Production..............Giancarlo Del Monaco
Dick Johnson........Jonas Kaufmann
Jack Rance............Zeljko Lucic
Today was the simulcast of Puccini's La Fanciulla del West in HD from the Metropolitan Opera in New York. I have seen this production at least three times before, including here, and it works very well. They almost seemed like real cowboys.
Due to my love of the version with Jonas Kaufmann and Nina Stemme here, I have come to love this opera very much. To work it requires a strong spinto soprano with personality and a romantic hero tenor for her to fall in love with, and I find that we have them here in Kaufmann and Westbroek. We saw them together in Die Walküre at the Met in 2011 where they actually seemed like brother and sister. In Fanciulla you believe that they fall in love.
In the intermission Eva talked about how much she loves the role, and it was easy to believe it is her favorite. The part she performed better than anyone before her was the ending. She goes around one by one to each of her former customers and reminds them of their relationship to that date. It was deeply touching and beautiful. I loved it. I cried and believed that they truly could not hurt her in this way. It is a time in life where we are in need of unselfish love.
P.S. I apologize for not writing much about Jonas. I find that I prefer his DVD with Nina Stemme to this one.
On Friday the Metropolitan Opera Guild honored Anna Netrebko. Opera Wire in his report of the occasion mentions that Peter Gelb who spoke concerning the blackface controversy surrounding Aida said he talked with Netrebko and,“We discussed which shade she would be, but she resolved the issue by going to a tanning salon,” I am posting this because at the time I said that Anna gets that dark with a tan. If that's her natural skin with a tan, it can't be blackface. So there.
-- Conductor Marc Albrecht * Director Tim Albery * Production Designer Tobias Hoheisel
Waldner family: Arabella, elder daughter of the Waldners:
Ellie Dehn (soprano)
‡ Zdenko/Zdenka, Arabella's sister:
Heidi Stober Countess Adelaide Waldner, their mother:
‡ Count Theodor Waldner, a retired cavalry officer, their father:
Richard Paul Fink
Arabella's suitors: Mandryka, A Croatian landowner
‡ Matteo, a young officer Daniel Johansson
‡ Count Elemer, one of Arabella's suitors
‡ Count Dominik, one o
f Arabella's suitors
‡ Count Lamoral, one of Arabella's suitors
Teller to Countess Waldner:
‡ The Fiakermilli, a cabaret singer
Hye Jung Lee
* San Francisco Opera debut
† Current Adler Fellow
‡ Role debut
A new production of Strauss's Arabella is currently running at the San Francisco Opera. This opera is very nice, has lovely music and a perfect ending, as long as you remember that everyone in it is an idiot. The Waldners have two daughters and no money because papa gambles it all away. They are trying very hard to find a wealthy and suitable husband for their elder daughter Arabella. Father remembers his old army buddy Mandryka and sends him a picture of his daughter.
Younger daughter Zdenka goes around in male clothing and calls herself Zdenko because she likes to and because it's less expensive for her parents. She is "best friends" with a young officer Matteo who sends flowers every day to Arabella. Zdenko is constantly showing up with love letters supposedly from Arabella. She rants at older sister about what a great husband Matteo would make. Meanwhile Arabella is obviously completely uninterested in Matteo. Many of these people know, including the fortune teller, that Zdenko is really Zdenka, but not a single one ever goes, "Oh. She likes him." This is such a Duh conclusion that it makes the opera annoying. All are thinking only of themselves. At the start Heidi looks very masculine in her disguise, but this gradually wears off.
Did I like the production? It's very gray, too gray. Yes, they're poor, but they're not really that poor. Vienna isn't that drab. Nevertheless, it almost works. It suggests an institutional space.
Did I like the conductor? He is another of our auditioners for the position of musical director. His Strauss was better, I thought, than most of the conductors at the Strauss Festival in Berlin. It felt rhythmically interesting and flowing. I have the usual complaint that the orchestra was often too loud for the singers. Ellie warmed into her role slowly and you should have followed her.
