Met Opera: La Fanciulla del West w/ Kaufmann

[+ WilliamM]

I only saw Grigolo perform once, but it was a bell canto opera (Lucretia Borgia) at the Kennedy Center in 2008 with Renee Fleming.

 

Impressive!

Edited October 29, 2018 by WilliamM

[bostonman]

... and how very complicated getting each act's set unit on (and off) stage is...No wonder the intermissions are so long.

 

Yes, but that's only because it's been that way for so many years, and audiences have come to accept it. (Though it seems to me that intermissions have actually gotten a bit longer in the last decade or so.) The professional goal should be quite the opposite - design sets that can be changed over in less time. Though, one way the Met has tried to help that is to present operas with less intermissions - something that is often done for 4-5 act operas but has become more common even for shorter operas.

 

On the other hand, of course, longer intermissions also mean that more concessions are sold, more people get through the bathroom lines, and singers that prefer more of a break between acts get their wish.

 

I do enjoy seeing the bits of backstage work that they show on the HD's. What I do lament is the quality of the radio broadcast features, which when I was a kid (in the first years when Peter Allen took over as host and Geraldine Souvaine was the intermission czar, lol), just felt classier, so much more informative, and fun. Even the ubiquitous Opera Quiz doesn't feel like it did back then. Ah, well...

[+ g56whiz]

Competition is a feature of audiences—also known as fans (or fanatics)—as much as it is of performers.

 

Especially at the opera.

Up until recently I think the Met might have agreed with you. Saturday after Saturday at Live In HD performances the breath starved diva would walk off stage only to have Deborah Voight or Renee Fleming thrust a mic in their face with a “How did if feel singing Seglinde this afternoon?” If was like half time at a pro football game. Fortunately they’re more thoughtful now.

 

As a retired performer I might have at one time agreed. I admit to attending performances like a sporting event at which I was cheering on the tenor “There he goes! Is he going to nail that high Aflat? YESSSSS!!

 

But when performing my challenge was always to give all of myself in attempting to achieve the objective of the composer.

 

That may disqualify me now as being a fan.

[+ g56whiz]

What I do lament is the quality of the radio broadcast features, which when I was a kid (in the first years when Peter Allen took over as host and Geraldine Souvaine was the intermission czar, lol), just felt classier, so much more informative, and fun. Even the ubiquitous Opera Quiz doesn't feel like it did back then. Ah, well...

 

Agreed but will there ever be a radio voice as mellifluous as that of Milton Cross? Or any wit as droll as quizmaster Olin Downes? As for Geraldine Souvaine according to insiders long since deceased, referring to her as a czar is only appropriate in the context of Ivan the Terrible.

[TruHart1]

Yes, but that's only because it's been that way for so many years, and audiences have come to accept it. (Though it seems to me that intermissions have actually gotten a bit longer in the last decade or so.) The professional goal should be quite the opposite - design sets that can be changed over in less time. Though, one way the Met has tried to help that is to present operas with less intermissions - something that is often done for 4-5 act operas but has become more common even for shorter operas.

 

On the other hand, of course, longer intermissions also mean that more concessions are sold, more people get through the bathroom lines, and singers that prefer more of a break between acts get their wish.

 

I do enjoy seeing the bits of backstage work that they show on the HD's. What I do lament is the quality of the radio broadcast features, which when I was a kid (in the first years when Peter Allen took over as host and Geraldine Souvaine was the intermission czar, lol), just felt classier, so much more informative, and fun. Even the ubiquitous Opera Quiz doesn't feel like it did back then. Ah, well...

 

For a look at how the MET can also stage a lean, rapidly moving piece be sure to check out the final Live in HD transmission this season on May 11, 2019, of Poulenc's "Dialogues of the Carmelites" where you will see the almost bare bones John Dexter/David Reppa 1987 production which uses lighting effects and only minimal sets.

 

Seemingly sparse, with an often bare stage, the piece finds me totally moved by the end of the opera when Blanche, the main young character who becomes a nun because of her fear of living, finally welcomes her death on the guillotine along with her former "sister" nuns. Of course, Dialogues is a piece that has quite a number of different scenes in both of its two acts, so quickly changing scenes are required for this opera to flow.

 

TruHart1

[bostonman]

Agreed but will there ever be a radio voice as mellifluous as that of Milton Cross?

 

Sorry, I much preferred Peter Allen.

[TruHart1]

From the Live in HD transmission last Saturday, 10/27/2018 during the performance of La Fanciulla del West with host Susanna Phillips:

https://www.facebook.com/video.php?v=247096109292736

 

TruHart1

[samhexum]

[rossthebosssf]

I'm not the biggest Kaufmann fan. I feel he pushes too much and feel his career won't be as long as some of the great tenors.

