Opera Alert

[operalover21]

Nice points Opera Lover. You are right about the abusive relationship between Don G. and Leoprello (part of the generally sociopathy that is Don G.), but my point was not that they are a "model gay couple," but that there were erotic sparks between Don G. and Leporello. This production brings that out, especially in the super-erotic and drawn-out exchange of clothes but also in the constant touching and body contact between Don G. and Leporello. (That Leporello has the more "macho" presentation---ripped body, hairy chest, lower voice, in contrast to the Canadian pretty boy looks of Don G. in this production---made it more erotic for me.)

 

That's true. I guess I was just looking at it in the context of its 18th century creation. But that's a perfectly valid -- and interesting -- interpretation. It would be hard not to have erotic sparks on stage between those two hunky guys!

 

Just saw "From the House of the Dead" at the MET. A complete stunner. One of the best productions I've seen there in 20 years.

[+ Charlie]

He's 5'5" at best. A really nice guy but I want a complete theatrical experience and he always looks so silly.

 

Many years ago, I saw a performance of "Turandot" with Flaviano Labo, who was truly tiny, as Calaf, and Marian Lippert towered over him in their confrontations. The couple next to me started to have a giggle fit, and soon I could hear people all around trying to suppress their laughter.

[whipped guy]

As for Anna Netrebko, don't get me started. What is that woman doing singing bel canto since she can't belto? It's all wrong for her...

 

Don't get ME started!!! As far as Bel Canto is concerned at best she is suited for only for some of the "-ina" roles such as Adina or Nornia... if she can learn to trill that is... I agree wholeheartedly regarding your recommendations as regards what she should be singing.

 

A while back I had heard something to the effect that she wants to tackle the tilte role in Anna Bolena... a certain Greek soprano must be rolling over in her grave.

[Guest alanm]

 

As for Netrebko, Based on the Pasquale broadcast she was a decent Norina. However, I wish she had not avoided the trills in her opening aria. Still, I am sure that her lovely voice, visual good looks, and acting ability made quite an impact in the theater.

 

I saw Pasquale for Florez, and ended up enjoying Netrebko even more. She is an excellent actress, and her comedy skills were on full display in Pasquale, although they likely did not come across on radio. I am looking forward to seeing Netrebko in Hoffmann, which is one of my favorite French operas.

[whipped guy]

She is an excellent actress, and her comedy skills were on full display in Pasquale, although they likely did not come across on radio.

 

Many who have seen her perform have been won over by her acting and her deportment on stage... not to mention that she is a truly beautiful woman. I have never seen her on stage though I have seen some videos of her work. However, I guess I value the aural over the visual. To make an analogy in the 1980's I saw Mirella Freni as Elisabetta in Don Carlo at the MET. She was quite good and looked the part to perfection. A season or so later I saw it with Caballe... who looked absolutely hideous in the part... but sang like an angel. If I had to relive one of those two performances it would not be the former that I would choose. That's just me...

 

In that Pasquale broadcast when during her first act cabaletta Netrebko completely ignored Norina's long trill she lost me. Now as I recall the rest of the aria was sung quite decently and I am sure that she looked the part to perfection... but how many pianists or violinists would even even be allowed into a Conservatoy... much less be allowed to graduate... if they could not trill? She did the exact same thing in Puritani where she ignored the trills in her opening duet... and elsewhere as well. Fifty-plus years ago a singer might be able to get away with such a cavalier attitude toward such details... but not today. To illustrate a difference in attitude, there is a story that when Callas recorded the final scene from Anna Bolena she not only worked on the tills in that aria so she would perform them to perfection, but also insisted that the English horn player be completely in sync with her as regards timing and the exact execution of the ornament... That's the difference between merely getting by and greatness.

 

Now as I noted above in a previous posting, the complexities of opera are so great and everyone perceives things so differently that there is room for many varying opinions, and that is what makes opera and forums such as this so fascinating and interesting!

[William]

Netrebko

 

Many who have seen her perform have been won over by her acting and her deportment on stage... not to mention that she is a truly beautiful woman. I have never seen her on stage though I have seen some videos of her work. However, I guess I value the aural over the visual. To make an analogy in the 1980's I saw Mirella Freni as Elisabetta in Don Carlo at the MET. She was quite good and looked the part to perfection. A season or so later I saw it with Caballe... who looked absolutely hideous in the part... but sang like an angel. If I had to relive one of those two performances it would not be the former that I would choose. That's just me...

