Macbeth's Honor

Elisir di Tenore...

2012-01-24T17:59:00.001-08:00

After reviewing some rare and lesser known operas, I was ready to scream “Que de bijoux!” when I saw “L’Elisir d’Amore” with Carlo Bergonzi and Roberta Peters when I opened the famous padded envelop sent by La Cieca (brought to my résidence by a hunky postman whom I wished rang more than twice.) What can I say? Thank you Cieca, sulla tua testa vigile la mia benedizion…

The CD of the historic performance who took place on March 5th, 1966 is one of the recent issues of The Metropolitan Opera series, handsomely published by Sony. Besides introducing a young Countess (yours faithfully) who were born not so long ago, to legendary personalities, the series also aim to show us how “things were used to be”, and yes, things were truly different then. Bergonzi shows us alone…

I won’t get much into the story; Boy with self-esteem, intimacy and eventually acne problems loves the overly self-esteemed and slutty girl ignoring him. She keeps bitching during most of the opera. She temporarily falls for a man in uniform and moustache (who doesn’t? Especially if he looks like a Tom of Finland sketch, …and after all, within two minutes of meeting him, she agrees to marry him, a true Kardashian), then realizes the true power of love (viva l’amore!) and buys back the boy from the army he recently joined for money to buy the elixir of love (well, in my opinion he loves men in uniform too, why not leave him alone!) and after a few misunderstanding they all live happily after. It premiered in 1832 and became one of the most popular operas ever since. It’s truly a feel-good opera.

By composing a seamless and beautiful music to Felice Romani’s libretto, Donizetti did not just intend to put together another opera to his endless catalogue. One can only understand this by listening to the legendary Scotto-Bergonzi 1967 Firenze performance, where they show the whole world what Donzietti actually meant. This performance from the Met’s archive des not disappoint, thanks to Bergonzi. 1960s were some of Bergonzi’s best years. He has already established himself as the world’s leading Verdi tenor, nevertheless did magic in belcanto and verismo as well. The unique technique and clear diction are again radiant in this performance. One doesn’t have to know Italian to understand what he sings. The moment he opens his mouth in “Quanto e bella” one understands how useless is to compare today’s tenors to each other. The artist takes is time in the showstopper “Una furtiva lagrima” and makes it a lesson in class and lyricism. The trademark solid technique, always supported by breath is unequalled. Bergonzi was never ever referred to as a stage animal, nor did have the volume or looks of his rivals at the time Del Monaco and Corelli, however is the most Italian of them all, and his acting comes with the voice, and the voice alone. Not a single word is let go by, nor anyone hears a desperate rush to “that” upcoming high note. Consistency is the key!

I’ve never been a big fan of Roberta Peters. She was a sweetheart of the Met audiences for decades. The voice is nice but “quelconque à mon avis” and her exaggeratedly and notoriously open vowels and lack of true pianissimo and Italianità are irritating. “Benedette queste carte” already gives alarming signs of what’s ahead. “Chiedi all’aura lusinghiere” is graciously saved by our Nemorino. She is barely audible in the ensembles. One wished one never heard her rendition of “Prendi per me…” full of unnecessary and unsuccessful fioriture, ending in cat scream. The part of Adina can be a tour de force for the right soprano and personality such as Scotto. Nevertheless, it’s unfortunately mostly used as a comfort zone “role de repos” for most sopranos like Peters, or more recently Cabell, Netrebko, Damrau and the list goes on.

Frank Guarrera, Belcore of the evening makes a premature entrance to his aria (quite a few measures) and considerably off pitch throughout the whole evening. His complete barking in “Tran, tran…” ruins the whole trio. The part is actually a showpiece for any lyric baritone. Alas, it goes wasted.

Fernando Corena, the famous basso of the époque does his work religiously as Dulcamara. He is not at his very best as he sounds tired and sings almost the whole part parlando, barely managing his breath and trying to save the evening with acting (as assumed by the audiences’ reaction.) He partially redeems himself in the “Venti scudi…” duet. A scary picture of his is printed in the CD insert. Loretta di Franco’s Giannina is fine and well controlled.

Met’s chorus, best in the world now and then (IMHO), does a fabulous job, while on the pit Thomas Schippers, our maestro du soir, apparently wishing to be somewhere else, gives a decent but soulless and emotionless conducting, with a great lack of energy (à la Armiliato pour Bolena.) Elisir demands steady, consistently dymanic, fast tempi.

The recording is of fine quality. The CD comes with a track list and synopsis in English only. There should be a law requiring all librettos to be included in each complete opera recording. Moreover, one wishes to see an introduction to the series and about the Met’s legacy. A very brief text posted in the back cover is far from serious. That’s a marketing and brand awareness opportunity missed there. While Met has been busy introducing CDs and DVDs one after another, they should as well adopt a more detail oriented approach to present these unique recordings. The cover features a picture of Peters and Bergonzi, the latter with a very bad eye make-up, not to mention his “regard”. He looks more like yours faithfully watching the legendary duo Vinnie d’Angelo and Arpad Miklos “accommodating” the painter boy in “Tough Stuff.” And I’m going to leave it there!

Overall , a great experience of this crowd pleaser, especially for Bergonzi fans. A Donizetti masterpiece with legendary voices. And a happy ending. Viva l’amore! It all comes to this. As Morrie Schwartz used to say: “Love wins, love always wins…”

La Stupenda Lodoiska...

2011-08-27T20:18:00.000-07:00

Me- Gran Dio, why is it that La Cieca gives me unknown operas to review? I paid my dues, I threw away all my wire hangers. Perché me ne rimuneri cosi?

God- Shut up and do as she says! She likes you submissive…

Me- But, but I want to review more popular works with celebrity singers, like my Gheorghiu, DiDonato, Tosca, early Verdi, Macbeth (duh!). Or, historic and mesmerizing performances like Arpad Miklos in “Daddy Meat” or Marco Paris in “Pack Attack”?

God- Be grateful to what you have Bitch! She is training you with these works so that one day you’ll upgrade to better known ones. Capish?

Me- Whatever…

God- No eyes rolling, I saw that! At least she gave you Napoleon’s favorite opera this time: La Lodoiska.

Me- La…what?

And the rest is history…

La Lodoiska is a jewel composed by Giovanni (Johannes) Simone Mayr (1763-1845), a contemporary of Mozart and Beethoven. Although he did receive instruction in music at early age, Mayr did not have the chance to systematically study composition until he was in his mid-twenties when he came a pupil of Ferdinando Bertoni, the maestro di cappella of San Marco in Venice. While being confronted with younger fellows like Paer and Nasolini, he nevertheless made his rapid raise to fame as a composer with such works as Sisara and Saffo. His triumphant success came with La Lodoiska at la Scala di Milan, which later became the favorite opera of the above-mentioned emperor.

In spite of these international successes, in 1802 Mayr surprisingly decided against a career as director or conductor of any at the several major opera houses. Instead, he took up the post of maestro di cappella at the Basilica Di Santa Maria Maggiore in Bergamo. Shortly after, Mayr established a music school, which became well renowned and still exists today, its most famous pupil being a certain fellow Gaetano Donizetti. Mayr became practically the standard composer for La Scala and for the then still more famous Teatro San Carlo di Naples.

His buddy Gioacchino Rossini called him the “father of the Iralian opera”, which brings us to Mayr’s style. His is a preliminary introduction to what we call belcanto today, while embedding an elegant German undertone. It is like listening to Beethoven, Haydn and Donizetti and Mozart at the same time.