[+ g56whiz]

I'm not the biggest Kaufmann fan. I feel he pushes too much and feel his career won't be as long as some of the great tenors.

Agreed but I’m enjoying it while he can.

[TruHart1]

I'm not the biggest Kaufmann fan. I feel he pushes too much and feel his career won't be as long as some of the great tenors.

Agreed but I’m enjoying it while he can.

The exact same things were said about Placido Domingo when he first sang Verdi's Otello way back in 1979 at the Metropolitan Opera. He continues to sing new major roles (albeit in the Baritone canon!) today, almost 30 years later! There are times when Kaufmann sounds very much like Domingo. For both I will have to disagree about the "pushing" that has been a criticism of both tenors' technique over the years.

 

Time will tell but personally, I always believed that Domingo had the best technique of the "Three Tenors" and Kaufmann's technique is certainly comparable to Domingo's back in the late 1970's, the 1980's and 1990's. Having begun his professional operatic career in 1994 in his native Germany, Kaufmann has already been singing for nearly 25 years. How long do you believe a tenor's career has to be to last "as long as some of the great tenors"?

 

LOL. There is bound to be one critic or other (or future forum member!) commenting on some future tenor star's "pushing" his voice too hard and ending his career prematurely (after singing professionally for nearly 25 years!) because he does not like that tenor's sound personally. We all have our own taste in operatic singers but when a Jonas Kaufmann appears on the scene, rises to the top of his profession and has a rock solid technique, not to mention the ability to sing Italian, French, and German roles with such ease and nuance, it is difficult for me to take this particular criticism of his singing seriously.

 

TruHart1

[bostonman]

Count me as someone who LOVED Domingo’s Otello. If anything, he could border on the hammy, but it was still exciting.

[+ g56whiz]

Count me as someone who LOVED Domingo’s Otello. If anything, he could border on the hammy, but it was still exciting.

Especially with Justino Diaz as Iago. The second act could actually be spine tingling.

 

FWIW Domingo started out as a baritone. If I’m not mistaken his first recording is a Spanish language version of a Broadway show and he’s in a baritone role.

[bostonman]

Especially with Justino Diaz as Iago. The second act could actually be spine tingling.

 

FWIW Domingo started out as a baritone. If I’m not mistaken his first recording is a Spanish language version of a Broadway show and he’s in a baritone role.

 

It's actually very common for tenors to start out as baritones. I also seem to recall that Domingo played Figaro on a recording of The Barber Of Seville at some point early on. I think it's much less common for older tenors to go back to baritone roles. But I do give Domingo a lot of credit, even if his still mostly tenor-y timbre can sound odd (IMO) in the heavy baritone roles he has chosen over the last few decades. I heard the live broadcast of the Met's Il Trittico the other night where Domingo was honored, onstage, for his 50 years of singing at the Met. It's hard not to be moved by that achievement. Quite amazing.

 

He did do a recording (in English) of Man Of La Mancha (as Cervantes/Quijana/Quixote) sometime in the 1990's, when there were a glut of those kind of "crossover" recordings of Broadway shows. Unfortunately I've never heard most of it. It includes Mandy Patinkin doing some horrid "Speedy Gonzales" stereotype with Sancho, and that was so unlistenable to me that I never spent any time with the rest of the recording. (It actually surprises me that Patinkin didn't realize that Sancho, in the musical, is much more of a "Borscht Belt" comic role than anything else.)

[+ Charlie]

I have been listening to Domingo for 50 years, and for the last decade I always expect that the next time I will think, "It's time for him to quit." But I never do. When the time finally comes, sometime around 2035, someone will probably mount a production of Turandot just so he can end his career as the Emperor Altoum.

Edited November 26, 2018 by Charlie

[TruHart1]

It's actually very common for tenors to start out as baritones. I also seem to recall that Domingo played Figaro on a recording of The Barber Of Seville at some point early on. I think it's much less common for older tenors to go back to baritone roles. But I do give Domingo a lot of credit, even if his still mostly tenor-y timbre can sound odd (IMO) in the heavy baritone roles he has chosen over the last few decades. I heard the live broadcast of the Met's Il Trittico the other night where Domingo was honored, onstage, for his 50 years of singing at the Met. It's hard not to be moved by that achievement. Quite amazing.

