Thursday, December 31, 2015

Close to a Selfie


This is as close to a selfie as I could get of the wedding of Anna and Yusif.  Congratulations.

Tuesday, December 22, 2015

The Damnation of Faust from the Paris Opera

 Bryn, Dominique, Sophie, Jonas

Conductor Philippe Jordan
Director Alvis Hermanis

Marguerite: Sophie Koch (mezzo-soprano)
Faust: Jonas Kaufmann (tenor)
Méphistophélès: Bryn Terfel  (baritone)
Stephen Hawking (mute): Dominique Mercy

The basic premise of the Eurotrash movement seems to be that any music and set of words can be fitted to any set of pictures and movements.  Any actual relationship is unnecessary.  Faust is supposed to be a scholar, so we will make him a scientist working on the space program.  Why not?  This is at least a tenuous relationship.  This staging of La Damnation de Faust from the Paris Opera is more a comedy than a serious drama.  No one cares about souls any more.

Of the above characters the one who spends the most time on stage is Stephen Hawking.  For most of the opera he sits in his chair.  At the beginning he speaks in his mechanical voice.  He is immediately recognizable without use of a program.

Act I

The intention to establish a colony on Mars in 2025 is announced.  The colonists are announced.  In any opera there are people who look one of two different ways:  they are uniformly young and thin or they are representative of all mankind.  The former group is, of course, the ballet, and the latter is the chorus.  People identified as going to Mars are all from the ballet.  They remove parts of their dress and appear in various stages of dress and undress until the last scene.

Jonas Kaufmann as Faust appears, except for the addition of horn rimmed glasses, as himself throughout.  He doesn't suddenly become young, as is traditional with Faust.

Act II

Faust, Hawking and Méphistophélès appear.  Potential colonists are tested like lab rats.  Méphistophélès chloroforms Faust who falls on the floor and dreams of Marguerite.  We see films of the Mars rover, and a copy appears on stage.  An orientation confusion device is brought on stage and Faust refuses to go into it.  So they choose Hawking instead who while still in his chair, rotates in all directions for a while.

Then Hawking is back in his chair, nude (body stockings?) women dancers appear, Jonas and Sophie interact.

Act III

Marguerite sings.  Almost nude ballet couples become intimate.  Perhaps on Mars they will have to pair up.  Then duet with Faust and Marguerite.  Then a trio with Bryn.  The male dancers have abandoned the females who now look injured.

Act IV

This is the best part of the staging.  Marguerite is Hawking's nurse.  She sings the most famous aria so far.  There was much discussion in reviews of snails mating, but for us this is not seen and we have closeups of Sophie instead.  She takes off her lab coat and strokes Hawking's cheeks.  So you see the love she sings about is for Hawking.  She lays her cheek against his.  The Mars rover goes by.  And finally she kisses him.

Jonas comes out and sings "Nature immense" with an erupting volcano behind.  Very nice.

Bryn comes out with 3D goggles and tempts Faust into putting them on.  The colonists, including Marguerite, put on their space uniforms and we see a rocket blasting off.  Perhaps it's time to depart.

Faust finds Marguerite's dress in the pile of clothes and searches for her among the colonists.

Ending:  We are supposedly sending Marguerite off to heaven, but instead Hawking gets out of his chair and does an extended ballet.  Sort of.  Faust gets in the abandoned chair and drives it off the stage.

So is this The Salvation of Stephen Hawking instead of The Damnation of Faust?  The music was lovely.  We heard no booing.

Sunday, December 20, 2015

Gossip

This item is something that came up in conversation with my son. Is it a coincidence that most of the people who cancelled from the San Francisco Opera this season are those with the highest fees? Or is there possibly some other explanation? First idea to pop to mind is the current budget situation. Hmmm.

Tuesday, December 15, 2015

Grammy Nominations

I'm showing only the classical vocal awards.  For the full list look here.