Arabella is Queen of the Ball for the last day of Fasching (carnival). Three counts follow her around and give her presents, Then the nephew of Father's old friend--old friend has died--shows up to court Arabella. They fall quickly in love. Zdenka lures Matteo up to Arabella's room while Arabella is busy dancing. Zdenka and Matteo make love. Then we have identity confusion and anger, threats of duels and Zdenka in her night gown no longer looking the least masculine.
Hoffmannsthal died during the creation of this opera which might have worked better with a full libretto by him. Success depends on beautiful music, which we achieved, and magical romance which did not quite happen. We should be happy when the music is so good.
I enjoyed this concert by the American Bach Soloists in Davis on Monday very much. Above is their conductor Jeffrey Thomas. This concert consisted of 2 Brandenburg Concertos, No.1 and No.3, and The Hunting Cantata. One reason for loving this group is because in addition to calling themselves after Bach they also play a lot of Bach. In this case the entire concert was Bach.
Brandenburg Concerto No. 1 in F Major began the concert. Of the two concertos this one was the less familiar. I believe it was chosen because it includes two parts for natural horns which appear again in The Hunting Cantata. Elizabeth Bloomenstock, the concert mistress, was also a soloists here.
Brandenburg Concerto No.3 in G Major, a very familiar work, orchestrated for three violins, three violas and 3 cellos with continuo, completed the first half. All 9 designated parts perform as soloists It is an unusual orchestration both for Bach and for the world at large. Bach was always trying to stretch himself.
Apparently it is the habit of this group to add movements to established works. Brandenburg No.3 has only two movements, but an allegro from a trio sonata transcribed from an organ piece was inserted between the other two movements. The players reorganized themselves. The complex concerto was well played.
For me the treat of this concert came after the intermission: The Hunting Cantata, a work written to praise the Margrave of Brandenburg Schwedt. The Margrave was named Christian, a word that appears several times in the text. I found it interesting that they would use his first name. Apparently he was much loved and enjoyed hunting. The hit tune from this work I had not heard before is "Sheep may safely graze."
The performance began with the Allegro from Oboe Concerto in F Major featuring the oboist Stephen Bard? The vocal soloists were:
Hélène Brunet soprano (Pales)
Julie Bosworth soprano (Diana)
Derek Chester tenor (Endymion)
Mischa Bouvier baritone (Pan)
The Hunting Cantata is the most cheerful and lively piece by J.S. Bach I have ever heard. It is fun and was of course very well performed.
Stephanie Blythe | Mezzo-soprano (1999)
Javier Camarena | Tenor
Yusif Eyvazov | Tenor
Michael Fabiano | Tenor (2014)
Christine Goerke | Soprano (2001)
Quinn Kelsey | Baritone
Angela Meade | Soprano (2011)
Anna Netrebko | Soprano
Nadine Sierra | Soprano (2017)
Christian Van Horn | Bass-baritone
New York Choral Society,
Members of the Metropolitan Opera Orchestra
Marco Armiliato | Conductor
They are all like old friends. I am embarrassed to say I needed a program. Someone has found one for me, but it's still hard to work out.
PROGRAM Opening Speech Barry Tucker Giuseppe Verdi, Nabucco sung by our winner Christian Van Horn.
Jerónimo Giménez / Manuel Nieto, El Barbero de Sevilla II: "Me llaman la primorosa" with Nadine Sierra. Giuseppe Verdi, Luisa Miller II: "Quando le sere al placido chiaror d'un ciel stellato" with Michael Fabiano
Richard Strauss, Ariadne Auf Naxos, Op. 60 "Es gibt ein Reich" with Christine Goerke. Wonderful.
Small speech by Javier Camarena telling how he was robbed and was thus wearing Richard Tucker's cuff links and studs. Good luck?
Manuel Garcia, Florestan II: "Dieu!... pour venger un père, faut-il devenir assassin…" by Javier Camarena from his CD, spectacularly sung. Giuseppe Verdi, I Lombardi Alla Prima Crociata II: "Oh madre, dal cielo…No, no! giusta causa" with Angela Meade also spectacularly sung.
Giuseppe Verdi, Falstaff II, 1: "È sogno? o realtà?" with Quinn Kelsey. Giuseppe Verdi, Il Trovatore III, 2 - Scena ed Aria : "Ah! Sì, ben mio" with Yusif Eyvazov.