The central focus of Lodoiska, which is full of turbulence and power politics, is on a couple trying to find each other. Gripping and suspenseful from beginning to end, this tableau is supported throughout by the action of choral and ensemble scenes. On a setting of 17th century Poland in a castle on the border with Tartary, Princess Lodoiska has been entrusted by her father to the care of Boleslao, lord of the Castle of Ostropoll. Boleslao wants to marry Lodoiska, but she is love with Lovinksi and rejects his advances. Lovinski arrives (under the name "Siveno") to ask for Princess Lodoiska on behalf of her father, but Boleslao refuses to let her go. When Lodoiska father, Sigeski, arrives and confronts him, the tyrannical Boleslao imprisons both Sigeski and Lovinski and plans the death of the young lovers. All are saved at the end when they are rescued by Giskano, a Tartar warrior-prince, whose life Lovinski had once saved.

Lodoiska is portrayed by soprano Anna Maria Panzarella whose fragile lyric soprano amazes the whole universe by making all the way through the end, as Lodoiska is pretty much present in all scenes. Nevertheless, she is gifted with a beautiful instrument and shows a considerable effort to sing with emotion. While mezzo soprano Elena Belfiore is far from impressing us, tenor Jeremy Ovenden shows a seamless legato and lyricism as Boleslao, while to me it is hard to figure out why Mayr gave such a part (father) to a tenore leggero. The rest of the cast Elvira Hasangacic (Resiska), Ines Reinhardt (Narseno), Nam Won Huh (Rodoski), Marc Megele (Sigeski) and Marko Cilic (Giskano) read their part nicely. The chorus is somehow dull at the first act, then shows off in the second and redeems itself.

The performance, which appears to be recorded from a concert version is religiously conducted by George Petrou, and the Münchner Rundfundorchester obeys him well. This a 2-CD set by Oehms Classics. As this is often the case with rarely recorded and performed operas, there is no proper track list, and the most pathetic part of it is that, although the opera is in Italian, the full libretto provided is in German.

This is a rare opportunity for those interested in the history of art lyrique, who will be delighted to see what the more famous and endured composers got their inspirations and motivation from. This is a true “référence.”

Il Bel Sogno di Martina...

2011-07-17T17:38:00.000-07:00

It is a known fact that in summer, I only attend events in my hometown Nice, Antibes, St. Paul de Vence and Milan. However, when our coquine doyenne begged on her knees (à la Gencer in Alceste), I accepted to review Martina Arroyo Foundation’s production of Puccini’s “La Rondine.” A one month [short] notice was not enough to get ready for the young Countess with trademark long auburn hair (yours faithfully) nevertheless I put together a vintage crème Valentino ensemble with high heel Chanel slippers, loosely wrapped my hair with a faux diamond hair clip (from eBay) and took the limo (a.k.a. #6 train) to Kaye Playhouse in Hunter College… And I’m so glad I did.

La Arroyo needs no introduction. Delightfully funny, elegantly skilled and blessed with a stupendous voice, she is a living legend. She was in the audience in high spirit as always. The mission of The Martina Arroyo Foundation is to prepare and counsel young singers in the interpretation of complete operatic roles for public performance. The Foundation guides each singer in the preparation of an entire operatic role through a formal educational process that includes the background of the drama, the historical perspective, the psychological motivation of each character, and language proficiency. Besides La Rondine this year, the foundation also produced a fine Don Giovanni.

La Rondine’s backcloth is Paris where Magda (the swallow of the opera's title, because she will fly south to find happiness) is the mistress of the banker Rambaldo. When she meets the young innocent Ruggero, she falls in love. The couple set up house in Nice, but Magda soon realizes that, in the world's eyes, her past makes her unworthy of Ruggero's love. Where the realization might drive another Puccini heroine to suicide, Magda simply walks out of his life.

La Rondine is a one woman show. Even the tenor does not have a full aria. The cast I saw on Sunday July 17th was lead by exquisite soprano Clara Heikyung Yu. As the rest of the cast she started very nervous with an over-calculated “Chi il bel sogno di Doretta.” I don’t blame her since Puccini does not give a warm-up for his soprano. As the opera progressed, Yu gave the best singing of the day, especially on the grand ensemble of Act II at bullier and a full commitment/full throttle Act III. I love my Puccini women spinto. Yu’s voice sits a little too high for this part but still, she gave a mesmerizing performance and got the biggest applause.

As Ruggero, lyric tenor Young Chul Park matched his soprano to a tee. Gorgeous tenor voice, a hesitating start, fully opened by the last act. I just named him Carreras Jr. for the simple fact that he was almost incapable of opening his mouth without looking at the maestro. Both lead singers should make a tremendous effort in their acting skills. I tend to assume their workshop was mainly on the singing and acting was second priority. Moreover, the over-calculation or over-thinking is unfortunately a new standard in young singers. They save the voice for a better day (which may never come.)

In secondary parts, the baritenor Jonathan Morales as Prunier impressed the audience with his acting and unique voice, while coloratura soprano Katelyn Parker inhabited her part as Lisette. Our Rambaldo was Andre Courville who has such a huge bass instrument one only wishes to be matched by acting. A special mention goes to Jasmine Thomas who, with a very cmall part impressed me with the clarity of her tone as Gabriele.

The chorus gives a satisfying job, while maestro Nicholas Fox, comparable to Yannick Nezet-Seguin, pulls a truly outstanding and energetic performance from his superb orchestra. Honestly, they exceeded my expectation. Production, directed by Joseph Bascetta offered minimal but sufficient period decors and costumes, not to mention BYOS (bring your own shoes, some of them very amazingly modern.)

La Rondine is considered by many as “light” Puccini comedy, a “comédie de salon” alas there is a continuous smoky melancholy underlining the romanticism. While “Chi il bel sogno di Doretta” may be the show stopper, the whole opera is a delight, a vocal symphony. This is a piece that, without proper direction can be easily fall to the level of a bad sitcom episode. Nevertheless, Martina Arroyo Foundation’s production under their “Prelude to Performance” program does the opposite and truly shines.

Rigoletto not Rigolo...(or, Portrait of an Artist: Zeljko Lucic)

2011-05-09T19:16:00.000-07:00

I’m not sure if Marcel Proust was alive he would write a book called “A la recherche du baryton Verdien”, alas, after seeing Rigoletto at the Met last Friday, I once again confirmed that the one more beautiful thing than my trademark long auburn hair and Biki wardrobe is Zeljko Lucic.

The existence of a true Verdi baritone has been discussed (and still) in many different platforms. Most agree that they do not exist anymore, and the tradition ended with such distinguished materials like Gobbi, Merrill, Warren, Milnes, Cappuccilli and Nucci, (the latter who is still active and fabulous.)

Lucic has the biggest advantage of being blessed with a burnished, dark and round, voluptuous and most importantly “manly” material. These are basics for any Verdi baritone part. But more than that, Lucic already understands that these basics should be used to channel each Verdian part differently, yet all sitting on a solid infrastructure (voice and technique) and superstructure (art and soul.) This is the main reason his portrayal of Macbeth few years ago, (although an underrated performance by the critics, to my opinion the best in the last few decades,) is way different than his Rigoletto. In Macbeth, his “Pieta, rispetto, amore…” becomes a self-reflection, a look at the mirror, a thought…as it should be, and not a show-off manifesto. Macbeth is first a human being and then the sum of his crimes and actions.

