Encores at the MET Opera House.

[whipped guy]

I just listened to a recording of this past Saturday’s broadcast of Donizetti’s L’Elisir d’Amore, and was surprised that Juan Diego Florez was allowed an encore for “Una furtiva lagrima”. Unfortunately, the person that recorded the performance edited out most of the applause and other audience reaction so it was hard to figure out if it was something that the audience demanded or if it was something that was pre-planned.

In the recent past, encores were forbidden at the MET… though in the past few years the choral piece “Va pensiero” from Nabucco and the infamous 9 high C’s from the tenor cabaletta from La Fille du Regiment have been encored on occasion. (In fact, I was present at a Fille performance where the 9 high C’s were indeed encored by JDF.)

In any event, while happy to hear the encore, I was actually pleasantly surprised that JDF included a few embellishments and a different cadenza for his second rendition of the piece. That lead me to believe the affair was not completely spontaneous, but perhaps it was. As I said, I did not get to hear the unedited audience reaction.

From my personal experience JDF is the only solo artist to encore an aria at the MET. Have others been given such an honor of late? Just curious… and it would be interesting to get the input of others who heard (or were present for) an “unedited” audience response to the Elisir broadcast.

Thanks!

[+ Charlie]

I seem to remember reading that when JDF did his previous encore, it was the first time it had happened at the Met in many years, which was why it occasioned notice in the papers.

[rguer]

I've never heard one. Occasionally the soloist in a symphony concert will do an encore. Full orchestra encores are very rare.

[operalover21]

I was at the performance (my third Elisir of the season) and here's how it transpired. JDF sang Una Furtiva Lagrima. There was about 45 seconds of applause (standard for him this season) and as it died down he started to walk away (as the stage directions indicate). Someone in the audience yelled ENCORE and the applause started up again and it was louder and lasted longer (at least a minute or more). He started to turn and acknowledge the applause. He walked back. He and the conductor looked at each other and he encored it. Yes, the embellishments in the second rendition were wonderful but I doubt they were rehearsed. JDF is the kind of singer who can do that without even thinking about it 30 seconds in advance.

 

As for its being spontaneous and planned. It was both. I spoke to JDF after the performance and, frankly, asked him. He said that based on the applause he was getting for that aria the MET management spoke to him and told him if he wanted to encore it one night he had their permission (no artist would encore at the MET without management's express permission). But it was completely up to him. He also spoke to Ms. Damrau about it (as a good colleague would). I think he wasn't feeling it the other nights. The truly spontaneous thing was if the person hadn't yelled out ENCORE and the response of the audience so defeaning I doubt he would have done it.

 

It was, to my mind, much less planned than the Fille encores. There he had a history of encoring that aria in other houses before he got to the MET and encored it in at least half of the performances he did at the MET (I was lucky to be at 4!).

 

I could be wrong but I think that JDF is now the only artist in the history of the MET to have encored two arias in two different operas. The only other encore by a solo artist that I can remember, in living memory, was Pavarotti who encored E Lucevan Stelle in Act 3 of Tosca under Levine about 15 years ago or so.

 

Pretty fun and exciting stuff if you ask me.

[whipped guy]

operalover21… Great post! Also much interesting behind the scenes info as well! Thanks! As I noted above, I was glad to hear the reprise of the aria performed with some embellishments and a different cadenza as that is what Bel Canto is all about!

 

I am also intrigued by the fact that you are able to attend multiple performances of the same opera. I did so earlier in the season with Anna Bolena so as to compare both Netrebko and Meade in the title role. Unfortunately, not living in the City precludes my doing so on a regular basis. Still, it is often interesting to compare the broadcast with a live performance seen in the house. At times they are carbon copies and at other times there can be differences… and especially regarding embellishments in Bel Canto operas… and at times even different cuts.

 

Regarding encores at the MET in the 21st Century... I think you are correct... JDF is to my knowledge the only singer accorded such an honor.

 

In any event, fun stuff indeed!

[operalover21]

I'm usually at the MET at least 3 times per week (depending on the rep). Yes, living in NYC is a big plus in that regard!

 

I think Pavarotti encored in Tosca only that once at Levine's request and it was, of course, completely planned.

[whipped guy]

ol21... Well that is why I am grateful that I did not do my under-grad and post-grad studies in NYC... I would have had "degrees" in opera and baseball as opposed to getting "real" degrees! Perhaps in the next lifetime!

[+ Charlie]

ol21... Well that is why I am grateful that I did not do my under-grad and post-grad studies in NYC... I would have had "degrees" in opera and baseball as opposed to getting "real" degrees! Perhaps in the next lifetime!

 

And I would have had a bachelor's degree in sex.

[whipped guy]

And I would have had a bachelor's degree in sex.

Touché… LOL... and probably that as well!!!! LOL! Well, with any luck next time around!