 

In that Pasquale broadcast when during her first act cabaletta Netrebko completely ignored Norina's long trill she lost me. Now as I recall the rest of the aria was sung quite decently and I am sure that she looked the part to perfection... but how many pianists or violinists would even even be allowed into a Conservatoy... much less be allowed to graduate... if they could not trill? She did the exact same thing in Puritani where she ignored the trills in her opening duet... and elsewhere as well. Fifty-plus years ago a singer might be able to get away with such a cavalier attitude toward such details... but not today. To illustrate a difference in attitude, there is a story that when Callas recorded the final scene from Anna Bolena she not only worked on the tills in that aria so she would perform them to perfection, but also insisted that the English horn player be completely in sync with her as regards timing and the exact execution of the ornament... That's the difference between merely getting by and greatness.

 

Now as I noted above in a previous posting, the complexities of opera are so great and everyone perceives things so differently that there is room for many varying opinions, and that is what makes opera and forums such as this so fascinating and interesting!

 

 

Whipped, as before, I love your analysis of the vocal abilities and techniques of Netrebko and other performers.

 

I saw the "Don Pasquale" featuring Florez and Netrebko. This is far from my favorite opera; the title character is a pitiful old fool, exploited by his yuppie nephew Ernesto (Florez) and his lover Norina (Netrebko); the plot is silly, even by opera standards. But I love Ernesto's garden serenade---and I adored the Florez-Netrebko duet. But I agree with Whipped that Netrebko's beauty and acting ability (and her marvelous chemistry with Florez) distracted audience members such as myself from her limits in that Bel Canto role.

 

I thought Netrebko was much better as Violeta in the SF Opera's production of "La Traviata" last summer. This was a better vocal role for her---and her theatrical ability was on great display. (I also loved her as Juliet in "Romeo and Juliet" a few seasons back.) So no more Bel Canto, and much more Verdi for Anna Netrebko.

[operalover21]

Don't get ME started!!! As far as Bel Canto is concerned at best she is suited for only for some of the "-ina" roles such as Adina or Nornia... if she can learn to trill that is... I agree wholeheartedly regarding your recommendations as regards what she should be singing.

 

A while back I had heard something to the effect that she wants to tackle the tilte role in Anna Bolena... a certain Greek soprano must be rolling over in her grave.

 

She is definitely doing Anna Bolena at the MET in around 3 or 4 years. It will be a disaster.

 

I know some are "bowled over" by her acting but it leaves me cold. It's a bunch of stock gestures and there are only so many times I can stand seeing her writhe on the floor while singing. Natalie Dessay and Karita Mattila are FAR better singing actors for my money.

[operalover21]

I saw Pasquale for Florez, and ended up enjoying Netrebko even more. She is an excellent actress, and her comedy skills were on full display in Pasquale, although they likely did not come across on radio. I am looking forward to seeing Netrebko in Hoffmann, which is one of my favorite French operas.

 

Thank god she changed her mind about Hoffmann. She was originallly scheduled to sing all four heroines. Gosh, would that have been a mess. She should be OK as Antonia. But she's still not singing her obvious fach.

[whipped guy]

Thank god she changed her mind about Hoffmann. She was originallly scheduled to sing all four heroines. Gosh, would that have been a mess. She should be OK as Antonia. But she's still not singing her obvious fach.

 

I was wondering which role she would be taking on... Actually she probably will be OK as Antonia as I do see her in the French repertoire.

 

She is definitely doing Anna Bolena at the MET in around 3 or 4 years. It will be a disaster.

Hopefully it will never happen. If the MET is finally going to produce this interesting opera for the first time ever, it had better be done properly or not done at all! Frankly I am not sure who would be able to do absolute justice to the title role in the next 3 or 4 years. Perhaps someone such as Angela Meade who is an up and coming personality who performed the title role in Semiramide at Caramoor this past July? I'm really not sure.

[operalover21]

I was wondering which role she would be taking on... Actually she probably will be OK as Antonia as I do see her in the French repertoire.

 

 

Hopefully it will never happen. If the MET is finally going to produce this interesting opera for the first time ever, it had better be done properly or not done at all! Frankly I am not sure who would be able to do absolute justice to the title role in the next 3 or 4 years. Perhaps someone such as Angela Meade who is an up and coming personality who performed the title role in Semiramide at Caramoor this past July? I'm really not sure.

 

It's already on the MET schedule. They are going to do all 3 Donizetti "Queens." Unless she gets smart it is going to happen. I don't think Angela Meade fits into their "concept of a MET star" but she'd be better than Nebs.

[whipped guy]

It's already on the MET schedule. They are going to do all 3 Donizetti "Queens." Unless she gets smart it is going to happen. I don't think Angela Meade fits into their "concept of a MET star" but she'd be better than Nebs.