Classical Solo Vocal Album

"St. Petersburg," Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti)




"Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata," Mark Padmore; Kristian Bezuidenhout, accompanist



"Joyce & Tony - Live From Wigmore Hall," Joyce DiDonato; Antonio Pappano, accompanist



"Nessun Dorma - The Puccini Album," Jonas Kaufmann; Antonio Pappano, conductor (Krist¿ne Opolais, Antonio Pirozzi and Massimo Simeoli; Coro Dell'Accademia Nazionale Di Santa Cecilia; Orchestra Dell'Accademia Nazionale Di Santa Cecilia)




"Rouse: Seeing; Kabir Padavali," Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony)


Opera Recording 

"Janácek: Jenufa," Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus of the Deutsche Oper Berlin)


"Monteverdi: Il Ritorno D'Ulisse In Patria," Martin Pearlman, conductor; Fernando Guimarães and  Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque)



"Mozart: Die Entführung Aus Dem Serail," Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra of Europe)

"Ravel: L'Enfant Et Les Sortilèges; Shéhérazade," Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus and SKF Matsumoto Children's Chorus)


"Steffani: Niobe, Regina Di Tebe," Paul O'Dette and Stephen Stubbs, conductors; Karina Gauvin and Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra)


Monday, December 14, 2015

Winter's Tale

At the end of November I watched at the movies Shakespeare's The Winter's Tale simulcast from London, starring Judi Dench.

This resulted in an argument with a friend, who admittedly spends a lot more time with Shakespeare than I do.  I said Judi brought a statue back to life of the long dead queen for the happy ending.  I liked this idea because it reminded me of Pygmalion.

Friend said that the queen was only pretending to be dead.  I thought about this and decided that Judi tells the king that he should let her suggest someone he could marry.  This could mean she knows the queen is still alive.

She looked like a real statue who hadn't aged a day, so the argument could go either way.

Saturday, December 12, 2015

2015 Opera Year in Review KK Opera Awards


It's time for the 2015 KK Opera Awards.

New operas for me in 2015 are:  Tchaikovsky's Iolanta from the Met, Donizetti's Poliuto streamed from Glyndebourne, Rossini's La Scala di Seta from a DVD, the movie version of Weill's Die Dreigroschenoper from YouTube, Verdi's Giovanna d'Arco streamed from Milan, The Wiz on TV and Hair at the Music Circus.

Operas that were actually new for everyone are:  Benjamin's Written on Skin from a DVD, Tutino's La Ciociara from the San Francisco Opera, and Kaminsky's As One at West Edge,  In December I saw Getty's Usher House and Debussy's La Chute de la Maison Usher.  The first three were theatrically interesting but perhaps not musically memorable.  That's 12 new operas, better than I thought.  The most interesting thing about this list of 12 new operas is that they come from 11 different sources, one of the more astounding features of modern life. 

2015 was a year in which I followed obsessions rather than searching out new operas.  I was distracted into research about Kurt Weill and his relationship to Brecht.  I concluded that their political affiliation was not complete.