Rigoletto, often considered the pinnacle of all baritone repertoire is a true bitch demanding a continuous stamina, use of all three registers, and perhaps most importantly the “acting.” As In Macbeth, as a singing actor, Lucic’s portrayal was powerfully human and natural. As Rigoletto, even though the director seems to have left him to himself, the baritone came up in an original way, portraying the buffone as a “man”, a man who believes in his destiny, who, even at the very first notes of his entrance, knows what is going to happen, then confessing how his wife married him out of compassion…but he is never looking for pity, nor confirmation. At that point of view, he is not connected to the audience. He is singing to himself as if he has to convince himself that this is his faith and how things should be. During Act III where he finally lets go in “…piango” he actually gives up on life and everything he ever had. We never see him actually cry, or pretend to, but rather expressing a true emotion and the last of his hopes. His “vendetta” started as piano, as it should be, a promise of vengeance to himself. He sometimes prefers to use diminuendo instead of constant pianissimi. During the entire course of the opera, we do not see Lucic laugh or cry. Nothing is brought to an exaggeration level. At the end, his Rigoletto is a slap to our face, a real picture of the society’s underdog and his brutal loneliness is all that stays, and is all that matters/

Lucic’s use of his own material (voice, body, and acting) is spectacular. His almost inaudible voice back in Il Trittico, filled the Met with ease, never at once losing control, legato, always giving his best in the almost endless Verdian lines. His is not a huge sound à la McNeil, but the humanity and the natural manliness dans sa peau resulted in a mesmerizing, unforgettable performance that will be hardly paralleled.

Be careful what you wish for...

2011-05-02T17:48:00.000-07:00

(written for Parterre.com)

When our coquine Doyenne invited those interested to review recordings I kindly requested Italian belcanto and early French works. Instead, I got Schubert’s “Alfonso und Estrella” (ahem, in German!), thus the title of this review… It was one of those WTF moments, and I thought La C. was in a PMS attack. The only few words I know in German is “Ich komme Helga!” (pre-condom era porn line), “Ich liebe sexy Marcello Giordani”, and “What on earth Aprilo Millo is saving her voice for?” (the latter is not in German, but I had to get it off my chest.) Anyway, I couldn’t disappoint La C., therefore I decided to take the challenge, pulled my long wavy auburn hair back, put my Biki crepe de soie robe de chambre, un peu plus de noir sur mes yeux (à la Dalida,) and put myself to work.

The production comes from Theater an der Wien, filmed during performances in May of 1997, as part of the celebrations for Schubert’s 200th anniversary. Many may not know that Schubert wrote any opera at all. My researches showed me that he attempted at least ten operas and this was the first one that actually got finished, in collaboration with the librettist Franz von Schober who was always faithful to him ( I smell kind of Cary Grant-Randolph Scott thing there,) following an invitation by Domenico Barbaia, then the newly appointed Italian manager of the theater. The fact that it was first rejected may be partly due to an unenthusiastic Michael Vogl (for whom the part of Froila was conceived), soprano Anna Milder-Hauptmann, and Weber who kept bitching about it. In 1854, long after Schubert’s death, an adapted version was given its premiere in Weimar by Franz Liszt for whom Schober acted as secretary.

The storyline is simple: The setting is eighth century Spain. Alfonso lives with his father Froila, the rightful king of Leon whose throne is usurped by Mauregato (he is mean, so mean you have no idea, a real cattivo.) Estrella is the latter’s daughter, she and Alfonso make out big time, I mean fall in love. A horny Adolfo, rejected by Estrella leads a rebellion (it was certainly easy to do this type of show-offs at those times,) but is captured by Alfonso. All ends happily.

The cast is quite decent. Luba Orgonasova as Estrella gives an outstanding performance. Schubert was most generous to her part in his work. Lubika is blessed with a gorgeous and voluptuous instrument. The Slovak soprano is mainly known to European audiences, especially for her Mozart interpretations. She looks à la Sutherland sometimes.

The part of Alfonso is sung by Endrik Wottrich, the only disappointment of this production. Such a sublime part could only be sung this bad. One wishes a spinto lirico tenor in this part with a great deal of lied experience to do justice to it. At one point in the beginning of Scene II, he says to his father “I lack the strength of voice.” He is damn right.

The part of Adolfo is a very demanding one, sitting mainly on the top register. Blessed with a strong bass, Alfred Muff disappoints with his complete acting disability, one of those who constantly need to look at the conductor.

On the other hand, Olaf Bar, as Mauregato exhibits all his successful lieder background. The projection is effortless, smooth and legato, although the voice is small in size.

As Froila, Thomas Hampson sings beautifully but never in the persona, as is always the case. My prayers to hopefully see him one day change his constant facial expression remain unanswered (once described here as the “look Ma, I can sing” look.) His pronunciation is exquisite and his interpretation is exemplary. Since I don’t have a score in hand, I’m not sure if the high pianissimi are as written or his choice to cover his natural strain on his top register. Nevertheless, Hampson has always been a true musician and the production is clearly standing on him. He eventually gets the warmest reception from the audience.

Our maestro for the occasion is Nikolaus Harnancourt. Nikky does a decent job, especially during the beautiful overture. This is not a very hard piece to conduct, since the music is not complex in the “grand opera” tradition. His orchestra responds well to him. They obviously prepared well for this.

The production is dark, simple and monochrome. The set is modern; it doesn’t belong to any country or specific era. The first scene is Froila’s bedroom that looks like a cell; Scene II is a war field with a huge glacial curtain and women soldiers all in red uniforms and machine guns. Scene III is almost completely dark and we only see shadows singing, with minimum light. Overall speaking, I did not come across any other production of this opera, therefore it is hard to compare the approach of director Jürgen Flimm or the singing. After establishing himself as one of the exponents of Regietheater, Flimm was called to manage renowned theaters and festivals in Europe. In summer 2000, he staged a new version of Wagner's Ring for the Bayreuth Festival, and in June 2002, he was responsible for the scenic realisation of the world premiere of Der Riese vom Steinfeld by Friedrich Cerha at the Vienna State Opera.

The image quality is absolutely fine. The cameras are having an easy time since the production is quite static, with main soloists basically standing still facing the audience and performing. Subtitles are exclusive to solos, which makes it hard to understand what is going on during the duets, ensembles and choral parts.

The opera is obviously an experimentation for this greatest lied composer. The reasons he did not pursue composing in this field are unknown to me. The composition is balanced, priority is give to voice and the orchestra is only a background accompaniment serving it. The solos may not be qualified quite as arias, but a series of gorgeous lieder, almost like a song cycle. At the end, the music is an absolute beauty and one wonders why it hasn’t been performed more frequently. As I always defend, this and many other hidden pieces of art may well be performed concert or semi-staged style.

In a world where we get to watch the same core repertoire (and productions) over and over, discovering a new little night music like this was a true marvel to me, and I enjoyed every minute of it.
Be Careful w

Toi, qui sous le neant...

2010-11-27T05:50:00.001-08:00

Don Carlo is truly a grand opera, Verdi’s biggest, no matter if it’s the four or five act version. It is a bitch.

