Sunday, December 10, 2017

Andrea Chénier from La Scala


Conductor Riccardo Chailly
Staging Mario Martone

Andrea Chénier Yusif Eyvazov
Maddalena di Coigny Anna Netrebko
Carlo Gérard Luca Salsi
La mulatta Bersi Annalisa Stroppa
La Contessa di Coigny Mariana Pentcheva
Madelon Judit Kutasi
Roucher Gabriele Sagona

Giordano's Andrea Chénier is an opera about the French revolution.  The only other one I can think of is Dialogues of the Carmelites which sees the terror from a somewhat different perspective.  It is curious that no opera sees the revolution from the side of the revolutionaries.

This is a wonderful traditional staging from La Scala Milano.  In the first scene the staging is very clear with the revolutionaries' faces appearing through the windows. As I work my way through the scenes, they are all well done and easy to follow.  Not too much detail, not too little.  This is lovely, with well handled chorus, and all the elements of an excellent traditional staging.

"Viva la morte insiem."  Long live death together.  Sort of a self cancelling phrase.  I have been listening to German versions of Italian operas for so long I have forgotten what the Italian version sounds like.  Yusif is actually more highly regarded in Italy.  His steely tone cuts right through the orchestra when necessary.  He and Netrebko are gradually merging into each other.  Will we like the result?

I love this opera and have very much enjoyed its recent popularity.  I realize it will soon disappear, but that's no reason not to love it now.  The poet falls in love and stays behind in France to protect his love.  As a result, he is executed.  It is an opera about love. Maddalena tells us that an angel has kissed her.  This is the exterminating angel.  He has marked her for death.

Chailly knows his Italian repertoire and gives us a stylistically excellent reading. Lovely.  This is the one.

Wednesday, December 06, 2017

Girls of the Golden West

Hye Jung Lee, Julia Bullock, J'Nai Bridges 

Here are our Girls of the Golden West, a new opera by John Adams on a libretto assembled by Peter Sellars.  I say assembled because there is no evidence he wrote any of these words himself.  The characters of the opera represent real people whose words are used.  Some of the words are from a speech by Frederick Douglas and were sung by Davóne Tines.  An opera about California should start in California at the San Francisco Opera.

Conductor Grant Gershon *
Director Peter Sellars

Clarence (bass-baritone) Ryan McKinny *
Dame Shirley (soprano) Julia Bullock *
Ned Peters, fugitive slave (bass-baritone) Davóne Tines *
Joe Cannon (tenor) Paul Appleby
Ah Sing (soprano) Hye Jung Lee
Ramón (baritone) Elliot Madore
Josefa Segovia (mezzo-soprano) J'Nai Bridges
Lola Montez (dancer) Lorena Feijóo
Fayette, Dame Shirley's husband (silent) Kai Brothers

Up by the proscenium were what appeared to be speakers. Toward the end of the opera I experienced pain in my ears which I attribute to these.

There are many many stories and little continuity.  Joe Cannon is abandoned by his girl friend in Missouri and takes up with Ah Sing, a prostitute.  Joe secretly marries Ah Sing who thinks she has it made.  Joe and the crowd then turn on her and drive her off.

Dame Shirley portrays Lady Macbeth along with her narrator role.  Her husband Fayette is seen, but she spends most of her time with Ned.

I have seen Peter Sellars' work as a director of other people's works in his original Da Ponte/Mozart trio of operas, in Vivaldi's Griselda at Santa Fe, in The Death of Klinghoffer in San Francisco, in Theodora from Glyndebourne, in the Bach St. Matthew Passion from Berlin and in last summer's La Clemenza di Tito from Salzburg.  I didn't wildly hate any of these though Griselda seemed beyond anyone.  In contrast I wildly loved the Bach and Clemenza di Tito.  This was a great surprise for me.  Theodora was also excellent.

The list of his text assemblages that I have seen consists of El Nino, Doctor Atomic, and his newest GirlsEl Nino was rather like an oratorio and might have worked if I had seen it live or in a split screen filming.  Other people liked Doctor Atomic better than I did.  But assembling fragments of only roughly unrelated texts into something that only approximates a story doesn't work for me.

Sellars seems to be seeking to transform the genre into something representing truth.  Real words are closer to truth than made up ones, I guess.  He hasn't yet sold me.

I don't want to leave this subject before mentioning how much I loved Julia Bullock whom I have never heard before.  Every note, every word was a diamond.  She raised her character to greatness.  J'Nai Bridges was also beautiful.  Adams' music was generally good but sometimes excruciatingly loud.  There were occasional scenes of greatness.

The guitar and the accordion did not make it into the program.

Monday, December 04, 2017

James Levine

The archives of the Metropolitan Opera show 2686 entries for the conductor James Levine.  I recently posted a guide to the Met On Demand.  Most of the early films found there will show James Levine conducting. 

So now we have a hideous scandal involving him.  Many people are said to have known this was going on, but it never rose to general awareness.  Behind the scenes sex is a known feature of show business.  In the film world there are magazines devoted to telling you who is messing around with whom.  But classical music likes to pretend this doesn't extend to them.

I don't know what to say.  I've thought for a while that he should have retired, but he seemed not to want to even think about it.  Now others will be found to conduct his performances.  Did he do these things?  Probably.  With all my heart I hope it will not kill the Metropolitan Opera.  Perhaps Peter Gelb should retire.  I don't want this great cultural institution to disappear from my life.  I probably won't miss Levine.

Sunday, December 03, 2017

An Observation about Norma

I have seen Norma a number of times in several productions from very conservative to WWII style.  There is one thing I have never seen.  Norma is a priestess who during the opera conducts two different religious ceremonies.  What usually changes when one transitions from normal life to a religious ceremony and back again?  One usually appears first in street clothes, followed by vestments, followed again by street clothes.  Have I ever seen Norma appear in what would appear to be a ceremonial garment of any kind?  No.  This is why the actions always feel wrong.  We need more than you telling us she is a priestess.  We need to see it, too.

Friday, December 01, 2017

Hvorostovsky


Of all the recent pictures and remembrances, this picture from Anna Netrebko's Instagram was my favorite.

Saturday, November 25, 2017

Alma Deutscher



Alma Deutscher isn't singing, she's composing.  She's 12.  These are songs from her opera Cinderella which plays in San Jose in December. It's sold out. Her harmonic sense is very pleasing.

