music though!!!!!
I love act 2 as well


----------



## pianoville

BRAVO!!!

Amazing ending to this wonderful broadcast. The conducting was brilliant and the singing was too for the most part. Sometimes the violins take over too much, and the brass sometimes disappears which is a shame, but I still immensely enjoyed this interpretation. 

Not the biggest fan of Goerkes voice to be honest. A little too much vibrato for my taste, and sometimes she was a little off (maybe just me?).


----------



## Itullian

What an enjoyable 5 hours!!
Bravo to everyone!
Minor quibbles aside.
It was excellent.

The audience seemed to love it!!!


----------



## Woodduck

I enjoyed this more than the _Walkure_ of two weeks ago. I'd say the difference was not so much in the singing, but rather in the opera itself. We can hear Wagner growing as a composer from opera to opera, and though I wouldn't say that _Siegfried_ is a "better" work than its predecessors (although it may well be!) it certainly shows an advance in the sheer virtuosity with which the composer handles the elements of his craft: orchestration, counterpoint, the ability to weave together whole groups of themes into a seamless and fascinating texture. It's all put to the task of characterizing as sharply as possible the opera's special world - its people, forest creatures, inanimate objects, time, weather, stage action - all of which materialize vividly before us as we listen. Not having listened to _Siegfried _as a whole for a very long time, I'm actually surprised at how completely fascinated I was by its extraordinary score. Why surprised? I don't know. Maybe genius on this level just never stops being surprising. Who but Wagner could have pulled off such a tour de force of characterization and tone-painting? It seemed incredible on first acquaintance, and it still seems incredible half a century later.

Today's performance was unfailingly lively and responsive to the situations and text, and I don't feel like being too critical. We didn't have Melchior, Flagstad and Schorr, but everyone sang with conviction and the Siegfried didn't poop out before the end. I'm sure I would have joined the shouting, screaming, stamping ovation.


----------



## Scott in PA

Really appreciated Jordan's conducting today. Awakening scene especially rapturous in the orchestra. Not too keen on the cast, except maybe for Volle and the Forrest Bird. Georke weirdly insistent on the German "ie" sound (English "ee") when singing "Siegfried" on high notes. Take a hint from the greats who modulated the tone to "ah" or "ai".


----------



## Bonetan

JosefinaHW said:


> I joined the performance Act Two mid-Scene Two, so I missed Michael Volle, but I am ready for the Wache, Wola's. Thank you, Bonetan! 'got my fingers and toes crossed for Volle.


Volle was a huge upgrade over Grimsley imo & I liked his Wache Wala


----------



## Itullian

I can't wait for Gotterdammerung


----------



## pianoville

Itullian said:


> I can't wait for Gotterdammerung


I won't be able to watch it . I'm so bummed about that.


----------



## Open Book

pianoville said:


> I won't be able to watch it . I'm so bummed about that.


I missed "Die Walkure" due to an important deadline that someone else inflicted on me. I wanted to kill that someone.

I wish the Met would repeat these broadcasts more. There are some summer repeats but they always seem to be of the more popular operas, never of the long Wagnerian operas.


----------



## apricissimus

Can I ask a dumb question? Where are people watching these broadcasts? I recently purchased a subscription to the Met on Demand channel through my Roku, but that's not it (I think?).


----------



## Open Book

apricissimus said:


> Can I ask a dumb question? Where are people watching these broadcasts? I recently purchased a subscription to the Met on Demand channel through my Roku, but that's not it (I think?).


I've been watching the Met's Live in HD series in movie theaters. Are you aware of it? About 10 operas per year from fall until spring. One live showing of each, then a repeat a few days later.

These broadcasts have a strong impact on a big movie screen, with great sound and HD visuals. Except there's often a not so great accompaniment of action movie explosions bleeding through the wall, and even worse, popcorn-crunching fellow patrons.


----------



## Woodduck

Open Book said:


> I've been watching the Met's Live in HD series in movie theaters. Are you aware of it? About 10 operas per year from fall until spring. One live showing of each, then a repeat a few days later.
> 
> These broadcasts have a strong impact on a big movie screen, with great sound and HD visuals. Except there's often a not so great accompaniment of action movie explosions bleeding through the wall, and even worse, popcorn-crunching fellow patrons.


There should be a rule, "There's no popcorn in opera," similar to "There's no crying in baseball."


----------



## Open Book

Woodduck said:


> There should be a rule, "There's no popcorn in opera," similar to "There's no crying in baseball."


That's not a serious listener who has to bring a picnic to the opera. But theaters sell food, so you can only hope you at least sit near someone semi-considerate about eating.


----------



## mountmccabe

It's worth pointing out that there are also audio broadcasts, either actual broadcasts over the radio (the Saturday matinee broadcast) or streamed via their website (one Free Live Audio a week, plus sometimes (?) the Saturday matinee). There are also live audio broadcasts via SiriusXM.


----------



## mountmccabe

Open Book said:


> That's not a serious listener who has to bring a picnic to the opera. But theaters sell food, so you can only hope you at least sit near someone semi-considerate about eating.


I mean, the Live in HD broadcasts are specifically marketed as an easy thing to bring opera newbies to. A more casual (and cheaper) option. It's not going to be all serious listeners (though of course there are plenty of serious listeners in the audience). And part of the draw of movie theaters is that many people have specific associations with them, such as eating popcorn and candy, so some people do this. Sometimes even when they're showing up at 9 AM to watch an opera, though likely it's less common. I've never had much problem with people eating loudly around me, with our earlier starts (I'm in California).

Opera movie goers are often the first patrons in the building and the theaters would otherwise not be open yet. (So less bleed over from loud action movies, too).

That being said, an opera can be a long thing. I'll bring or buy snacks to eat during intervals, but I personally don't eat during the opera.


----------



## Itullian

*April 20, 2019
La Clemenza di Tito by Wolfgang Amadeus Mozart*
Mezzo-soprano Joyce DiDonato sings Sesto at the Met for the first time, and tenor Matthew Polenzani adds yet another role to his extensive Mozartean repertoire as Tito. Mozart's opera of vengeance and forgiveness, set during the Roman Empire, also stars sopranos Elza van den Heever as Vitellia, with Ying Fang, Paula Murrihy, and bass Christian Van Horn completing the principal cast. Lothar Koenigs conducts.

I don't really like this opera but,
I'll be there, or be square 

Biding my time until Gotterdammerung next week.


----------



## Woodduck

Itullian said:


> *April 20, 2019
> La Clemenza di Tito by Wolfgang Amadeus Mozart*
> 
> I don't really like this opera but,
> I'll be there, or be square
> 
> Biding my time until Gotterdammerung next week.


It's opera seria. It's a serious matter. Not like Wagner's preposterous light entertainments.


----------



## Itullian

12 minutes to curtain!!!


----------



## DavidA

Itullian said:


> 12 minutes to curtain!!!


Thanks for the reminder


----------



## Itullian

Sounds very good so far!


----------



## DavidA

Itullian said:


> Sounds very good so far!


Yes. Wondrous Wolfie!


----------



## SanPedroLaLaguna

Hi ya'll. Listening to the Met broadcast of this (La clemenza di Tito) now. I've never heard this before, so I wiki'd it. To me, it sounds like the story behind it- a work that was quickly thrown together because a patron had cash and was in a hurry. This sounds like the 18th century equivalent of cut and paste and sampling. You folks clearly know opera better than I do, so why am I wrong? I'm putting this on the composer; it's being sung lovely. Or maybe I'm just too excited by more Wagner next week....


----------



## DavidA

SanPedroLaLaguna said:


> Hi ya'll. Listening to the Met broadcast of this (La clemenza di Tito) now. I've never heard this before, so I wiki'd it. To me, it sounds like the story behind it- a work that was quickly thrown together because a patron had cash and was in a hurry. This sounds like the 18th century equivalent of cut and paste and sampling. You folks clearly know opera better than I do, so why am I wrong? I'm putting this on the composer; it's being sung lovely. Or maybe I'm just too excited by more Wagner next week....


This is actually a tremendous work even though Mozart had to use a prepared libretto. The music is marvellous. Enjoy the greatest genius of opera.


----------



## Itullian

It's good, but in places it sounds contrived rather than inspired.
i don't hear much here that is truly memorable.
i don't think it's Wolfie at his best.


----------



## DavidA

Itullian said:


> It's good, but in places it sounds contrived rather than inspired.
> i don't hear much here that is truly memorable.
> *i don't think it's Wolfie at his best.*


But better than anyone else!


----------



## DavidA

Terrific performance - really enjoyed it.

Seems from the applause everyone else did too!


----------



## DavidA

I see you can watch brief excerpts on the Met site:

https://www.metopera.org/season/2018-19-season/la-clemenza-di-tito/

Worth looking at for Ah perdona... Was anything more beautiful written?


----------



## Itullian

I thought the performance was very good.
I enjoyed it.


----------



## Woodduck

Our radio hosts, overcome with ecstasy as usual as the crowd goes wild, exclaim "Oh, thank you, Mozart!" and "Absolutely sublime!", and I'm thinking, "Hmmm... Well, thank you, Joyce."

Mozart received the commission for _La Clemenza di Tito_ while he was working on _Die Zauberflote._ Apparently he was well paid, and supposedly he composed it in 18 days (but farmed out the secco recitatives to his pupil Sussmayr, not an unusual thing for an opera composer to do in those days). Interrupting work on _Zauberflote_ seems not to have compromised the quality of that work in any way. The quality of this one, however, might be debated, with some of the music on Mozart's highest level of melodic inspiration and dramatic appositeness and some of it failing to do justice to the seriousness and intensity of the characters' emotions. The finale of Act One is a brilliant piece of dramatic writing, but Act Two doesn't create the crescendo of tension or achieve the sense of catharsis and denouement the dramatic situation demands; the conflicting emotions within these characters, and the release which ought to accompany the discharge and resolution of those emotions, deserve to be probed more deeply than Mozart manages to do. A nice, pat happy ending doesn't suffice.

I have few reservations about today's presentation, and after experiencing Joyce di Donato's brilliant performance as Sesto I'm not inclined to dwell on them. Di Donato was simply tremendous, getting more out of her role than one would suspect was there. Her laser-focused tone, meticulous musicianship, unfailing aliveness to the situation and the text, and absolute expressive freedom, added up to probably the greatest performance I've heard from the stage of the Met in years. It was, dare I say, Callas-like in its comprehension and intensity. The woman is a treasure. But no one else was less than capable, and I'd say that the performance as a whole did much to overcome the work's unevenness (and, frankly, to keep me from tuning out before it was over)

It seems to me that of the major opera composers whose works are big-house staples, the ones we can expect to hear well-sung at the Met these days are Handel, Mozart and Rossini. There are enough fine, small-to-medium sized voices around that can manage the florid writing of Baroque and Classical opera to keep devotees of that repertoire happy. Those of us who yearn for historic-quality performances of 19th and 20th-century French, Italian and German opera are not so well-served; too often we have to listen to dramatic roles taken by voices too small to fill them out, and have to hear what becomes of singers who push themselves, or get pushed, to overtax their resources. Matthew Polenzani, the fine Mozart tenor who sang Tito today, will apparently be singing his first Rodolfo soon. I've always enjoyed him, and the thought of yet another lyric singer moving "up repertoire" (like Joseph Calleja taking on Cavaradossi a couple of weeks ago) makes me uneasy. Listening to him today, the question went through my mind, "Is this a Puccini voice?", and the answer was, "No." But I suppose time will tell.


----------



## Rossiniano

_La Clemenza dinTito_ is a good old fashioned Opera Seria... and yes Mozart did it better than anyone else who was composing at the time. The performance was on target until the middle of the second act where the Tito and Vitellia seemed to tire. This seemed especially true in Vitellia's "Non più di fiori". Yet what seemed to be her claque was out in full force applauding and yelling at the conclusion of the aria. The uninterrupted orchestral transition between the aria and the subsequent chorus is one of the most magical moments in all of Mozart. That it was made completely inaudible due to the applause totally ruined the moment... well at least for me it did! Of course, there was timid applause at the quiet conclusion of the first act... but that is something that composers for better or worse liked to do at times. Mozart did so with the second act of _Idomeneo_ and Haydn in the first act of _L'Isola_ _Disabitata _both from about a decade or so earlier... not to mention Beethoven in _Fidelio_. At any rate, still an enjoyable performance. Oh, and Joyce DiDonato was a wonderful Sesto. She could sing the telephone book and hold my attention!