For the occasion, I’m wearing my black Chanel ensemble (un cadeau d’un de mes ex-amants), Charles Jourdan stilettos (own money), and Mikimotos (heritees de ma mere la Comtesse) under delicately coiffed auburn hair, not to mention a sadistic combination of two Jo Malone parfums. I take a glance at the most expensive opera gift shop in the world (while hearing the hopeless cry of the former one’s ghost [Commendatore, is that you?], who used to be a great place to find a huge variety of recordings, but now, alas, a t-shirt and $200-a-bottle perfume marketplace.

I’m full of hope tonight. I came to the Met to really appreciate this performance. I promised myself to be positive, happy and gay. I will not think of the productions I loved, or compare this one to the dream cast I always had in my mind (Bergonzi, Gencer, Nicolai, Christoff, Battistini.) I am docile tonight.

My trademark family circle seat is made ready for me, and for an evening of 4 hours and 45 minutes. I told you it is a bitch. Yannick Nézet-Séguin literally runs to the podium, salutes me, then my subjects and the magic begins. And yes, he is yummy.

Verdi composed Don Carlos to a French libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien (”Don Carlos, Infante of Spain“) by Friedrich Schiller. It was premiered in Paris, Opéra, March 11, 1867. The composer reworked the score of Don Carlo in 1883, condensing five acts into four to a libretto reworked by Ghislanzoni.

The setting is in Spain around 1560. It is a story of love lost and love unrequited. Don Carlos and Elisabeth are set to be married when Filippo, Don Carlo’s father, decides to take her himself. Elisabeth cannot refuse the request and for to do so would mean continuing the horrible war her country is involved in with Spain. Don Carlos refuses to give up his love of her. Filippo realizes this and tries to enlist the help of Rodrigo in keeping tabs on Carlos and his new wife. Princess Eboli is also in love with Don Carlos who has no interest in her. She plots to turn Don Carlos’ indifference to love. In the background, the Spanish Inquisition is occurring with all the struggles between Church and State.

Don Carlo requires five solid voce Verdiane. One cannot have a good performance of this opera with a very good Filippo and a passable Rodrigo or a mediocre Elisabetta. They all must stand out and, even though they are different characters, they have to complement each other, thus forming the ensemble, the “concrete” basis on which the music builds. Verdi was generous to each of them. It is filled with signature arias and duets. To quote from the Playbill, the characters “never give up,” no matter what happens. They know what is coming up, yet their struggle remain, sometimes as a direct expression, but mostly self-reflection.

I promised myself after tonight’s performance that I will not call Roberto Alagna “the smurf” again. This was the first time I truly was able to enjoy the real Alagna. He was a marvel in the title role from the first note to the last. I only wonder what he could do in the original French version, since he has the best French diction since Kraus. The voice sounded rounder and bigger, and most importantly effortless and with easy projection. He was exceptional in the second duet with Elisabetta (a.k.a. “call me Liz, no no, call me mom” duet.) He really surpassed my expectations and got the biggest applause.

As Elisabetta de Valois, Marina Poplavskaya was another highlight. She has a stunning elegance and beauty that is so “Elisabetta.” From her youthful looks in the Fontainebleau scene to the mature queen, she owned it. Her “Tu che le vanita” started with an intention to slightly cover the voice, but ended powerfully with such adorable pianissimo. We all miss singers like her who can truly sing pianissimo with support. On the other hand, the voice could use more Italianità and articulation, but there is no doubt those will come in time. She is still young and sings parts appropriate to her material. I’m now looking forward to her Violetta.

Ferruccio Furlanetto is “Philippe-du-Jour” for a reason. First of all, his voice sounds better and clearer than any CD or DVD recording I saw. The authority is there, yet his portrayal of Filippo differs from other famous Filippos. During “Ella giammai m’amo” and the duet with the Gran Inquisitore there are essential moments where one witnesses Filippo as an individu. This Filippo already knew his wife will not love him, even before he met her. His two previous wives did not either. His struggle is not only with la forza del destino (like all other characters) but also with himself. He is human.

Simon Keenlyside used to be a very “present” singing actor. Tonight he was somewhere else, for sure. He was so not in the mood that the only thing he did was to sing the whole score forte. Even when he was dying, he was full throttle. I simply wanted to go on stage slap him and give hima copy of Gobbi’s Rodrigo under Santini, and make him read what Gobbi wrote in his book My Life about his approach to Rodrigo’s dying.

Anna Smirnova is a force de nature. Alas, her Eboli was technically insecure, and in the case of “O don fatale” pretty embarrassing, nevertheless she managed to save the last few measures better than she did in the premiere. She has a huge sound yet she needs to sing less heavy roles before attempting a role of such grandeur.

Eric Halfvarson excelled in the big scene with Filippo. He has a very extensive and voluminous voice, which made the duet my favorite scene in all the performance.

The production is simple yet powerful. A co-production of the Metropolitan Opera, Royal Opera House, Covent Garden, and the Norwegian National Opera & Ballet, it is directed by Nicholas Hytner and opened first in London. Don Carlo is special. It is not just about a protagonist but six of them. There is so many powerful personalities that one does not look for a rich Zeffirelli-type production. Period costumes in contrast with bold and simplistic decors become stupendous thanks to the pinpointed lighting by Mark Henderson.

Let’s come to my confusion about the libretto: I always had different thoughts about Rodrigo and Carlo. Can anybody deny the sexual tension between them? Come on, confess it. Read between the lines. Even when he dies, all his words are full of love and affection, and that is beyond “loyalty” and Flanders. And in this production, they hug each other pretty much the whole time.

Finally, if I were Peter Gelb, I would put this production in the original French version. That would have a huge impact on all audiences and critics. In any case, this is a must-see of the season. Don’t miss it. Take the train to Fontainebleau.

La morale in tutto questo?

2010-11-11T08:14:00.001-08:00

Don Pasquale is one of those operas that make listeners feel very happy and gay, who, after seeing it, live happily ever after and gayer than before. It’s about a whore who needs to get laid, with an eye on the young (once and still bottom) hunk versus the older (once top, yes you guessed right) but rich dude. And there is some Versatile Malatesta (that’s his rentboy.com username too) in between. Literally speaking, there is no storyline at all. As spectateurs we just watch unimportant events happening while keeping a stupid smile on our faces.

I was barely seated in my trademark family circle coin sacre, making sure my new stilettos (with a carefully arranged glimpse) combinees avec mon mink and matching turban covering my auburn hair are noticed by the whole audience (a.k.a. my subjects) when Jimmy showed us his long and hard baton.

The minute I saw James Levine I knew something was wrong. On his way to the pit, he could barely walk, even with his cane. The first and second act the orchestra kind of conducted themselves and no wonder, after a 45 minute intermission, it was announced that the maestro was sick and the remainder of the performance will be conducted by some other James (nobody was able to catch his name, even the handsome gay couple sitting by my side who made me feel as their Norina.) [Joseph Colaneri] did a finer job than Jimmy Boy.

Thank you for reading until now. The remainder of the review will be a more serious one.

Don Pasquale is a belcanto “standard” written by one of the most productive opera composers in the history of opera. This, the 64th of Donizetti’s known 66 operas, was first performed in 1843 at the Comedie-Italienne in Paris.