I saw three versions of Berg's Lulu this year:  Barbara Hannigan's DVD done entirely en pointe, West Edge's spectacular modern woman version, and the live in HD from the Met.  I could have had a fourth one streamed from the Bayerische Staatsoper, but I decided against it because the Lulu was the same as at the Met.   This leads me to...
  • BEST LULU AWARD (this year only) goes to West Edge for making her into an active, modern young woman who participates in her fate and brings about her own downfall.  Apologies to the Met, but their version was a bit overdone.
  • BEST NEW (to me) OPERA AWARD has to be the film of Weill's Die Dreigroschenoper.  My studies of Weill also helped me understand Aufstieg und Fall der Stadt Mahagonny from the Royal Opera London.  I think I prefer Three Penny Opera to MahagonnyIolanta is a strong runner up.  Of the operas that actually are new, I would have to pick Benjamin's Written on Skin.
  • BEST VERDI OPERA AWARD goes to Il Trovatore from the Met with Dmitri and Dolora AND Anna.  I was in awe of this magnificent cast.  Giovanna d'Arco was fun.
  • BEST VERDI SINGING AWARD goes to Anna Netrebko in Il Trovatore from the Met.  It was spectacular and the best Verdi singing I have heard from her.
  • BEST BEL CANTO AWARD must go to Rossini's La Donna del Lago starring Joyce DiDonato.  This is a perfect opera for Joyce.  My records say I have seen this opera before, but it seemed new and had a wonderful love story.  Two Lucias and a Poliuto completed my bel canto experiences for this year.
  • BEST MOZART OPERA AWARD --Le Nozze di Figaro from SFO and Le Nozze di Figaro from Salzburg are the candidates.  I must award to the Salzburg version for the production with its strong hints of references to Downton Abbey.  Luca Pisaroni's dog appeared on stage.  The other Figaro is almost a tie.
  • BEST BAROQUE OPERA AWARD must go to Monteverdi's L'Orfeo streamed from London.  The only other Baroque opera I saw all year was Monteverdi's Il ritorno d'Ulisse in patria from West Edge.  Monteverdi operas are like nothing else and wouldn't logically compare to Handel or Vivaldi.  Both my examples were outstanding and unusual with the award going to L'Orfeo because of the singer who performed the lead role.
It was yet again a good year for Jonas Kaufmann fans, but his attention was focused mainly on verismo.
  • BEST PUCCINI AWARD can only go to Manon Lescaut from the Bayerische Staatsoper with Jonas K. and Kristine Opolais, since that is the only Puccini I saw this year.  Other verismo operas seen this year were a Cav/Pag from Salzburg with Kaufmann and another Cav/Pag from the Met in HD.  This fit smoothly with Jonas Kaufmann's Puccini arias album which was released this year.  Next year will be a third version of Kaufmann and Opolais singing Manon Lescaut, this time from the Met.  I am reserving judgment on which of the three I like best.  Yet another Kaufmann verismo performance this year was Andrea Chénier which also had some good features.
  • BEST TRANSFORMATION OF AN OPERA INTO SOMETHING COMPLETELY DIFFERENT has to go to Fidelio from the Salzburg Festival.  The music was all there exactly as you would want it, but instead of spoken dialog there were strange noises.  Jonas Kaufmann's Florestan had PTSD and didn't really want to see Leonora.  A nightmare.  Is it a rescue opera if no one gets rescued?  I hated the unhappy ending.  This is a Claus Guth staging.
  • BEST RICHARD STRAUSS AWARD must choose between Arabella or Ariadne auf Naxos, both from the Bayerische Staatsoper.  The award has to go to Arabella with Anja Harteros for her acting and ability to not suggest La Fleming ever at any time.  This opera is growing on me.
  • BEST HORROR OPERA goes hands down to The Fiery Angel streamed from the Bayerische Staatsoper.  The production was surprisingly conservative, but this is such a wonderful opera and the double bill in San Francisco of Getty's Usher House and Debussy's La Chute de la Maison Usher could not approach it.  This is also a this year only award.  Who knew there would be 3 choices?
  • WORST EUROTRASH PRODUCTION AWARD goes to The Elixir of Love streamed from Munich.  Oy.  Nemorino sings "Una furtiva lagrima" from the top of a light pole.  The entire opera takes place in a modern war zone and is pretty scary.  This was a big year for Eurotrash productions and was hard to select.  The other candidates are the weird Fidelio from Salzburg, the even weirder Manon Lescaut from Munich, and the Martian Berlioz Faust from Paris.  Still Elixir was the most sickening.
The only thing that completely bombed for me was The Merry Widow.  Perhaps someday I will see a version I like.  The Edgar Allen Poe operas were also rather odoriferous.

Fiery Angel


Conductor:  Vladimir Jurowski
Production:  Barrie Kosky

Ruprecht:  Evgeny Nikitin
Renata:  Svetlana Sozdateleva
Landlady:  Heike Grötzinger
Soothsayer:  Elena Manistina
Agrippa von Nettesheim:  Vladimir Galouzine

If you watch a lot of German opera productions, you probably expected something a lot wilder than this for Prokofiev's Fiery Angel from the Bayerische Staatsoper.  It starts as an ordinary hotel room, and the hotel theme carries throughout.

Renata had an imaginary friend as a child, only her imaginary friend was not another girl, or a giant rabbit, but an enormous fiery angel.  Puberty missed this up, since the angel didn't want to become a boyfriend.  Renata spends the rest of her life looking for him.