 

He did do a recording (in English) of Man Of La Mancha (as Cervantes/Quijana/Quixote) sometime in the 1990's, when there were a glut of those kind of "crossover" recordings of Broadway shows. Unfortunately I've never heard most of it. It includes Mandy Patinkin doing some horrid "Speedy Gonzales" stereotype with Sancho, and that was so unlistenable to me that I never spent any time with the rest of the recording. (It actually surprises me that Patinkin didn't realize that Sancho, in the musical, is much more of a "Borscht Belt" comic role than anything else.)

It's ironic that you bring up Patinkin's Sancho Panza, @bostonman. He attended college at the University of Kansas (my Alma Mater) his freshman and sophomore years, (when I was a sophomore and junior there) before moving on to the Julliard School, with a national (non-musical) commercial for 7-Up in between (The "Uncola!") His freshman year he was cast in a production of Man of La Mancha as, yes, Sancho Panza!

 

I was going through a phase of being completely bored with my disastrous major of Civil Engineering so I decided to "audit" theater classes and wander into rehearsals for whatever school productions were being mounted at the time. Wandering into a rehearsal of La Mancha with Mandy was an experience I will never forget. To say I was impressed with him is an understatement! Both the Aldonza and her understudy were fantastic too, not to mention the Don Quixote, a senior faculty member who later became my voice teacher when I switched my major to Music Education.

 

Anyway, I was quite impressed with Patinkin's interpretation and thought at the time he had an impressive high tenor voice. Then, in his sophomore year Patinkin was cast as Tevye in Fiddler on the Roof. I was truly amazed that this high voiced, somewhat silly interpreter of Sancho suddenly transformed into the ultimate, almost bass-voiced father of three girls who talked to God. None of his technique at the time seemed in any way forced, for either role. My first introduction to the versatility of Mandy at which he was so amazing!

 

Later on, when he created the role of Che Guevara in the first Broadway production of Evita in 1979, all of his vocal promise came to fruition and I realize I was lucky enough to have seen and heard him when he was just starting out. I know many people dislike his crooning technique in concert at times and we've all heard about how abrasive he was to work with on Criminal Minds, yet there's no doubt to me that he is a Broadway legend!

 

Finally, to Streisand, another legend who many hated working with, I will be forever grateful for somehow turning the nebbish, dumpy Mandy I was familiar with in college, into the total HUNK he became in Yentl!!!

http://2.bp.blogspot.com/-5qVnFeC8Vo4/T9bV1Mn9t-I/AAAAAAAAX3I/GZsQPdWPzAc/s1600/yentl_mandypatinkin03.jpg

 

TruHart1

[TruHart1]

Sorry for the OT side trip into Broadway territory. Since Herr Kaufmann is involved at this very moment in a new production of Otello, from 11/23 to 12/15/2018 at the Bavarian State Opera, (Bayerische Staatsoper) here is a comparison for you:

 

From the MET telecast of Domingo's first time singing Otello at the MET in 1979:

 

From the Covent Garden production of Otello last year, Herr Kaufmann's very first production singing the Moor of Venice:

 

To me, both amazing singers, at the top of their respective careers!

 

TruHart1

[+ E.T.Bass]

It's ironic that you bring up Patinkin's Sancho Panza, @bostonman. He attended college at the University of Kansas (my Alma Mater) his freshman and sophomore years, (when I was a sophomore and junior there) before moving on to the Julliard School, with a national (non-musical) commercial for 7-Up in between (The "Uncola!") His freshman year he was cast in a production of Man of La Mancha as, yes, Sancho Panza!

 

I was going through a phase of being completely bored with my disastrous major of Civil Engineering so I decided to "audit" theater classes and wander into rehearsals for whatever school productions were being mounted at the time. Wandering into a rehearsal of La Mancha with Mandy was an experience I will never forget. To say I was impressed with him is an understatement! Both the Aldonza and her understudy were fantastic too, not to mention the Don Quixote, a senior faculty member who later became my voice teacher when I switched my major to Music Education.

 

Anyway, I was quite impressed with Patinkin's interpretation and thought at the time he had an impressive high tenor voice. Then, in his sophomore year Patinkin was cast as Tevye in Fiddler on the Roof. I was truly amazed that this high voiced, somewhat silly interpreter of Sancho suddenly transformed into the ultimate, almost bass-voiced father of three girls who talked to God. None of his technique at the time seemed in any way forced, for either role. My first introduction to the versatility of Mandy at which he was so amazing!

 

Later on, when he created the role of Che Guevara in the first Broadway production of Evita in 1979, all of his vocal promise came to fruition and I realize I was lucky enough to have seen and heard him when he was just starting out. I know many people dislike his crooning technique in concert at times and we've all heard about how abrasive he was to work with on Criminal Minds, yet there's no doubt to me that he is a Broadway legend!

