Met Opera Choices, 2010-2011

[BaronArtz]

I am a huge Wagner fan, so I got a great ticket for Das Rheingold (Levine, opening gala) and for Die Walkure (Levine) and again Das Rheingold (Levine) in the spring of 2011. I look forward most to the opening gala and the after party ...

 

But you guys got me interested in the 'Comte d'Ory' with Florez ... it's probably sold out though, I should check. Thanks for the tip!

[Guest alanm]

I believe I understand (mostly) the priorities in the Callas live recordings. But, I have one more question, my local CD/record store has the Edinburgh Callas La Sonnambula from '57 (Testiment UK, released in 2008). Have you heard this recording? If so, how does it compare with the Divina Records version.

 

I ask only because it would be nice to buy it now to get some idea as to what you have been talking about. I still intend to order the Norma and Lucia from Divina Records.

 

Q to BaronArtz: I have gone to one Broadway opening night party, but never to a Met gala and after party. What is the latter like?

[Guest Chicagokok]

The Testament is a new mastering I believe. The Divina is in stereo, but I am not sure about the Testament, though it should say so on the box. Testament usually does good work from what I know. My source says that the Divina is the only one in stereo, but it could be wrong.

[leigh.bess.toad]

I am a huge Wagner fan, so I got a great ticket for Das Rheingold (Levine, opening gala) and for Die Walkure (Levine) and again Das Rheingold (Levine) in the spring of 2011. I look forward most to the opening gala and the after party ...

 

Well at least I'm not the only one (with my name, what do you expect???) Unfortunately there's no way for me to get to New York so I'll have to settle for the HD transmissions. Obviously looking forward to the Rheingold and Walkure. All we can hope is they have better luck than the Tristans did a few years ago (12 performances over 2 years with no perrformance having the same cast -- what were the odds?). Also looking forward to the Boris with Pape as I am a huge fan of his. I first heard his Don Carlo and I was hooked. Lastly, the Trovatore with Radvanovsky and Zajick, the last remaining Verdi soprano and mezzo IMHO. Maybe if I'm bored and have a few extra bucks laying around I may take in Capriccio. I'm not a huge Fleming fan but at least I think she's at her best in Strauss, at least generally that's true. But we'll see on that one.

[whipped guy]

La Sonnambula: Testament vs. Divina

 

The Testament is a new mastering I believe. The Divina is in stereo, but I am not sure about the Testament, though it should say so on the box. Testament usually does good work from what I know. My source says that the Divina is the only one in stereo, but it could be wrong.

I have the Testament (August 21 if memory serves me correctly) and it is in excellent mono sound.... However Callas is not warmed up until the middle of the first act... The voice initially sounds tired and she hits her first attempted E flat in alt in the staccato embellishment in the second verse of her opening cabaletta more as a D or D flat... the final climactic E flat is a disaster... she hits it sort of and then quickly slithers down to the concluding A flat... After the voice warms up it is vintage Callas... I have heard a section of the Divina version and the stereo does not sound like stereo to me...Indeed years ago I asked Pablo about it and he said the the stereo separation was not wide... but for a 1957 broadcast I assume it was experimental in nature. I prefer the Edinburgh broadcast from August 26... quite decent mono sound from Divina and Callas is in much better form. I actually prefer it to the much touted July 4, 1975 Cologne performance...

[Guest alanm]

Whipped,

 

I just ordered Anna Bolena from Divina. Now I need to stay away from the store here in Philadelphia with the copy of the Edinburgh La Sonnambula on Testament.

 

Easier said than done, perhaps.

 

Thanks for everyone's advise, especially your advise.

[whipped guy]

Easier said than done, perhaps.

Well... I have probably spent more on escorts over the past few years... definitely over the past decade... However, I just might have spent more on Callas over my lifetime... LP's... Tapes... CD's... new versions on CD... remasterings... new discoveries... etc. Not to mention other operatic recordings!!!

 

Shoot! I guess that's were my retirement nest egg has gone!!!

[Guest Chicagokok]

I agree with whipped that the Stereo Sonnambula on Divina sounds a little odd--I actually got an old LP of it in stereo and the sound is not as forward as on the CD. I prefer it.

 

I am still waiting for the 6 JUL 57 Sonnambula from Cologne--it should be here tomorrow or the day after. Though recently I have found some conflicting info about this LP in particular I can't wait to have it in my hands.