Friday, November 24, 2017

Summer Festivals 2018

Salzburg Whitsun 18 May – 21 May 2018
  • Gioachino Rossini L'italiana in Algeri (and main festival, Cecilia Bartoli)
  • Jacques Offenbach La Périchole

Salzburg Festival 20 July – 30 August 2018
  • Wolfgang Amadeus Mozart Die Zauberflöte
  • Richard Strauss Salome
  • Pyotr Ilyich Tchaikovsky The Queen of Spades
  • Claudio Monteverdi L’incoronazione di Poppea with Sonya Yoncheva
  • Hans Werner Henze The Bassarids 
  • Gottfried von Einem Der Prozess 
  • Georges Bizet Les Pêcheurs de perles 

Santa Fe Opera  29 June – 25 August 2018
  • Leonard Bernstein Candide 
  • Richard Strauss Ariadne auf Naxos  with Erin Morley's Zerbinetta
  • Gioachino Rossini L'italiana in Algeri with Daniela Mack
  • Giacomo Puccini Madama Butterfly 
  • John Adams Doctor Atomic in New Mexico where it all happened.

Aix-en-Provence Festival  4 – 24 July 2018
  • Richard Strauss Ariadne auf Naxos 
  • Sergei Prokofiev The Fiery Angel 
  • Wolfgang Amadeus Mozart Die Zauberflöte 
  • Ondřej Adámek Seven Stones from the Tower of Babel 
  • Henry Purcell Dido and Aeneas 

Glyndebourne Festival  19 May – 26 August 2018
  • Giacomo Puccini Madama Butterfly
  • Richard Strauss Der Rosenkavalier
  • George Frideric Handel Giulio Cesare
  • Claude Debussy Pelléas et Mélisande 
  • George Frideric Handel Saul 
  • Samuel Barber Vanessa 

Munich Opera Festival  24 June – 31 July 2018
  • Richard Wagner Parsifal
  • Richard Wagner Der fliegende Holländer
  • Richard Strauss Arabella
  • Giacomo Puccini Tosca
  • Giacomo Puccini Il trittico
  • Wolfgang Amadeus Mozart Le nozze di Figaro
  • Richard Wagner Der Ring des Nibelungen
  • Joseph Haydn Orlando Paladino
  • etc.

Wednesday, November 22, 2017

News


Nadine Sierra is negotiating for her first album.  More later.

She has finished making this recording.  We will look for it to be released.

Dmitri Hvorostovsky (1962 - 2017)


Unfortunately this time it is real.  Dmitri Hvorostovsky has died in hospice in London.  He was my favorite.  I saw him live in San Francisco and London and adored him.  We will miss you.

Tuesday, November 21, 2017

West Edge


I apologize for my post yesterday.  I received a notification from West Edge Opera that the 2018 festival would be held at Fort Point, or so I thought.  Someone informed me that it was in fact Ford Point.  Well I have heard of Fort Point but was ignorant of Ford Point.  The venue is Craneway Conference Center, Harbour Way South, Richmond, CA.  It has actual bathrooms, and we may assume that noisy celebrations will not be occurring at the same time.  If the performance space looks anything like the above, it should be perfect.

Take 580 west toward Point Richmond, exit at Harbour Way and go south.

Sunday, November 19, 2017

Blogging

This was a really busy weekend for me.  I went to 4 performances in 3 days.

  1. Manon in San Francisco on Thursday

  2. Berlin to Broadway with Kurt Weill at Sac State on Friday

  3. The Exterminating Angel on Saturday morning

  4. Sacramento Philharmonic on Saturday night
So if my reviews seem scattered, that's my excuse.  Berlin to Broadway was a student offering that made of Kurt Weill's songs a sort of biography by presenting 25 different songs in chronological order.  Some were familiar, some were not.  I love Weill and found this fun.  Everything was sung in English, including this one.




I reviewed Manon.  It's hard to direct opera because there are usually so many people on the stage.  It needs to be easy to pick out the main characters and to show how they relate to one another.

I ended up with ambiguity in my reaction to The Exterminating Angel.  I think the content is fascinating.  An HD performance is directed on two levels:  the listed stage director and the camera director.  The first might well have shown who each character is and who they came in with while the camera director might have cut too many people out of the picture to leave much meaning.

I liked the idea of it more than the reality.  I did not like the super high notes--highest ever heard on the stage of the Metropolitan.  Maybe you never heard it because it's hideous.  Get rid of that and I'll think it over.  The ending I liked. This gives an idea.



The Sacramento Philharmonic and Opera presented a concert of Gioachino Rossini and Wolfgang Amadeus Mozart called "A Night at the Opera."  There was singing by Alyssa Martin, mezzo soprano, and Steven LaBrie, baritone.   They sang bits from Barber of Seville, Marriage of Figaro and Don Giovanni.

Rossini was represented by an arrangement by Benjamin Britten called Soirées musicales.  Mozart was represented by the Prague Symphony.  The philharmonic is playing well now. The guest conductor was Sameer Patel.  I would have preferred more singing.

Jonas Kaufmann

I love lists, so here is my list of complete operas with Jonas Kaufmann that I have seen over the years. This is 23 different operas in 34 venues/formats.  They are listed in the order found in the blog.

Fidelio  live in Zurich
La Clemenza di Tito DVD
Fierrabras DVD
Carmen live in Zurich
Carmen DVD
Werther live in Paris
Lohengrin live in Munich
Die Walküre live at the Met
Die Walküre movie from Met
Werther DVD
Faust movie from Met
Nina DVD
Adriana Lecouvreur DVD
Ariadne auf Naxos (original) stream from Salzburg
Königskinder DVD
Parsifal movie from Met
Il Trovatore stream from Munich
Don Carlo stream from Salzburg
La Fanciulla del West film from Vienna
La Forza del Destino stream from Munich
Werther movie from Met
Manon Lescaut movie from Covent Garden
Andrea Chénier Youtube Covent Garden
Don Carlo DVD
Cavalleria Rusticana Youtube from Salzburg
I Pagliacci Youtube from Salzburg
Fidelio  Youtube from Zurich
Manon Lescaut stream from Munich
Fidelio  stream Salzburg
The Damnation of Faust stream Paris
La Forza del Destino DVD
Andrea Chénier stream from Munich
Otello movie from Covent Garden
Don Carlos stream from Paris



I saw the first Fidelio quite by accident,  I was in town for Bartoli and had a free evening.  The Carmen in Zurich I flew deliberately to see on my way to Italy.  By that time I was buying DVDs.

The Paris Werther and the Munich Lohengrin coincided with concerts by Cecilia.  How could I resist?  In both he was marvelous, at his peak.  All three of these operas can be bought commercially.