 

Finally, to Streisand, another legend who many hated working with, I will be forever grateful for somehow turning the nebbish, dumpy Mandy I was familiar with in college, into the total HUNK he became in Yentl!!!

http://2.bp.blogspot.com/-5qVnFeC8Vo4/T9bV1Mn9t-I/AAAAAAAAX3I/GZsQPdWPzAc/s1600/yentl_mandypatinkin03.jpg

 

TruHart1

 

My first love was a civil engineering major. Me, I majored in Mechanical Engineering.

Our freshman year, we shared a hotel room on our way back from a football game at Kansas U. Funny how far he traveled so he could have a try with me.

Alas, he eventually went off to have a wife and fam, and me, I headed out west.

 

Such memories.

 

https://www.youtube.com/watch?v=ZiYM4Dfh0eY

 

Let's see. How to bring this back on the opera track.

Back in those younger days I would tag along with my mom to the summer opera festival at Simpson College, which is quite good.

These days when my opera friend has an extra ticket I attend the LA Opera with him. Not too shabby. Recently saw Rigoletto.

[+ E.T.Bass]

For old time's sake, I checked this summer's schedule at Simpson.

 

Looks tempting.

 

http://desmoinesmetroopera.org/documents/cms/pics/Season1.jpg

Edited November 26, 2018 by E.T.Bass

[TruHart1]

For old time's sake, I checked this summer's schedule at Simpson.

 

Looks tempting.

 

http://desmoinesmetroopera.org/documents/cms/pics/Season1.jpg

Years ago I had friends who lived in Somerset, IA, close to Simpson and I got to attend a number of fine operatic performances at Des Moines Metro Opera!!!

 

TruHart1

[+ WilliamM]

Anyway, I was quite impressed with Patinkin's interpretation and thought at the time he had an impressive high tenor voice. Then, in his sophomore year Patinkin was cast as Tevye in Fiddler on the Roof. I was truly amazed that this high voiced, somewhat silly interpreter of Sancho suddenly transformed into the ultimate, almost bass-voiced father of three girls who talked to God. None of his technique at the time seemed in any way forced, for either role. My first introduction to the versatility of Mandy at which he was so amazing!

 

Later on, when he created the role of Che Guevara in the first Broadway production of Evita in 1979, all of his vocal promise came to fruition and I realize I was lucky enough to have seen and heard him when he was just starting out. I know many people dislike his crooning technique in concert at times and we've all heard about how abrasive he was to work with on Criminal Minds, yet there's no doubt to me that he is a Broadway legend!

 

Also Male Broadway Legends (singers): John Raitt, Howard Keel, Alfred Drake, Ezio Pinza

 

Pinza also appeared in two Broadway shows.

[bostonman]

Also Male Broadway Legends (singers): John Raitt, Howard Keel, Alfred Drake, Ezio Pinza

 

Pinza also appeared in two Broadway shows.

 

I would quibble that Pinza was truly a Broadway legend - he was an operatic legend that is also famous for one major Broadway role. (His other show, Fanny, is pretty much a forgotten show now, though I think it had a successful run at the time.) Most certainly Keel was a Hollywood legend, but certainly not a Broadway legend. His entire Broadway career, from what I know, was merely in replacing other leading men after they left their original runs. He never originated a show himself (aside from a complete flop stage version of Seven Brides For Seven Brothers, in which he reprised the role he played in the film). Not sure that makes him a "legend" in any way. (Also, even with his major singing roles in films of Broadway properties, he was recreating someone else's roles, including a few originated by Raitt and Drake.)

 

Raitt and Drake, however, were the real deal.

Edited November 27, 2018 by bostonman

[+ WilliamM]

Also Robert Preston (if you include I Do I Do). The Musical toured after NY with Preston and Martin until they could not continue anyl longer in a two-day person musical.

 

I am not against Mandy whom I saw in Evita and Sunday in the Park.

Edited November 27, 2018 by WilliamM

[+ WilliamM]

@TruHart1, I was invited to an event at Streisand's former home in Malibu: one fairly big house and several very small houses. It's not on the ocean, but if someone was careless with a match the compound would be in flames. So she may not be as obsessive as reported.

[Guest InthePines]

@TruHart1, I was invited to an event at Streisand's former home in Malibu: one fairly big house and several very small houses. It's not on the ocean, but if someone was careless with a match the compound would be in flames. So she may not be as obsessive as reported.

 

I remember when she lived there with Jon Peters. She gave concerts for political fundraisers and a few interviews from the estate, (one with Barbara Walters and another with Geraldo Rivera when she was promoting Yentl). As far as obsessive behavior is concern, she was the first to make all visitors, (including big name stars), sign a confidentiality before they we permitted access.