 

I am happy (with reservations) to hear that they will be doing all three operas, and since we mentioned her in this thread hopefully Joyce DiDonato will figure in there somewhere. She would be absolutely awesome as Giovanna Seymour! Plus, she probably could do either Elisabetta or Maria in Maria Stuarda, though I think Elisabetta would be a better fit. In retrospect she probably would be able to do Anna in Bolena as well! Now who do they get for Liz in Roberto Devereaux!?

 

Regarding Angela Mead... I am hoping she will develop into something decent. Based on a live recording from Caramoor, she did do a credible job as Semiramide and that's no small feat.

[operalover21]

I am happy (with reservations) to hear that they will be doing all three operas, and since we mentioned her in this thread hopefully Joyce DiDonato will figure in there somewhere. She would be absolutely awesome as Giovanna Seymour! Plus, she probably could do either Elisabetta or Maria in Maria Stuarda, though I think Elisabetta would be a better fit. In retrospect she probably would be able to do Anna in Bolena as well! Now who do they get for Liz in Roberto Devereaux!?

 

Regarding Angela Mead... I am hoping she will develop into something decent. Based on a live recording from Caramoor, she did do a credible job as Semiramide and that's no small feat.

 

I don't have my copy of the MET's five year plan in front of me but I do seem to remember the names Renee Fleming and Joyce di Donato do figure in this plans in addition to Netrebko but I could be remembering things wrong. I'll look it up and post it .....

[operalover21]

OK. I looked it up.

 

Anna Bolena opens the 2011/12 season with Netrebko, Garanca, and they yummy Stephen Costello. Angela Meade is the cover and will probably get a performance or two.

 

Maria Stuarda is scheduled for 2012/13 with Joyce di Donato in the title role.

[+ Charlie]

I think Maria Stuarda actually works better with a mezzo in the title role. I saw Janet Baker do it in London many years ago, when it was considered a daring innovation, and I loved it.

[whipped guy]

I think Maria Stuarda actually works better with a mezzo in the title role. I saw Janet Baker do it in London many years ago, when it was considered a daring innovation, and I loved it.

Well, Maria Mailbran would have been characterized as a mezzo by today's standards and she sang the title role at the Milan premiere so that all makes sense. I have never heard the Janet baker recording, though I do recall reading that she transposed parts of it down.

 

Now contrary to popular opinion I actually think that Maria Stuarda is the best opera of the so-called Tutor Trilogy. One can argue (and I would agree) that certain portions of Anna Bolena and Roberto Devereaux are better and achieve a higher lever of inspiration, but I find Stuarda to be the most consistent of the three pieces. The composition just seems to hold together better than the other two operas which have passages that seem less than totally inspired... such as some of the choruses and "Vivi tu" in Bolena and Nottingham’s aria and Roberto's prison scene in Devereaux. Now that does not mean that I think that those sections are seriously flawed or that I don't enjoy them... It is just that for me Stuarda has a uniformity of ideas and inspiration that is more constant than that of the other operas. Add to that the cat fight that closes Act I (or what used to be Act II before the critical edition was available) and you have a winner! Now with whom will Joyce DiDonato get to wrestle in that wild scene?!

[Guest alanm]

Dessay and Florez

 

I was one of the few people who liked last season's "La Sonnambula," and only because I believed the opera rehearsal parts of the Dessay-Florez relationship. And both performers sang beautifully. That was during a performance at the Met.

 

When I watched the opera on PBS, I was just as bored as the critics and some of the people in the audience at the Met.

 

What's my point? It needs to underlined heavily that listening and watching a performance in an opera house, especially with charismatic personalities with great voices, is a very different experience than watching it on DVD and/or HD in a movie theater or listening to CDs.

 

My comments are not necessarily directed at anyone on this site, rather the Met leadership and the fund raising phone calls about the Met performances in movie theaters. Enough, please please please..........

[operalover21]

I was one of the few people who liked last season's "La Sonnambula," and only because I believed the opera rehearsal parts of the Dessay-Florez relationship. And both performers sang beautifully. That was during a performance at the Met.

 

When I watched the opera on PBS, I was just as bored as the critics and some of the people in the audience at the Met.

 

What's my point? It needs to underlined heavily that listening and watching a performance in an opera house, especially with charismatic personalities with great voices, is a very different experience than watching it on DVD and/or HD in a movie theater or listening to CDs.

 

My comments are not necessarily directed at anyone on this site, rather the Met leadership and the fund raising phone calls about the Met performances in movie theaters. Enough, please please please..........

 

I agree. Opera on record, in the movies, and live in the house are three different art forms. I wouldn't be without any of them.