Then he began appearing in my local movie theater from the Met and streaming from Salzburg and Munich on my computer at home.  Then came movies from The Royal Opera in London.  The Verdi year with Il Trovatore, Don Carlo and La Forza del Destino was thrilling

That makes 34 altogether.with 5 live operas and one recital in Berkeley, 9 live streams from Salzburg, Munich and Paris, and 4 live in HD from the Met.  I regret that the planned live stream of him in Die Meistersinger never took place.

Jonas is a special singer.  He is beautiful both to look at and to listen to.  He is wonderfully present when he appears on the stage, loving and singing to the women present with him on the stage.  You believe that he loves all three of his Leonoras, his Minnie, his Elisabetta, Lola, Manon and so on.  His diction is wonderfully clear and his phrases never lose their thread.  He is always himself.  His music is always informed by his intelligence.


 I should do a wish list.  He is the best ever in Carmen, Werther and maybe La Fanciulla del West.

Saturday, November 18, 2017

The Exterminating Angel


Conductor...............Thomas Adès
Production..............Tom Cairns

Edmundo De Nobile, host.......Joseph Kaiser
Lucía De Nobile, hostess......Amanda Echalaz

Guests
Leticia Maynar, guest of honor... Audrey Luna
Leonora Palma, flirts with Doctor Conde.....Alice Coote
Silvia De Ávila, sister of Francisco.........Sally Matthews
Francisco De Ávila, countertenor, brother of Silvia......Iestyn Davies
Blanca Delgado, pianist......Christine Rice
Alberto Roc, conductor.............Rod Gilfry
Beatriz, engaged to Eduardo..........Sophie Bevan
Eduardo, engaged to Beatriz..........David Portillo
Raúl Yebenes, explorer............Frédéric Antoun
Colonel Álvaro Gómez, Lucia's lover....David Adam Moore
Señor Russell...........Kevin Burdette
Doctor Carlos Conde.....John Tomlinson

Servants
Julio, stays behind.....Christian Van Horn
Lucas...................John Irvin
Enrique.................Ian Koziara
Pablo...................Paul Corona
Meni....................Mary Dunleavy
Camila..................Catherine Cook
Servant.................Andrea Coleman
Servant.................Marc Persing

Padre Sansón............Jeff Mattsey
Yoli, child.................Lucas Mann

The Metropolitan Opera live streamed The Exterminating Angel by Thomas Adès. The opera is based on the 1962 film by Luis Buñuel which I have never seen.  In the 60s there was a global movement in art movies of which this is a representative.

I didn't prepare for this opera, and that turned out to be fortuitous.  When the ending came, I was pleasingly surprised.  Many of the cast were in the premiere at Salzburg in 2016.

Some guests have been to a performance of Lucia di Lammermoor and are invited to an after party.  One of the guests, Leticia, performed Lucia in the opera.  Right away the servants begin to flee.  No explanation is offered.  Then after the dinner the guests find they cannot leave.  Again no explanation is offered.

Apparently Adès has been obsessed with this subject for some years and finally received permission.  He is a composer in the modernist style with screeching sopranos and jumpy melodic lines.  I don't find it particularly attractive.  I did enjoy seeing and hearing the Ondes Martenot which was shown in closeup being played.  There was a lot of drumming.  At times it seemed like a comedy.  It wasn't as grotesque as I had imagined.

Over the course of the opera Russell and Beatriz die.  The guests dig a hole in the floor and water comes up.  The brother and sister seem to be romantically attracted to each other.  An unknown amount of time passes.  There were live sheep at the beginning which were eaten when everyone was starving.  There was someone hovering in the air above one of the women who might have been the exterminating angel himself.

For no apparent reason everyone decided to repeat exactly what they did when they arrived, and this seemed to break the spell.  They could then leave as though nothing had happened.

This is supposed to be a great opera but there are far too many characters.  It did make me curious to see the movie.  Alice Coote thought it was a parable on life which is also entirely without explanation.  We are here.  We cannot leave.  We don't know why.  Forgive me if I have misquoted her intentions.

I am not likely to ever be a fan of Thomas Adès.  For me opera is about singing which never became interesting.  People admire his orchestration and that is both the virtue and the fault of this piece.  Instead of composing for singers, he has simply orchestrated them.  At least in The Tempest there was the charming music for Ariel, but I heard nothing here that I would wish to ever hear again.  I would advise any high soprano to refuse any offers to sing this.  It can't possibly be good for your voice.

Friday, November 17, 2017

Manon at the San Francisco Opera


👍🏻
Conductor: Patrick Fournillier
Director: Vincent Boussard

Manon Lescaut: Ellie Dehn
Chevalier des Grieux: Michael Fabiano
Lescaut: David Pershall
Comte des Grieux: James Creswell
Guillot de Morfontaine:  Robert Brubaker
De Brétigny:  Timothy Mix
Poussette:  Monica Dewey *
Javotte:  Laura Krumm
Rosette:  Renée Rapier

Last night was the fourth performance of Massenet's Manon at the San Francisco Opera.

I find it helpful to contrast the plot of this opera with Puccini's Manon Lescaut.  To begin Massenet's heroine arrives in town on the "coach" on her way to the convent.  In our production she looks like Eliza Doolittle.  Puccini is similar.  In Puccini Lescaut is Manon's brother while in Massenet he is her cousin.  In both versions there are rich old men who want Manon.  In our production virtually all the characters are introduced in the first act but no effort was made to clarify who they were and how they relate to the story.  There was just a lot of meaningless milling around until Manon and des Grieux arrive.

In Massenet we see des Grieux and Manon living together and see that their separation was caused by the elder des Grieux kidnapping of his son.  In Puccini we go immediately to Manon living with one of the two old men as the result of her brother's dealings.  And when she attempts to escape her keeper, he has her arrested and shipped to America.

Massenet focuses on the relationship between des Grieux and Manon, a much more romantic and appealing approach.  After des Grieux's departure, Manon takes up with one of the old men.  The staging of Manon's gavotte is the highlight of the production.  She is seen high above the stage holding a large bunch of balloons and then floats down to the floor.  Fun.  I was worried she would have to sing from the flies, an acoustic dead spot.

When des Grieux is kidnapped by his father, he goes into the religious life and orates on the meaning of life.  This allows for the sexiest scene in all of opera:  the scene at Saint-Sulpice.  Manon has not forgotten des Grieux and goes to the church to seduce him away from his religious calling.  She succeeds.  "Isn't this my hand?"