Anna Netrebko herself admits it is time to convert from girls to queens in her latest interview with Opera News. She is right. The woman has a gorgeous tone, yet the voice is heavy for the part. As per my voice teacher Ira Siff, she should be singing Manon Lescaut. He is right. Yet it’s with always great pleasure one watches and appreciates performers like her who truly have the time of their life on the stage, purely enjoying what they’re doing and radiating all along. Those who haven’t heard her live after the baby: It’s true, Anna’s voice got surprisingly bigger, especially in the middle. Above the staff she was still cautious and covering, perhaps saving it for the next Saturday matinee.

Matthew Polenzani is a very fine musician, who (still) keeps amazing me with his unparalleled pianissimi and heartfelt legato. Perhaps he is not very skilled as an actor, nevertheless his rendition of “Come’ gentil” was triumphant and the audience loved him. He finished the serenade with mezza voce instead of the traditional forte.

John Del Carlo has a huge basso buffo instrument, genuinely suited to this repertoire. He had done a fantastic job as Bartolo in Barbiere few years ago. Some of us may wish to see a more Italian and suave approach like Enzo Dara’s, yet his acting combined with musicianship proved to be great. One wonders why Mariusz Kwiecien is spending time and effort in belcanto repertoire when he should be singing Onegin. He has one of the most beautiful baritone materials in the world today, and the stage presence is remarkable.

Overall, duets were much better received than solos in this performance. Especially “Cheti, cheti immatinente” at the end of third act (which was partially encored!) and “Tornami a dir che m’ami” were executed divinely.

When it comes to the production: It is the original era. The decors are still fresh since it is a young production and one doesn’t need more than that. Changes between scenes were executed pretty rapidly, unlike some other productions (Boheme, Aida, etc…) The world’s best opera chorus does a wonderful job in its very short appearance. The orchestra had no apparent difficulty adapting itself to the unexpected new conductor.

My issue with the production was my frustration about Norina and Malatesta’s relationship. I don’t know if this was Otto Schenk’s perception of them or because it was simply Anna and Mariusz: There was a huge sexual tension between those two. By the end of their duet, they almost made out on stage. I have seen a number of Don Pasquale productions and this stood out with this unusual interpretation. It was, I think, unnecessary. Thus, the title of my review.

This Don Pasquale is really a good production, I highly recommend it. Not only because of a first grade cast who truly enjoy their art, but the simple, yet stupendous music takes one away from one’s daily struggles, questions and doubts. After all, life is fair and everything is fine the way they are. Art is here to soak us into another dimension, a deep level where, even one note of music, makes a miracle. And that is happiness.

La Grande Duchesse dell’Altra Notte…

2009-11-18T08:48:00.000-08:00

A funny thing happened to me yesterday. I was desperate to go to Aprile Millo’s long awaited recital but it simply wasn’t in the budget. La Cieca sent a posting mentioning she would give her extra ticket to the first one who e-mails her. I sent it, I got it, and the rest is history…

There are occasions like this that are remembered in one’s life even after decades. This was one of those. How lucky are those of us who had the chance to witness it.

The recital began with a pleasant though unnecessary dance performance on the Cavalleria’s Intermezzo. Then the diva appeared. I was expecting a classic gown, nevertheless Miss Millo was in a very smartly designed “Leonora” costume. Ton sur ton, black on black lace, v-shape front and décolleté, silver under-gown, silver hairnet. Too much? Perhaps, but she owned it all the way through.

Her unparalleled lirico-spinto opened with a very refined interpretation of Donaudy’s “O del mio amato ben”, followed by Donizetti’s “Amore e morte”, and Wolf-Ferrari’s “Bondi, cara Venezia”. The latter was a zest. An unusual attempt in German by the Divine Miss Millo excelled in “Zueignung”, perfectly continued in French with Massenet’s “Elegie”.

Millo is also a great conversationalist. I never heard someone with such a beautiful speaking tone like hers. She has a great sense of humor as well. All together, while still keeping a distance between a Queen and her subjects. The following “Ne poi krasavista…” from Rachmaninoff was introduced by the soprano as a dedication to her mother, whose Russian blood was discovered only after her death. My favorite piece of the first part was an anonymous “Villa Triste”, during which we all learned what “caressing each word” meant and what does the “old school” stood for.

An unfortunate event happened after that. A member of the audience, while rushing to go outside in between songs, fell very bad and hit his head to the ground and passed out. It happened right in front of us, and for those who were there but unable to see it, the well-placed, legato voice with an almost Dawn Upshaw ping who shouted that there was an injured person was nobody else’s but our Doyenne herself!

The incident followed by an early intermission due to the emergency service. The second part began where the first one was supposed to go on. A three Neapolitan song formed a joyful medley, and this time dedicated to Pavarotti (Core ‘ngrato, Torna a Surriento and O sole mio). Then, came another unnecessary dance performance. Finally, came the opera section. Until then, we all knew that the soprano was preparing herself and her voice for this, and so were we. Probably everybody in the audience were holding on their breath. And the lady did not disappoint.

An incredible “Laggiu del Soledad” soared, and we, once again, learned what Puccini meant. Nevertheless, the show stopper was “L’altra notte in fondo al mare”, performed by an incredible attention to the words and the music. My wonderful voice teacher Mr. Ira Siff always tells me that I should even vocalize an “a” as it was a whole aria, my only aria on the stage. Now it’s clear, Teacher! Another aspect of Millo’s voice is the extraordinary use of the chest voice. It’s almost an inhuman sound. Never exaggerated, never vulgar. And never screamed.

The Trovatore duet with Luis Ledesma was fine, although the latter should learn that a powerful and well- placed voice is simply not enough, and that what makes a singer a true “musician” is the ability to sing pianissimo. Michael Fabiano who gave company in the Zaza duet needs to stop being shy on stage, even though he sings with a diva. Both male voices are very solid and promising though. Actually, the Zaza piece is another trademark of Millo. But, I don’t think it was appropriate to put such an expressive verismo piece in this recital. I listened to a live recording of this and it was indeed fabulous, nevertheless it was a little “too much” on soprano’s efforts. This type of crying out loud scenes are more appropriate to full staged or full concert versions of the complete opera.

One wished to hear “D’amor sull’Alli rosee” or “Tacea la notte” (the latter was on the pick-up list), however the recital ended with an extraordinary interpretation of “Danny Boy” accompanied with harp, and dedicated to Millo’s parents, and my favorite Italian song “Musica Proibita”.

When one watches/listens Millo, it’s a totally different experience. One cannot sit comfortably in his chair. One is always aware and focused on what’s going on. One doesn’t want to miss anything. I will not start a discussion here on the possible reasons why she hasn’t been performing on a regular basis, but one truly misses such exquisiteness, uniqueness, quality and dedication. And that incomparable Italianita!

During the course of the recital, Millo was courageous about talking on her weight related issues and her crisis. She lost 50 lbs. in the last three months, and she looked stupendous. Finally, The OONY prepared a nice large size booklet with full of pictures and dedications. A big “Bravi” to all those who helped organize such a memorable evening. For me at least, it was a performance of a lifetime I will treasure forever.

Paisiello, per carita!

2009-11-05T18:25:00.000-08:00

It is always a relief when one comes across a wonderful creation, a new existence, a rediscovery. One feels regret for not knowing it before, but alas, the joy overflows. The fear of unknown, the fear of leaving the comfort zone always ends up with enlightenment and embracing the new known. In this case, is Gli Astrologi Immaginari by Paisiello.