----------



## Itullian

*April 27, 2019
Götterdämmerung by Richard Wagner

Please note: Check you're start time as this broadcast is starting earlier than usual*
Wagner's epic cycle concludes with acts of betrayal, murder, vengeance, and, finally, the destruction of the world. Christine Goerke plays Brünnhilde, whose heroic self-sacrifice paves the way for humankind's redemption and rebirth. Andreas Schager takes on the role of the hero Siegfried, and Eric Owens is Hagen. Philippe Jordan conducts

TIME FOR THE BIG ENCHILADA FRIENDS!!!!!!
It's starting earlier than normal so.........
Be there or be square!!!!!


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## JosefinaHW

Big Hug, Itulian! *I think the time you listed is incorrect*.

Met site says *10:55 AM EDT* (hosts) /* then the opera 11am EDT (Eastern Daylight Savings Time) which is NY, amongst others

I*if you are in California I think you are in *Pacific Daylight Savings Time*, and the performance *will begin at 7:55 AM PDT (hosts)/ then the opera 8 AM PDT*

worldtimebuddy.com (No insult intended to anyone, XST is Whatever Zone Standard Time (Not during Daylight SavingsTime if that applies to your city or country.)

XDT is Whatever Zone Daylight Savings Time.

Just type your city in and New York, Select the Date of the Performance and all should be well.


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## JosefinaHW

Yes, I just chatted with the MET. It will be 7:55 AM when the hosts begin and then 8 am Pacific Daylight Time (unless your station does something funky). If you don't trust what your station might be doing, just log into a public radio site that's in EDT. weta.org is Washington, D.C.

When you use worldtimebuddy.com You have to make the distinction between --DT and --ST (not everyone in the US or everyone in the world is using daylight savings time.

*Have I made myself clear?*


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## JosefinaHW

Here is the radio/internet radio station listing on the Met's site:

https://www.metopera.org/season/radio/saturday-matinee-broadcasts/station-finder/


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## Itullian

^^^^Thank you Josefina 

I wouldn't want to miss the Norns!


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## JosefinaHW

Itullian said:


> ^I wouldn't want to miss the Norns!


Thank YOU, Itulian!!! Your dedication and enthusiasm is contagious.  I am going to pick two other stations besides weta.org as my back-ups in case something goes wrong. The MET does give us 5 minutes with the hosts to make sure we've got a good connection.

P.S. I am super-syked, My Friend!


----------



## Barbebleu

My grand-daughter (4 and a half) is having a sleepover with us this evening so I'll have my own Götterdämmerung to contend with. Only kidding, she is a little angel (mostly) but my attention will be required at all times so listening will be a no-no tonight.


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## Itullian

Yay!!!!!!!!!! It's on! 

Just the prelude gives me chills.


----------



## Itullian

I will hold back commenting right now as the end always overwhelmes me.
I had tears in my eyes from the funeral march onward.
I will just say I thought the orchestra was magnificent.
And I thought Goerke was excellent in the last scene.


----------



## GeorgeMcW

I thought Schager was excellent as Siegfried. Goerke really let it rip, especially in Act 2 - her rage was palpable. Also stand out performances by Alberich and Gutrune.


----------



## Woodduck

Like Itullian, I felt incapable of talking about today's _Gotterdammerung_ right away. It's been a while since I've heard the work, and actually quite a few years since I've sat down with the libretto to give it my undivided attention. I think I know, from my state when it was over, why I don't do that often, and won't be doing it again for a while.

The first thing I want to say, for anyone who hasn't yet realized it, is that Wagner is one of the small handful of stupefyingly great creative artists in the history of the universe. I found I was saying that to myself over and over, in a state somewhere between electric shock and higher consciousness, as I listened to the incredible musical richness of this epic journey of a work (both _Gotterdammerung_ and the _Ring_ as a whole). You might think I'd have had that figured out about 50 years ago, and in fact I thought I did, but the longer we live with something the more time we have to revise our youthful impressions and reevaluate the things that left our impressionable selves in awe. Not everything stands up to prolonged exposure, scrutiny, and the test of life experience. But, well, here I am 50-some years after Wagner first blew out the walls of my mind, and I'm completely wrecked and realigned, like the world after the gods are gone, all over again. This thing - what else to call it? - just beggars description and defies comprehension. To realize that Wagner repeated this sort of miracle several times in his career is next to impossible to account for or think about, and there is nothing else in music, or musical drama, that inhabits the same plane of imaginative achievement. There are lots of operas - good operas, so-so operas, great operas, masterworks by some of the greatest composers - and then there is Wagner, rethinking the whole damn thing, envisioning new worlds, making his own rules, and changing humanity's ideas of what's possible in music and on the lyric stage.

I might not have been quite so moved by _Gotterdammerung_ today had the performance been less effective. It wasn't even close to perfect - Wagner performance's rarely are, of course - but it exuded commitment, and once I'd sized up the performers' weaknesses and strengths I was able to overlook the former and simply marvel at moment after inspired moment in this music of astonishing complexity, psychological depth, and dramatic sweep. Much credit goes to conductor Philippe Jordan, who sustained momentum while bringing out the expressiveness of details and lines; at many moments I heard him responding to the text and action by means of a slight ritardando or well-placed accent, and he was always considerate of the singers in a score which is sometimes in danger of overwhelming them. He may not bring to Wagner the uniqueness of vision or the sheer majesty of conductors like like Furtwangler or Knappertsbusch, but at 44 he has plenty of time.

I found the cast to be fairly well-matched in quality of vocalism and effective in dramatic presentation. There were no vocal performances for the history books, but everyone was capable of giving enough to fulfill the basic requirements of characterization and storytelling. Christine Goerke remains both impressive and puzzling; her vibrato goes strange on high notes, seeming to keep the notes below pitch or simply to obscure the pitch, and this compromised some of Brunnhilde's most exciting moments. But, at the other end of her range, the moments where Wagner asks for a strong chest register came off well. She is, at least, an improvement on the Met's last Brunnhilde, Deborah Voigt. Andreas Schager, whose timbre is penetrating, presented a strong, extroverted hero, but his vocalism was rough-and-ready; the vibrato seems to be slowing toward the dreaded wobble (we shouldn't be able to count the beats!), and lines that need to be drawn with a sustained legato were often pushed apart into a succession of separate notes. Eric Owens doesn't have the sort of black-marble bass that makes for an authentic Hagen, but like everyone else he played his part intelligently. Tomasz Konieczny's musically alert, verbally acute Alberich was an asset, and Evgeny Nikitin and Edith Haller were more than adequate as Gunther and Gutrune. Michaela Schuster was an intelligent Waltraute, but her soprano-ish mezzo, unimpressive in the lower middle part of her range where the role mostly lies, undermined her good intentions. The haunting stillness of Wagner's vision of the gods awaiting their end makes the Waltraute scene one of the highlights of the score for me, and I want to hear a Schumann-Heink sort of contralto, or at least a solid mezzo like Christa Ludwig (who's superb on the Solti recording).

If the stage action was as absorbing as the musical presentation, today's performance would have been very much worth seeing.


----------



## Rossiniano

I'm going to be short and sweet. I was unable to give total attention to the proceedings until the final act, but like Woodduck I am always overwhelmed by the genius of Wagner... I actually appreciate his genius more than the music itself. I did not expect this to be a performance for the ages and as I remarked regarding the Walkūre broadcast things flew by a bit too quickly at times... but hearing all those leitmotifs cascading during the final moments has to be the most overwhelming of all operatic experiences. I always think back to how that final sublime melody was first heard in _Walkūre_ and how Wagner somehow knew that it would be used at the very conclusion of the cycle... and that the conclusion would not be composed for many many years in the future!

Of course the Rossinian in me notices the similar contours that the melody shares with the conclusion of Rossini's _Moise et Pharaon_ (1827 version aka _Mosè_ in the Italian version) where the orchestral postlude describes the waters of the Red Sea. Still Wagner took things to a whole new level that has probably never been equaled much less surpassed.


----------



## JosefinaHW

Itulian, Woodduck, Rossiniano. Congratulations and Thank You! It's a magical moment to see others thrilled to be alive!


----------



## Itullian

Well, I think I'm recovered enough to comment now.
The experience of hearing this broadcast will stay with me.
The sound on my radio was fantastc and so was the Met orchestra.The conducting and sound brought out so many wonderful details.
All the while I was listening, minute to minute, I was in wonderment of the constant invention going on.
Musically it was overwhelming.
Woodduck said it better than I can.
This work is monumental and that's understating it.
That this work came from a human mind is almost unbelievable.
The size, scope, constant invention and composition just overwhelmes me.
The performance was excellent and swept me along.
The performers seemed totally involved.
My only quibble was with the Siegfried who did display that wobble in his voice.
But I could overlook that based on the beauty of the performance.
I usually listen to Gotterdammerung one act at a time so my brain and emotions can drink it all in, so hearing it all at once, live, was something I won't forget.
I'm still not fully recovered, but enough to write this finally.

Thank you Met for the aw inspiring broadcast!
And thank you RW for a treasure beyond measure!


----------



## JosefinaHW

Poulenc, _Diaolgues des Carmelites _Friday (Tomorrow), 3 May, 2019 7:25 PM EDT (hosts) / Opera 7:30 PM

Pacific Daylight Savings Time 4:25 PM

worldtimebuddy.com


----------



## JosefinaHW

I've watched and listened to the Met's 4 April 1987 Video performance in preparation.

Having been privileged and blessed to have a dearest friend who is a third order Carmelite, I am somewhat familiar with the extraordinary spirituality of the Carmelites. 

I haven't read anything about Poulenc or this opera yet, but I really do wish he had composed more lyrical music and music at the warmest and strongest tessiitura of a powerful mezzo. St. Therese and Sta. Teresa were kick-***, strong women!


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## Itullian

*May 4, 2019
Aida by Giuseppe Verdi*
In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Tenor Aleksandrs Antonenko stars as Radamès while Nicola Luisotti takes the podium for the Met's monumental production.

Kinda anticlimactic after Gotterdammerung, but here it is.
Be there or be square 
Enjoy


----------



## Barelytenor

Itullian said:


> *May 4, 2019
> Aida by Giuseppe Verdi*
> In what should be a highlight of the new season, soprano Anna Netrebko sings her first Met Aida, going toe-to-toe with mezzo-soprano Anita Rachvelishvili as Amneris. Tenor Aleksandrs Antonenko stars as Radamès while Nicola Luisotti takes the podium for the Met's monumental production.
> 
> Kinda anticlimactic after Gotterdammerung, but here it is.
> Be there or be square
> Enjoy


Yeah, no. "Should be" and "are" are two very different things. Netrebko "sang" Aïda at the Met for the first time last September. It was not memorable. But it was better than the yelling of Alexandrs Antonenko. Anita Rachvelishvili, however, was wonderful, and worth a listen all by herself, as was Quinn Kelsey as Amonasro (is he repeating?).

So, not the first. I would vote for, um, last?

Kind regards, :tiphat:

George


----------



## Itullian

1 hour to curtain


----------



## Woodduck

Barelytenor said:


> Yeah, no. "Should be" and "are" are two very different things. Netrebko "sang" Aïda at the Met for the first time last September. It was not memorable. But it was better than the yelling of Alexandrs Antonenko. Anita Rachvelishvili, however, was wonderful, and worth a listen all by herself, as was Quinn Kelsey as Amonasro (is he repeating?).
> 
> So, not the first. I would vote for, um, last?
> 
> Kind regards, :tiphat:
> 
> George


20 minutes into the broadcast, I'm thinking you've more or less written the concise reader's digest review of it. Antonenko's "Celeste Aida" was one of the most head-splittingly awful things I've heard from the Met. I know it was cruel of Verdi to give Radames this aria right out of the starting gate, but I believe I've heard somewhere that singers are not forbidden to warm up in their dressing rooms! As I recall, the last Radames on a Met broadcast was the aging and overparted Marcello Giordani, who wasn't much more listenable. Where the hell are the tenors?


----------



## Itullian

Was that tenor kidding?


----------



## Woodduck

Itullian said:


> Was that tenor kidding?


The real question is, "who is the Met kidding?" Doesn't anyone have the guts to say to a singer, "sorry, you just can't cut it any more"? I guess it's possible that Antonenko was scheduled years in advance. I gather his vocal decline has been rather rapid.


----------



## Bonetan

Woodduck said:


> The real question is, "who is the Met kidding?" Doesn't anyone have the guts to say to a singer, "sorry, you just can't cut it any more"? I guess it's possible that Antonenko was scheduled years in advance. I gather his vocal decline has been rather rapid.


Yeah, that's the problem with scheduling singers 5 years in advance smh. But even then can't a house tell a singer what you said once they hear them in rehearsals?? I'm not sure how that works contractually...


----------



## Woodduck

Bonetan said:


> Yeah, that's the problem with scheduling singers 5 years in advance smh. But even then can't a house tell a singer what you said once they hear them in rehearsals?? I'm not sure how that works contractually...