The couple get involved in gambling and are arrested for cheating.  They have created their own fate, far less depressing than Puccini where they both die in Louisiana.

This performance was saved by music.  Our lovely French conductor kept the action moving and supported our romantic pair.  Ellie Dehn handled well all the changes of style of her role and sounded lovely.  Michael was intense and exciting as always.  His voice fills our house with ease.  Together they made a very romantic couple and brought the audience to applause over and over.  I loved it.


Monday, November 13, 2017

Olga



Olga Borodina.  My favorite for this.  This is her favorite music.  You can tell.




Maybe it's a tie with Shirley Verrett.

Saturday, November 11, 2017

Thaïs on the Radio


Conductor: Emmanuel Villaume
Production: John Cox

Thaïs:  Ailyn Pérez
Nicias: Jean-François Borras
Athanaël: Gerald Finley
Palémon: David Pittsinger

Because I am an admirer of Ailyn Pérez, I am listening to the Saturday radio broadcast of Jules Massenet's Thaïs.  This production debuted with Renée Fleming in an HD simulcast, so I can still visualize the sets to a limited extent.  Ailyn begins the opera in the blond wig seen below.


Towards the end her hair gets shorter and rattier.  I've been following Ailyn Pérez since almost the beginning of the blog, and I am a fan.  This is a perfect role for her.  Finley is also very good.  The applause was enthusiastic.

Thursday, November 09, 2017

From the New York times.

Anna Netrebko Will Star in Three Met-Bolshoi Productions


Photo

Anna Netrebko Credit Maxim Shipenkov/European Pressphoto Agency

MOSCOW — Two of the world’s most important opera companies, the Metropolitan Opera in New York and the Bolshoi Theater here, will collaborate on three stagings in coming years, they announced on Monday. The productions — Verdi’s “Aida,” Strauss’s “Salome” and Wagner’s “Lohengrin” — will all star the Russian diva Anna Netrebko.
Vladimir Urin, the Bolshoi’s general director, said in a news conference here that he mentioned his Met counterpart, Peter Gelb, and their negotiations at a meeting with President Vladimir V. Putin of Russia last February. Mr. Putin approved the arrangement, which will result in performances from 2019 to 2022.

Photo

Peter Gelb, left, the general manager of the Metropolitan Opera, with the Bolshoi Theater director Vladimir Urin, after announcing their partnership. Credit Alexander Zemlianichenko/Associated Press

But Mr. Gelb said the collaboration did not constitute true cultural diplomacy since, unlike during the Cold War, Russian and American performers now work together so often. Ms. Netrebko, for example, has been one of the Met’s biggest stars for the past decade.
Mr. Urin said that he and Mr. Gelb were introduced by a Bolshoi adviser: John Berry, the former artistic director of the English National Opera in London, which had developed a healthy co-producing relationship with the Met.
“To collaborate with this great theater has been a longtime dream,” Mr. Urin said of the Met in a statement, while Mr. Gelb spoke highly of the Bolshoi’s recently renovated technical facilities.

Tuesday, November 07, 2017

Film of Cecilia



This is fun.  Cecilia is walking through Salzburg and says that when she is in Europe, she feels at home.  Then we see her with her husband, Oliver Widmer.  Doesn't she look great.  He is carrying the bags and calls her, "Herr Bartoli."  This will be because of the beard for Ariodante.

Saturday, November 04, 2017

Opera on DVD

These DVDs fill in some enormous gaps in Metropolitan Opera on demand video listings.  There are of course many more than what I'm showing.

Baroque


The Met is woefully lacking in this area. I like:
 
L’Incoronazione di Poppea Monteverdi 2008 with Danielle de Niese
Dido and Aeneas Purcell Dido and Aeneas with Sarah Connolly
Giulio Cesare Handel Cecilia's Salzburg version 
Orlando Furioso Vivaldi Marie-Nicole Lemieux
Artaserse Vinci Artaserse with 5 Countertenors
Partenope Handel YouTube from San Francisco
Semele Handel Zurich Cecilia
Theodora Handel Theodora from Glyndebourne

I will need to do additional research to find the best version of Monteverdi's L'Orfeo, a very significant opera.  But the Danielle de Niese L’Incoronazione di Poppea is a fine Monteverdi example.

Two star Cecilia Bartoli, one from Zurich, Semele, and one from Salzburg, Giulio Cesare.  Operas chosen for the modern productions are Partenope and Theodora.  A modern production can improve a Baroque opera.

Classic

Orphée et Eurydice Gluck Vesseliina Kasarova

The Met on demand has covered this genre, but I will keep searching for examples to add here.    The one shown above is a wonderful performance of the Berlioz arrangement made for Pauline Viardot.

Friday, November 03, 2017

Cultural Appropriation

According to Wikipedia:

Cultural appropriation is a concept in sociology, dealing with the adoption of the elements of one culture by members of another culture. Cultural appropriation, often framed as cultural misappropriation, is sometimes portrayed as harmful and is claimed to be a violation of the collective intellectual property rights of the originating culture.  

I would like to suggest that this is nonsense.  So according to this idea, the following things are bad:
  • All jazz because either white people appropriated African-American rhythms or African-Americans appropriated western harmonic tradition.  You pick.  Jazz is worth whatever cultures were offended in inventing the genre.
  • The Beatles because they appropriated American rock and roll.
  • All of European harmonic tradition because the continentals appropriated the triad from the British.
  • Opera because it appropriated the idea of sung drama from the Greeks.  This particular appropriation was deliberate and self-conscious.
The truth of the matter is that most of the greatest advances in human history came about because of the blending of ideas from different cultures.  Speaking as an American, we have no culture. So what are we supposed to do?  Stay indoors with a blanket over our heads?

Interesting and thought provoking art objects are the goal, and this can often be achieved by juxtaposing one culture against another.  I created a list of operas here which I was considering discussing from the point of view of this concept, but why bother.  I'd rather follow the tradition, "Imitation is the sincerest form of flattery."

Small post script:  The resulting imitation never precisely duplicates the original, and the differences are what makes it art.