Giovanni Paisiello (1740-1816) may not be known to large crowds besides his popular arie antiche, which all conservatory students had to learn in some step of their education (e.g. “Nel cor piu non mi sento”); however he was one of the finest and hardest working composers of his generation. He composed some 94 operas, and hundreds of other compositons. He started studying classical singing, later focused on composition in the Conservatorio di S. Onofria at Naples.

His masterpiece Il Barbiere di Siviglia gave him a reputation all over Europe, while most music critics point to Gli Astrologi Immaginari to be one of his finest. So did Empress Catherine of Russia who summoned him. While his stay in Russia, Paisiello composed a dozen of operas. The reviewed opera became so popular that it was translated in several languages, and performed many times.

What we have in our hands today is a handsome CD of the latter, from Nuova Era, recorded by Radiotelevisione Della Svizzera Italiana in 1967 under Bruno Rigacci. The cast, though not first rate, do some justice to this light and amusing opera. The whole piece is 72 minutes and is a classical fun/disguise/misinterpretation/happy end story of an elderly father Petronio (bass Teodoro Rovetta), his two daughters Clarice (soprano Carmen Lavani) and Cassandra (mezzo-soprano Angela Vercelli), and a stranger, Giuliano (baritone Giancarlo Montanaro), who presents himself as a famous philosopher in order to obtain Clarice’s hand.

The opening Sinfonia is an incredible delight, although short. Under the baton of an outstanding Rossini conductor such as Abbado or Chailly, it would be a masterpiece all by itself. (Let’s be fair… Still, both the orchestra, conductor and the chorus are doing justice to the work.) The rest is a series of recitativo, ensemble and arias… the traditional technique and delivery of the period music.

One actually admires the intelligent composition of ensembles more than the arias, since they reveal more depth about the characters, and even the performers deliver better . Nonetheless, three arias are standouts: Clarice’s “Mi si guida la mia stella”, Giuliano’s heavenly “Vi lascio in pegno al core”, and “Salve tu Domine.”

The cast consists of European singers. One guesses that it would be unfair to expect a cast with big names for an almost unknown work at the time of this recording. Yet, this is the only commercially available studio recording so far. Lavani stands out with the bright lyrical sounds she produces all throughout the piece, if not sometimes routine TKTK (she starts slightly flat, reminding one of the horrible experience La Tebaldi had in one of her master classes). The contrast between her and the mezzo Vercelli is profound, as it should be, considering the difference in their characters. Rovetta should have known better since this opera is magnificent showcase for a basso buffo/comico voice, yet he fails to deliver, especially in the solo lines. One wishes to hear a Taddei or Bruscantini’s lyricism in both male roles, especially in Petronio’s “A voi darla in matrimonio.”

This one-CD recording comes in a handsome cover and the information included in the booklet enlightens us about Paisiello and his life. However, one is disappointed with the lack of libretto translations, which is only included in the original Italian by Giovanni Bertati. It is of extreme importance that such works who were left in the shadow for centuries come with translations in major languages in order to be promoted.

Most critics may find this opera very “simple”, or “not sophisticated enough”, nevertheless, if one considers that Paisiello used to compose seven operas a year, this is a huge accomplishment. Yet, this opera, like many others, did not live long to become popular enough to be included as a repertoire opera.

Wouldn’t it be great if the Met and other big houses produce concert or semi-staged versions of short pieces like this? First of all, they would be very economical to produce, and then, they could take away all that craze and obsession of big and popular operas, and one would be delighted to see people learning about these undiscovered jewels instead of crucifying Bondy or Zeffirelli.

It is always like watching sport fanatics when one witnesses opera lovers going extreme and fight for “their” opera, or performer or producer, and so forth. There is nothing wrong with it. However, opera is more than that. We are so busy discussing which half of the glass if empty, that we often forget there is a whole endless ocean out there waiting to be discovered.

Tosca "as is"...

2009-10-18T16:29:00.000-07:00

I know I should write more often, but one needs an inspiration to do so, especially if one doesn't want to do routine and ordinary.

Va Tosca! I saw the infamous booed new production last night. No, I did not boo. I will never remember Karita Mattila for any Puccini (or, well, Italian?) parts at all. Baritone Gagnidze nailed it, Alvarez is a sweet voice. Production is far from being an enduring one. This will be the first and last season of it. Let's leave it like that.

The reason I'm writing this is to focus on Tosca as a character. Tosca is a diva, a very jealous woman. During the course of the opera, she grows, she becomes more mature. The tragedy is there since the first note Scarpia steps in, and never disappears from then on.

Most performers portray Tosca as that coquette, capricious woman, who will make you laugh in the first act, then impress you with a final high note on "Vissi d'Arte", followed by another famous and long high note when she throws herself. Ladies and gentlemen, Tosca is more than a bitch with high notes.

Tosca is a woman who already has personal issues. One should pay close attention on her exchanges with Scarpia all along the first two acts. There is an immense sexual tension and "mutual" (yes, mutual!) attraction between them. Watch carefully both of the versions presented us by the unequaled Callas and Gobbi (Paris concert and Covent Garden performance.) When acted to the perfection, that becomes the biggest drama of the whole storyline. The relationship between Tosca and Cavaradossi is not an endless love. Tosca likes to possess, Cavaradossi simply enjoys life the way it is. It's a "light" love, planned, modeled and executed by Tosca, and Cavaradossi is a "comprimario" in this sense.

In the backcloth of the tragedy, there is also politics and power, dominated by Scarpia and the people his level. It actually makes more sense that a woman like Tosca be attracted to Scarpia more than Cavaradossi. He is a Baron, has money, status, power, execution and most of all, determination. He's not simply a villain. Perhaps, the fact that the "action" is this time managed by the other part frustrates Tosca. She doesn't want to lose the ego (a.k.a. the comfort zone), and is upset because the events are not happening the way she wanted.

This is a personal point of view of course. Nevertheless, it adds more spice and depth to the story and the incomparable music surrounding it. And I'm certain that one feels this depth and tension more when one feels attracted to Scarpia while still feeling the fear. Gagnidze, although not perfect vocally, was able to deliver this. One wondered what his next action would be. And in the finale, although murdered, Scarpia is still the winner. He manages to direct the two others' destiny and leaves a legend behind. I wouldn't the least surprised if Puccini had named his opera "Scarpia."

"E avanti a lui tremava tutta Roma..." We're still thrilled dear Baron.

Rigoletto a la maniere Boyagian...

2009-09-26T17:15:00.000-07:00

Suddenly last week, I came across a miracle: Excerpts from my youth, a beautiful time, a once in a lifetime experience: Garbis Boyagian's Rigoletto. A triumph, a never ending after taste.

I remember, yes I do. I was a college student freshly in love with what's called "opera" and one of the first video tapes I bought was "Rigoletto" from Arena di Verona. The main character was sung by an artist unknown to me: Maestro Boyagian. I didn't care about the name, all I wanted was the music.

There are moments in one's life when life just stops, everything is present and still, no past nor future. From his entrance until the curtain call, that's what Boyagian gave me and gave to all the Verona and the world. I recall watching his true "sospiri" and pain all along, especially when he passes at the end of Act I. Maledizione!

I lost that video in between houses and countries but I never forgot it. When I saw some excerpts on YouTube, Boyagian turned my life upside down again. That is one true musician, who enjoys his art and is aware of everything and everyone around him. That is making a real difference in this world.