[whipped guy]

A couple of days ago I got to listen to an unedited recording of the recent MET broadcast of Donizetti’s L'Elisir d'Amore, and from the outset it was obvious that the audience was a lively bunch... the type of energetic group that can really get into the swing of things. To put it another way, the performers were not exactly working a “tough room”, the likes of which many a comedian has complained about over the years.

 

At any rate I can see how such a spirited bunch would not only inspire the performers, but also egg them on… and such was indeed the case. In any event, the applause that initiated the encore of “Una furtiva lagrima” was not only as described by operalover21… but deserved as well!

 

Regardless, it is good to see US audiences acting a bit more like their Italian counterparts… Though I doubt that here in the US we would ever get as critical, vociferous, and raucous as the infamous loggionisti of Italian fame if the performers did not exactly live up to expectations! However, I have a feeling that a slightly more civil version might just be in our future…

[bostonman]

I heard the live matinee broadcast of that l'Elisir, and remember how surprised I was to hear the encore. And I remember a lot of people on some opera forums were sure it had been planned beforehand. To me, the different cadenza that Florez attempted the 2nd time tended to say to me that it was NOT pre-planned - there was a tentative nature to the cadenza that really did sound like he was making it up as he went along. Somehow I have the feeling that if the encore had been planned, he would have thought through a possible cadenza as well.

 

His classy sense of humor carried him through the whole thing as well. "Ms. Damrau is waiting to go on" (I paraphrase) was his gracious reply to the applause after the encore. And of course, when the music resumed, the first line to be sung, by Florez, was "Eccola" ("there she is") - which got an appropriate round of laughter given the situation. ;-)

[whipped guy]

To me, the different cadenza that Florez attempted the 2nd time tended to say to me that it was NOT pre-planned - there was a tentative nature to the cadenza that really did sound like he was making it up as he went along.

I listened to the encore of the aria a second time earlier today and not only does the cadenza sound spontaneous, but for a fleeting moment it almost sounded as if he was not sure where he was going, but he indeed knew where he needed to go harmonically and successfully pulled it off. Furthermore, the embellishments that he attempted earlier in the body of the aria not only sounded "spur of the moment", but were quite effective as well... A consummate musician indeed!

[bostonman]

I listened to the encore of the aria a second time earlier today and not only does the cadenza sound spontaneous, but for a fleeting moment it almost sounded as if he was not sure where he was going, but he indeed knew where he needed to go harmonically and successfully pulled it off. Furthermore, the embellishments that he attempted earlier in the body of the aria not only sounded "spur of the moment", but were quite effective as well... A consummate musician indeed!

 

Exactly - and nice to hear him do that, given that I think most singers prepare their embellishments and cadenzas within an inch of their life.

 

Also, given that EVERYONE always does the same standard cadenza (which is not really printed in the score, either) it was a nice treat to hear something different.

[whipped guy]

Also, given that EVERYONE always does the same standard cadenza (which is not really printed in the score, either) it was a nice treat to hear something different.

Exactly! And it was a nice surprise! Incidentally, I was told by a person who works with singers and prepares embellishments, cadenzas, etc. that it always bugs him when during interviews singers take credit for what he has done... but I guess the days of the castrati (ouch!) and the bel canto era when singers were trained as total musicians and actually knew something about composition and harmony are somewhat over. At least that is what another individual has told me who used to teach at the university level... his worst students were performing arts majors who often had no clue about the basics... but could sing up a storm when on stage.

 

PS: If anyone gets the chance there is an "in house" recording of this opera floating around as performed at the 2009 Caramoor Festival under Will Crutchfield and none of the traditional cadenzas are used... Lawrence Brownlee is the tenor. Also, the soprano's final aria is different... quite interesting... I know that it is available from Ed Rosen's Premiere Opera.

[operalover21]

The encore was NOT spontaneous as I've previously said but it was completely his choice as to what he did with it. That's what you're hearing.

[whipped guy]

The encore was NOT spontaneous as I've previously said but it was completely his choice as to what he did with it. That's what you're hearing.

The encore itself may not have been spontaneous... but JDF certainly gave the illusion of it being somewhat of a spur of the moment type thing. I wish there were more of this sort of thing as far as embellishments and cadenzas are concerned as it kind of gives a walking on a tightrope sort of excitement to a performance... However, that is not something that might lead to a note perfect performance... Still if one compares embellishments from a given run of a bell canto opera singers do play around with things more than we probably give them credit for... As an example Damrau changed embellishments in her aria in last season's run of Le Comte Ory based on what I heard live compared to the broadcast. Interestingly, so did Florez as there are differences in his opening solo from the original HD broadcast compared to what was eventually released on DVD.

 

Reading contemporary accounts from the era of Bel Canto some singers constantly changed their decorations depending on their mood or the circumstances... others such as Giuditta Pasta more or less kept their embellishments consistent from night to night.

[bostonman]

Or, sometimes there's the case of the disappearing high notes...