Thursday, November 02, 2017

Guns

Anna Netrebko in “Il Trovatore” by Verdi at the Vienna state Opera 

Pavol Breslik


Roberto Alagna

Deborah Voigt in La Fanciulla del West

Jonas Kaufmann in La Forza del Destino

Anna Netrebko in Macbeth

Nina Stemme in Tristan und Isolde

Saturday, October 28, 2017

Le Nozze di Figaro from Munich

👍🏻
Conductor: Constantinos Carydis
Production: Christof Loy

Il Conte di Almaviva: Christian Gerhaher
La Contessa di Almaviva: Federica Lombardi
Cherubino: Solenn' Lavanant-Linke
Figaro: Alex Esposito
Susanna: Olga Kulchynska
Bartolo: Paolo Bordogna
Marcellina: Anne Sofie von Otter
Basilio: Manuel Günther
Don Curzio: Dean Power
Antonio: Milan Siljanov
Barbarina: Anna El-Khashem

Haven't I seen this set before, or does every set look like a theater now?  Some costumes are modern, others are period.  Uniforms?  This is the live stream of Mozart's Le Nozze di Figaro from the Bayerische Staatsoper.  I'm hearing a piano in the secco recitative, maybe a first for me.  Mozart played pianos, not harpsichords.

This is of course an opera about sexual harassment, in case you were imagining this was a new thing.  Perhaps that's why it is ever green in every generation.  The women get their revenge.  I wonder how many modern women think of that. 

The comedy is very much enhanced by the fairly brisk tempos.  Munich is one of the best opera companies in the world, and this is a very high quality performance.  This is a gorgeous "Dove sono" from our Contessa.  And our conductor is a winner of the Kleiber prize. Musically it is gorgeous.  How to conduct Strauss may be falling from memory, but Mozart was never better than today.  This is a lesson, especially the recitative.

The production is simple and does not interfere with the story.  Either the people shrink or the doors get bigger.  You decide.  I choose the people are shrinking.

One does not think to ask, also for the first time, why one is hearing Marcellina's aria.  Except one isn't.  This is a song interpolation of Mozart's "Abendempfindung.“  It fits beautifully and is for the biggest star of this cast, Anne Sofie von Otter.  This is lovely.

I cannot explain how much I love it.  Everyone should see this. The ending is cute.

Friday, October 27, 2017

Conversation on Facebook

Question I've wanted to ask for a while.
Cecilia Bartoli was such a phenom in the 90's.
The Met clamored to engage her. As I remember it was a new production of le Nozze di Figaro. I remember on the telecast, she insisted on singing an alternative act 4 aria. There was consternation.
So, I'm wondering why The Met has not asked her back? Her choice? -I'm inclining to believe. Met's choice? Was it a falling out because of the aria issue?
I know she is still singing.
I'm sure many of you were around the Met at the time.


Answer:
As a longtime fan of Cecilia Bartoli, I have often wondered the same thing.

The Met would have hired Cecilia for their own benefit, to reap in ticket sales the bounty from her raging popularity.


Cecilia’s career bloomed early in the United States. She was a client of Columbia Artists Management who benefited from a master of publicity on its staff. She sang in Texas, gave many concerts around the country, and sold large numbers of records. Her brief trio of appearances at the Metropolitan Opera in 1996-98 capped this period. Levine was very possessive, took her to see operas at Bayreuth, and cast her in soubrette roles such as Kathleen Battle might sing. As a coloratura mezzo, she seems to have seen her career differently.


The center of opera was still Europe, and Cecilia is a European. I would guess that she was actively courted by the Zurich Opera, a house that is much closer to Rome where her mother still lives than anything in America, and does not require flying. She also switched her management to Europe. Her fame was now very strong in German speaking Europe, strong enough to support her blossoming career. In Zurich she sang Giulio Cesare, Il Turco in Italia, Le Comte Ory, Clari, and Semele, all operas where she sang the central role and not the soubrette. She also sang Fiordiligi and Donna Elvira, also not soubrette roles. Most of these can be purchased on DVD. None of the Met performances can, indicating the absence of financial agreement. Met on demand provides the only source.


What I’m basically saying is that it was a career decision. The ridiculous fuss over her aria choices in Le Nozze di Figaro probably just pushed it over the edge.


She still concertizes as much as she ever did. She just doesn’t make it to the Unite
d States very often. She just doesn’t need us. Besides, she is management now.

Thursday, October 26, 2017

A Video Guide to Metropolitan Opera On Demand

Should you wish to educate yourself about opera using the Metropolitan Opera On Demand, I have put together a list.  I am recommending only videos, but if you enjoy audio performances, there are plenty of those to choose from.  These recommendations are based on my taste, but the operas selected cannot help being slanted toward the biases of the Met repertoire.  Sometimes the best performance comes from other houses which I will deal with later.

Please note that the HD performances began in 2006.  I include a performance date for my selections to show which of a number of performances I have selected.  I have bolded the best examples based on the criteria of significance of the opera in standard repertoire and quality of the performance.  The operas for each group will be listed chronologically by premier date.

If while exploring this outline, you come across a composer or performer who attracts your attention, do not hesitate to follow this attraction where it leads.

Baroque


We begin with the Baroque where I have included only one example. 

Giulio Cesare Handel 27-Apr-13

There is nothing Baroque about the production which concerns itself with the British Empire, which in turn makes the opera a lot of fun.  There is dancing and Natalie Dessay.

Classical


Iphigénie en Tauride Gluck 26-Feb-11
Le Nozze di Figaro #8 Mozart 11-Nov-98
Don Giovanni #10 Mozart 22-Oct-16
Cosi fan tutte #14 Mozart 27-Feb-96
The Magic Flute #4 Mozart 30-Dec-06
La Clemenza di Tito Mozart 1-Dec-12
Fidelio Beethoven 28-Oct-00

Many of these selections are from the period before HD transmissions into movie theaters, but they remain my favorites.  Examples from HD are Iphigénie en Tauride with Domingo and Graham (the HD was on a bad day), Don Giovanni with Simon Keenlyside (not my favorite), The Magic Flute in the Julie Taymor production in English, and the excellent La Clemenza di Tito (a serious opera) with Elīna Garanča, best of the Mozart HDs.

To round out the list I have included two filmings of Cecilia Bartoli in her Mozart period:  Le Nozze di Figaro (still my favorite) and Cosi fan tutte.   Last but certainly nor least is Karita Mattila's spectacularly wonderful Fidelio.  This is the best possible introduction to this opera.  We go back in time when the selection is better. 

In this era we still have show piece arias, but they are mixed with ensembles and other music to enhance the drama. All these productions are relatively conservative with the possible exception of Magic Flute.