Our opera begins in the hotel room with Ruprecht musing and the hotel manager coming in for a talk.  Then Renata crawls out from under the bed.  This was my favorite part.  When did that ever happen?  Renata is completely mad.

After Act I, the rest of the scenes are interrupted by various groups.  Act II includes male dancers with lots of tattoos dressed in evening gowns.  Act IV is Faust and Mephistopheles holding their walpurgis nacht.  And finally Act V where people are supposed to be nuns, they are instead dressed as Jesus in his crown of thorns.

I kept thinking this was the perfect opera to follow our House of Usher duo, just to show how it is done.  Musically this is a spectacular piece.  All the singers were good, but Svetlana Sozdateleva was spectacularly wonderful.  Kudos.  She was perfectly cast for this very difficult role.

I am resisting the old person's inclination to reminisce about previous productions.

Friday, December 11, 2015

House of Usher Operas


The San Francisco Opera presented a double bill of Gordon Getty's Usher House and Claude Debussy's La Chute de la Maison Usher (reconstructed and orchestrated by Robert Orledge).  In 2014 these two operas were presented together at the Welsh National Opera in Cardiff, Wales, and our production, which consisted mostly of projections, came from there.  Both operas are based on a short story by Edgar Allan Poe, who appears as a character in the Getty work.

Conductor:  Lawrence Foster
Director:  David Pountney

Usher House

Edgar Allen Poe:  Jason Bridges
Roderick Usher:  Brian Mulligan
Madeline Usher (dancer):  Jamielyn Duggan
Doctor Primus:  Anthony Reed
Madeline Usher (voice):  Jacqueline Piccolino

La Chute de la Maison Usher

Lady Madeline Usher:  Jacqueline Piccolino
Le Medecin:  Joel Sorensen
Roderick Usher:  Brian Mulligan
L'Ami:  Edward Nelson

The best possible description came from a friend, "It's like a B horror movie."  So people who like B horror movies liked it, and the rest of us are not sure.  There is one qualification:  the wonderful soprano aria at the beginning of the Debussy could be taken out and performed as a concert aria.  I loved it.

Of the two the Getty was the more dramatically viable.  It seemed to have a plot.  The Debussy was an extended rant by Roderick, very well done by Brian Mulligan.  This is Brian's season--we have seen him in Lucia, Sweeney Todd and this.  He's done some quality work.

I noticed a peculiar feature in the Getty:  virtually every phrase ended in a rise in pitch, sometimes as much as an octave.  The last note of the phrase is, of course, the hardest to sing, making this work something like a mine field.

Sunday, December 06, 2015

Netrebko in Giovanna d'Arco at La Scala

Teatro alla Scala Verdi's Giovana d’Arco opens with Anna Netrebko.


Conductor :  Riccardo Chailly
Production :  Moshe Leiser, Patrice Caurier

Giovanna:  Anna Netrebko (soprano)
Carlo VII:  Francesco Meli  (tenor)
Giacomo, Giovanna's father:  Devid Cecconi (baritone)
Talbot, English officer:  Dmitry Beloselskiy (bass)

It is interesting to see what composers and playwrights have made of Joan of Arc, known since 1920 as Saint Joan.

The Maid of Orléans play by Friedrich Schiller (1801)
Verdi's Giovanna d’Arco (1845)
Tchaikovsky's The Maid of Orleans (1881)
Saint Joan play by George Bernard Shaw (1924)
Jeanne d'Arc au bûcher by Arthur Honegger (1935)

These are the ones I can think of.  Two are operas, one is an oratorio and two are plays.  Bernard Shaw's play is long and wordy and concerns itself only with Joan's trial where it is endlessly debated whether she is saint or sinner.

Jeanne d'Arc au bûcher (Joan of Arc at the stake) is a giant flash back while she burns.  The play by Schiller is the basis for at least one of the operas and maybe a bit of the other.