[whipped guy]

I agree with whipped that the Stereo Sonnambula on Divina sounds a little odd--I actually got an old LP of it in stereo and the sound is not as forward as on the CD. I prefer it.

 

I am still waiting for the 6 JUL 57 Sonnambula from Cologne--it should be here tomorrow or the day after. Though recently I have found some conflicting info about this LP in particular I can't wait to have it in my hands.

I have a CD version of the August 21 Edinburgh Sonnambula that is in stereo... but it sounds like simulated stereo to me and was different sounding from the snippet that I heard from the Divina version. The mono Testament is much cleaner and crisper sounding... which tape was supposedly from the private collection of EMI's Walter Legge. Still, I like the July 26 performance better even though the sound is not as clear as the July 21 performance.

 

Regarding the July 6, 1957 Cologne Sonnambula... I have heard that there are versions floating around that are composite versions of the July 4 and July 6 performances... It will be interesting to see if you can make a comparison to your copy of the July 4 version. Incidentally, the July 4 Sonnambula has always bothered me because while it was professionally recorded, the voices always seem to be slightly "off mike". I wonder if this is why it languished in obscurity for so long. Also, in the final "Ah! Non giunge" Callas in error sings an embellished version of a phrase during the first verse and this has always somewhat bothered me... a small point... but no one dares mention it because this performance is considered to be the epitome of her performances of this opera.

 

Also, I propose that we start a thread entitled "Maria Callas Recordings" and this way we can add to it with updates of various versions of her performances so that the information can more easily be accessed in a more organized fashion for those who are interested. Just a thought...

[NYTomcat]

OK Boys I need input. Im taking a young man (no not a love interest a family member and opera neophyte but music lover) to his first opera. I really think my immediate reaction is to keep it fairly popular with music he would know at least tangentially. My gut reaction is to do Carmen. But I myself am not the opera afficianado. Im the Ballet afficianado. Any others I should consider without going to extreme in taste or is Carmen the right idea?

[leigh.bess.toad]

OK Boys I need input. Im taking a young man (no not a love interest a family member and opera neophyte but music lover) to his first opera. I really think my immediate reaction is to keep it fairly popular with music he would know at least tangentially. My gut reaction is to do Carmen. But I myself am not the opera afficianado. Im the Ballet afficianado. Any others I should consider without going to extreme in taste or is Carmen the right idea?

 

Tomcat -- IMHO Carmen isn't a bad choice. You didn't say the timeframe you're looking at and you didn't specify the Met (but I'm making that assumption). Carmen is set for November timeframe. The 2 others that you might want to consider is La Boheme (set for October-November) or Magic Flute (sung in English, runs only about 1 hour and 40 minutes, but is set for December/January timeframe). From my perspective, Carmen probably has the strongest cast of the three, but Magic Flute has one big advantage you may like -- you'll get to spend a considerable amount of time staring at Nathan Gunn, which is never a bad thing to do. Too bad he's married with about 100 kids. But at least you'd get a little eye candy to keep yourself occupied as well.

 

For a first time opera goer, whatever you do, under no circumstances do you take him to Wozzeck. He probably knows the Ride of the Valkyries but is it worth sitting through 5 hours of opera just for that for a new opera goer. It took me 30+ years to eventually migrate more from Verdi/Puccini to Wagner. I can't imagine starting with Valkyrie. The only other one would be La Traviatia -- it worked when Richard Gere took Julia Roberts to see it in Pretty Woman, but I wouldn't count on that reaction.

 

Just MHO. Hope it helps.

 

Lee

[NYTomcat]

Tomcat -- IMHO Carmen isn't a bad choice. You didn't say the timeframe you're looking at and you didn't specify the Met (but I'm making that assumption). Carmen is set for November timeframe. The 2 others that you might want to consider is La Boheme (set for October-November) or Magic Flute (sung in English, runs only about 1 hour and 40 minutes, but is set for December/January timeframe). From my perspective, Carmen probably has the strongest cast of the three, but Magic Flute has one big advantage you may like -- you'll get to spend a considerable amount of time staring at Nathan Gunn, which is never a bad thing to do. Too bad he's married with about 100 kids. But at least you'd get a little eye candy to keep yourself occupied as well.