I don't know how it works either, but surely a house needs to have the option of replacing a singer who's just not up to the assignment. Apparently, if you're loud enough and roughly on pitch and can get through the performance without hemmorhaging, you're "up to the assignment."


----------



## Itullian

Who's the understudy?


----------



## Woodduck

Itullian said:


> Who's the understudy?


Maybe Antonenko is the understudy. Harvey Fierstein was engaged elsewhere.


----------



## Becca

Itullian said:


> Who's the understudy?


Maybe Mr. Netrebko :lol:


----------



## Woodduck

Becca said:


> Maybe Mr. Netrebko :lol:


Bring him on. Bring anybody on. Hell, bring _me_ on (fifty years ago).


----------



## Woodduck

Okay, it's over. In descending order of listenableness: Rachvelishvili was extremely fine, Kelsey was very good, Netrebko was so-so, Antonenko was... We know what he was. I put on Caruso and Gadski to clean out my ears:






Next week the season ends under the guillotine. Pray for the sisters.


----------



## Rossiniano

Well the performance is over and I kept thinking how Verdi was so cruel to the tenor giving him an aria before he can even warm up! Well he was not warmed up for the second act... I won’t even mention Act three. By Act Four the tenor had absolutely no defense. Era colpevole! Quindi... condonnato a morte! I would have gone for a swift execution, but we were not so lucky! 

Of course as the curtain fell he never “warmed up”. Oh well! So what else is new. Heck! Verdi wrote one heck of an opera and that saved the day! Our Aida was better than expected and plush of voice, but in certain passages I missed the richer tones of Price who owned the part for so many years. The rest was fine with the Amneris taking pride of place.


----------



## Itullian

*May 11, 2019
Poulenc's Dialogues des Carmelites*
Yannick Nézet-Séguin leads the classic John Dexter production of Poulenc's devastating story of faith and martyrdom. Mezzo-soprano Isabel Leonard sings the touching role of Blanche and soprano Karita Mattila, a legend in her own time, returns to the Met as the Prioress.

Well friends. We have arrived at the last broadcast until December.
Thank you all for participating in this thread. It has been great fun.
Be there or b square.


----------



## Itullian

i have never heard this opera before. It has a strange beauty to it
that holds my attention.
So far i like it.


----------



## Itullian

Musically i liked it very much. i was very surprised.
i wasn't bored for an instant.
The story is such a horror though, i won't be listening to
it again unless its on a Met broadcast again.


----------



## nina foresti

I had several problems with this production and one opera I have seen more times than I can name. I was there live at the Met.

First was the lack of sound coming from all of the singers. Was it because the orchestra was too loud?

The way the paper cutters backstage were utilized. I always count all the "SHUNKS" and I wonder if they were following the script because some nuns hadn't even gotten out of sight when the sounds came -- other times too late, and there were more than 15. I never noticed that happening with any other productions of the past including the Met's older one.

Although this is personal, I was disappointed in the staging of the final which should have been a stab in the heart but instead it was sort of lukewarm with a "shunk" that was very "lady-like" rather than shattering.

I was surprised that Isobel Leonard, who did a fine job as Blanche, got less applause than both Nezet-Seguin and Mattlia, who both got roars. It was polite applause but nothing spectacular for the supposed star of the show.

If anyone ever chances to see another production of Dialogues, I suggest you seriously think about getting seats on the right hand side of the theater. They definitely play to that side in most scenes and we missed some things we wanted to see because we were on the left.
Live and learn.

Of course all of the above turns out to be nitpicking when one considers the totally exquisite music that came from the hands of the master.


----------



## Itullian

The music was very beautiful.


----------



## Itullian

Just in case you might want to listen,
KUSC.ORG is playing the Los Angeles opera's
Don Carlo live performance with Domingo
today at 1:00est, 10am pst.


----------



## JosefinaHW

Itullian said:


> Just in case in might want to listen,
> KUSC.ORG is playing the Los Angeles opera's
> Don Carlo live performance with Domingo
> today at 1:00est, 10am pst.


Many thanks for all of you have done to make this a great thread and introduce some of us to the Met Radio Opera.


----------



## Itullian

Hello again friends,
The Metropolitan Opera 2019-2020 broadcast season begins on December 7, 2019.
Here is the schedule 

https://www.metopera.org/Season/Radio/Saturday-Matinee-Broadcasts/

(not enough Wagner)


----------



## Itullian

It's that time again friends 
The Met broadcast season is upon us.
Here's the first weeks broadcast:

*December 7, 2019
Akhnaten by Philip Glass*

Director Phelim McDermott tackles another one of Philip Glass's masterpieces, following the now-legendary Met staging of Satyagraha. Star countertenor Anthony Roth Costanzo is the title pharaoh, the revolutionary ruler who transformed ancient Egypt, with the striking mezzo-soprano J'Nai Bridges in her Met debut as his wife, Nefertiti. To match the opera's hypnotic, ritualistic music, McDermott has created an arresting vision that includes a virtuosic company of acrobats and jugglers. Karen Kamensek conducts in her Met debut.

1pm est, 10am pst
Available on KUSC.ORG
if you don't get it on radio.
Cheers!!!


----------



## Itullian

One hour to curtain!!


----------



## Woodduck

25 minutes into _Akhnaten,_ I'm thinking this is an opera one needs to SEE... But I shall persevere.


----------



## janxharris

https://www.bbc.co.uk/sounds/play/live:bbc_radio_three


----------



## Woodduck

Awful lot of intermission filler. Maybe it takes a while to move pyramids on and off the stage. How much do they pay slaves nowadays?


----------



## The Conte

Woodduck said:


> Awful lot of intermission filler. Maybe it takes a while to move pyramids on and off the stage. How much do they pay slaves nowadays?


Not as little as they would like to. Thank goodness for the unions!

N.


----------



## Itullian

i thought some of it was interesting, but i was glad when it was over.


----------



## Itullian

Here we go with week 2.

*December 14, 2019
The Queen of Spades by Peter Tchaikovsky*

Tchaikovsky's eerie thriller of imperial Russia has its first performances at the Met since 2011. Tenor Aleksandrs Antonenko is Hermann, the fanatical gambler whose obsession with a powerful secret drives him to madness. Soprano Lise Davidsen makes her highly anticipated Met debut as his long-suffering lover, Lisa, with mezzo-soprano Larissa Diadkova as the otherworldly Countess. Baritone Igor Golovatenko is Yeletsky, baritone Alexey Markov is Tomsky, and Vasily Petrenko conducts.


----------



## The Conte

Itullian said:


> Here we go with week 2.
> 
> *December 14, 2019
> The Queen of Spades by Peter Tchaikovsky*
> 
> Tchaikovsky's eerie thriller of imperial Russia has its first performances at the Met since 2011. Tenor Aleksandrs Antonenko is Hermann, the fanatical gambler whose obsession with a powerful secret drives him to madness. Soprano Lise Davidsen makes her highly anticipated Met debut as his long-suffering lover, Lisa, with mezzo-soprano Larissa Diadkova as the otherworldly Countess. Baritone Igor Golovatenko is Yeletsky, baritone Alexey Markov is Tomsky, and Vasily Petrenko conducts.


Can't wait to hear what Woodduck thinks about Antonenko. (The rest of the cast looks up to the job on paper.)

N.


----------



## Tsaraslondon

Itullian said:


> Here we go with week 2.
> 
> *December 14, 2019
> The Queen of Spades by Peter Tchaikovsky*
> 
> Tchaikovsky's eerie thriller of imperial Russia has its first performances at the Met since 2011. Tenor Aleksandrs Antonenko is Hermann, the fanatical gambler whose obsession with a powerful secret drives him to madness. Soprano Lise Davidsen makes her highly anticipated Met debut as his long-suffering lover, Lisa, with mezzo-soprano Larissa Diadkova as the otherworldly Countess. Baritone Igor Golovatenko is Yeletsky, baritone Alexey Markov is Tomsky, and Vasily Petrenko conducts.


One of my favourite operas.

Antonenko, at least on recent showings, will be a question mark, but so is Lise Davidsen, to me anyway. I've only heard her recording of Strauss's _Vier letzte Lieder_ but I didn't enjoy it at all. The voice is over-vibrant and lacking in intrinsic beauty. She has a terrible habit of starting a note flat and vibrato-less, but then adding more and more vibrato as she swells the tone, nor is there any compensating interpretive imagination. Te Kanawa might have been interpretively bland, but at least she had beauty of tone on her side. Really if this is what passes for good singing these days, we truly are in trouble.


----------



## wkasimer

The Conte said:


> Can't wait to hear what Woodduck thinks about Antonenko.


Wasn't Antonenko replaced by Yusif Eyvazov? The latter sang the first performance, and sounded quite good.


----------



## wkasimer

Tsaraslondon said:


> Antonenko, at least on recent showings, will be a question mark, but so is Lise Davidsen, to me anyway. I've only heard her recording of Strauss's _Vier letzte Lieder_ but I didn't enjoy it at all. The voice is over-vibrant and lacking in intrinsic beauty. She has a terrible habit of starting a note flat and vibrato-less, but then adding more and more vibrato as she swells the tone, nor is there any compensating interpretive imagination.


I'm inclined to agree with you about Davidsen, but I will point out that she's been receiving rave reviews for her Lisa.


----------



## Woodduck

Tsaraslondon said:


> One of my favourite operas.
> 
> Antonenko, at least on recent showings, will be a question mark, but so is Lise Davidsen, to me anyway. I've only heard her recording of Strauss's _Vier letzte Lieder_ but I didn't enjoy it at all. The voice is over-vibrant and lacking in intrinsic beauty. She has a terrible habit of starting a note flat and vibrato-less, but then adding more and more vibrato as she swells the tone, nor is there any compensating interpretive imagination. Te Kanawa might have been interpretively bland, but at least she had beauty of tone on her side. Really if this is what passes for good singing these days, we truly are in trouble.


I have much the same reaction as you. Here's her "Im Abendrot":






Is this crooning her idea of subtlety? On the same recording she sings arias from _Tannhauser:_






 Wake me when it's over.

She's better when she sings out directly (performance from four years ago):






There's really no expression in the quieter moments, but the voice is consistent and ringing, apparently powerful, and I can perhaps understand the excitement it apparently inspires heard live. Here's a bit from _Queen of Spades:_


----------



## vivalagentenuova

In any recording she still sings in "collapsed head voice." She obviously has a lot of natural talent that she's riding right now, but it's being let down by her lack of core. If old school training were available, she'd probably be great.


----------



## Woodduck

vivalagentenuova said:


> In any recording she still sings in "collapsed head voice." She obviously has a lot of natural talent that she's riding right now, but it's being let down by her lack of core. If old school training were available, she'd probably be great.


I don't hear anything wrong with her voice, and you may be right about her technical schooling. But from the samples I've heard, her deficiencies are more musical than vocal. I grant that the two tend to go together.


----------



## Tsaraslondon

Woodduck said:


> I don't hear anything wrong with her voice, and you may be right about her technical schooling. But from the samples I've heard, her deficiencies are more musical than vocal. I grant that the two tend to go together.


I seem to remember that the basic sound was essentially "unlovely". I only listened to the disc once, but I commented on another site at the time.



> So this is what passes for good Wagner and Strauss singing these days? When it comes to the _Vier letzte LIeder_ we might quibble about the various merits of Schwarzkopf, Janowitz and Popp, of Norman, Te Kanawa and Fleming, but one thing they all had in common was a basically beautiful timbre. I hear very little of beauty in the over-vibrant sound of the voice itself. The intonation is quite often suspect, and I deplore this habit of starting a note flat and vibrato-less then adding more and more vibrato to it as she swells the tone. Nothing very interesting interpretively either.
> 
> _Morgen _was really not good at all. Thankfully, I only listened on Spotify. I doubt I'll be listening again.


But, as you say, she might be OK as Lisa.


----------



## The Conte

I've never heard Lise Davison live, so she is a complete question mark for me. I'm sure she will cross a stage I'm watching soon.

N.


----------



## Itullian

Here we go with week 2.

*December 14, 2019
The Queen of Spades by Peter Tchaikovsky* Tchaikovsky's eerie thriller of imperial Russia has its first performances at the Met since 2011. Tenor Aleksandrs Antonenko is Hermann, the fanatical gambler whose obsession with a powerful secret drives him to madness. Soprano Lise Davidsen makes her highly anticipated Met debut as his long-suffering lover, Lisa, with mezzo-soprano Larissa Diadkova as the otherworldly Countess. Baritone Igor Golovatenko is Yeletsky, baritone Alexey Markov is Tomsky, and Vasily Petrenko conducts.


----------



## Itullian

30 minutes to curtain.


