La Traviata in HD

Conductor.................Yannick Nézet-Séguin
Production................Michael Mayer

Violetta.....................Diana Damrau
Alfredo.....................Juan Diego Flórez
Germont...................Quinn Kelsey

Hostess .................Anita Rachvelishvili

We were treated to the new production by Michael Mayer of Verdi's La Traviata live in HD from the Met.  I could not find a picture that looked just like the single set production.  The actual set had the piano upstage right instead of downstage left as shown here.  Throughout the opera Violetta's bed was downstage center.  It was simply integrated into the staging.  A dance in Act I successfully used this bed.

This versatile set looked remarkably different in each scene.  The busyness of the design, elaborate deco figures and costumes, was successfully offset by dressing Violetta in white, Alfredo in a dark military uniform and Germont in a brown suit.  They each easily stood out from the background.   Another unusual feature of the production was the appearance of Alfredo's sister in a mime role.  I am counting this as a successful production.

There seemed to be unusual unanimity of purpose here.  Much complaining appeared concerning Juan Diego's light voice, but my impression was that he fit impressively into the overall concept.  From beginning to end Violetta is a woman with a very serious disease who is dying.  We see this emphasized first through her lying on her death bed during the prelude.  Diana in particular played and sang her fragility.  This was a particularly beautiful performance which stayed close to the story.

Juan Diego's role was more varied, but was also acted extremely well.  And Quinn Kelsey has followed his line of great Verdi successes with a beautiful Germont performance.

This series is the debut of  Yannick Nézet-Séguin in his new role as music director.  Welcome, Yannick.  Singers love him.  We were shown in intermission a coaching session between Yannick and Diana, who said he was like a brother to her.  They were together in this beautiful, delicate concept of La Traviata.

I liked very much Anita as hostess.

Marnie HD

👍🏻
Conductor.....................Robert Spano
Production....................Michael Mayer

Marnie..................Isabel Leonard (mezzo)
Mark Rutland........Christopher Maltman (baritone)
Marnie's Mother.....Denyce Graves (mezzo)
Mr. Strutt..............Anthony Dean Griffey (tenor)
Terry Rutland.........Iestyn Davies (countertenor)
Laura Fleet.............Ashley Emerson
Malcom Fleet........Will Liverman
Derek...................Ian Koziara
Miss Fedder...........Marie Te Hapuku
Mrs. Rutland..........Janis Kelly (soprano)
Dr. Roman...............James Courtney
Lucy....................Jane Bunnell
Dawn....................Stacey Tappan
Little Boy..............Gabriel Gurevich
Shadow Marnies: Deanna Breiwick, Disella Lárusdóttir, Rebecca Ringle Kamarei, Peabody Southwell

Wikipedia says, "Marnie is an opera in English by Nico Muhly to a libretto by Nicholas Wright based on the 1961 novel by Winston Graham. It premiered at the English National Opera in November 2017 and at the Metropolitan Opera in October 2018." However, this story is most famous as an Alfred Hitchcock movie. The premier at the ENO explains the presence of so many English singers.

The story and the production are dense and complicated, more like a crime novel than an opera.  Marnie has four alter egos who dress in similar outfits and occasionally sing.  No one but Marnie notices them.  She invents identities for herself and gets jobs in offices where she is the payroll clerk.  Then she steals the money.  This all takes place in small towns in southern England.

The alter egos aren't the only strange figures wandering around the stage.  We have frequently thin men in gray business suits and hats who seem to be merely menacing.  Reminder:  thin people in the opera generally indicates ballet.

In one scene in Act I Marnie visits her mother, played by the great Denyce Graves.  Mother constantly suspects and accuses.  Marnie is reminded that she killed her younger brother.

Mark Rutland recognizes Marnie and blackmails her into marrying him. She agrees to stay with him if he moves her horse to the country.  He makes her see a psychiatrist.  This is one crazy lady.  In Act II there is an extended scene where Marnie rides her beloved horse on a fox hunt.  The horse injures itself, and she is forced to shoot it. Her mother dies and much is revealed.  The ending is ambiguous. That's enough plot stuff.  The production has an acceptable air of mystery and creepiness.

Isabel Leonard is a wonderful actress as well as an excellent singer, and pretty much carries this opera.  She has 15 costumes or maybe more.  They showed us a film of her going in and out of her cubicle in the wings.

The score as played by the orchestra was fascinating and rather beautiful.  I have been listening to the Festival of New American Music all this week, and I must say Nico Muhly's style is more coherent than seems to be generally the case these days.  I enjoyed listening to it.  My only problem with the music here was with the material composed for the voices.  Act I lacked any sense of vocal legato, the core feature of opera.  There was more solo material and therefore quite a bit of improvement in Act II.  It was entertaining, but I'm not sure I would want to see it again.

Neon Rigoletto

Poor Renée.  She worked so hard during the intermissions for the Metropolitan Opera's simulcast of Rigoletto trying to get the singers to comment on the production, but mostly they didn't really want to.  They were happy to tell which member of the rat pack they were supposed to be, but that was about it.

Rat Pack:

Rigoletto (Don Rickles):  Željko Lučić (baritone)
Duke of Mantua (Frank Sinatra):  Piotr Beczala (tenor)
Marullo (Dean Martin):   Jeff Mattsey (baritone)
Count Ceprano (Sam Giancana):   David Crawford (bass)

The rest of the cast:

Gilda:  Diana Damrau (soprano)
Maddalena:  Oksana Volkova (contralto)
Sparafucile:  Stefan Kocán (bass)
Monterone:  Robert Pomakov (baritone)

Conductor:  Michele Mariotti
Production:  Michael Mayer

I guessed Don Rickles before Lučić said it.  If you are unfamiliar with Mr. Rickles' work, here is a sample.    I can actually see a certain similarity.



The best neon was in the last scene where it was used spectacularly to illustrate the sound of lightning flashes found in Verdi's score.  I could see this in every Rigoletto.  Amazing.

The man who issues the curse, Monterone, was costumed as an Arab.  Your average American might shoot the Duke, but would not really think of cursing him.  I wonder if this is a scandal.

Hidden in all this glitz was the regular Rigoletto we all know.   Lučić and Diana Damrau, our Gilda, are part of the ensemble of the Frankfurt Opera and well acquainted.  They have even played Rigoletto and Gilda together before and maintained their already highly developed conceptions.  She commented that Gilda wasn't nearly so hard as Fille de Regiment, referring to the San Francisco production, I assume.  She was carried off inside an Egyptian sarcophagus and died in the trunk of a car.  She also skipped her high note at the end of "Caro nome."

The only character who seemed to really shine in this production, to take on the aura of his environment, was Piotr Beczala as the Duke.  Above we see him looking very young in his disguise as a student.  He seemed completely at home in his white dinner jacket and bow tie.  He relaxed into the character and had a wonderful time.

I've never had any real complaints about Renée Fleming's interviews before, but I must say it was foolish for her to ask Piotr about his up coming high note in "La donna e mobile."  He told her he tries not to think about it, but just asking the question jinxed it.  He came very close to blowing it completely.  So.  Never ask a tenor if he is worrying about an up coming high note.  You can ask him after if you want.  Just never before.  You'd think this was obvious. It's in a category with asking a horn player to do his solo standing on the stage.

This is a Rigoletto for an American audience.  Many of the cultural references meant nothing to the international artists playing them.  It worked fine for me.  A father's love for his daughter transcends time and place.  The rat pack image falls apart when you consider that it assumes that Frank Sinatra would ever have dared to fool around with Sam Giancana's wife.
#ad