One wonders if Boyagian got his share of "maledizione" as well. Forgive my ignorance if I haven't seen any other video or came across of any recording with him shining in (and out). I don't even know where he lives or what he's been doing? I only hope that he keeps on singing. How many Verdi portrayals did I miss during all those years? Pieta per me!...Therefore, I dedicate myself to know more about his career and his other successes.

I don't favor comparing old and new generations of performers. Nevertheless, one misses that singer's "Gesamkunstwerke", a combination, wholeness of all arts that few were able to show. There was Maestro Boyagian with his singing,acting and again awareness. There is not one moment where he is not Rigoletto. Even a single hand gesture, a look has a meaning in the context, planned or not. It's a "whole". Boyagian is Rigoletto, Rigoletto is Boyagian.

Thank you Maestro. Wherever you are, whatever you do, please know that you made a huge difference in my life. Besides admiration, you have all my respects. You are not Maladetto, but Benedetto!

Respectfully yours...

For those who do not know Mastro, or those who want to remember his uniqueness, please do yourself a favor and click:

http://www.youtube.com/watch?v=PJnXqLGttwU
http://www.youtube.com/watch?v=GNZzfOiBQoQ
http://www.youtube.com/watch?v=Nhbc26SM0kI

A Look at Volpe...

2009-09-13T16:51:00.001-07:00

I did something I thought about doing for sometime now, I bought "The Toughest Show on Earth" by Joseph Volpe, former GM of the Met.

The reason I waited so long was, first, because I did not know him well, and secondly because I did not want to know about someone who was about to leave the Met for good. Nevertheless, I had heard that he began his Met career as a carpenter, then raised to the top of his game, and stayed there for a considerable time.

Tough job, toughest show it must be. For most, a dream position, but certainly a very edgy level where one must be nothing but diplomatic, determined, objective and fair, and yet artistic. After only after I visited Met in one of those Met Backstage Tours, that I understood the seriousness of this art and business...beyond imagination.

I'm starting to read the book tonight and would love to share my comments as well as yours here. Please feel free to post. Thank you...

In Memoriam...Gobbi the Great

2009-08-31T18:21:00.000-07:00

While I was reading the simple yet wonderfully sincere "My Life" by Tito Gobbi (which I finally was able to get through an independent seller in amazon.com,) I couldn't help myself to admire him one more time. His dedication to music and his dream of becoming a musician made him encounter huge challenges, even starving. Nevertheless, he remained loyal to himself and became one of the best baritones in the music history.

His greatest calling card was of Scarpia in Puccini's "Tosca." One wonders how, a beautiful, smooth, lyric voice like his portrayed such an evil like Scarpia. Every word, every letter became a lesson in music when sung by Gobbi. His fully integration and melting in the role and loyalty to the composer's music...that's art at its highest, unparalleled.

I can write a book about Gobbi and the difference he made for the rest of the world but for now, I'll leave you with an excerpt, which I believe will support my opinions.

Ciao Gobbi, it's been a while since you left us, but your artistry still remains unique and I salute you with all my respect.

http://www.youtube.com/watch?v=hmBld82t6xg

A Belated Sympathy...

2009-08-24T18:53:00.000-07:00

Hildegard Behrens died.

She is one of those beings whose death really touched me, more than I thought it could. The reason I haven't written about her since her passing last week, is my process of self-reflection in order to figure out why I felt sorry.

I know I guess. After watching her in Mozart's "Idomeneo" I understood. It hit me. She lost herself in the character to such a degree that one considers hers as the best interpretations. Incredible acting, incredible. The role as a second skin. The character completely possessing. A huge spirit, a true musician loyal to her fach and repertoire.

I will never forget her version of "Salome"s last scene. So simple, human, yet the voice soaring above the orchestra, channeling Strauss and all the craze, ice and steel. All in one voice. Hers was it.

Goodbye La Behrens. Thank you for being yourself, and making such a difference in this world and raising the vibration. We owe you a lot, yet it feels as a comfort to know that we're all one.

Salome kissed Jochanaan...http://www.youtube.com/watch?v=jzAEEeFcFB0

Disappointed?...Je vous en prie!

2009-08-21T19:06:00.000-07:00

Countless times, yes, indeed...The same old process: Dream or envy, followed by thought then feeling, then action (or just being still), and I am disappointed, again. Some of us consider this as bad luck, some call it karma. Few others, like me, keep on dreaming though.

My point in choosing disappointment for today's blog is my recent discovery of the enormous number and high frequency of it. Why disappointed? Answer is clear: "Mea culpa." Disappointed with the answer? I bet you are.

Like each and every of us, I am responsible of everything that happen in my life. Because I make them happen, I let them happen. I, consciously or unconsciously wish for it, dream of all of it, prepare it, cooperate with the sum of all of us and voila! The very instant I discover this, "only then" I can manifest myself, take action "and" realize my dreams. The outside world and universe are only a reflection. The whole thing is a creation coming "from within."

Opera is full of disappointed characters, That's the drama "pure et parfaite." The innocent lyric soprano is always disappointed with her tenor darling. She misunderstands and misinterprets. The end mostly is covered with Scottish blood!

On a personal note: I admire Macbeth because, in spite of everything (even his Lady M.), he's never disappointed. He is well aware of his sins, yet he stands by them. He dies with his honor. He exchanges tragedy with tragedy.

A less dramatic, however verismo piece "Carmen" has an angelic character, Micaela (even the name is holy) who, in answer to all her dreams and peace, finds the greatest disappointment and disappears in the story, almost inhaled, gone... One of the best interpretations of the Act II aria "Je dis que rien ne m'epouvante..."is a present to this world by the incomparable Angela Gehorghiu. Listen, please. http://www.youtube.com/watch?v=i9Dnu5NaFmM

The Unbearable Unfairness of Ego...

2009-08-17T10:22:00.000-07:00

While reading all opera reviews, I'm sure you're noticing one big thing: One always compares…endlessly. Gheorghiu in Boheme? No, Freni was better. Pape? No, Siepi was the greatest.

We all have the freedom and right to defend our views, tastes and judgments. However, when it comes to this point in criticizing one for an older or deceased one is only another game by our faithful friend: EGO. How? Let me explain.

When we hold on to our favorites, we, mostly unconsciously, hold on to our past, a.k.a. our comfort zone. Our dreams, our wonderful past, our youth, our "firsts" all come together and become our solid wall we stand by. The ego always knows where to flash back, bring and expose them when necessary. So far, so good. Moreover, most of us always resist to change, and prefer rather to stick to the "known" one.

This habit or approach exhibits itself especially when it comes to criticizing. When we hold on to our favorite performer and reject the new one, we actually hold on to our past, to those beautiful times and our preferred ones are starring in this ever-recurring movie. We refuse the new ones, because they can never be like the "old" ones. Those were better…so were we. Let's face it. We don’t want the old one to go, because it represents us, the true us, doesn't it? Think for a few moments, you may agree.

In the meantime, I certainly agree on the observation that the singers in the old times spend more times on working and performing and gave more from themselves and their vocal material than the contemporary ones. No doubt about it. They were more legendary because they were harder to reach. In today's conjuncture, the performers are everywhere; online, offline, here and there. Nevertheless, there are very gifted artist today and they sure need your appreciation as well. Listen to them, you may find a fresh new sound or note to your favorite opera which you thought did not exist before.

A beautiful example? Try the British mezzo Alice Coote. A true artist, a musician. More than that, she enjoys what she's doing. "Verdi Prati" from Handel's "Alcina." http://www.youtube.com/watch?v=F0ofc2ps3vs

The Met's New "Boccanegra"...