----------



## Woodduck

It was good to hear _The Queen of Spades_ again after a number of years. Tchaikovsky gives us a powerful study of a man whose obsession drives him to near-madness and suicide. The love interest in the opera wasn't in the original Pushkin story, but without it the tale would be pretty grim - possibly better material for Shostakovich than for Tchaikovsky, who felt such sympathy for his not-very-sympathetic anti-hero that he wept over the final scene. An interesting aspect of the score is its numerous references to 18th-century music (recall that Tchaikovsky's favorite composer was Mozart), creating a nice offset for the dark, turbulent, very Russian Romanticism of the music associated with Hermann.

I enjoyed today's broadcast. Petrenko's leadership was strong, and nearly every role was performed with conviction, if not with much subtlety. Yusif Eyvazof sang Hermann with appropriate force and abandon, never stinting in what is obviously a challenging part for a dramatic tenor. Lise Davidsen tended to turn tremulous on high notes, especially when trying to modulate the volume, but characterized well. I gather that some people are touting her as a new Flagstad, but I must say my imagination doesn't reach that far; I suspect it's merely because both are Norwegian and we're rather desperate for dramatic sopranos at the moment. My major disappontment was with the mezzo playing the old countess. She simply lacked character in a part where character is everything.

When the Met produced the opera in 1965 it was conducted by Thomas Schippers and starred Jon Vickers, Teresa Stratas and Regina Resnik. Now _that_ would have been something to hear!


----------



## Itullian

It's time for week 3. 

*December 21, 2019
Macbeth by Giuseppe Verdi*

Verdi's opera is a powerful musical interpretation of Shakespeare's timeless drama of ambition and its personal cost. Raising questions of fate, superstition, guilt, and power, it marks an important step on the composer's path from his more conventional earlier efforts to the integrated musical dramas of his mature years.


----------



## DavidA

Itullian said:


> It's time for week 3.
> 
> *December 21, 2019
> Macbeth by Giuseppe Verdi*
> 
> Verdi's opera is a powerful musical interpretation of Shakespeare's timeless drama of ambition and its personal cost. Raising questions of fate, superstition, guilt, and power, it marks an important step on the composer's path from his more conventional earlier efforts to the integrated musical dramas of his mature years.


And of course he revised it later in his maturity. A terrific listen


----------



## Woodduck

Reviews for _Macbeth_ are mixed. Domingo was scheduled to sing Macbeth but apparently bowed out during rehearsals because of the uncomfortable atmosphere surrounding his presence. Sad, but now they have Lucic, who's a real baritone at least, if maybe a tad long in the tooth. Radio listeners unfortunately (?) won't get to experience Netrebko camping it up onstage, or see her sleepwalking on a line of chairs (why does she do that?). From the reviews I gather that the most satisfying singing comes from Polenzani as Macduff, which doesn't surprise me; he's lovely in Mozart. Reviewers seem to think opening night was lackluster, but we'll hope everyone is into it by now. The announcers will be, I'm sure.

"Oh, Ira!"

"Oh, Mary Jo!"

"Wasn't that marvelous?"

"Indeed it was!"

_[both sigh deeply]_


----------



## The Conte

Woodduck said:


> ...or see her sleepwalking on a line of chairs (why does she do that?).


It's an old (by now) theatrical trope. No doubt it worked in whichever production it first appeared in, but it looks tired once you've seen it in a few productions. I remember seeing a dance show where pretty much the only thing on stage were a number of chairs that the dancers danced on, around and with and also moved around as part of the show. It worked because some varied scenes were created by different combinations and positions of the chairs. However, taking one element of that and putting it into an otherwise fairly traditional production wouldn't make sense.

N.


----------



## nina foresti

Say what you will about "Her Nebs" but she delivers the goods almost every time and puts the bums in the seats.
As for Lucic we are darned lucky to have him. To see him create his characters live is an extra added plus. The guy can act, which is a gift.
Polanzani never disappoints.
I think this may be an opera that comes more to life when you see it rather than just hear it. Airways sometimes have a way of distorting certain voices.


----------



## DavidA

nina foresti said:


> *Say what you will about "Her Nebs" but she delivers the goods almost every time and puts the bums in the seats.*
> As for Lucic we are darned lucky to have him. To see him create his characters live is an extra added plus. The guy can act, which is a gift.
> Polanzani never disappoints.
> I think this may be an opera that comes more to life when you see it rather than just hear it. Airways sometimes have a way of distorting certain voices.


People have to have their say about leading sopranos. They did so about the likes of Callas and Sutherland when they were with us. A constant barrage of sour grapes uttered by those who have never made it themselves. The rest of us just sit back and enjoy. I did when I heard her Lady M


----------



## Woodduck

DavidA said:


> People have to have their say about leading sopranos. They did so about the likes of Callas and Sutherland when they were with us. A constant barrage of sour grapes uttered by those who have never made it themselves. The rest of us just sit back and enjoy. I did when I heard her Lady M


What "people" are you talking about? Who are "they", and who are "the rest of us"? How would you know who has "made it"? Made what?

The next time you criticize a singer, I hope you'll be ready to be accused of "a barrage of sour grapes" and of not having "made it." But I just know you'll insist that you have a right to your opinion, and "the rest of us" will "sit back and enjoy" the irony.


----------



## Itullian

It's time for week 3.

*December 21, 2019
Macbeth by Giuseppe Verdi*

Verdi's opera is a powerful musical interpretation of Shakespeare's timeless drama of ambition and its personal cost. Raising questions of fate, superstition, guilt, and power, it marks an important step on the composer's path from his more conventional earlier efforts to the integrated musical dramas of his mature years.


----------



## Itullian

^^^^30 minutes to curtain!!!!!!!!!


----------



## Rossiniano

I’m surprised that I am the first one to chime in... but here goes... 

Of course I only hear one voice as Lady Macbeth and that is Callas (the Scala broadcast and the commercially recorded excerpts) so I am setting a high standard. I was not expecting anything exceptional and my expectations were more or less met. Lady Macbeth started with a wobbly recitative and ended with a wobbly d-flat. In between was a passing grade and she seemed to be into the role. The rest of the cast and the conducting were okay.


----------



## Woodduck

Rossiniano said:


> I'm surprised that I am the first one to chime in... but here goes...
> 
> Of course I only hear one voice as Lady Macbeth and that is Callas (the Scala broadcast and the commercially recorded excerpts) so I am setting a high standard. I was not expecting anything exceptional and my expectations were more or less met. Lady Macbeth started with a wobbly recitative and ended with a wobbly d-flat. In between was a passing grade and she seemed to be into the role. The rest of the cast and the conducting were okay.


I didn't get to concentrate on all of it - there were other things I needed to get done this morning, including snapping up a gorgeous and shockingly inexpensive bamboo chair, now looking so good in my living room that I may need to upgrade all my other furniture - but I heard enough to have an opinion (aren't you lucky?). Lucic in good voice and dramatically effective, Polenzani very good (bravos deserved), and Netrebko with her imitation dramatic soprano making me think of someone blowing up a balloon to a point just short of exploding and hoping not to bump into anything with a sharp point on it. The glottal lunges in "La luce langue" were scary, and not in a good way. She was into the part, no doubt, trying like hell, and sometimes it worked, wobble and all. After all, Verdi said he didn't want the lady to sing beautifully... 

_Macbeth_ is a rather variable opera, musically, isn't it? I always look forward to getting past those corny witches doing the cancan around their pot of frog bouillabaisse. I don't think Verdi ever really got the hang of the supernatural. But things improve considerably after that, with many moments of true greatness and Shakespeare-worthiness. He might have taken his revision a little farther and had a full-fledged masterpiece, but I guess he was busy with other stuff.


----------



## Itullian

*December 28, 2019
The Magic Flute by Wolfgang Amadeus Mozart*A beloved holiday tradition continues as Mozart's delightful fairy tale returns in the Met's abridged, English-language version for families, perfect for younger audiences, with no intermission and a running time of less than two hours. Lothar Koenigs conducts a dynamic cast of standout Mozarteans in Julie Taymor's magical production, an enduring Met classic with its eye-popping puppetry and stunning visuals.


----------



## Itullian

15 minutes to curtain.


----------



## Woodduck

It's fun, but the Papageno is driving me insane. Why did they have to remove that padlock?

Exciting Queen of the Night. I've never heard Sarastro's arias played so fast. Takes the majesty out of them, no?


----------



## Itullian

*January 4, 2020
Der Rosenkavalier by Richard Strauss*

Robert Carsen's splendid staging returns for the first time since its blockbuster 2017 premiere, with Sir Simon Rattle on the podium to conduct Strauss's glittering score. Star soprano Camilla Nylund is the worldly Marschallin, with the outstanding mezzo-soprano Magdalena Kožená as her exuberant young lover, Octavian. Bass Günther Groissböck reprises his definitive take on the lascivious Baron Ochs, and rising soprano Golda Schultz sings the innocent Sophie.


----------



## Itullian

5 minutes to curtain...............


----------



## Woodduck

_Der Rosenkavalier._ All 4 1/2 hours of it, including interviews, quizzes, and the affable bantering and swooning of Ira and Mary Jo. 4 1/2 hours were more than enough whipped cream and powdered sugar for me. I'll be brief.

This opera absolutely requires magnificent singing, despite the constant presence of the huge orchestra that rarely stops whooping and bustling as if something terribly important were always happening among the effete socialites onstage. When we have to endure a full hour of an obese lecher grunting, a girl pretending to be a boy pretending to be a girl, and a litter of brats skateboarding across the stage screaming before we can have the heavenly trio, that trio had better feature three voices worth waiting for.

No such luck today. Magdalena Kozena (Octavian) retains her lovely light mezzo, better known for Handel and Mozart. She sounded pleasant but not extraordinary here, and it says something that she was the best of the three women. Golda Schultz (Sophie) managed our favorite high-lying phrases, but didn't float them with the absolute ease and smoothness required. Camilla Nylund (Marschallin) seemed a typical present-day soprano: an attractive but anonymous timbre and a lazy vibrato halfway or more to becoming a wobble when pressure is applied. She ruined the trio. The Met web site describes her as a "star." Okee-dokee.

I didn't hear the whole opera, and I missed Matthew Polenzani's Italian aria, which might have been the vocal highlight of the day. Now I'm looking forward to _Wozzeck_ next week; if the singing isn't gorgeous, it won't matter so much. But I'd expect Peter Mattei to be impressive.


----------



## Itullian

*January 11, 2020
Wozzeck by Alban Berg*

After wowing audiences with his astounding production of Lulu in 2015, South African artist William Kentridge now focuses his extraordinary visual imagination on Berg's other operatic masterpiece, set in an apocalyptic pre-World War I environment. Met Music Director Yannick Nézet-Séguin is on the podium for this important event, with baritone Peter Mattei making his highly anticipated role debut as the title character. Soprano Elza van den Heever is Wozzeck's unfaithful mate, and the commanding cast also includes tenor Christopher Ventris as the Drum-Major, bass-baritone Christian Van Horn as the Doctor, and tenor Gerhard Siegel as the Captain.


----------



## Woodduck

Haven't listened to _Wozzeck_ for a good many years. I first heard it over 50 years ago via its first recording, the still remarkable one with superb baritone Mack Harrell (father of cellist Lynn Harrell) and Eileen Farrell under Dimitri Mitropoulos. (Does Harrell & Farrell sound like a law firm or a comedy act?) It's a powerful opera in which Berg creates overwhelming pathos by plunging at the end from a largely atonal idiom into some of the most poignant post-Wagnerian tonal music ever written. I'm looking forward to hearing Peter Mattei, whose recent, moving performances as Amfortas would seem good practice and an auspicious portent for another portrait of a man without hope. Wozzeck, unfortunately, has no Parsifal to rescue him.


----------



## DavidA

Itullian said:


> *January 11, 2020
> Wozzeck by Alban Berg*
> 
> After wowing audiences with his astounding production of Lulu in 2015, South African artist William Kentridge now focuses his extraordinary visual imagination on Berg's other operatic masterpiece, set in an apocalyptic pre-World War I environment. Met Music Director Yannick Nézet-Séguin is on the podium for this important event, with baritone Peter Mattei making his highly anticipated role debut as the title character. Soprano Elza van den Heever is Wozzeck's unfaithful mate, and the commanding cast also includes tenor Christopher Ventris as the Drum-Major, bass-baritone Christian Van Horn as the Doctor, and tenor Gerhard Siegel as the Captain.


It's at the cinema Saturday so I'm thinking about it


----------



## Barelytenor

Peter Mattei is an absolutely wonderful singing actor with amazing skills. Unfortunately I won't be able to make either the movie theater debut tomorrow or the reprise on Wednesday night. I'm really hoping this one comes out on DVD.