Joan of Arc was a real person.  She grew up in a small village of French loyalists, surrounded by Burgundians who were affiliated with the English who then ruled large parts of France.  (She lived in the time of the Burgundian music school.  Their political affiliation with the English explains this English sounding music.)  All of her fame came during her teens.  She was visited by visions of saints who told her to save France.  As only a teenager could manage, she simply went off and did this.  She must have been incredibly charismatic and sure of herself.  She didn't carry arms into battle but instead waved a banner, inspiring the French army to its greatest triumphs in the war with the English.  She led them to Rheims where her king was crowned in the place where all French kings were crowned.  She was injured and eventually captured by the enemy.  I think it's probably not known what they argued about at her trial.  At 19 she was burned at the stake.

Did she actually see visions from heaven?  In 1920 the answer was yes.

War is not very easy to enact on the opera stage, I guess.  So one of our Joan of Arc operas adds a romance.  Ambiguity of purpose would not have served our charismatic teenager.  Her achievements would have required fanaticism.

Anna Netrebko is interviewed between the acts of Verdi's Giovana d’Arco and points out what a ridiculous plot it has.  "Nonsense," is the exact word.  For instance, her father, who does not come up in the story, is a significant figure here.  He whines and complains.  Come home where you belong.  Prove you are still a virgin.  The energy of the drama concerns itself with Joan's departure from social norms for women.  Who cares?

So in this production we have a Joan of Arc who would like to save France but her father keeps her imprisoned in her room.  So she imagines that she has saved France instead.  Why not?  It makes as much sense as the libretto.  I love Meli in his all gold outfit, like a statue with a gold horse.  I also love Netrebko in her gold armor.  In France it is Joan who appears on statues on a gold horse.

You would want this opera for the Netrebko, for Meli and for the good early Verdi music.  Netrebko carried it off, as usual.  I liked the part where she cuts off her own hair.  Jesus appears with his cross which he gives to Joan.  I imagine the real Joan to be more like Katniss.



If you don't mind the German titles, try here.

The Wiz


Witches from The Wiz

The Wiz live on NBC played Friday night.  This was at the same time new and not new.  It's the same story only not.  Everyone was fabulous, especially her "Queenness" Queen Latifah.


The Queen is the Wizard.  "Ease on down the road" was the only song I recognized.  This is a lot of fun but Toto doesn't go to Oz.  It plays again on Dec 19.  I missed this when it starred Diana Ross, but don't miss the rerun.

Sunday, November 29, 2015

Fantasy cast for Werther


Werther:  Jonas Kaufmann
Charlotte:  Elīna Garanča
Sophie:  Lisette Oropesa
Albert:  Ludovic Tézier

This is a reaction to seeing a film from Vienna with Garanča and Matthew Polenzani.  Matthew is very romantic but occasionally loses control of the phrase.

The production is very dark, too dark for a computer screen.  The costumes are 50s and there are beds in most of the scenes.  The Albert is nasty and mean.  The final scene begins with Werther already shot.  Albert looms in the background, leaving the impression that he may have shot Werther.

Elina is incredible.  I think I begin to love this opera.

Wednesday, November 25, 2015

Shorts

I watched about half of Boito's Mefistofele streamed from the Bayerische Staatsoper with René Pape as the devil, Joseph Calleja as Faust, Kristine Opolais as Marguerita.  This work has been performed a number of times in San Francisco, and I enjoyed very much the stark, brutal sets from Munich after years of the cute production we have here.  They provided a real witches sabbath.  Incidentally, this part of the Faust story has always confused me.  Faust is supposed to be lured away from heaven by a bunch of witches gathering.  Huh.  I don't get it.  The cast is fantastic.

I went to the movies for The Importance of being Earnest with David Suchet as Lady Bracknell.  It wasn't very funny.  He played her sour which I didn't enjoy.

I may have hated the production, but how can you not love him?

 

Saturday, November 21, 2015

Lulu in HD


Conductor:  Lothar Koenigs
PRODUCTION:  William Kentridge

Lulu:  Marlis Petersen (soprano)
Countess Geschwitz:  Susan Graham (mezzo-soprano)
Alwa, Dr. Schön’s Son, a composer:  Daniel Brenna (tenor)
The Painter / The African Prince:  Paul Groves (tenor)
Dr. Schön / Jack the Ripper:  Johan Reuter (baritone)
Schigolch:  Franz Grundheber (bass)

Today we were treated to Berg's Lulu live in HD from the Metropolitan Opera.  I have taken the liberty of correcting the Met cast list which said:  Alwa / Dr. Schön’s Son / A Composer Daniel Brenna.  This gives the impression that Daniel Brenna played three different characters when Alwa is Dr. Schön’s Son and a composer.