 

For a first time opera goer, whatever you do, under no circumstances do you take him to Wozzeck. He probably knows the Ride of the Valkyries but is it worth sitting through 5 hours of opera just for that for a new opera goer. It took me 30+ years to eventually migrate more from Verdi/Puccini to Wagner. I can't imagine starting with Valkyrie. The only other one would be La Traviatia -- it worked when Richard Gere took Julia Roberts to see it in Pretty Woman, but I wouldn't count on that reaction.

 

Just MHO. Hope it helps.

 

Lee

 

Lee it helps alot. Wozzeck is what I was taken to for a first opera. Its like dragging a neophyte to Swan Lake. You may know the music but 4 acts later dear god you dont care... I think Carmen is a good choice (I love the music ok from the ballet) but Its known and as long as you believe its going to be a good production I can forgo the eye candy.

[leigh.bess.toad]

Tomcat -- Glad it helped. The only thought on the Magic Flute (besides staring at Nathan Gunn which I could do all day) is the fact it's only 1:40 in length (versus 3:25 for Carmen) and is in English (vs. French with English supertitles). You didn't say the age of the young gentleman so depending on his age, that was my thought there. But Carmen is a fine choice too. Good luck.

 

Lee

[whipped guy]

Tomcat... I think your Carmen instincts are good... familiar music as well... It was not my first opera... but it was my first opera at the MET. As for The Magic Flute... I saw the production on TV and Nathan Gunn as the bird man Papageno simply has too many feathers on his costume... I would want to pluck him to get down to his bare body... and no I won't post a pic... as I have done that way too often here... If the young man wants to view a beautiful woman however, I might suggest Don Pasquale with Ana Netrebko as a possibility as well... and the music is very accessible and she will be decent in the part in spite of possibly being a bit shaky with her trills based on past performances of the opera... there's a musical joke in there...

[Guest alanm]

 

 

 

Also, I propose that we start a thread entitled "Maria Callas Recordings" and this way we can add to it with updates of various versions of her performances so that the information can more easily be accessed in a more organized fashion for those who are interested. Just a thought...

 

I agree. Either Chicagokok or you should start the thread. You both (and others) have the knowledge and experience.

[NYCOperaQueen]

If the boy is already a music lover, I would guess that there are already composers that have become his favorites. Anything on the roster by a composer he already likes? Otherwise, the La Boheme or the Carmen are good first choices. The tenor in the fall performances of Boheme is Victor Grigolo who is just at the cusp of becoming a major opera star. Lots of videos with him on youtube because he did a fair amount of pop singing when he younger. Don't hold it against him. Very easy on the eyes and you can imagine that he didn't have that pesky "r" in his last name.

 

Otherwise, even though it seems like a strange choice, I would actually recommend the new Das Rheingold, particularly if the boy has a strong interest in mythology or loved the Lord of the Rings books or movies. Wagner's Ring is about a different ring, but who doesn't like a story about a cursed ring and warring gods? The cast is very strong and the production should be visually spectacular and Rheingold requires lots of special effects. The Met rebuilt part of their stage and replaced their entire lighting system just for this show (although other shows will benefit from the new lights). Of course, he might get hooked and demand that you take him to the next 3 parts. I know Wagner has a bad rep for newbies, but I would make an exception for Rheingold, particularly for someone who is already a big fan of orchestral music. Hearing the Met Orchestra play Wagner is a very special experience. Tickets may already be hard to get.

[leigh.bess.toad]

Otherwise, even though it seems like a strange choice, I would actually recommend the new Das Rheingold, particularly if the boy has a strong interest in mythology or loved the Lord of the Rings books or movies.

 

But maybe only if he's committed the Anna Russell's Analysis of the Ring to memory. I don't think there's a music major anywhere in the country over the last 50 years who hasn't learned the ring cycle any other way except for the late, great Ms. Russell. "Do you remember Alberich???"

 

Lee

[+ Charlie]

Tomcat, how old is "the boy"? If he is under 15, "The Magic Flute" is probably the most appropriate. If he is older, I would suggest "La Boheme," which even a less than stellar cast can make effective, especially if they are reasonably young and goodlooking.

[NYTomcat]

Tomcat, how old is "the boy"? If he is under 15, "The Magic Flute" is probably the most appropriate. If he is older, I would suggest "La Boheme," which even a less than stellar cast can make effective, especially if they are reasonably young and goodlooking.

 

Ok Boy to me he is 22, I think La Boheme is another option It was the second choice but I know he knows the music from Carmen. We both actually know Jessie Norman who is a friend of the family and he has heard her perform a number of the pieces from carmen and butterfly. That was what started him saying he was interested in attending the Met in the first place. I just don't know their season well enough to know if Carmen was just a bad cast and should be avoided.