Wednesday, October 25, 2017

Don Carlos from Paris


Conductor: Philippe Jordan
Regie:  Krzysztof Warlikowski

Jonas Kaufmann (Don Carlos)
Elina Garanča (Die Prinzessin Eboli)
Sonya Yoncheva (Élisabeth de Valois)
Ludovic Tézier (Rodrigue)
Dmitry Belosselskiy (Der Großinquisitor)
Ildar Abdrazakov (Philippe II)
Eve-Maud Hubeaux (Thibault)

The most recent operatic excitement on the international scene is the French version of Verdi's Don Carlos presented at the Opera Bastille with the above cited participants.  It claims to be the original French version of the opera, though there is no ballet.  Certain features of the production can be seen above.  Pictures are projected on a scrim in black and white that look like old silent movie films in very much deteriorated condition.  When Don Carlos loses Elisabeth, he points a gun at his head but does not shoot.  He does this again at the end.

The costumes suggest the Spanish Civil War.  My French is not good enough for this.  I would need English subtitles.

I am here for Elina Garanča as Eboli.  She is by far the most lively inhabiter of this role that I have seen.  She seems to have a clause in her contract that says she will smoke and kiss girls in every production.  Just kidding.  It makes you wonder if she actually smokes.  She is very sexy and flirtatious as Eboli.

In general the production explains nothing.  Elisabeth appears at a treeless Forest of Fontainebleau dressed in her bridal gown and prepared to wed.  When the groom changes from Carlos to Philippe, she immediately marries the new bridegroom, apparently by proxy since the man she appears to marry is not Philippe.  The scenes never look like anything they are supposed to be, but names of where we are appear on my screen for every scene.

Philip II of Spain was a real person who lived in the time of Elizabeth I of England and was in fact married to Elizabeth's sister Mary just before his marriage to Élisabeth de Valois.  Here he is shown at his coronation which would have occurred years before.  Oh well.  It replaces the martyrs burning at the stake which we do not miss.

The music is enjoyable and somehow less Italian.

There is a giant film of an ugly face and hands with a small naked body hanging out of it's mouth.  I don't know what this is for.  When Philippe sings that his wife does not love him, Eboli is with him.  She leaves when the Grand Inquisitor arrives.  She returns to do her big aria which is intense and beautiful.

Ludovic Tézier sings his death scene in the prison very beautifully and brings me to tears.  We don't see who has shot him.  Carlos gets out of his cell and does not return to it.  Philippe, the queen and Eboli enter after Posa has died.  When the crowd enters, Carlos escapes.  Eboli sings a few lines, kisses the king in front of everyone, including the queen and the grand inquisitor, and follows after Carlos.  The queen's presence suggests that perhaps she has assisted in Carlos's escape.

The ending is unspeakably awesome.  There are not words for something so beautiful.  The queen poisons herself.  It ends with the picture above.  The performance ends well, but it isn't just the singing.  The mysteriously romantic playing of the orchestra can also be credited.  This is the first I have liked Yoncheva.  Jonas was magnificent.

Monday, October 23, 2017

Autumn Sonata

Autumn Sonata was a 1978 Swedish film by Ingmar Bergman, and now it is a Swedish opera by Sebastian Fagerlund with libretto in Swedish by Gunilla Hemming. It is being presented by the Finnish National Opera and streamed over Operavision.

Conductor: John Storgårds
Director: Stéphane Braunschweig

Charlotte Andergast, concert pianist: Anne Sofie von Otter
Eva, daughter of Charlotte:  Erika Sunnegårdh
Viktor, husband of Eva: Tommi Hakala
Helena, daughter of Charlotte: Helena Juntunen
Leonardo, dead cellist, Charlotte's lover: Nicholas Söderlund
Chorus

The family is introduced in modernist music, and then we shift to a recital.  The audience ask one another if they have heard her versions of Beethoven's Pathetique or Hammerklavier Sonatas.  She doesn't play, but the audience remains.  Mother Charlotte is returning to see her children after 7 years on tour.  The family live in the country where it is autumn.

Charlotte tells her daughter that she bought her pantsuit in Zurich on Bahnhof Strasse.  I picture this, having been to Zurich a number of times.  Both Charlotte and Eva hold their hands over the keyboard but neither plays.  Anne Sofie von Otter is herself a great lady and easily creates the aura of a famous person.  The audience stays on stage throughout the first scene, but eventually a curtain descends blocking them.

In the years that Charlotte has been away Eva has taken Helena, who is mentally disabled, out of the institution where Charlotte left her and is keeping her at home.  This adds an element of madness.  Also in those years Eva and Viktor had a son Erik who has since died.

There is a scene, sort of an aria, where Charlotte gets ready for bed.  She takes drugs and reads the Frankfurter Allgemeine--Germany's most distinguished newspaper--among other things, every night before sleep.  She does her bookkeeping.  Then she lies down with her sleeping mask and the chorus reappears.  They seem more a Greek chorus than an audience.  I rather like this part.

Helena wakes up and begins wailing loudly, waking Eva and Charlotte.  They get into a loud argument.  I've never seen the movie.  Is it about families whining?  They talk at each other simultaneously, one complaining about adolescent worries and the other about career problems.  Is it always like this?  My son as an adult tells me about things he didn't like as a child.  As a child, he said nothing.

Our Charlotte explains that through music she could express her own emotions.  Yes.  I remember saying once that parts of me existed only when singing.  Each is damaged by their own parents and cannot see that they, too, are damaged.

The chorus leaves and the sun comes up.  Helena gets out of bed and walks into the other room.  She sings about a visit from Leonardo and seems quite sensible.  We still hear the chorus which is back to being an audience.  Charlotte changes her mind and calls her manager to book her a concert.

It works rather beyond ones expectations. The atmosphere builds as it goes along to a pleasing intensity enhanced by the imaginative use of chorus.

Monday, October 16, 2017

Sac Phil does Prokofiev and Brahms


Saturday evening the Sacramento Philharmonic and Opera performed at the Sacramento Community Center Theater.

Andrew Grams, conductor
Rachel Barton Pine, violin

Prokofiev Violin Concerto No. 1 (1923)

  1. Andantino
  2. Scherzo: Vivacissimo
  3. Moderato – Allegro moderato
This might possibly be considered part of Prokofiev's neo-classical period.  Ask someone else.  Rachel Barton Pine plays a Guarneri with a lovely fat tone.  This piece is unusual but not particularly atonal.  She was impressive in this difficult piece.

She played her own theme and variations arrangement of the New Zealand national anthem as an encore.  One was reminded of Paganini.

Brahms Symphony No. 1 (1876)

  1. Un poco sostenuto — Allegro – Meno allegro (C minor, ending in C major)
  2. Andante sostenuto (E major)
  3. Un poco allegretto e grazioso (A major)
  4. Adagio — Più andante — Allegro non troppo, ma con brio – Più allegro (C minor – C major)
It took him 20 years to write this.  Was it worth it?  The last movement works well.

