Cenerentola at the Met: An Aria Encore Friday Night

[Andy2]

I was at the Friday night (April 25) performance of Cenerentola at the Met. (This is the Cinderella story, an excellent opera by Rossini, though I believe it goes on too long.)

 

The production is magnificent, and as everyone expected Joyce DiDonato was stellar in the title role. Perhaps also not surprising was the strong supporting cast. I enjoyed the Father, the Evil StepSisters, the Valet, the Tutor--all excellent voices and strong performances, in my view.

 

Originally, I was looking forward to seeing Juan Diego Flores as Don Ramiro (the Charming Prince)--but (as is his practice) JDF cancelled several performances, and Javier Camarena substituted. In Act I, I felt Camarena had a sweet melodic voice but too little dramatic oomph--yet in Act II he came alive as the Don and blasted us out of the theatre with his lovely Art II, scene 1 aria of ecstasy in his love for Cinderella, with choral background. Camarena received a prolonged ovation--and then performed an encore, which was also marvelous.

 

I do not believe I have ever seen an encore performed at the Met. JDFlores did it once for Fille de Regiment (but I saw his excellent performance on a different night), and Pavarotti did it at least once (perhaps for Fille).

 

Some inquiries:

 

Should Camarena have taken the liberty of an encore? On the merits, I'd need some persuading; he has an excellent voice, but I am not sure the very difficult aria was in the same league as prior efforts.

 

Also, I have heard many spectacular soprano arias but never have seen an encore: Do sopranos ever do encores at the Met? Examples? (Perhaps Callas?)

[hornytwells]

Absolutely he should: the aria is way more difficult than the Fille Du Regiment aria that Florez encored, If a tenor has a secure high C then that is an easy aria, no great legato required, and no coloratura> Rossini aria is a tour de force. Also, he had received a 2 minute ovation for it on opening night, so am sure the encore was planned, or at least prepared for by the management.

 

As regards sopranos, I don't believe they ever have encored at the Met, but the Met is a very tenor-centric house. They have always adored Tucker, Corelli, Domingo, Pavarotti etc, so it doesn't surprise me. There is something almost sportsman-like about a tenors high notes that Met audiences seem to love> I think he thoroughly deserved it!

[whipped guy]

I totally agree with Hornytwells regarding the Rossini aria being more difficult and i was quite impressed with Camatena as I posted in the other Crnerentola thread. I did catch a Florez encore for Fille (and it was exciting) and he also did it for Una furtiva lagrima. I say that Juan Diego is not to be out done if I assume he appears as scheduled.

[Andy2]

Absolutely he should: the aria is way more difficult than the Fille Du Regiment aria that Florez encored, If a tenor has a secure high C then that is an easy aria, no great legato required, and no coloratura> Rossini aria is a tour de force. Also, he had received a 2 minute ovation for it on opening night, so am sure the encore was planned, or at least prepared for by the management.

 

As regards sopranos, I don't believe they ever have encored at the Met, but the Met is a very tenor-centric house. They have always adored Tucker, Corelli, Domingo, Pavarotti etc, so it doesn't surprise me. There is something almost sportsman-like about a tenors high notes that Met audiences seem to love> I think he thoroughly deserved it!

 

HTW, very persuasive account. I agree that the aria here is more difficult than the one in Fille.

 

I was there, and it did appear to me that the singer and the chorus were "prepared" to do the encore. Although the ovation was prolonged, and the bravos numerous (many of them coming from me), I wonder whether the Friday night performance was at the same astronomical level as the opening night performance, which apparently produced raves and swoons from both audience and the NYT critic.

 

But also I am scandalized that there has never been a soprano encore! That is disgraceful, IMHO, and can neither be justified nor explained by the notion that the Met is tenor-oriented. Is that a polite way of saying "sexist"? So many excellent soprano arias have graced the Met over the years, it is (I repeat) a scandal if none has generated an encore.

[MrMiniver]

I was at the Friday night (April 25) performance of Cenerentola at the Met. (This is the Cinderella story, an excellent opera by Rossini, though I believe it goes on too long.)

 

The production is magnificent, and as everyone expected Joyce DiDonato was stellar in the title role. Perhaps also not surprising was the strong supporting cast. I enjoyed the Father, the Evil StepSisters, the Valet, the Tutor--all excellent voices and strong performances, in my view.

 

Originally, I was looking forward to seeing Juan Diego Flores as Don Ramiro (the Charming Prince)--but (as is his practice) JDF cancelled several performances, and Javier Camarena substituted. In Act I, I felt Camarena had a sweet melodic voice but too little dramatic oomph--yet in Act II he came alive as the Don and blasted us out of the theatre with his lovely Art II, scene 1 aria of ecstasy in his love for Cinderella, with choral background. Camarena received a prolonged ovation--and then performed an encore, which was also marvelous.