Kind regards, :tiphat:

George


----------



## betterthanfine

Woodduck said:


> Camilla Nylund (Marschallin) seemed a typical present-day soprano: an attractive but anonymous timbre and a lazy vibrato halfway or more to becoming a wobble when pressure is applied. She ruined the trio. The Met web site describes her as a "star." Okee-dokee.


Shame. I've seen Nylund as the Marschallin in Amsterdam and found her performance to be quite moving in the theatre, but I do understand what you mean by anonymous timbre and lazy vibrato.


----------



## Barelytenor

I've managed to rearrange things to be there today at Wozzeck. Peter Mattei is so compelling (as Woodduck has pointed out) in Parsifal (and I will add, years ago in Barbiere, what facility he has/had in that role as well), that I can't _not_ be there. Trying to do a crash course this morning on Wozzeck ... not one I'm much familiar with. That nasty "12-tone" "atonal" pejorative kept me away for a long time. I'm more open-minded now.

Added: I've also been impressed with Elsa van den Heever although I only have seen her in Maria Stuarda.

Another addition: Found an informative paper on Wozzeck by a contemporary of Berg and Schoenberg, Dr. Willi Reich, with much musical and dramatic detail. Link: http://ada.evergreen.edu/~arunc/texts/wozzeck/wozzeck.pdf


----------



## nina foresti

I'll be there.....


----------



## Itullian

10 minutes to curtain..............


----------



## Barelytenor

This was simply an astonishingly good production and performance, all the way around. As I am not that familiar with Wozzeck, I will leave it to others to highlight particulars. But it was one of the best, tightest performances I think I have ever seen on Live from the Met.


----------



## Woodduck

Barelytenor said:


> This was simply an astonishingly good production and performance, all the way around. As I am not that familiar with Wozzeck, I will leave it to others to highlight particulars. But it was one of the best, tightest performances I think I have ever seen on Live from the Met.


It was good on radio too. And Mattei didn't disappoint.


----------



## DavidA

Barelytenor said:


> This was simply an astonishingly good production and performance, all the way around. As I am not that familiar with Wozzeck, I will leave it to others to highlight particulars. But it was one of the best, tightest performances I think I have ever seen on Live from the Met.


Agreed! Bit short on gags though, didn't you think! I came out of the cinema quite depressed.


----------



## Barelytenor

@DavidA LOL if you were expecting gags you should have stayed _chez toi _and watched Laurel and Hardy reruns.


----------



## pianoville

For the most part I found it extremely enjoyable. But I don't think Wozzeck is a role that really fits Mattei.


----------



## Woodduck

pianoville said:


> For the most part I found it extremely enjoyable. But I don't think Wozzeck is a role that really fits Mattei.


Why so? He certainly sang it well. Was his acting not good?


----------



## DavidA

Barelytenor said:


> @DavidA LOL if you were expecting gags you should have stayed _chez toi _and watched Laurel and Hardy reruns.


Imm case you didn't realise I was being humorous. 

I must confess though I did wonder what we were doing experiencing an opera which, for all the masterly scoring, just tells of all the worst parts of humanity with no relief whatever. There is a paranoid schizophrenic, a sadistic captain, a psychopathic doctor and a woman who is so desperately seeking love she falls in with a toe-rag of a major-dromo. This is a bleak view indeed of humanity with exceedingly discordant music in a discordant world.


----------



## Itullian

^^^^^^i agree with David on this.
Outside of some impressive musical passages, i enjoy nothing about this opera.
Not the singing, the depressing story and plot.
It gives me no pleasure.
Just my feeling, of course.


----------



## Tsaraslondon

Itullian said:


> ^^^^^^i agree with David on this.
> Outside of some impressive musical passages, i enjoy nothing about this opera.
> Not the singing, the depressing story and plot.
> It gives me no pleasure.
> Just my feeling, of course.


I didn't listen or watch so can't comment on this performance, but I have to confess I just don't like the work. On LP I used to have a recording (the Boulez I think) which I bought more out of duty than anything else. After all, it is generally upheld as one of the great operas of the twentieth century. But I listened without pleasure and rarely got it down from the shelves and rarely got through to the end when I did.

There are other twentieth century operas I enjoy - pretty much all of Britten's operas for instance (though I still find Owen Wingrave a bit of a hard nut to crack) but my problem is, I think, with the new Viennese school, not to mention the unsavoury subject. I have the same problem with Lulu.


----------



## WildThing

An extraordinary and harrowing opera, with music that effectively conveys a heightened and distorted actuality, that is a powerful protest against an inhumane and grotesque social order and an overwhelming elegy for the title character. I'm not usually free tune in to the Met's broadcasts but was able to yesterday and was quite impressed with the performance. Mattei was excellent.


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## DavidA

WildThing said:


> An extraordinary and harrowing opera, with music that effectively conveys a heightened and distorted actuality, that is a powerful protest against an inhumane and grotesque social order and an overwhelming elegy for the title character. I'm not usually free tune in to the Met's broadcasts but was able to yesterday and was quite impressed with the performance. Mattei was excellent.


I do wonder, however, what a middle class audience is doing watching that. I mean, what are we going to do about it? It was brought home to me when at the end everyone was all smiles and taking their bows. Surely we should be wringing our hands and putting on sacks cloth instead?


----------



## The Conte

DavidA said:


> Imm case you didn't realise I was being humorous.
> 
> I must confess though I did wonder what we were doing experiencing an opera which, for all the masterly scoring, just tells of all the worst parts of humanity with no relief whatever. There is a paranoid schizophrenic, a sadistic captain, a psychopathic doctor and a woman who is so desperately seeking love she falls in with a toe-rag of a major-dromo. This is a bleak view indeed of humanity with exceedingly discordant music in a discordant world.


Oh come on! It's got a marching band in it, if that doesn't put a smile on your face, what does!?

N.


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## The Conte

When it comes to Wozzeck, I agree in part with the comments here. It's not an opera that I want to listen to and I only have one recording on CD (with Tito Gobbi in Italian!) That said, it's an opera that I really enjoy watching and therefore what I call a 'DVD opera'. There's a lot of twentieth century opera like that.

N.


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## nina foresti

Unfortunately the staging took front seat and left the cast in the background. Way too much going on and extremely disruptive.
I wonder if someone could explain to me the meaning behind all of the gas masks on the majority of people. 
Obviously it is some kind of allegory but it went by me swiftly. I made up my own theory that the entire world smells bad.
That puppet with the gas mask and pipe for a mouth was gross, and for me it certainly took away from that extremely tragic moment at the end when he innocently rides on his hobby horse saying, "hop, hop."
The singers were simply first rate and I truly believe that this was Mattei's finest work, with Amfortas coming in a close second. The guy's got the goods.
But the powerful music is what propelled me in the first place to the theater and in that sense Berg won the day with a little help from the mega-talented Nezet-Seguin and orchestra.


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## Woodduck

I have to agree with many that _Wozzeck_ is not an opera I want to experience often, and like Tsaraslondon I feel much the same way about _Lulu._ I know this sort of bleak 20th-century expressionism sometimes goes by the name of "realism" or "naturalism," and the artists who create it are sometimes called "brave" for "looking reality in the face," or some such. No doubt human beings have faced terrible realities, and we do well to understand what the poor and forgotten endure when the powers that be are arrayed against them. I do think _Wozzeck_ accumulates great pathos in its course, and listening to it after years have passed I feel better able to appreciate Berg's powers of musical invention and expression. I think it's unfortunate that he had to join the ranks of composers who died young, since, of the music of the second Viennese school, I feel his to be the most humane. I'd like to have heard what sort of opera he'd have written next. For all the ugliness of life _Wozzeck_ reveals, I find it more appealing in its sincere expression of life's dark side than a grand guignol show such as Strauss's _Elektra,_ which in comparison reeks of sensationalism. For that I'd sooner watch Bette Davis and Joan Crawford camping it up onscreen, with no pretense to being high art.


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## Tsaraslondon

Woodduck said:


> For all the ugliness of life _Wozzeck_ reveals, I find it more appealing in its sincere expression of life's dark side than a grand guignol show such as Strauss's _Elektra,_ which in comparison reeks of sensationalism. For that I'd sooner watch Bette Davis and Joan Crawford camping it up onscreen, with no pretense to being high art.


I don't much like *Elektra* either. I just wish all those women woud stop screaming at each other.


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## DavidA

The Conte said:


> Oh come on! It's got a marching band in it, if that doesn't put a smile on your face, what does!?
> 
> N.


Even the marching band is depressing!


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## DavidA

nina foresti said:


> Unfortunately the staging took front seat and left the cast in the background. Way too much going on and extremely disruptive.
> I wonder if someone could explain to me the meaning behind all of the gas masks on the majority of people.
> Obviously it is some kind of allegory but it went by me swiftly. I made up my own theory that the entire world smells bad.
> That puppet with the gas mask and pipe for a mouth was gross, and for me it certainly took away from that extremely tragic moment at the end when he innocently rides on his hobby horse saying, "hop, hop."
> The singers were simply first rate and I truly believe that this was Mattei's finest work, with Amfortas coming in a close second. The guy's got the goods.
> But the powerful music is what propelled me in the first place to the theater and in that sense Berg won the day with a little help from the mega-talented Nezet-Seguin and orchestra.


Part of the production was brilliant but the opening scene where Wozzek is supposed to be shaving the captain (as in the text) is ruined as he is pointlessly fiddling with the projector. The gas masks were supposed to give a surreal edge to war time but surely not in a dance? And the puppet? Absolutely gross! Total misjudgment.


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## The Conte

Tsaraslondon said:


> I don't much like *Elektra* either. I just wish all those women woud stop screaming at each other.


What if it starred Bette Davis and Joan Crawford?

N.


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## Tsaraslondon

The Conte said:


> What if it starred Bette Davis and Joan Crawford?
> 
> N.


To be honest _Whatever happened to Baby Jane?_ has never been a favourite movie of mine, so maybe I just have a problem with screaming women. I prefer Bette Davis's earlier movies up to about _All About Eve_ and I've never really been a Crawford fan, though I quite like her in _The Women_ and _Mildred Pierce_.


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## Woodduck

The Conte said:


> What if it starred Bette Davis and Joan Crawford?
> 
> N.


That wouldn't do it for me. But I'd go to see the remake with Garbo and Bergman, directed by Ingmar Bergman. In Swedish, of course, with music by Atterberg.

What were we talking about now?


----------



## Itullian

*January 18, 2020
La Traviata by Giuseppe Verdi*

Michael Mayer's sumptuous staging, a highlight of the 2018-19 season, returns with two casts of bright stars. Sopranos Aleksandra Kurzak stars as Violetta, the opera's tragic heroine, opposite tenor Dmytro Popov as her ardent lover, Alfredo, and baritone Quinn Kelsey as Alfredo's stern father, Germont. Karel Mark Chichon conducts one of opera's greatest scores.


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## Barelytenor

*Aleksandra Kurzak: "Sempre libera" from La Traviata*

Oh, yay! Fresh blood at the Met, new names! And what a voice!


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## nina foresti

Kursak's husband is Roberto Alagna.
I believe next season they are scheduled to do a "La Boheme" together.
She also did the Micaele when he did Don Jose in "Carmen" 2 seasons ago.


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## Itullian

5 minutes to curtain!!!!!!!!


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## Tsaraslondon

Barelytenor said:


> Oh, yay! Fresh blood at the Met, new names! And what a voice!


I saw her as Gilda at Covent Garden a few seasons ago and she was very good indeed.


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## Rossiniano

I would have preferred a warmer and more substantial voice in the title role, but even with a bright sound the heroine managed to be reasonably expressive. Still I would say she was better than last few Violeta’s the MET has recently featured. What surprised me was was that while I had expected the first act to be her most successful, she was actually most effective in the final act. There her sound was able to demonstrate Violeta’s infirm condition. I actually liked the tenor... unfortunately he unwisely went for the big finish at the conclusion of his second act cabaletta. You knew he was going for the note when he dropped out so early. I was keeping my fingers crossed, but... The baritone was fine, but I was not disappointed when his cabaletta was cut. The conductor effectively underpinned the action. However, I hate when Violetta dies “alone”. I always have to sing the omitted lines... “È spenta! Oh mio dolor!” Still enjoyable.


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## Admiral

I turned it on Sirius in my car for about 30 seconds. I guess I just don’t understand why these unsupported wobbling voices are being booked at the Met. It’s a consistent issue.