The hall is being acoustically redesigned with panels that angle down over the orchestra.  I felt the orchestra sounded much more like an ensemble than in the past, so perhaps the redesign is working.

Sunday, October 15, 2017

Die Zauberflöte in HD

 👍🏻
Conductor:  James Levine
Production/Costume and Puppet Designer:  Julie Taymor

Pamina:  Golda Schultz
Queen of the Night:  Kathryn Lewek
Tamino:  Charles Castronovo
Sarastro:  René Pape
Papageno: Markus Werba
Speaker:  Christian Van Horn

Nadine Sierra was our announcer today for Mozart's Die Zauberflöte from the Met, and she did a fine job.  She has charisma to burn.  Julie Taymor's production of The Magic Flute first played in HD with cuts and in English in 2006 and has replayed since then. This performance was for those of us who love this opera in German.  It was lovely to hear the original words in an uncut version.

It is interesting to me that in his final year of life Mozart wrote two operas about forgiveness.  Die Zauberflöte and La Clemenza di Tito.  Perhaps it was for us.  This is Kurt Moll.  In this holy hall we don't speak of revenge.



Out of the cast listed above, only Markus Werba was completely new to me.  His Papageno was a joy.

Kathryn Lewek was in Cecilia Bartoli's Ariodante which I very much wish I had seen.  She was outstanding here.

Golda Schultz appeared in the La Clemenza di Tito from Salzburg this past summer. Pamina suits her better.

Charles Castronovo has appeared a few times in San Francisco.  My favorite outing from him was Il Postino with Placido.  His voice is robust for Tamino, but I agree with his comments--he enjoys a heroic sounding Tamino.

Everyone knows the one and only René Pape who flew over just for this performance.  He's the best now.

I love the Julie Taymor production and enjoyed seeing it again.

Golda / Magda

Sunday, October 08, 2017

Norma in HD

 👍🏻 
Conductor...............Carlo Rizzi
Production..............David McVicar

Norma...................Sondra Radvanovsky
Pollione................Joseph Calleja
Adalgisa................Joyce DiDonato
Oroveso.................Matthew Rose
Clotilde................Michelle Bradley

Above is the staging for "Casta diva" from Bellini's Norma live in HD from the Metropolitan opera. The goddess to whom she prays is the moon, so the scene must appear to be moonlit.  This is the greatest complaint about this production, that the sets are too dark.  Our screen was quite large and generally easy to see, except for the very beginning, before the moon-rise, which was almost black.

My Normas have been Joan Sutherland, Montserrat Caballe, Cecilia Bartoli and Sondra Radvanovsky, whom I heard first in San Francisco.  For me this version was best of all for the acting. I loved Cecilia's Norma for this quality, but here it balances across the cast.

We know we are at war by the presence of bodies.  What is to be their position toward the Romans?  Norma recommends reaching a peace with them, but we know that her motives are suspicious.  She probably recommends peace because of her relationship to Pollione, the Roman proconsul.  In the first act religious ceremony Adalgisa assists Norma in the rite.


In Norma's house Adalgisa reveals that she is in love with Pollione and has promised to go with him to Rome.  Norma does not reveal to Adalgisa until later that she has two children by Pollione. The increase in the significance of Adalgisa and the increased strength of her tie to Norma changes the emotional dynamic of the opera. 

So when Norma calls her followers together again, she recommends war.   We see Norma's range of emotions, especially her rage against Pollione.  She knows someone must die, but is not sure who should be killed.  She finally arrives at herself as the person at fault.  Adalgisa appears at the end to watch her lover and her friend walk off together to their deaths.

Sondra was magnificent, a giant, intense performance still wonderfully sung.  Joyce was also magnificent in both singing and acting.  I even liked Calleja.  When watching the old timers long ago, one hardly knew there was a plot.  Here we get the best of both worlds--a traditional staging with a lot of emotional interaction and magnificent singing.

Just saying

In case you didn't know, the average opera singer has a vibrato that causes the pitch to waver for about a half step, or the distance between c and c# if you don't know what a half step is.  It waves half of this pitch above and the other half below the intended pitch.  Listeners generally imagine the pitch to be somewhere in the middle of the wavering sound.  It is only your imagination that makes this a precise pitch.  So making comments about the singer being sharp for the whole aria may only indicate that your ear is interpreting the vibrato sharp.  Is she sharp?  Yes.  Is the exact same note also flat?  Yes.  Some singers push energy to the upper part of the vibrato or the lower part.  Pitch wavering is the same but energy is unbalanced.  Maybe your ear hears this as sharp or flat.  They aren't giving up their vibratos.

A vibrato becomes a wobble when the speed of wavering slows down.  If the vibrato becomes too wide in pitch, the mental integration can disintegrate and the note can actually sound like two notes.

Saturday, October 07, 2017

Coffee

Perhaps you thought being addicted to coffee was something new.  You would be mistaken.  Apparently in Bach's day it was limited to females.  Or perhaps it's the usual men get to do whatever they want while women have to be controlled.  Sacramento Baroque Soloists presented a semi-staged version of Johann Sebastian Bach's Coffee Cantata with three soloists:  Derek Keller as the narrator, Omari Tau as papa Schlendarian and Bernadette Mondok as his daughter Lischen.  This was charming and amusing.  Coffee was provided.

Sacramento Baroque Soloists are a new group for me, though I think they have been around Sacramento for a while.

The program was filled out with a concerto by Georg Philipp Telemann and Cantata BWV 54 by Bach.  Derek Keller was the soloist in the Bach Cantata where he billed himself as a countertenor, and later in the Coffee Cantata he was a tenor.  I didn't hear falsetto from him.  For me he sounded more like a haute contra, a French style of high tenor.  He sounded fine, just not like a countertenor.

Friday, September 29, 2017

Non-Europeans in Opera


This is intended as a catalog with minimal commentary.  We are intending to survey the topic of cultural exploitation.  I have listed only those operas I have seen.

* means race is a factor in the story.