 

I also liked Sonnambula but, then again, I don't think that silly libretto is the holy grail. ANYTHING you do to that boring story is a help. I thought that Dessay and Florez pulled it off and I saw 3 performances in the house. I never saw it in the theater.

[whipped guy]

La Sonnambula!!!!!!!!!

 

I was one of the few people who liked last season's "La Sonnambula,"

 

Now I was one of the many that hated that Sonnambula! Ironically I even had a heated argument about it with a very well-reviewed and popular escort in NYC. This occurred mid-session (while he was wielding a whip no less) and continued via email for several days afterward. Of course the escort thought that Bellini was a 20th Century composer... so I rest my case as least as far as this working guy is concerned!

 

At any rate, here is my “take” on that production of La Sonnambula at the MET, which was given in the “we are presenting the opera as a rehearsal in the theater of the absurd version” with music by Vincenzo Bellini and libretto by Luigi Pirandello, except for the final scene which was presented as a bad W. S. Gilbert parody. I was never quite sure if I were watching a rehearsal of the Bellini opera or the “real-life” interaction of those participating in the so-called rehearsal. In addition there was quite a bit of busy and distracting stage action. While I don’t like updating, I will tolerate it if done with respect. However, when the update not only goes against the music, but actually parodies the music, because the producers really don’t believe that the original concept was valid… and when laughter is elicited where none is intended… well I have to draw a line… and a big line. As for the singing Flórez was his usually dependable self though I wished there were more nuances in his singing…but Dessay was really out of her element. The quiet singing of which there is much was quite nice, but the more florid passages sounded somewhat labored, and the high notes unpleasant… not in the Callas, Sutherland, or even Patrizia Cioffi league. Fortunately I had Callas’ EMI recording in my iPod and to regain my sanity I listened to it during my return trip from New York. La Divina was Amina… Her “Ah, non credea mirarti” will never be surpassed…

 

So whip me...

[+ Charlie]

Well, Maria Mailbran would have been characterized as a mezzo by today's standards and she sang the title role at the Milan premiere so that all makes sense. I have never heard the Janet baker recording, though I do recall reading that she transposed parts of it down.

 

She did tranpose some parts down, and even some of the British critics, for whom anything Dame Janet did was sacrosanct, admitted they were disappointed by that. Her singing was so gorgeous, however, and her emotional commitment so wrenching in the premier performance, which I attended, that the transpositions didn't bother me. I have never heard the recording.

[+ Lucky]

"Now I was one of the many that hated that Sonnambula! Ironically I even had a heated argument about it with a very well-reviewed and popular escort in NYC. This occurred mid-session (while he was wielding a whip no less)"

 

Only an anecdote like this could get me to read anything about opera. For my money, escorts who like opera need not tell me about it!

[whipped guy]

Janet Baker... Mary Stuart

 

She did tranpose some parts down, and even some of the British critics, for whom anything Dame Janet did was sacrosanct, admitted they were disappointed by that. Her singing was so gorgeous, however, and her emotional commitment so wrenching in the premier performance, which I attended, that the transpositions didn't bother me. I have never heard the recording.

 

Charlie... There is a DVD as well. The audio version was originally issued by EMI as I recall, but is now available as part of Chandos "Opera in English" series. I have not seen or heard either.

[whipped guy]

Only an anecdote like this could get me to read anything about opera. For my money, escorts who like opera need not tell me about it!

Lucky... let me make an analogy to which you... well actually both of us... would be able to relate. The whole incident was similar to hooking up with an escort and then finding out that he was a dreaded die-hard Boston Red Sox fan of the most unyielding type. That is something that would probably not lead to a very gratifying experience for either of us!

[operalover21]

Lucky... let me make an analogy to which you... well actually both of us... would be able to relate. The whole incident was similar to hooking up with an escort and then finding out that he was a dreaded die-hard Boston Red Sox fan of the most unyielding type. That is something that would probably not lead to a very gratifying experience for either of us!

 

I would kick the hottest escort on the planet out of my bed if he told me he was Boston Red Sucks fan. I have to draw the limit somewhere!

 

Lucky doesn't like opera? Why am I not surprised. I suppose he's more the Britney Spears type.

[whipped guy]

I would kick the hottest escort on the planet out of my bed if he told me he was Boston Red Sucks fan. I have to draw the limit somewhere!

I would do the same, but not until I got the guy on his knees and had him really prove that BOSTON SUCKS in the literal sense as well!

 

Lucky doesn't like opera? Why am I not surprised. I suppose he's more the Britney Spears type.

Definitely!

 

PS: And I thought this was supposed to be the cultured thread!!!

[+ Charlie]

You have Lucky all wrong: he's the Broadway show tunes type.