If I sang like that at the Met auditions I wouldn’t have made top 10 at a regional


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## Woodduck

Rossiniano said:


> I would have preferred a warmer and more substantial voice in the title role, but even with a bright sound the heroine managed to be reasonably expressive. Still I would say she was better than last few Violeta's the MET has recently featured. What surprised me was was that while I had expected the first act to be her most successful, she was actually most effective in the final act. There her sound was able to demonstrate Violeta's infirm condition. I actually liked the tenor... unfortunately he unwisely went for the big finish at the conclusion of his second act cabaletta. You knew he was going for the note when he dropped out so early. I was keeping my fingers crossed, but... The baritone was fine, but I was not disappointed when his cabaletta was cut. The conductor effectively underpinned the action. However, I hate when Violetta dies "alone". I always have to sing the omitted lines... "È spenta! Oh mio dolor!" Still enjoyable.


Pretty much agree. Recent Violettas haven't been anything to write home about, but Kurzak was generally strong and really superb in her vocal acting in the final act, even in her spoken reading of the letter. Popov (Alfredo) and Kelsey (Germont) were adequate, although I have to say that if a lyric tenor can't shade his dynamics and move smoothly between his chest and head voice he's lacking the first piece of equipment a lyric tenor ought to have. I find Kelsey too dynamically unvaried and lacking in elegance, a little heavy-sounding - a bit like Milnes with more belly fat in the tone - but consistent and wobble-free, seemingly one of our better baritones in this repertoire at present. Effective conducting. I was moved by the performance, mainly because of the soprano.


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## nina foresti

I started to worry about Kurzak in the first act. I didn't think her "ah, forse lui" and "sempre libera" were top notch but I DID find that she has some really secure and beautiful high notes.
Her last act showed her at her best -- except for that god-awful "e ta-a-a-ardi" which was truly the worst one I have ever heard (and trust me, I've heard a lot of bad ones -- can you say Renee Fleming?)
I disliked Popov and I don't think the audience liked him too much either. He wasn't terrible or anything -- he was just blah.
Kelsey was a more than decent Germont but I've liked him better in other roles.
As to the wobbles -- I guarantee that anyone who was in-house would likely be telling you there was no such thing. 
Sometimes the airwaves have a way of distorting voices.
In all, I found it to be an entertaining afternoon at the Met.


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## Itullian

*January 25, 2020
La Bohème by Giacomo Puccini*

Three casts of captivating artists bring Puccini's classic tragedy of bohemian friends and lovers to life in Franco Zeffirelli's immortal staging. Tenor Roberto Alagna stars as the exuberant Rodolfo, alongside soprano Maria Agresta as the fragile Mimì. Marco Armiliato conducts.


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## nina foresti

Unfortunately, I believe it is listed as the Saturday evening performance, thereby depriving us of the pleasure of hearing it over the airwaves.


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## Woodduck

I think I remember Mary Jo Heath announcing a prerecorded performance for the broadcast with Matthew Polenzani and Ailyn Perez. I could be wrong. I'd be more interested in hearing Polenzani than an aging, post-Otello Alagna. The Met has given us too many over-the-hill tenors.


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## nina foresti

Yes Woodduck, you are correct. It is a previous performance, while the present performance takes place this evening with Alagna who wanted to visit his earlier roles once again. Actually I am disappointed. I'd much rather listen to Alagna's "new" Rodolfo. 
(Curiosity killed the cat!)


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## DavidA

Itullian said:


> *January 25, 2020
> La Bohème by Giacomo Puccini*
> 
> Three casts of captivating artists bring Puccini's classic tragedy of bohemian friends and lovers to life in Franco Zeffirelli's immortal staging. Tenor Roberto Alagna stars as the exuberant Rodolfo, alongside soprano Maria Agresta as the fragile Mimì. Marco Armiliato conducts.


Zeferelli's ivoortal staging. You'd think someone else could stage it. I've seen this production several times.


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## Itullian

15 minutes to broadcast.


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## nina foresti

Somehow the beautiful voice of Perez lacks soul to me. (I had to giggle at that one clacker in the audience who hollered out inappropriately).
I always like Polanzani in these lyric tenor roles but I am sorry that he opted to take the high along with her at the end, as it is not written in the script, and his highs aren't exactly powerful spinto type notes.

I'd be curious to know if Alagna also takes the high note tonight. A lot of them do.


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## nina foresti

The 3rd act is always my favorite act. It has a delicateness and poignance about it that envelops me and starts the tear ducts flowing.
Of course, when done right, those last 5 minutes are also heartrending killers.


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## Woodduck

Puccini's little essay on romance, poverty and the need for national health care is to opera as _Nutcracker_ is to ballet: done year after year, it keeps bums in seats and everyone employed. For me it's an annual guage of the current state of singing at the Met, and some years' broadcasts have been discouraging, giving us aging singers, or perhaps young singers with dysfunctional voices. This year the voices sounded pleasing and fresh, and I was actually shocked when I looked up Matthew Polenzani and discovered that he's already 52 years old. (And what does that make me? ) Congratulations to him for using his resources wisely. Ideally, Puccini wants voices with spinto capabilities, but a light lyric instrument with the security of Polenzani's can manage Rodolfo just fine. No real complaints about anyone else today. Maybe I just can't get interested enough to say more.

We've had tubercular heroines two weeks in a row, the noble courtesan followed by the pathetic seamstress. Enough death by disease! Give me a good murder or suicide.


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## Rossiniano

If the MET could not get this one right then they would be in trouble! 

Well... mirabile dictu! Well actually a sung miracle as opposed to being spoken... I thought it was wonderful! No wobbles etc. as is usually the case. And Polenzani... I was wondering how old he is.... thanks Woodduck!... as he sounded so fresh. it seemed he was just a kid a few years ago! Very enjoyable!


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## nina foresti

I am dying to know how the evening Boheme went with Alagna.


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## Rogerx

DavidA said:


> Zeferelli's ivoortal staging. You'd think someone else could stage it. I've seen this production several times.


It never bores me, just like The Traviata with Stratas or the Tosca with Malfitano. ( Movies)
Not to mention the R.O.H did Traviata 3 times in 20 years in the same staging.


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## Rossiniano

nina foresti said:


> Somehow the beautiful voice of Perez lacks soul to me. (I had to giggle at that one clacker in the audience who hollered out inappropriately).
> I always like Polanzani in these lyric tenor roles but I am sorry that he opted to take the high along with her at the end, as it is not written in the script, and his highs aren't exactly powerful spinto type notes.
> 
> I'd be curious to know if Alagna also takes the high note tonight. A lot of them do.


Regarding the high ending to the first act. I know Bryan Hymal did it a few years ago , but other that that I cannot recall the last time I heard a tenor during a Met broadcast take the traditional high C along with the soprano. I actually remember reading something saying that the MET had made the option verboten... of course that comment was most likely made tongue in cheek. Still I was surprised to hear it... while it might have been interesting to hear... and a guilty pleasure for some... it actually confirmed for me that from a musical point of view Puccini's original makes much more sense as it is more pleasing harmonically.

On the other hand, when the soprano avoids the high E-flat at the end of Traviata I always feel cheated. I hope the purists out there will allow me that one guilty pleasure!


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## Woodduck

Rossiniano said:


> Regarding the high ending to the first act. I know Bryan Hymal did it a few years ago , but other that that I cannot recall the last time I heard a tenor during a Met broadcast take the traditional high C along with the soprano. I actually remember reading something saying that the MET had made the option verboten... of course that comment was most likely made tongue in cheek. Still I was surprised to hear it... while it might have been interesting to hear... and a guilty pleasure for some... it actually confirmed for me that from a musical point of view Puccini's original makes much more sense as it is more pleasing harmonically.
> 
> On the other hand, when the soprano avoids the high E-flat at the end of Traviata I always feel cheated. I hope the purists out there will allow me that one guilty pleasure!


Not being a high-note fanatic, I'm happy to forego most high options, including the one in _Boheme_ and the traditional big blast at the end of the _Rigoletto_ quartet. I'll take the "Sempre Libera" Eb only if it sounds fabulous.


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## nina foresti

Woodduck: What about the ever lovin' "di quella pira?" It just isn't the same without that unwritten last note, dontcha know!


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## Woodduck

nina foresti said:


> Woodduck: What about the ever lovin' "di quella pira?" It just isn't the same without that unwritten last note, dontcha know!


I have so little interest in _Trovatore_ that I don't care what anyone does to it or with it. For Leonoras give me _Fidelio._ For anvils give me _Rheingold._ For gypsy hags give me...Well, don't give me gypsy hags.


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## Rossiniano

Woodduck said:


> Not being a high-note fanatic, I'm happy to forego most high options, including the one in _Boheme_ and the traditional big blast at the end of the _Rigoletto_ quartet. I'll take the "Sempre Libera" Eb only if it sounds fabulous.





nina foresti said:


> Woodduck: What about the ever lovin' "di quella pira?" It just isn't the same without that unwritten last note, dontcha know!





Woodduck said:


> I have so little interest in _Trovatore_ that I don't care what anyone does to it or with it. For Leonoras give me _Fidelio._ For anvils give me _Rheingold._ For gypsy hags give me...Well, don't give me gypsy hags.


Mr. Woodduck certainly has a way with not only words but anvils... and not to mention Gypsy hags as well!

I totally agree about the Traviata E-flat (it damn better be good!) and the ending of the Rigoletto Quartet... and while still with Rigoletto is it not a good thing that Verdi's original ending to "Caro nome" is now the norm! As for Manrico and "Di quella pira". If you study the role it is actually very low relatively speaking... quite unlike something like Arnold in Wm. Tell which is peppered with all sorts of high C's and more. Therefore the high C call to arms at the end Arnold's big scena is quite apt. With Manrico it is is not really in tune with what has come before, but we all expect it... and anxiously wait for the moment even though most often it is a B... or possibly even a B-flat!

Speaking of another out of character... but oh so appropriate interpolation... if more that a bit naughty... is the scarce as hens teeth E-flat at the conclusion of the Aida Triumphal Scene... but it better be as good as you know who did it!


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## Itullian

*February 1, 2020
Porgy and Bess by George Gershwin, Dubos and Dorothy Heyward, and Ira Gershwin*

One of America's favorite operas returns to the Met for the first time in nearly 30 years. James Robinson's stylish production transports audiences to Catfish Row on the Charleston waterfront, vibrant with the music, dancing, emotion, and heartbreak of its inhabitants. "If you're going to stage Gershwin's opera, this is how," raved the Guardian when the new production premiered in London in 2018. David Robertson conducts a dynamic cast, featuring the sympathetic duo of Eric Owens and Angel Blue in the title roles and an all-star ensemble that includes Golda Schultz, Latonia Moore, Denyce Graves, Frederick Ballentine, Alfred Walker, and Ryan Speedo Green.


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## nina foresti

Can't wait. Got my tickets and ready for some popcorn. Oh yeah!!


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## Itullian

15 minutes to curtain


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## Rossiniano

I am a day late responding and am surprised that nobody has yet chimed in. At my location the weather was quite awful yesterday so the MET broadcast of Porgy and Bess was just what the doctor ordered. The last time I listened to the the wonderful piece (the orchestration of which is quite dazzling) was the last MET broadcast which I gather was about thirty years ago. How time flies! 

Ar any rate, I thought that it was wonderfully done. It is a great choral piece and the chorus did not disappoint! The same way the Swiss are in many ways the main protagonist in William Tell, the populace of Catfish Row are similarly quite a force in porgy as well! The soloists... and what a large cast... were also excellent. Yes Mr. Gelb announced that Eric Owens was suffering from a cold, and yes because of that I tended to overly scrutinize his performance (at times I feel that it is better not to make such announcements) but he was mostly on target. I did note a few places where he sounded a bit weak, but if not paying such close attention they might have passed me by. So one of the more enjoyable broadcasts. BTW the HD was totally sold out in my area. It would be great to hear what those who experienced it in that format might have to say.


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## Woodduck

_Porgy_ has a lot of great, but also a lot of loud, music in it, a lot of that roaring 20s New York aggressiveness typical of Gershwin. I find it a little wearying blown up to the dimensions of an opera, and feel the need for more quiet relief from the frenzy. But I think the Met's approach may have something to do with my reaction. What I heard of it (mainly act one) sounded like a big, grand-opera peresentation, with too many big, blasting, vibrato-laden voices for my taste, both among the soloists and in the chorus. I don't really want "Summertime" to sound like some aspiring dramatic soprano's Met audition piece, and it's a good thing I knew the words in advance. What good's an American song sung by an American that another American can't understand?

I think I'd rather hear _Porgy_ with a small orchestra in a small theater, with clean, non-versimo voices.


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## nina foresti

For me Latonia Moore gets the gold ring. Her aria was poignant and plaintive and got me right in the gut. I was also tickled with the super performance by still sexy (if not more zaftig) Denyce Graves. The kid's still got the goods. Too bad that Owens just didn't have the energy needed to make Porgy become Porgy and I realize that he still wanted to perform even with his cold because it was the HD. Angel Blue was wonderful as Bess.
I've sat through almost a 6 hour Parsifal and Don Carlo and Tristan & Isolde and wondered where did the time go yet I must agree that this was a too-long opera and I began muttering to myself, enough already. 
But in all, I enjoyed the writings of a too soon gone genius.