 

One of the wonderful things about the Sirius/XM live broadcasts during the season is that if I'm around, I can hear multiple performances of the same opera. In the case of the recent Met Armida I noticed something interesting happening...originally, Renee Fleming was throwing in a high D into her final phrase of the opera, which always sounded a bit dicey to me. (Not nearly as secure as her high D's sounded in Thais only a season or two earlier.) By the 2nd season of Armida, that D had somehow changed to a C (she configured the phrase differently so the note worked with the music), and by the end of the run it had become a Bb (this option worked the best, IMO).

 

Hmmm...

[whipped guy]

Bostonman... kudos for noticing that regarding Armida!!! While I noticed a decrease in vocal powers I had not noticed the D becoming either a C or Bb! I do have a recording of both broadcasts so I guess a bit of comparison is in order for a rainy day! However, what was obvious was the fact that during the initial run the opera was performed absolutely uncut... and that changed the second time around... and it certainly made the final scene less taxing for Fleming. Shoot, even the relatively short cabaletta to the first act duet "Amor, possente nome" was cut in half... and that is one of my favorite parts of the piece.

 

Same for recordings I have heard of the Final scene of Lucrezia Borgia where the Eb in alt suddenly disappeared... Still she is not exactly a spiring chicken... and to be fair she does not seem to be transposing things downward to give the illusion of hitting the high notes... something that Sutherland did toward the end of her career when the Eb's became Db's... Pavarotti did likewise and especially during his recitals... the key depended on the situation...

[bostonman]

and to be fair she does not seem to be transposing things downward to give the illusion of hitting the high notes... something that Sutherland did toward the end of her career when the Eb's became Db's... Pavarotti did likewise and especially during his recitals... the key depended on the situation...

 

A lot of singers do that, and not just at the end of their careers. It's still fairly common for tenors to take arias like "Di Quella Pira" and "Che Gelida Manina" down a half step (and for basses singing Contes d'Hoffmann and Barber Of Seville to take arias a step down). There are some other standard transpositions as well. But yes, transposing LOTS of stuff down is a different story, lol. (And of course there's the current case of Domingo: The Tenor Who Would Be Baritone, lol.)

 

The strangest case I've ever heard, though, of transposing down to give the illusion of high notes was Robert Goulet, in a tour of South Pacific in the late 1980's. "Some Enchanted Evening" is originally in C - I wouldn't say it was a big deal that he sang the song in Bb. (Show songs get transposed all the time - nothing new there.) The remarkable thing was what happened at the end of Act I, where there's a partial reprise of the song. He started in Bb, just as before. But just as he got to the tag section ("once you have found her, never let her go"), somehow the music transposed down a step (bravo to the arranger for figuring out how to do that, lol), and then he ended the song on the "traditional" high note - which was now a C (while for Pinza it was the E above that). But of course the high note still "sounded" high, so anyone unaware of the transpositions would have no idea that the note was really not high at all. ;-)

 

Another odd incident that just popped into my mind - for many years there was a Covent Garden production of Die Fledermaus that was telecast every New Years' Eve - there were actually two versions of the telecast production with basically the same cast (Doming conducted the 2nd one, but not the original one) - Te Kanawa and Prey were the Rosalinde and Eisenstein. The bass who sang Frank - can't remember his name right now - clearly couldn't hit the highest notes in the role anymore - so he just changed some of the melodies to make them fit his voice. I remember watching this as a teen just getting into opera, thinking, he can just go and do that???

[whipped guy]

It's still fairly common for tenors to take arias like "Di Quella Pira" and "Che Gelida Manina" down a half step (and for basses singing Contes d'Hoffmann and Barber Of Seville to take arias a step down). There are some other standard transpositions as well. But yes, transposing LOTS of stuff down is a different story, lol. (And of course there's the current case of Domingo: The Tenor Who Would Be Baritone, lol.)

LOL! I don't think that I have heard "Di quella pira" or "La calunnia", etc. sung in the original keys in quite a while! Also, the Domingo example was probably a better one than my Pavarotti reference... It is just that a few years ago I knew the director of our local opera company and they had engaged him for a recital at Foxwoods Casino. He said the guy could barely walk, and was literally huffing and puffing with each step... but was traveling with his young "significant other" at the time... and his accompanist had at least two versions of every aria on hand depending on his vocal condition.

 

Regarding your South Pacific example, sometimes the transpositions are quite smooth... one that particularly bothers me is the final scene in Sutherland's recording of Anna Bolena... where getting the final cabaletta into Db quite is clumsily accomplished. Still, it is interesting how many of the transpositions are enshrined in print... such as the traditional scores of Norma and Lucia. A few years ago someone jokingly did an analysis of the key relationships in a Verdi opera. I think it was La Forza del Destino based on the published score... where the keys with flats represented something and the sharps represented something else... and it all kind of worked... The rub was that the published score had nothing to do with the original keys or Verdi's autograph!