It is hard to know where to begin.  So let's try the beginning.  Most Lulu productions begin with animal cages, and it is only clear that Lulu is the snake.  In this production when the lion tamer announces the animals, we see each animal followed with a line drawing portrait of one of the men in the drama whom we assume is assigned to that animal.  I liked this.  Here is Lulu wrapping her snake-like arms around Dr. Schön.



The black and white drawings that fill the stage are intensely erotic even when the costumes are not. The drama exists on three levels:  the singing actors, the vivid, always moving projections mainly at the back of the stage, and two mime figures dressed mostly in black who had only a symbolic meaning.

Joanna Dudley (Photo by Ken Howard/Metropolitan Opera)

Deborah Voigt assured us that the production is far more interesting in house, but I couldn't help wondering if it wasn't clearer and less distracting as filmed for transmission.  We could focus on the actors and only have the ever changing pictures shown when we needed them.  The characters would kiss, but the most erotic intensity came from the drawings.




There is a level of professionalism in this cast that I have not seen before.  All were comfortable in their roles and at ease in the difficult music.  I have seen Lulu performed from the intensely sexual of Evelyn Lear at one extreme to the complete passivity of Ann Panagulias at the other.  Barbara Hannigan's mind always seems elsewhere.  Marlis Peterson is on the aggressive end of the spectrum.

Susan Graham was my favorite Geschwitz.

We never see the portrait of Lulu which the characters hold up and describe to us.  I have seen this opera often enough now to feel that I understand.  Certain women become the object of obsession of many men.  It's like being a movie star or perhaps an opera singer.  This work balances these many obsessions with the obsession of Lulu for Dr. Schön.  At the end she meets a man who looks just like him, in this production he dressed like him, and he murders her.

The result of my research on this opera has resulted in the conclusion that if you want high level professional performers and a fascinating production, you cannot beat this Lulu, but if you want to feel it as though it were life itself, you will need West Edge.

Read about Christine Schaefer's Lulu here;  read about Barbara Hannigan's Lulu here; read about West Edge Lulu here and here.

Thursday, November 19, 2015

Die Meistersinger


Conductor Sir Mark Elder*
Production Sir David McVicar

Hans Sachs: James Rutherford (bass-baritone)
Walther von Stolzing: Brandon Jovanovich (heldentenor)
Eva: Rachel Willis-Sørensen* (soprano)
Magdalene: Sasha Cooke (mezzo-soprano)
David: Alek Shrader (tenor)
Sixtus Beckmesser: Martin Gantner* (baritone)
Veit Pogner: Ain Anger * (bass)

Last night the San Francisco Opera opened its new production of Wagner's Die Meistersinger von Nürnberg by David McVicar. The plot is a bit similar to Tannhäuser. The production comes from Glyndebourne. I watched Katarina Wagner's Meistersinger in 2012, and then the Salzburg version in 2013. Both of these were in sharp contrast to this very conservative production.

Historical footnote: the last Meistersinger guild disbanded in Memmingen in Bavaria in 1875, which means that there were still active Meistersingers when Wagner completed his opera in 1868.

This is Meistersinger as Wagner imagined it. Each scene moves through the story carefully. Pogner offers his eldest daughter to the winner of a Meistersinger contest. Hans Sachs ponders this situation and decided that he must rescue her. He must find a suitable mate who can win the singing contest, and once the potential husband is identified, Sachs must see that Walther wins. It takes forever.

This performance often seemed more like conversation than singing. All the singers were very good, with Brandon Jovanovich at the top of the heap, but they chatted their way through most of the scenes. Even German can be sung legato. It was announced before the third act that Jovanovich had a cold, but he did fine. James Rutherford seemed an excellent Hans Sachs, but a bit young for the part. Perhaps they were saving their voices.

It was comforting but not very exciting to be able to follow the story so easily.

Paolo Fanale



This guy is proposed for the title of sexiest tenor today.  I must say I like his singing.  Here's another.



