Just when you thought Carrie Hennessey had already done the most impossible recital you could imagine, she does something even more impossible: Thirteen Puccini arias. This was accompanied by Jason Sherbundy on the piano, played with the lid all the way up. The recital is titled To Live and Die for Love, the Heroines of Puccini.
'O mio babbino caro' from Gianni Schicchi. This is Lauretta, and after declaring in this aria that she will jump off the Ponte Vecchio if she cannot have her true love, lives happily ever after.
'Signore, ascolta' from Turandot followed by 'Tu che di gel sei cinta' from Turandot. In the opera these are sung by Liu who commits suicide to keep Calaf's name secret.
'Senza mamma' from Suor Angelica. She finds that her child has died and commits suicide. Then the pianist played the Intermezzo from Suor Angelica.
We then were treated to three arias from La Bohème. 'Si, mi chiamano Mimi,' followed by 'Donde lieta uscì.' These are sung by Mimi who dies of natural causes at the end of the opera. 'Quando me'n vo,' which is sung by Musetta who does not die. Carrie wandered up and down the aisles trying to seduce us. I think she was successful.
'Chi il bel sogno di Doretta' from La Rondine. Doretta is not a character in the opera, and in her aria she only falls in love..
'Un bel di' from Madama Butterfly followed by 'Tu, tu piccolo Iddio' also from Madama Butterfly. Cio-Cio-san commits suicide using the Japanese ritual.
'Vissi d'arte' from Tosca. Is it necessary to explain this? She leaps off the Castel Sant'Angelo in Rome.
Intermezzo from Manon Lescaut came next. The recital ended with two arias from Manon Lescaut: 'In Quelle Trin Morbide' and 'Sola Perduta, Abbandonata.' Just before she dies in the desert of Louisiana Manon sings "I don't want to die." There is, of course, no desert in Louisiana.
Carrie sings big and continued to sing big all the way to the end. There was no encore and the pianist did all of the talking. It is difficult to imagine doing something this difficult. Tristan? She is a lirico-spinto and avoided the dramatic roles of the ice queen and Minnie.
Carrie has followers who shout and scream. This is fun.
Conductor: Vladimir Jurowski
Director: Stephen Lawless
Gabriel von Eisenstein tenor/baritone Thomas Allen
Rosalinde, Eisenstein's wife soprano Pamela Armstrong
Adele, Rosalinde's maid soprano Lyubov Petrova
Alfred, a singer teacher tenor Pär Lindskog
Dr Falke, a notary baritone Håkan Hagegård
Dr Blind, a lawyer tenor Ragnar Ulfung
Frank, a prison governor baritone Artur Horn
Prince Orlofsky mezzo-soprano (en travesti) Malena Ernman
I'm always on the lookout for a good Die Fledermaus in German, and I have found one from Glyndebourne. The deutssche Ausprache [German diction] is excellent. It is for a long time commonplace to change the book for Fledermaus. If you see 3 of them from 3 different places, the story will use 3 different versions of the spoken dialog, and I don't mean because it was translated. In this version they talk quite a lot, thus the importance of good diction, but they skip the part in act I where Dr Falke personally invites Rosalinde to Orlovsky's party.
This is truly an outstanding cast. Thomas Allen is perfect for Eisenstein, both as singer and as actor. He is both affectionate and a bit indifferent toward his wife. There is a joke where he pretends to be a tenor by tuning his wife's piano down. He knows she prefers tenors. I like the Rosalinde very much. The dialog makes clear that Rosalinde and Alfred were former colleagues in the musical theater.
It is mentioned more than once that Prince Orlovsky is 18 and bored. Bored is nothing new, but I don't recall hearing how old he is. And Malena Ernman may be the greatest of all cross-dressers. Why did I not mention her in my cross-dressing discussion? Partly because I haven't seen her that much. She doesn't make it to the west coast. Did you know she sings Olympia and Queen of the night? I certainly didn't. She enjoys very much the theatrical side of opera. She goes around patting the men on the butt. Genial. She ornaments the final verse of "Chacun a son gout." I don't recall ever seeing that.
The stage rotates to show the entertainment. Doctor Falke reveals many things to Rosalinde about her husband, all of which she forgives, until he tells her that he is actually not a tenor. Then she threatens to murder him. Herr and Frau Eisenstein go immediately to the watch seduction which she already knows all about. "You may remove my mask tomorrow at breakfast." He answers "Morgen habe ich andere Sorgen." [Tomorrow I have other problems.] One of my favorite lines. Tomorrow he will be in jail. She steals his watch and leaves. The watch scene is reasonably amusing.