There are a small number of operas by Asian composers which include Asian characters.  They are not to be considered to be exploiting anyone.
  • Tea: A Mirror of Soul by Tan Dun
  • The First Emperor by Tan Dun 
  • Dream of the Red Chamber by Bright Sheng

Asian characters appear in the following operas by non-Asian composers.  It is to be determined if this constitutes exploitation.
  • The Bonesetter’s Daughter by Stewart Wallace is based on a novel by Amy Tan.*
  • A Night at the Chinese Opera by Judith Weir is partly based on real Chinese opera.
  • Turandot by Puccini is based on a Persian story and transferred to China perhaps for the musical effects.
  • Madama Butterfly by Puccini is based on an American short story and a play by David Belasco.*
  • Nixon in China by John Adams is based on historical events that many of us watched on TV. *
  • The Pearl Fishers by Georges Bizet moves us to Sri Lanca.
  • Attila by Verdi is about the Mongolian ruler from the 5th century who invaded Europe.
  • Satyagraha by Philip Glass is about Gandhi in Africa.  The text is original Sanscrit.*

Native populations from around the world also appear in operas.  This should include the European racial minority called gypsies or Romani.  Even today Gypsies are easily identified by their facial features. 
  • Les Indes Galantes by Jean-Philippe Rameau includes Turks, Incas, Persians, and North Americans.*
  • Carmen by Georges Bizet features Carmen, a gypsy.*
  • Il Trovatore by Verdi features Azucena who is a gypsy. *
  • Die Zauberflöte by Mozart includes a gratuitous black character for comedy. *
  • Aida by Verdi includes Egyptians and Ethiopians, but no Europeans. *
  • L'Africaine by Meyerbeer is a clash of Europeans and people from Madagascar. *
  • La forza del destino by Verdi has an Aztec as the male lead.*
  • Moby-Dick by Jake Heggie is based on the great American novel and includes a south sea islander, Queequeg. *
  • Il Postino by Daniel Catán is a Mexican writing about Chilean interacting with an Italian.  I guess that qualifies.
  • La fanciulla del West by Puccini includes native Americans and a Mexican bandit.*

In American musicals and operas white Americans interact with minorities.
  • Show Boat by Jerome Kern features a female black character who is passing for white. *
  • Porgy and Bess by George Gershwin is almost all black.  The copyright owners require all black casting.
  • West Side Story by Leonard Bernstein is about rival white and Puerto Rican gangs.*
  • Champion by Terence Blanchard is about a real person, the boxer Emile Griffith.  No one is exploiting anyone.

Operas about historical figures from before Christianity.
  • Nabucco by Verdi is about Jews and pre-islamic Babylonians. *
  • Semiramide by Rossini
  • Xerxes by Handel

Which brings us to my favorite and perhaps the only blatantly exploitative portrayal of non-Europeans--the interaction between Christian Europeans, usually Italians, and Moslems.
  • Otello by either Rossini or Verdi is the moor of Venice, which makes him Moslem, not sub-Saharan African.*
  • Die Entführung aus dem Serail by Mozart features a Spaniard rescuing his fiance from a harem.*
  • Cosi fan Tutte by Mozart where the young men pretend to be middle eastern.
  • Il Turco in Italia  by Rossini features a Muslim man visiting Italy.*
  • L’Italiana in Algeri by Rossini features an Italian woman who escapes from her Muslim husband.*
  • Maometto II by Rossini is a serious opera where the female character commits suicide.*
  • I Lombardi by Verdi includes a Muslim character who converts.*
  • Death of Klinghoffer by Adams is about a clash between western and middle-eastern cultures. 
  • Flight by Jonathan Dove includes a refugee trapped inside an airport.  For me he could have been from anywhere, but others say he was Iranian.


Friday, September 22, 2017

Turandot in San Francisco


Conductor Nicola Luisotti
Production and Design David Hockney

TurandotL Martina Serafin
Calaf: Brian Jagde
Liù: Toni Marie Palmertree
Timur: Raymond Aceto
Ping: Joo Won Kang
Pang: Julius Ahn
Pong: Joel Sorensen
A Mandarin: Brad Walker
Emperor: Altoum Robert Brubaker *

Puccini's Turandot played at the San Francisco Opera last night in the wonderful David Hockney production.  One of the reasons it's so wonderful is because it doesn't look at all Chinese.  Because the story isn't actually Chinese.  It should reasonably be regarded as a fairy tale.  I'm a sucker for the story, although I enjoyed it more before I could remember the answers to the riddles.

The chorus was particularly spectacular.  Brian Jagde seemed very intense.  With Turandot it is as much the spectacle one comes for rather than the fine details.  Let's just say it's one of the hardest operas to cast in the repertoire.

Talk at the Opera

Last night we were enjoying the 1993 production of Turandot by the great artist David Hockney when I remembered that once upon a time we were treated to the wonderful production of Die Zauberflöte by Marc Chagall, in 1980 actually, originally from the Metropolitan Opera.  No one else seemed to remember this.

Hockney also designed sets for Die Zauberflöte, The Rake's Progress and Tristan und Isolde apparently.  I'm not sure I've seen these.

Sunday, September 17, 2017

Top Singers 2017

Sopranos:

Anna Netrebko GHoF

Anja Harteros 

Nina Stemme

Diana Damrau

Mezzos:

Cecilia Bartoli GHoF

Elina Garanča

Joyce DiDonato GHoF

Tenors:

Jonas Kaufmann

Javier Camarena

Juan Diego Florez

Vittorio Grigolo

Baritones/basses:

Željko Lučić, baritone

René Pape, bass

Ildar Abdrazakov, bass

Ludovic Tézier, baritone

Stefan Kocán, bass

General Comments.

It's been a couple of years since Limelight named their top 12 singers, and I feel it's time for a new list.  There have been a few changes.  I modified the original concept to allow for a group to grow into 4 singers (2 baritones, 3 basses), but that's it.  To qualify for this list the artist must be performing now and be rated according to their current performing standard.

Some singers used to be on this list and are no longer.  Dmitri Hvorostovsky has long been a personal favorite but is ill.  Renée Fleming is moving her career away from opera.  The same thing should be said for Natalie Dessay, someone I learned to love during the life of this blog.  She is focusing on song repertoire and theater.  I love Angela Gheorghiu but seem to have lost all contact with what she is singing these days.

We can't rank Placido Domingo among the tenors any more, and he doesn't really rank that high as a baritone.  For me Bryn Terfel isn't singing up to his former standard, though I caught part of his Dutchman and found it rather good.

People who should also be considered are:
Christine Goerke
Sondra Radvanovsky
Kristine Opolais
Jamie Barton
Michael Fabiano
Lawrence Brownlee
Matthew Polenzani
Bryan Hymel
Mariusz Kwiecien
Simon Keenlyside
Quinn Kelsey
Ildebrando D'Arcangelo 
  
I should do one for American singers.  Argue amongst yourselves.  Edited 9/18, 9/19  Apologies for continuing to change this.