Monday, November 16, 2015

Sexiest Today

Philippe Jaroussky

Kristīne Opolais

Danielle de Niese

Elīna Garanča

Vittorio Grigolo


Ailyn Perez


Rene Pape

Isabel Leonard

Paolo Szot

Lisette Oropesa


Luca Pisaroni
Noah Stewart


Oh what the heck.  Jonas Kaufmann

Saturday, November 14, 2015

Zwischenfach

Having completed my discussion of operatic singer types, I have begun to wonder if there is anything I left out.  Coloratura bass, not unknown in the Baroque era, is one.  Baroque coloratura was applied indiscriminately to virtually everything.

And there is this mysterious German term:  Zwischenfach.  It translates "between category."  This is hard to describe.  People write dissertations on this.  I notice in the German language version of Wikipedia that it has no entry of its own but comes up in entries for both individual male and female singers.

In German there is a very detailed and specific set of categories, and then everything is squeezed into it.  Anything that crosses into two categories is a Zwischenfach.  Two examples are Kundry in Parsifal and Venus in Tannhäuser.  These roles are basically mezzos with high extensions.   It's possible that the category bass-baritone is itself a Zwischenfach.

I'm going to tell my opinion now.  It is nice to imagine that things fall into tidy discreet categories the way they do in the German Fach system.  In reality they don't.  I like, for instance, to claim that Maria Callas is a mezzo, and this is the explanation for her preeminence in the role of Norma.  You see, Norma is also a mezzo.  She destroyed her voice by pushing it too high with too much weight.  I said.  But perhaps she was just a Zwischenfach.

Life is not tidy.  Some composers may have been aware of these categories.  Verdi seems to have started out with only a vague idea of what was physically possible for a singer, but then developed into a wise and very skillful composer for different types of voices.  Wagner seems simply not to have cared.  He composed whatever he wanted, and left it to management to find someone suitable.  His dramatic tenor was phenomenal.  Pity subsequent generations who try to follow in his footsteps.

From the point of view of the individual singer it is most important to understand the weight of the voice required for a role and how ones own voice might manage it.  You cannot make your voice heavier than it is.

It's ok if you ignore Zwischenfach.

Tuesday, November 10, 2015

Conversation on Twitter

If I worked at IKEA my tagline would be "Ist das noch der Diwan, auf dem sich dein Vater verblutet hat?”

  1. And if you were a pharmacist: "Ich habe deine Mutter vergiftet"
  2. And if you were a teacher: "Ich weiss es nicht.. . Ich weiss es nicht.. . Ich weiss es nicht.. . "
Is this too hard?  Lines from Lulu translated:

If I worked at IKEA my tagline would be "Is that the sofa your father bled to death on?

And if you were a pharmacist "I poisoned your mother."

And if you were a teacher "I don't know.  I don't know.  I don't know."

It can't get too geeky for me.  I only wish I could think of one.

Sunday, November 08, 2015

Countertenor

I am ready to finish this off.

This is here to help you learn about the countertenor. It's intended to educate listeners rather than singers.

A countertenor is natural male voice that sings falsetto to allow him to sing music that was originally written for a woman or a castrato (a man castrated in childhood to retain his high voice, something that went on in the 17th and 18the centuries).  In opera their use allows male roles to be sung by male singers, a feature that means nothing to me but seems to matter to others.  Most countertenors are actually baritones. The voice range for a countertenor usually is the equivalent to a mezzo-soprano or contralto, but can include sopranos.

These are examples of roles written for the countertenor voice:   Oberon in A Midsummer Night's Dream (Britten), Annas in Jesus Christ Superstar (Lloyd Webber), Akhnaten in Akhnaten (Glass), Trinculo in The Tempest (Adès), etc.  Please notice that all these examples are modern, three out of four are British, and none of them are written by Italians.

This is David Daniels singing "I know a Bank" from A Midsummer Night's Dream.