 

I do not believe I have ever seen an encore performed at the Met. JDFlores did it once for Fille de Regiment (but I saw his excellent performance on a different night), and Pavarotti did it at least once (perhaps for Fille).

 

Some inquiries:

 

Should Camarena have taken the liberty of an encore? On the merits, I'd need some persuading; he has an excellent voice, but I am not sure the very difficult aria was in the same league as prior efforts.

 

Also, I have heard many spectacular soprano arias but never have seen an encore: Do sopranos ever do encores at the Met? Examples? (Perhaps Callas?)

 

It was all well planned out in advance (just like Florez' who did it several times at the MET during the Fille run; it was up to him each night whether or not he wanted to do it) and I just don't get why it was done ... okay, I do, it was a publicity stunt as the MET is trying to build up Camarena into a big star. But, for me, it cheapens the whole idea of an encore which is that the audience is demanding it (it wasn't) and it should be reserved for stars and legends not newcomers.

 

I'm a big supporter of Peter Gelb's but this kind of thing smacks of desperation to me and is a slap in the face to an established star like Florez. Yep, me no likey.

[MrMiniver]

Absolutely he should: the aria is way more difficult than the Fille Du Regiment aria that Florez encored, If a tenor has a secure high C then that is an easy aria, no great legato required, and no coloratura> Rossini aria is a tour de force. Also, he had received a 2 minute ovation for it on opening night, so am sure the encore was planned, or at least prepared for by the management.

 

As regards sopranos, I don't believe they ever have encored at the Met, but the Met is a very tenor-centric house. They have always adored Tucker, Corelli, Domingo, Pavarotti etc, so it doesn't surprise me. There is something almost sportsman-like about a tenors high notes that Met audiences seem to love> I think he thoroughly deserved it!

 

 

Oh, and just for the sake of accuracy (and because I have the recording in front of me). The ovation for Camarena after his aria on opening night was exactly 57 seconds.

[whipped guy]

Of course encores were strictly forbidden in the past, and just considering sopranos, that deprived Price, Caballe, Nilsson, Sutherland, and only the gods know how many others of the honor. Until the Florez string of encores the only encore in recent times that I know of... and Hornytwells or MrM can correct me if I am wrong... Was "Va pensiero", the famous chorus from Verdi's Nabucco.

 

Also, I would say that MrM is probably correct regarding the length of the ovation Camarena received on opening night. My hands were certainly sore and as I mentioned in the other thread his ovation at the final curtain was onbpar with that of DiDonato.

[uwsman2]

A Times item pointed out that after the prolonged ovation on opening night, Gelb suggested to Camarena that they be prepared to encore the aria if there was a similar prolonged ovation at the next performance, leaving it to the discretion of the conductor whether the audience response was suitably vociferous. So they were prepared for it, but it was up to the conductor whether to do it.

[bostonman]

I don't think it's been mentioned that in addition to Florez' encore(s) of the Fille aria, he also encored "Una Furtiva Lagrima" in at least one performance of the Met's l'Elisir d'Amore last season.

[whipped guy]

I don't think it's been mentioned that in addition to Florez' encore(s) of the Fille aria, he also encored "Una Furtiva Lagrima" in at least one performance of the Met's l'Elisir d'Amore last season.

No big deal, but I did mention it above. However, I am happy that you mentioned it again because I have a copy of the original broadcast and was able to compare it to the version posted on MET ON DEMAND on the MET's website. There was some editing of the applause and reaction. The overall effect was still the same, however it was not a totally and completely accurate representation of what actually occurred. Just an interesting observation!! I have noted other discrepancies (as in shortening) regarding applause in other performances as well and for general listening that is probably a good thing... However, I personally enjoy hearing the audience reaction... as in yesterday's Così where some guy was initiating the applause by yelling "bravo" when the women were singing.

[hornytwells]

HTW, very persuasive account. I agree that the aria here is more difficult than the one in Fille.

 

I was there, and it did appear to me that the singer and the chorus were "prepared" to do the encore. Although the ovation was prolonged, and the bravos numerous (many of them coming from me), I wonder whether the Friday night performance was at the same astronomical level as the opening night performance, which apparently produced raves and swoons from both audience and the NYT critic.

 

But also I am scandalized that there has never been a soprano encore! That is disgraceful, IMHO, and can neither be justified nor explained by the notion that the Met is tenor-oriented. Is that a polite way of saying "sexist"? So many excellent soprano arias have graced the Met over the years, it is (I repeat) a scandal if none has generated an encore.

 

 

I am with you, I am a soprano fan more than tenors, I don't think it is justified, I just get the impression that the MET is very tenor-centric.........