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## Barelytenor

I got a new car before Christmas with Sirius XM radio including the Met opera station. I tuned in during intermission and it was Angel Rose talking Porgy and Bess. I switched it off because I am looking forward to seeing the encore on Wednesday night. (I'm sure it's a repeat of Saturday but I've never been to a Wednesday night encore. After 55 years of singing in church choir, I decided I have had enough.) So. Looking forward to it. And though, like any baritone worth his salt, I have sung several of the tunes from Porgy and Bess many times and especially the duet "Bess, You Is My Woman Now," I have never sat through the whole thing.

More later. 

Kind regards, :tiphat:

George


----------



## Barelytenor

I was stunned and amazed at the high quality of this production which used a "specially selected" chorus (amazingly superb, a symphonic chorus of all black singers who helped knit together the song bits with excellent movement and singing) and a number of superb soloists. I am surprised I have never seen Porgy and Bess until now complete, but perhaps it has to do with the old and tired debate "opera or musical"? (It's an opera in the classic sense; George Gershwin's ideals were Meistersinger and Carmen while writing it.)

Angel Blue showed amazing acting and singing chops, incredible high notes and excellent authentic accents. (Listening to her spinto voice you could easily hear how she could sing [which she has] both Mimí and Musetta at the Met.) When she reprised "Summertime" near the end she nearly stole the show away from the competent singer Golda Schultz, who opens the show with "Summertime" but was a tad too operatic and produced some unusual vowel sounds in the process). Latonia Moore was the second stunner of the evening (this woman regularly sings the title role in Aïda), both in "My Man's Gone Now" and later singing "Doctor Jesus" as she prays over the ill Bess's bedside.

Eric Owens soldiered on despite having a cold (as Peter Gelb announced). His gravelly bass-baritone skimped, understandably given his illness, on high notes and long lines, but his scowling, minimal acting was rather like Alberich to me than an ideal Porgy. Alfred Walker as the menacing Crown was impressive, and a slithery, over-the-top Frederick Ballentine sang a memorable if overacted Sportin' Life. There were also many singers whose brief cameos left you wanting more. Those included the tenors singing the Honey Man and another Robbins/Crab Man, and the soprano who made you love her in 30 seconds singing the Strawberry Woman.

There were subtitles, but never once did I have trouble understanding a single word of the Gullah-accented Southern Black dialect. This was one of the most impressive Met productions I have "been to" in years.


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## Itullian

*February 8, 2020
La Damnation de Faust by Hector Berlioz*

Berlioz's compelling take on the Faust legend returns for the first time in a decade, with an ideal lineup of stars. High-flying tenor Michael Spyres sings the doomed and besotted Faust, opposite dazzling mezzo-soprano Elīna Garanča as the forsaken Marguerite and bass Ildar Abdrazakov as the malevolent Méphistophélès. Edward Gardner conducts.


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## Itullian

30 minutes to damnation


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## Itullian

I'm no Berlioz expert, but this performance sounded excellent to me. Singers, chorus and orchestra sounded great.


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## Woodduck

Itullian said:


> I'm no Berlioz expert, but this performance sounded excellent to me. Singers, chorus and orchestra sounded great.


It was a good performance. I didn't care for Abdrazakov's woolly Russian bass in Berlioz - a cleaner, more precise, "French" sound is preferable - and I find Garanca's attractive mezzo rather non-specific in expression here as it was in Carmen a few seasons back. I was very impressed with Spyres, however; he really fills out the long phrases of Faust's music and has an exciting top. I hope the Met plans to bring him back for more roles.


----------



## Becca

Any opinions about the conductor, Edward Gardner?

For a good Mephistopheles, check out Christopher Purves on the Rattle/LSO/YouTube performance.


----------



## HenryPenfold

Becca said:


> Any opinions about the conductor, Edward Gardner?
> 
> For a good Mephistopheles, check out Christopher Purves on the Rattle/LSO/YouTube performance.


Regarding Gardner, I have been to a couple of concerts in London, one being a Prom last summer Britten's Piano Concerto and Mahler's Das Lied Von De Erde with the BBCSO et al. 

I also have a Chandos download of Lutoslawski 3, Chain III & Concerto For Orchestra. And it's one of the best Luto recordings that I own!

He will soon take over the LPO and I think we're going to be in for a treat - a real talent for now and the future.


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## Woodduck

Becca said:


> Any opinions about the conductor, Edward Gardner?
> 
> For a good Mephistopheles, check out Christopher Purves on the Rattle/LSO/YouTube performance.


My impression was favorable, though I hadn't listened to _Damnation_ for so many years that I couldn't compare. The ride to hell was certainly exciting, and what wild and crazy music it is! You can tell that Berlioz found damnation more exciting than salvation. There's probably more sex down there.


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## Itullian

*February 15, 2020
Manon by Jules Massenet*

A take on the quintessentially French tale of the beautiful young woman who is incapable of forsaking both love and luxury, Massenet's Manon features one of the truly unforgettable, irresistible, and archetypal female characters in opera. While the story is firmly set in class and gender issues of the past, the character of Manon herself is timeless, convincing, and familiar. The opera has been a success ever since its premiere, championed by a diverse roster of singers who have cherished its dramatic opportunities, exalted style, and ravishing music.


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## Woodduck

This will be a taped performance from the fall of 2019. The Met broadcast web site says: "Exhilarating soprano Lisette Oropesa stars as the irresistible title character, the tragic beauty who yearns for the finer things in life, in Laurent Pelly’s revealing production. Tenor Michael Fabiano is the besotted Chevalier des Grieux, whose desperate love for Manon proves their undoing. Maurizio Benini conducts Massenet’s sensual score."

Might be good.


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## Itullian

15 minutes to curtain............


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## Itullian

*February 22, 2020
Le Nozze di Figaro by Wolfgang Amadeus Mozart*

A profoundly humane comedy, Le Nozze di Figaro is a remarkable marriage of Mozart's music at the height of his genius and one of the best librettos ever set. In adapting a play that caused a scandal with its revolutionary take on 18th-century society, librettist Lorenzo Da Ponte focused less on the original topical references and more on the timeless issues embedded in the frothy drawing-room comedy.


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## Itullian

15 minutes to curtain............


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## Woodduck

Nothing really bad about _Figaro_ today - nice, energetic performance - but only one singer was memorable: Marianne Crebassa as Cherubino. Evidently she's in demand for the part everywhere. It's clear why, though I wish she wouldn't slow down so drastically at the end of "Non so piu." It isn't necessary to italicize emotional changes like a ham actor.

I can't be bothered to discuss the performance in detail. After all these years I still can't fathom why some people think this is one of the supreme operas. Sure, it has some great arias, the celebrated act two finale is brilliantly written (though too relentlessly frenetic and repetitive for my taste), and the characters, although they aren't awfully interesting, are well-delineated. But the fine musical numbers are separated by miles of recitative consisting of the same hackneyed chord progressions used over and over and over again. I feel immensely relieved, at least momentarily, when Mozart gives us some orchestrally accompanied recitative leading up to "Porgi amor," proving that he has more chords in his arsenal than I, IV and V. _Figaro_ is a three-hour opera, but the amount of great music it contains fits onto a single CD. I suppose there isn't a lot of competition in the comic opera repertoire, but I think _Zauberflote,_ _Meistersinger_ and _Falstaff,_ at least, are all more interesting, musically, dramatically, or both. I might even prefer _Cosi fan tutte_. (I can't believe I said that.)


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## Itullian

I enjoyed the performance. Nothing special though.
I wish conductors would put more feeling in the numbers.
I don't think Mozart has to be dainty all the time.
Good all around performance I thought,


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## Itullian

*February 29, 2020
Agrippina by George Frideric Handel*

Handel's tale of intrigue and impropriety in ancient Rome receives its first Met performances, with star mezzo-soprano Joyce DiDonato as the controlling, power-hungry Agrippina and Harry Bicket conducting. Sir David McVicar's production ingeniously reframes the action of this black comedy about the abuse of power to "the present," where it should loudly resonate. The all-star cast features mezzo-soprano Kate Lindsey as Agrippina's son and future emperor Nerone, soprano Brenda Rae as the seductive Poppea, countertenor Iestyn Davies as the ambitious officer Ottone, and bass Matthew Rose as the weary emperor Claudius.


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## DavidA

Itullian said:


> *February 29, 2020
> Agrippina by George Frideric Handel*
> 
> Handel's tale of intrigue and impropriety in ancient Rome receives its first Met performances, with star mezzo-soprano Joyce DiDonato as the controlling, power-hungry Agrippina and Harry Bicket conducting. Sir David McVicar's production ingeniously reframes the action of this black comedy about the abuse of power to "the present," where it should loudly resonate. The all-star cast features mezzo-soprano Kate Lindsey as Agrippina's son and future emperor Nerone, soprano Brenda Rae as the seductive Poppea, countertenor Iestyn Davies as the ambitious officer Ottone, and bass Matthew Rose as the weary emperor Claudius.


Hoping to make the cinema broadcast through the storm!


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## Forsooth

Itullian said:


> *February 29, 2020
> Agrippina by George Frideric Handel*
> 
> ...Sir David McVicar's production ingeniously reframes the action of this black comedy about the abuse of power to "the present," where it should loudly resonate...


From HIP to PIP.


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## Itullian

10 minutes to curtain.........


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## DavidA

DavidA said:


> Hoping to make the cinema broadcast through the storm!


Just seen the broadcast at the cinema. Initial reaction - fantastic!


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## DavidA

If you'd seen David McVicar's production of Agrippina at the Met you would have been delighted. It was a modern update but served the plot. And was hilarious. The singing was a absolutely wonderful, full of fireworks from DiDonato and co. One part set in a bar brought the house down with harpsichord on stage. Wonderful evening.


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## Itullian

*March 7, 2020
Così fan tutte by Wolfgang Amadeus Mozart*

Coney Island once again comes to the stage of the Met with the first revival of Phelim McDermott's popular staging inspired by the sideshows of the boardwalk. The pairs of young lovers are a casting dream: soprano Nicole Car, mezzo-soprano Serena Malfi, tenor Ben Bliss, and bass-baritone Luca Pisaroni, with the glorious bass-baritone Gerald Finley as the cynical Don Alfonso and the charming soprano Heidi Stober as the mischievous maid Despina. Harry Bicket conducts.


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## DavidA

Itullian said:


> *March 7, 2020
> Così fan tutte by Wolfgang Amadeus Mozart*
> 
> Coney Island once again comes to the stage of the Met with the first revival of Phelim McDermott's popular staging inspired by the sideshows of the boardwalk. The pairs of young lovers are a casting dream: soprano Nicole Car, mezzo-soprano Serena Malfi, tenor Ben Bliss, and bass-baritone Luca Pisaroni, with the glorious bass-baritone Gerald Finley as the cynical Don Alfonso and the charming soprano Heidi Stober as the mischievous maid Despina. Harry Bicket conducts.


Saw it once. The broadcast had no subtitles as no-one knew how to workit


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## Itullian

*March 7, 2020
Così fan tutte by Wolfgang Amadeus Mozart*

Coney Island once again comes to the stage of the Met with the first revival of Phelim McDermott's popular staging inspired by the sideshows of the boardwalk. The pairs of young lovers are a casting dream: soprano Nicole Car, mezzo-soprano Serena Malfi, tenor Ben Bliss, and bass-baritone Luca Pisaroni, with the glorious bass-baritone Gerald Finley as the cynical Don Alfonso and the charming soprano Heidi Stober as the mischievous maid Despina. Harry Bicket conducts.


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## Itullian

15 minutes to curtain......


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## Rossiniano

Just finished listening to Così fan Tutte. It is evident that the the MET has the talent for 18 Century works. This was confirmed by the performances of Figaro and Agrippina the two preceding weeks. I did not have the opportunity to comment here on those two, but found them to be totally enjoyable even if with Agrippina the predominance of treble voices and lack of variety was a bit tiring. That the ensemble was introduced into opera during the classical period certainly made the art form much more attractive. So three good weeks in a row with performances that were pleasantly agreeable. 

It will be interesting to hear if it will be smooth sailing for Der Fliengende Hollander next week.


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## Woodduck

Rossiniano said:


> Just finished listening to Così fan Tutte. It is evident that the the MET has the talent for 18 Century works. This was confirmed by the performances of Figaro and Agrippina the two preceding weeks. I did not have the opportunity to comment here on those two, but found them to be totally enjoyable even if with Agrippina the predominance of treble voices and lack of variety was a bit tiring. That the ensemble was introduced into opera during the classical period certainly made the art form much more attractive. So three good weeks in a row with performances that were pleasantly agreeable.
> 
> It will be interesting to hear if it will be smooth sailing for Der Fliengende Hollander next week.