Friday, November 06, 2015

Active American Singers


name type operas reviewed Richard Tucker seen live
Ailyn Pérez 1 5 2012 Santa Fe, San Francisco
Amber Wagner 1 1

Angel Blue 1


Angela Brown  1


Angela Meade 1 2 2011
Anna Christy 1 3
Santa Fe, San Francisco
Brenda Rae 1 2

Catherine Naglestad 1 2
San Francisco
Christine Brewer 1 2
Santa Fe, St. Louis
Christine Goerke 1
2001
Daniela Mack 1 2
San Francisco
Deborah Voigt 1 6 1992 San Francisco
Elizabeth Futral 1 6
City Opera NY, San Francisco, DC
Erin Morley 1 3
Santa Fe
Heidi Melton 1 2
San Francisco
Heidi Stober 1 8
Santa Fe, San Francisco
Janai Brugger 1 1
LA Opera
Karen Slack 1 3
San Francisco
Kelly Kaduce 1 2
Santa Fe, St. Louis
Laquita Mitchell  1 1
San Francisco
Leah Crocetto 1 3
Santa Fe, San Francisco
Lise Lindstrom 1 1
San Francisco
Lisette Oropesa 1 9
San Francisco
Nadine Sierra 1 2
San Francisco
Nicole Cabell 1 3
Santa Fe, San Francisco
Patricia Racette 1 10 1998 San Francisco
Renée Fleming 1 17 1990 San Francisco
Sondra Radvanovsky 1 8
San Francisco, London
Tamara Wilson 1 1 2016
Yelena Dyachek 1


Angela Brower 2 2
San Francisco, Munich
Daryl Freedman 2


Denyce Graves 2 2
DC
Dolora Zajick  2 8 1986 San Francisco
Hilary Ginther 2


Isabel Leonard 2 7 2013 Santa Fe, San Francisco
Jamie Barton 2 1 2015 San Francisco
Jennifer Larmore 2 2 1994
J'Nai Bridges 2


Joyce DiDonato 2 10 2002 San Francisco
Kate Lindsey 2 5
Santa Fe, San Francisco
Meredith Arwady 2 6
Santa Fe, San Francisco
Michelle De Young 2 3

Stephanie Blythe 2 9 1999 San Francisco, Berkeley
Susan Graham 2 11
San Francisco
Alek Shrader 3 4
San Francisco
Brandon Jovanovich 3 3 2007 Munich, San Francisco
Brian Jagde 3 1
Santa Fe
Bryan Hymel 3 4
Santa Fe, San Francisco
Charles Castronovo 3 3
San Francisco
Eric Cutler 3 3 2005 Santa Fe
James Valenti 3
2010
John Osborn 3 5
Salzburg
Lawrence Brownlee 3 3 2006
Matthew Polenzani 3 10 2004 San Francisco
Matthew Vickers 3


Michael Fabiano 3 4 2014 San Francisco
Noah Stewart 3 1
San Francisco
Paul Appleby 3


Paul Groves 3 5 1995 Santa Fe
René Barbera 3

San Francisco
Russell Thomas 3 2
San Francisco
Sean Panikkar 3


Stephen Costello 3 5 2009 San Francisco
Andrew Garland 4


Ben Edquist 4


Dwayne Croft 4 4 1996 San Francisco
Eric Owens 4 5
Santa Fe
Greer Grimsley 4 2
San Francisco
John Relyea 4 7 2003 San Francisco
Morris Robinson 4 1
San Francisco
Nathan Gunn 4 5
San Francisco
Quinn Kelsey 4 3
San Francisco
Solomon Howard 4


Thomas Hampson 4 12
Santa Fe, San Francisco
Anthony Roth Costanzo 5 1
San Francisco
Bejun Mehta 5 1

David Daniels 5 5 1997 Santa Fe, San Francisco
John Holiday 5



This is a list of currently active American singers.  Please let me know if I have missed anyone.  I used numbers to designate soprano, mezzo-soprano, tenor, baritone, countertenor.  The third column is how many opera performances I have reviewed for that singer.  Renée Fleming (17), Patricia Racette (10), Susan Graham (11) and Joyce DiDonato (10) are not surprises, but I didn't realize I'd reviewed Thomas Hampson 12 times.  I have included a couple of singers whose careers are primarily in Europe.

The next column is the year in which this singer won the Richard Tucker Prize which is restricted to Americans.