Giuseppe Verdi, Don Carlo (revised version in 4 acts) III, 1: "Ella giammai m'amo!" with Christian Van Horn
Gioachino Rossini, Armida "Amor! Possente nome" a duet with Angela Meade and Javier Camarena. Pietro Mascagni, Cavalleria Rusticana Regina Coeli...Inneggiamo with Christine Goerke. Leonard Bernstein, 1600 Pennsylvania Avenue Take Care Of This House with Stephanie Blythe. Jules Massenet, Manon "Toi! Vous!" (St. Sulpice duet sung Nadine Sierra and Michael Fabiano.) Vincenzo Bellini, I Puritani II: "Riccardo! Riccardo!" with Quinn Kelsey and Christian Van Horn. Georges Bizet, Carmen "L'amour est un oiseau rebelle" with Stephanie Blythe. Umberto Giordano, Andrea Chénier IV: "Vicino a te s'aqueta" big finish provided by Anna Netrebko and Yusif Eyvazov.
It was a terrific concert in the Richard Tucker style of big voices. For some reason I expected an ensemble at the end but did not get it.
The 2018-19 concert season of the Sacramento Philharmonic and Opera featured guest conductor Andrew Grams with guest violinist Angelo Xiang Yu playing the Tchaikovsky Violin Concerto. They were fun together with their surprisingly matching over the top enthusiasm. This was met with great audience excitement. Yu played an encore of a solo version of the Meditation from Thais by Massenet.
The concert finished with Schumann's Symphony No. 4. Maestro Grams brings much excitement to his performances.
High Priest.............Laurent Naouri
Today was the HD broadcast of Camille Saint-Saëns' opera Samson et Dalila. There was a lot of complaining about this very flashy production, but except for the rather perverse ballet I loved it. I can't help wondering if the Philistines would have dressed so colorfully and the Israelites in contrast so drably. One imagines really more similarity. The production handled well the task I normally assign to it--explaining the plot. Each transition of the story is well demonstrated.
What made this performance work so much better than any I have seen before was our extraordinary pair of very sexy lovers. Both Roberto Alagna and Elina Garanca sang beautifully. Roberto explained in the intermission that he is allergic to smoke, which I assume referred to the flames seen all about the stage in the form of both torches and fixed flames. Perhaps by this performance they were successful in curtailing the smoke. I was happy to see that both Roberto and Elina received loud standing ovations. It was a pleasure to hear and see them.
Laurent Naouri, Natalie Dessay's husband, is a lovely cheerful person who has to work very hard to seem villainous.
Director: Andreas Kreigenburg
Conductor : Michele Mariotti et Łukasz Borowicz
Marguerite de Valois, catholic queen : Lisette Oropesa
Raoul de Nangis, protestant: Yosep Kang
Valentine: Ermonela Jaho
Urbain, Queen's page: Karine Deshayes
Marcel, Raoul's servant: Nicolas Testé
Le Comte de Saint-Bris : Paul Gay
La dame d’honneur : Julie Robard‑Gendre
Une bohémienne : Julie Robard‑Gendre
Cossé, un étudiant catholique : François Rougier
Le Comte de Nevers : Florian Sempey
Tavannes, premier moine : Cyrille Dubois
Méru, deuxième moine : Michal Partyka
Thoré, Maurevert : Patrick Bolleire
Retz, troisième moine : Tomislav Lavoie
Coryphée, une jeune fille catholique, une bohémienne : Élodie Hache
Bois-Rosé, valet : Philippe Do
Un archer du guet : Olivier Ayault
Quatre seigneurs : John Bernard - Cyrille Lovighi - Bernard Arrieta - Fabio Bellenghi
From Paris Opera Bastille I have found a film of Meyerbeer's Les Huguenots, 1836, which I wanted to watch live on Thursday. The action takes place in 2063[?] according to a text on the screen. The Catholic men wear clown-like ruffs around their necks while the protestants look a bit more like business men.