Any good music conservatory should have the talent for _Figaro_ or _Cosi,_ so it would be shocking if the Met didn't. Handel is another matter, and we're lucky to have some brilliant Baroque specialists. DiDonato was terrific last Saturday. But Wagner? Genuine dramatic voices are in short supply, and the role of the Dutchman is one of the ultimate tests of a bass-baritone. I've been somewhat impressed by what little I've heard from Anja Kampe, but Evgeny Nikitin sounds badly overmatched in the excerpt on the Met broadcast web site. The production by Francois Girard looks interesting, fairly traditional with some original touches.


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## Bonetan

Woodduck said:


> I've been somewhat impressed by what little I've heard from Anja Kampe, but *Evgeny Nikitin sounds badly overmatched in the excerpt on the Met broadcast web site*.


Wow, after a listen I think you actually give him too much credit lol. This is bad & this is the Dutchman's big aria/entrance so it probably only gets worse...

https://www.metopera.org/discover/v...ende-hollander-excerpts&videoId=6137099594001


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## Scott in PA

Any word on why Terfel is not doing the Dutchman?


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## wkasimer

Scott in PA said:


> Any word on why Terfel is not doing the Dutchman?


He broke his ankle in January:

https://www.classicfm.com/artists/bryn-terfel/opera-singer-injury-cancels-several-performances/


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## DavidA

Just heard the Met performances have been shut down including the Dutchman cinema broadcast

https://slippedisc.com/2020/03/breaking-the-met-shuts-down-for-the-month/


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## Itullian

^^^ I heard that too. (((


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## The Conte

But the ROH is following UK government policy to cull pensioners!!!

What a bunch of...

N.


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## Rossiniano

It will be interesting to see what happens tomorrow. When the MET went on strike about a half century ago they substituted MET commercial recordings of various operas. Of course nowadays the MET has a limitless archive of live performances. One would assume that they will air performances of the scheduled operas but will they be older versions or something relatively recent. We shall see how this all plays out over the next few weeks.


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## Itullian

Dutchman will be broadcast as scheduled from a tape of last Tuesday's performance!!!!!!!!!!!!!!!!!!!!!
YYAAAAAAAAAAAAAAYYYYYYYYYY


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## Itullian

*March 21, 2020
La Cenerentola by Gioachino Rossini*

Rossini's effervescent take on the Cinderella story returns with a special broadcast from 2014.


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## Itullian

5 minutes to Cenerentola..........


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## nina foresti

Years ago I recall seeing Terfel as Scarpia in Philadelphia when he harmed his ankle and had to have it placed in a cast. He did the rest of the performance in a wheelchair for the rest of the run and I tell you it had an eerily strange quality about the character. It really added a new and appealing touch.


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## Becca

Joyce DiDonato did something similar in a run of Barber of Seville at the Royal Opera House.


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## Itullian

The Met broadcast just announced that while the season is cancelled they will be providing free of charge, the older live theater operas on their website, metopera.
The whole operas will be shown free of charge all week.
Starting next week with all Wagner.


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## Woodduck

Itullian said:


> The Met broadcast just announced that while the season is cancelled they will be providing free of charge, the older live theater operas on their website, metopera.
> The whole operas will be shown free of charge all week.
> Starting next week will al Wagner.


It looks as if you have to subscribe to watch, but you can have a trial of seven days worth for free. Am I reading that correctly?


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## DavidA

Itullian said:


> 5 minutes to Cenerentola..........


Just listening. What a joy this opera is. I actually saw this performance and so enjoyed it which is more than I could say for other opera broadcasts which were to be endured rather than enjoyed. It was Joyce's last Cenerentola as she wisely put the role to bed as she was not quite as young looking as the part demanded in HD. The singing was superb though.


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## Itullian

Woodduck said:


> It looks as if you have to subscribe to watch, but you can have a trial of seven days worth for free. Am I reading that correctly?


They said that will change. All operas will be free. One per week. Per Gelb on the broadcast today.


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## annaw

Itullian said:


> They said that will change. All operas will be free. One per week. Per Gelb on the broadcast today.


I know there's one free broadcast per night but they're going to make all of them free  ?


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## Itullian

annaw said:


> I know there's one free broadcast per night but they're going to make all of them free  ?


That's what I heard today on the intermission with Gelb.


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## Woodduck

Itullian said:


> That's what I heard today on the intermission with Gelb.


There needs to be a web page explaining this.


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## nina foresti

Hope this helps

https://www.metopera.org/user-information/nightly-met-opera-streams/


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## DavidA

nina foresti said:


> Hope this helps
> 
> https://www.metopera.org/user-information/nightly-met-opera-streams/


Thanks. Sadly I have appeared to have missed the operas I'd have been interested in watching. On last week.


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## nina foresti

Lucia is on right now.


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## annaw

I was scrolling through the Met’s archive - does anyone have any recommendations to particularly good Met productions?


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## Rogerx

annaw said:


> I was scrolling through the Met's archive - does anyone have any recommendations to particularly good Met productions?


Do you mean streaming or DVD?
Erratum:
If you have twitter you can see what they streaming daily.


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## annaw

Rogerx said:


> Do you mean streaming or DVD?
> Erratum:
> If you have twitter you can see what they streaming daily.


I was thinking about DVDs  .


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## Rogerx

annaw said:


> I was thinking about DVDs  .


Here are just a few recent ones:

Bizet: Les Pêcheurs de Perles

Diana Damrau (Leïla), Matthew Polenzani (Nadir), Mariusz Kwiecien (Zurga), Nicolas Teste (Nourabad

The Metropolitan Opera Orchestra and Chorus, Gianandrea Noseda, Penny Woolcock (dir.)

Puccini: La Bohème

Angela Gheorghiu (Mimi), Ramón Vargas (Rodolfo), Ludovic Tézier (Marcello), Ainhoa Arteta (Musetta), Oren Gradus (Colline), Quinn Kelsey (Schaunard), Paul Plishka (Benoit/Alcindoro), Meredith Derr (Parpignol), Robert Maher (Sergente dei doganieri), Richard Pearson (Un doganiere)

Rossini: La donna del lago

Joyce DiDonato (Elena), Juan Diego Florez (Giacomo V), John Osborn (Roderigo), Daniela Barcellona (Malcolm), Oren Gradus (Douglas)

The Metropolitan Opera Orchestra and Chorus, Michele Mariotti, Paul Curran (dir.)

Bellini: Norma

Live at the Metropolitan Opera, 2017

Sondra Radvanovsky (Norma), Joyce DiDonato (Adalgisa), Joseph Calleja (Pollione), Matthew Rose (Oroveso), Michelle Bradley (Clotilde), Adam Diegel (Flavio)

The Metropolitan Opera Orchestra and Chorus, Carlo Rizzi, Sir David McVicar

Massenet: Thaïs

Renée Fleming (Thaïs), Thomas Hampson (Athanaël) & Michael Schade (Nicias)

Orchestra & Chorus of the Metropolitan Opera, New York, Jesús López-Cobos (conductor) & John Cox (stage director)

For more information, go to the Presto website and search in the search line

metropolitan opera DVD


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## annaw

Thank you so much for your recommendations - I’ll check them out!


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## Rogerx

annaw said:


> Thank you so much for your recommendations - I'll check them out!




You have to check this one out, it's stunning. 
Together with the very famous, lavish recording by Karajan with Freni I would say: untouchable.


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## Itullian

metopera is streaming Siegfried tonight.
You can start it when you're ready


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## Itullian

*March 28, 2020
Werther by Jules Massenet*

The 2019-20 Metropolitan Opera Radio Broadcast season continues with Massenet's gripping romantic tragedy Werther, a performance from 2014 starring Jonas Kaufmann and Sophie Koch.


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## Itullian

15 minutes to Werther............


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## nina foresti

I was there that day. I actually was annoyed with Kaufmann in that role. He's always taken on such heroic type roles that this pantywaist character was kind of an embarrassment to me. I also find his voice to sound much more baritonal than the spinto tenor sound that I so require.
Having said that, I recognize him to be the whole package from a fine singer (even if his voice isn't my favorite kind), a fabulous actor, a charming personality, and a handsome man as well.
I just don't like him in "Vair-Tair!"


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## DavidA

Just watched part of the Gotterdamerung from the Met they have broadcast free. certainly worth a watch for Wagner fans. The production certainly tried to fulfil Wagner's wishes. The singing was so-so I thought.


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## Itullian

*April 4, 2020
Orfeo ed Euridice by Christoph Willibald Gluck*

Mezzo-soprano Jamie Barton stars as the legendary musician Orpheus. Soprano Hei-Kyung Hong is Eurydice, the bride he is determined to rescue from the underworld, and soprano Hera Hyesang Park is the compassionate god Amore. Mark Wigglesworth conducts the Met orchestra and chorus in a jewel of the late baroque repertoire.


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## Itullian

Orfeo is on!................


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## Itullian

*April 11, 2020
Tosca by Giacomo Puccini*

The 2019-20 Metropolitan Opera Radio Broadcast season continues with Puccini's thriller Tosca, starring Anna Netrebko in the title role, in a performance that was originally recorded live at the Met on April 30, 2018. The superstar soprano took on the iconic role of the fiery diva Floria Tosca for the very first time that month at the Met. Tenor Yusif Eyvazov starred opposite her as Tosca's lover, the idealistic painter Mario Cavaradossi, and baritone Michael Volle was Scarpia, Rome's chief of police, who lusts after Tosca. Bertrand de Billy conducted the Met Orchestra and Chorus in Puccini's sumptuously dramatic score.


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## Itullian

Anyone for Tosca?


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## Itullian

*April 18, 2020
Simon Boccanegra by Giuseppe Verdi*

The 2019-20 Metropolitan Opera Radio Broadcast season continues with Verdi's stirring epic Simon Boccanegra, starring the late Dmitri Hvorostovsky in a commanding performance from 2011. The beloved Russian baritone sang the title role of the Doge of Genoa, a ruler striving for political and personal reconciliation. Soprano Barbara Frittoli was Amelia, Boccanegra's long-lost daughter, with tenor Ramón Vargas as her lover, the rebel Gabriele Adorno, and bass Ferruccio Furlanetto as the Doge's sworn enemy Fiesco. James Levine conducted this performance, which was originally broadcast live on February 5, 2011.


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## Itullian

10 minutes to Simon B.


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## Itullian

*April 25, 2020
Turandot by Giacomo Puccini*

The 2019-20 Metropolitan Opera Radio Broadcast season continues with Puccini's spectacular tale of legendary China, Turandot, in a performance from the Met archives starring Nina Stemme. The Swedish soprano took on the formidable title role of the fiercely proud Princess who tempts her suitors to their deaths. Tenor Marco Berti sang Calàf, the ardent prince determined to win Turandot's hand. Soprano Anita Hartig was the courageous Liù, and bass Alexander Tsymbalyuk was Calàf's exiled father, Timur. Paolo Carignani conducted Puccini's final opera, a showcase of thrilling choruses, ensembles, and magnificent arias, in a performance originally broadcast live on January 30, 2016.


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## Itullian

Anyone for Turandot?


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## DavidA

Itullian said:


> Anyone for Turandot?


Saw it at cinema


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## Itullian

*May 2, 2020
Káťa Kabanová by Leoš Janáček*

Janáček's gripping domestic drama makes a rare appearance on the Met stage, its first since 2005. The soaring soprano Susanna Phillips sings the title role, a young woman forced by fate to choose between true love and family honor, with beloved mezzo-soprano Dolora Zajick as her unyielding mother-in-law. Tenor Pavel Černoch is the young object of Káťa's love, and legendary bass Sir John Tomlinson is his rich but cruel uncle. Lothar Koenigs conducts one of the defining operatic scores of the 20th century


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## Itullian

20 minutes to Katia........


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## The Conte

Kabanova just isn't my thing. I love Jenufa and From the House of the Dead, but Kabanova and Vixen really don't do it for me. I find Janacek difficult and so I love or hate his operas. I can't wait to get to know Vec Makropoulos better.

N.


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## Itullian

*May 9, 2020
Maria Stuarda by Gaetano Donizetti*

Soprano Diana Damrau, following her triumph as Violetta in last season's new production of Verdi's La Traviata, stars as the martyred Mary, Queen of Scots, in Donizetti's bel canto showcase. Star mezzo-soprano Jamie Barton is her imperious rival Queen Elizabeth I, and the silken-voiced tenor Stephen Costello is the noble Earl of Leicester. Maurizio Benini conducts Sir David McVicar's handsome production.

Last one of the season folks.
Thanks for your participation.
See ya in December. :tiphat:


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