Now comes the Csárdás. This is the wrong order but works fine. "Brüderlein und Schwesterlein" for Falke and chorus is a personal favorite. There's a guy taking photographs. Oops.
On to the jail. Frosch's long pantomime is cut. All proceeds exactly as it should except Orlovsky removes his disguise and shows Malena Ernman. I smile and sing along. "Und mein Schlafrock?" "Requisite." [And my dressing gown? Properties.] In this version everyone is part of the revenge set up, which explains a lot. A good English translation of the title would be Revenge of the Bat. I do love it so.
Best Opera Recording
(Award to the Conductor, Album Producer(s) and Principal Soloists.)
• Berg: Lulu
Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
• Berg: Wozzeck
Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf & Brad Sayles, producers (Houston Symphony; Chorus Of Students And Alumni, Shepherd School Of Music, Rice University & Houston Grand Opera Children's Chorus)
• Bizet: Les Pêcheurs De Perles
Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
• Handel: Ottone
George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D'Oro)
• Rimsky-Korsakov: The Golden Cockerel
Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Andrei Serov; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)
Best Choral Performance
(Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.)
• Bryars: The Fifth Century
Donald Nally, conductor (PRISM Quartet; The Crossing)
• Handel: Messiah
Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
• Mansurian: Requiem
Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
• Music Of The Spheres
Nigel Short, conductor (Tenebrae)
• Tyberg: Masses
Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)
Best Chamber Music/Small Ensemble Performance
(For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.)
• Buxtehude: Trio Sonatas, Op. 1
• Death & The Maiden
Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra
• Divine Theatre - Sacred Motets By Giaches De Wert
• Martha Argerich & Friends - Live From Lugano 2016
Martha Argerich & Various Artists
Best Classical Instrumental Solo
(Award to the Instrumental Soloist(s) and to the Conductor when applicable.)
• Bach: The French Suites
• Haydn: Cello Concertos
Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
• Levina: The Piano Concertos
Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
• Shostakovich: Violin Concertos Nos. 1 & 2
Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
Best Classical Solo Vocal Album
(Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.)
• Bach & Telemann: Sacred Cantatas
Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
• Crazy Girl Crazy - Music By Gershwin, Berg & Berio
Barbara Hannigan (Orchestra Ludwig)
• Gods & Monsters
Nicholas Phan; Myra Huang, accompanist
• In War & Peace - Harmony Through Music
Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
• Sviridov: Russia Cast Adrift
Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style Of Five Ensemble)
Best Classical Compendium
(Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.)
Alexandre Tharaud; Cécile Lenoir, producer
• Higdon: All Things Majestic, Viola Concerto & Oboe Concerto
Giancarlo Guerrero, conductor; Tim Handley, producer
• Kurtág: Complete Works For Ensemble & Choir
Reinbert de Leeuw, conductor; Guido Tichelman, producer
• Les Routes De L'Esclavage
Jordi Savall, conductor; Benjamin Bleton, producer
• Mademoiselle: Première Audience - Unknown Music Of Nadia Boulanger
Lucy Mauro; Lucy Mauro, producer
Best Contemporary Classical Composition
(A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.)
• Concerto For Orchestra
Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)
Track from: Concertos For Orchestra
• Picture Studies
Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
Track from: Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies
This is the repertoire of my two seasons at the Ulmer Theater 1975-77.
Mozart Le Nozze di Figaro $Susanna
Rossini La Cenerentola
Lortzing Der Wildschütz UT only
Flotow Martha $MarthaUT only
Gounod Faust $Marguerite
Verdi La forza del destino *
Smetana The Bartered Bride $Mařenka (mama)
Strauss II Die Fledermaus $Rosalinde
Millöcker Gasparone $Carlotta UT only
Tchaikovsky The Queen of Spades * (Pauline)
Zeller Der Vogelhändler$ElectressUT only
Humperdinck Hänsel und Gretel $Hänsel
Strauss Salome (page)
Puccini La Fanciulla del West *
Kálmán Gräfin Mariza UT only
Loewe My Fair Lady (maid)
* directed by Giancarlo del Monaco
Five of these are works that I have never seen since then. I truly loved Martha and think it should be performed more often. All were performed in German except the arias in Figaro.
I wrote about my life there in A Day in the Life. Some comments about our directors can be found here. I also wrote a brief essay about a colleague from those days. $ is for Ursula who was a lyric soprano, followed by the roles she performed. In parentheses are the roles I performed.