In Roberto Devereux we heard "God Save the Queen" in the overture. In this opera the well known tune incorporated into the story is Luther's "Ein feste Burg." This is to represent Protestantism. Les Huguenots precedes Roberto Devereux. We know that Meyerbeer was Wagner's patron and got him his start in composing operas, which might help to explain the presence of the Dresden Amen in Tannhäuser and Parsifal. In spite of his rants against Meyerbeer, imitation is still the sincerest form of flattery. Perhaps it serves to suggest an aura of religious feeling. I digress.
I'm finding the production pretty hard going. I have no background with this opera. I am here to see Lisette Oropesa, and here at the mid point I must say she is magnificent. The first scene is men and the second is women, with the queen's page going back and forth between them. What is one to make of religious persecution in the future? The set in Act II is very beautiful and includes a bit of nudity.
I am exploring this opera and am surprised to see a male chorus singing "Rata plan" See also Donizetti's La fille du régiment, and Verdi's La Forza del Destino. Again, this opera appears to be the first. I didn't realize how much borrowing went on. There's a lot of choral work which I am finding unattractive. Verdi bombast is somehow more fun. Things going on in my soul are also interfering with my enjoyment of this opera. I am tired of hatred and violence.
There is a line across Europe across the Alps dividing the descendants of Roman culture and the descendants of Vikings, Germans, etc. The former group remained catholic while all of the north, except maybe Poland, changed to protestant. I have always felt that when Luther went to Rome, he was mostly experiencing culture shock. However, in the Catholic countries were also pockets of Protestantism. There were two results: war and immigration to America. My German friends would always ask why we had so many religions in America. Because when you chased them out of Europe, they came to us. Again I digress.
Yosep Kang has a very beautiful tenor voice but fluffs a high note later on. As a lyric tenor he's wonderful. As a dramatic tenor not so much. Ermonela Jaho hasn't had much to sing in the first half but sings a lot in the later acts. Jaho is well known in Europe but has not really crossed my path that much. All the big coloratura show pieces are for the queen while Valentine is a full lyric type with very little coloratura. That seems to be the pattern with Meyerbeer. All the coloratura arias are for a specific voice. I admit to not being wild about any of these operas.
The greatest influences on Wagner seem to be Meyerbeer and Liszt, Meyerbeer for the heavy orchestration and dramatic style, Liszt for the invention of the tone poem which provides the through-composed concept applied to the full act of an opera. I have to say I very much prefer mythology to politics for opera plots. The only hit tune from this opera, other than the borrowed one, is the page's aria in act I.
Aida: Anna Netrebko
Radamès: Aleksandrs Antonenko
Amneris: Anita Rachvelishvili
Amonasro: Quinn Kelsey
Ramfis: Dmitry Beloselskiy
King: Ryan Speedo Green
Messenger: Arseny Yakovlev [Debut]
Priestess: Gabriella Reyes, not seen [Debut]
Today was the simulcast of Verdi's Aida from the Metropolitan Opera starring Anna Netrebko and Anita Rachvelishvili. This performance series was the first time these two great ladies had sung together. They were perfection together and brought us a new Aida in spite of the same old production we have been seeing since 1988. The scene with the two women together was the best I've ever seen. Anna Netrebko brings an intensity to the role of Aida that exceeds all. Anita was much more a woman in love than the usual revengeful bitch. These two ladies will sing together again in Adriana Lecouvreur later this season.
The film director has a lot of influence over the impression made by an HD broadcast. In this case the emphasis was on the two women in love with Radamès. Camera shots were often chosen for intimacy rather than pomp and melodrama.
Quinn Kelsey was beautiful as the Ethiopian King. The only disappointment was in the Radamès of Aleksandrs Antonenko. I heard so much grousing about him that I expected him to be rather more horrible than actually turned out to be the case. However, it is still true that Anna deserved better. I remember when Pavarotti made his debut in the role in San Francisco years ago, that there was a lot of grousing then, too. I often wonder about the modern state of opera singer training. He could benefit from better physical conditioning.
Nicola Luisotti was his usual wonderful self. I found that the shift of emphasis off of war and on to romance found in this performance made for a very pleasurable Aida experience.