2009-08-16T18:09:00.000-07:00

The Met's 2009-2010 season has a revival of the old Simon Boccanegra production. Boccanegra is Placido Domingo...This will be the Spaniard tenor's first Met production as a Verdi bartione.

Domingo had already performed (and well) Oreste in Iphigenie en Tauride with Susan Graham.

One thinks if there is no other and true Verdi baritone who could sing it instead of Domingo. The overexposure of the latter may be bothersome, actually. His never ending energy and inarguable talents are no doubt. His close relationships with Levine and Gelb are certainly major factors for such casting. "When you have it, flaunt it" was Gelb's own words in last year's celebration of Domingo's 40th anniversary at the Met.

I'm not Gelb nor Levine. however, if I were the one to decide on casting I couldn't help myself but give the part to the incomparable true Verdi baritone of Zeljko Lucic. The latter already mesmerized the audience with his portrayal of Macbeth two seasons ago. He has such a smoky, burnished tone that eases him for pretty much all Verdi parts.

My point is not to underestimate the grand artistry of Domingo. He is my king of legato and phrasing, and will certainly do justice to Boccanegra. However, true art and talent should be priority when compared to PR.

On a final note, the choice could be much worse (e.g. Thomas Hampson, Roberto Frontali)

Here is the best Boccanegra ever lived, Piero Cappuccilli in the gran scena "Plebe, patrizi, popolo!"
http://www.youtube.com/watch?v=ZmPwNzuWhL8

Gheorghiu's off of Carmen, Garanca fits in...

2009-08-12T18:58:00.000-07:00

One wonders why Angela Gheorghiu cancels so much. This time she mentions "personal problems", which are rumored to underline her arguable split from her husband Roberto Alagna. most people seem to be pleased that a "soprano" who is supposed to sing a traditionally "mezzo" role withdraws.

I rather chose to be fair. AG is a wonderful artist. She has an amazing style and class that's unique to her and her alone. She sure had times where she didn't give her best but nobody else did, did they? On a personal note, her Mimi stands out as the best ever.

On the other hand Elina Garanca is an emerging star and apparently has gained some experience in "Carmen". I have no doubt that she'll do the role the justice it deserves. Nevertheless, one shouldn't condemn AG for attempting to sing "Carmen". Here is a clip of hers, you be the judge (or well, don;t judge, be fair instead): http://www.youtube.com/watch?v=pJLyZqETuBU

And now an excerpt from EG's: http://www.youtube.com/watch?v=A0TECWrbsEM

I salute art and its performers. All voices are gifts to this world and they make a difference they mean to.

Goodbye now,

Macbeth

Transition...In Between Lives...

2009-08-09T19:39:00.000-07:00

Sunday it is,

Today I've been feeling "in between" the whole time, no apparent reason, nothing major. In between life and dreams, truth and courage, black and white. It reminded me a wonderful piece from Massenet's "Thais": "Je ne veux rien garder de mon passe..." and goes on...by the sweet and human interpretation of La Fleming. http://www.youtube.com/watch?v=aasfGH39wvU

Even if we decide to realize the transition, can we easily leave the past, the comfort zone, that warm and known piece of us? Only if I combine courage and passion that I become unstoppable.

Night,

Macbeth

Opera as Meditation...

2009-08-08T20:04:00.000-07:00

There are arias who, all of a sudden take us from wherever we are to beyond us, beyond everything. This Macbeth always wonders what the composer had thought while writing that one special piece of music. Did he ever imagine its effects on generations to come, or was it just a few notes here and there on the journey where the bigger and better was dreamed.

This is one of those..."D'amor sull'ali rosee" from Verdi's "Il Trovatore" followed by the unequaled "Miserere." Again, I attach La Gencer's clip of it,a true lesson in singing, performing and everything written in between the lines. I especially admire the contemporary Sondra Rodvanovsky, whim I had the privilege of watching at the Met last season. Simply beautiful. Please discover Sondra at http://www.youtube.com/watch?v=5OwV1nukWu4

Good night all, good bye.

To my Reader...

2009-08-07T20:32:00.000-07:00

Whoever you are, I want you to have a good night. And I want you to listen to Leyla Gencer's interpretation of "Casta Diva" from Bellini's "Norma", hoping it will give you the light, the peace, the hope you're looking for. http://www.youtube.com/watch?v=ymIOaUO-lTA

Yes, it's one of those nights where I feel inspired by great talents, and my thoughts are all full of wishes, dreams and far lands. Some of them true, some unreal, yet mostly challenging and beautiful. Rejuvenation comes after winning over oneself find oneself beyond, the point of no return.

And a quote: "What would you do if you knew you couldn't fail?"

Be well Reader, you are dear to me.

Faithfully,

Macbeth

In search for the better Mezzo...

2009-08-07T09:51:00.000-07:00

I've been thinking for a while now. The necessity of a full voiced mezzo for coloratura repertoire is obvious.

In our days, we are blessed to witness and enjoy some wonderful voices with elegant stage presence and acting skills. Nevertheless, pretty much all of them "cover" the voice in order to save their material for a longer career. At first, this may seem logical, especially considering the competition in the art lyrique. However, their very cautious teaches should also have told them the few divas or divos who are considered legends still today are the ones who used almost their full potential at the stage...singing like there is no tomorrow.

This should not be interpreted as careless singing. I'm talking about performing based on a solid technique, acting, and especially singing the "right" repertoire.

Time will show if we will see a strong mezzo, like the kinds of Horne, Simionato, Nicolai and others to give us thrills, and be grateful to the composers who gave us such masterpieces.

To be continued...

Mattila Paradox

2009-07-23T11:17:00.000-07:00

Those of you who saw Mattila in last season's "Onegin" will remember (and mostly agree) that she was not best suited for the part. Neither was Thomas Hampson, anyway. I'm still trying to figure out why she wants to sing any Puccini at all.

A whole new world...

2009-07-22T11:19:00.000-07:00

Hello from Macbeth to All,

Today is Wednesday, July 22nd, 2009 and I've just opened this blog.

All achievements start with a dream and mine is to make this blog the most down to earth, serious and elegant one. I am not competing with anyone nor looking to make a living out of this.

My point is to discuss about opera, performers and productions in a different way. Nowadays, the opera critics or audience tend to comment more on the physical and superficial aspects of it all, and not giving the "art lyrique" the value it deserves. This should not be interpreted like I do not favor the expansion to young or diverse audience. Au contraire...Like all classical arts, opera needs fresh blood to survive. What I intend to do is "fair criticism". It is always easy to qualify someting or an individual as good or bad, nevertheless to be fair is the hardest yet the rightful approach. Moreover, one should express him/herself to the fullest, yet without omitting the respect factor.

The present serves as an introduction and I truly expect all those of you who passby the blog to contribute.

Since I'm based in New York, I'm lucky (and somehow limited to) the Met. The season is soon to take flight. Aren't we all excited? Yes, we are. Even though I'm not sure about a season's first performance with Karita Mattila in Tosca, I still feel the positive vibe and the enormous hard work those individuals and institutions put together all the time.

The subject of our first blog is to discuss the cast and production of the mentioned Tosca. More information can be found at http://www.metoperafamily.org/metopera/season/production.aspx?id=10372

Welcome everyone. And thank you for taking the time.

Yours,

Macbeth