[leigh.bess.toad]

Ok Boy to me he is 22, We both actually know Jessie Norman who is a friend of the family and he has heard her perform a number of the pieces from carmen and butterfly.

 

Jessye is a friend of the family? Color me a very, very, very, dark shade of green with envy. But yes, Carmen has a great, cast. Elina Garanca is one of, if not the, best Carmen of today. I love Nicole Cabell. Brandon Jovanovich is an up and cummer (and yes he is exceptionally easy on the eyes -- hunkentenor material to me anyway). And John Relyea is very reliable. This is the cast through the November performances, so I'd say go for it.

 

And as a going away present, since you won't get to see Mr. Gunn (even under the feathers):

 

http://www.thestandingroom.com/photos/nathan_gunn/pearlfishersphila5.html

 

Lee

[Steven_Draker]

The tenor in the fall performances of Boheme is Victor Grigolo ... Very easy on the eyes and you can imagine that he didn't have that pesky "r" in his last name.

 

I adore you.

[Guest Chicagokok]

Not a bad idea. I just got the Sonnambula LP today, and I will compare them over the long weekend. I also emailed the person I think is responsible for the LP, and I hope to get a response.

 

I know that Walter Legge had tapes of Callas performances--I know the testatment Vespri is based on his tape. So the Sonnambula could be too.

 

As for the amalgam of the july 4th and 6th '57 sonammbulas, I have heard of this as well. I read that there was some correspondance between Pablo Berruti and Frank Hamilton about this, where supposedly Berruti said that both performances were recorded, but they had been mixed and it was difficult to tell the difference. I agree with whipped that the Cologne Sonnambula from the 4th (the one i am familiar with) does sound like the mike was quite distant.

[Guest alanm]

that The tenor in the fall performances of Boheme is Victor Grigolo who is just at the cusp of becoming a major opera star. Lots of videos with him on youtube because he did a fair amount of pop singing when he younger. Don't hold it against him. Very easy on the eyes and you can imagine that he didn't have that pesky "r" in his last name.

 

The Washington D.C. production of "Lucrezia Borgia" in 2008 with Renee Fleming and Victor Grigolo was a very enjoyable camp fest. Her performance gave me a new level of respect for Fleming. Aren't Grigolo and Anna Netrebko doing "Manon" at the Met next season?

[+ g56whiz]

OK Boys I need input. Im taking a young man (no not a love interest a family member and opera neophyte but music lover) to his first opera. I really think my immediate reaction is to keep it fairly popular with music he would know at least tangentially. My gut reaction is to do Carmen. But I myself am not the opera afficianado. Im the Ballet afficianado. Any others I should consider without going to extreme in taste or is Carmen the right idea?

 

Got to agree with Carmen. Although I had a few seasons of Met Opera broadcasts under my belt (used to listen to my Silvertone radio while playing with my toy trucks and Lincoln Logs) on snowy Saturday afternoons, Carmen was my first and I sang in it. I was one of the Street Urchins in the first act who tags along after the soldiers singing "Avec La Gaurde Monte . .." or something like that (I don't have a score handy). I was no more than ten years old and that was more than half a century ago.

 

But if the guy is 22 and has ever enjoyed a Cirque du Soleil performance, Rheingold may actually be a better alternative - especially if you both appreciate ballet and the movement associated with it. Much of the action takes place in the Rhein - yes underwater - and from what I've seen, the theatrical folks behind Cirque du Soleil are doing this new production. I saw a promo of how the set is being constructed, and I suspect we will be seeing performers move through space in three dimensions (as if they were actually underwater) a la their Las Vegas production of KA. It could be quite thrilling and its not that long. Besides, even if this new Rheingold is controversial rather than good, he'd probably rather brag about when he saw this new Rheingold rather than say "Well at Carmen the other night . . . ." As for prep, I suspect Netflix or any decent local library will have a DVD that will bring you up to speed. You should do this with any opera with any opera newbie. But if you choose Rheingold, the Anna Russell intro is mandatory. (and I think the quote is: Alberich, you remember Alberich")

 

See at the Serpentine Bar!

[+ Charlie]

Jessye as Carmen or Butterfly? Hmmm. (I don't think I would want to watch that, although it would be interesting to hear.)