[hornytwells]

Oh, and just for the sake of accuracy (and because I have the recording in front of me). The ovation for Camarena after his aria on opening night was exactly 57 seconds.

Thank you MrMiniver-I have been known to exaggerate for dramatic effect! ( I was told it was 2 mins,obviously by another drama queen!)

[MrMiniver]

Thank you MrMiniver-I have been known to exaggerate for dramatic effect! ( I was told it was 2 mins,obviously by another drama queen!)

 

You might say that but I "couldn't possibly comment." I'm often surprised when I think it's been a big ovation and I come home and check the "tape" and it's much shorter than it seemed in the house.

[MrMiniver]

Of course encores were strictly forbidden in the past, and just considering sopranos, that deprived Price, Caballe, Nilsson, Sutherland, and only the gods know how many others of the honor. Until the Florez string of encores the only encore in recent times that I know of... and Hornytwells or MrM can correct me if I am wrong... Was "Va pensiero", the famous chorus from Verdi's Nabucco.

 

Also, I would say that MrM is probably correct regarding the length of the ovation Camarena received on opening night. My hands were certainly sore and as I mentioned in the other thread his ovation at the final curtain was onbpar with that of DiDonato.

 

Apart from Nabucco, the only other encore in my lifetime was Pavarotti in a late run of Toscas.

[MrMiniver]

A Times item pointed out that after the prolonged ovation on opening night, Gelb suggested to Camarena that they be prepared to encore the aria if there was a similar prolonged ovation at the next performance, leaving it to the discretion of the conductor whether the audience response was suitably vociferous. So they were prepared for it, but it was up to the conductor whether to do it.

 

It's a joint thing, it's never just up to the conductor. They work out a signal between singer and conductor and then go ahead or don't go ahead as the case may be. And I can tell you it was specifically planned for that night and had nothing to do with audience reaction. They wanted it to occur when there was NO broadcast. Don't ask me why.

[MrMiniver]

No big deal, but I did mention it above. However, I am happy that you mentioned it again because I have a copy of the original broadcast and was able to compare it to the version posted on MET ON DEMAND on the MET's website. There was some editing of the applause and reaction. The overall effect was still the same, however it was not a totally and completely accurate representation of what actually occurred. Just an interesting observation!! I have noted other discrepancies (as in shortening) regarding applause in other performances as well and for general listening that is probably a good thing... However, I personally enjoy hearing the audience reaction... as in yesterday's Così where some guy was initiating the applause by yelling "bravo" when the women were singing.

 

That's why it's best to set record on your Sirius radio and capture everything as it is happening!

[Andy2]

Apart from Nabucco, the only other encore in my lifetime was Pavarotti in a late run of Toscas.

 

When did Pavarotti do his encores? 1960s? Or later? The reason I wonder is that there were many worthy sopranos in the 1960s who ought to have done encores.

 

Still irritated that the Met has never had a soprano encore! Cannot believe it has never happened . . . .

[whipped guy]

Pav's encore was in 1994... once in Tosca. Still even though all have been tenors they have been scarse as hen's teeth.

[MrMiniver]

When did Pavarotti do his encores? 1960s? Or later? The reason I wonder is that there were many worthy sopranos in the 1960s who ought to have done encores.

 

Still irritated that the Met has never had a soprano encore! Cannot believe it has never happened . . . .

 

As I said it was a late run of Toscas in 1994 or 95 as I recall.

[whipped guy]

With any luck the encore won't go the way of the now almost ubiquitous standing ovation as discussed in another thread.

 

Still, it reminds me of the old joke about the tenor (sorry, but that's how I heard it) who was singing at La Scala and the audience vociferously demanded not only a second but a third encore as well. The tenor bring a bit bewildered because he knew that he was not really that good stopped the proceedings and addressed the audience saying, "I'm flattered, but not even the great Enrico Caruso (Yes, thats how old the joke is!) was given a third encore." With that a distant voice way up in the loggione yelled out, "You sing until you learn how to sing!"

 

Hopefully this encore business won't deteriorate to that level!

[MrMiniver]

With any luck the encore won't go the way of the now almost ubiquitous standing ovation as discussed in another thread.

 

Still, it reminds me of the old joke about the tenor (sorry, but that's how I heard it) who was singing at La Scala and the audience vociferously demanded not only a second but a third encore as well. The tenor bring a bit bewildered because he knew that he was not really that good stopped the proceedings and addressed the audience saying, "I'm flattered, but not even the great Enrico Caruso (Yes, thats how old the joke is!) was given a third encore." With that a distant voice way up in the loggione yelled out, "You sing until you learn how to sing!"

 

Hopefully this encore business won't deteriorate to that level!

 

Every single Broadway show I've gone to in the past 10 years has had a standing ovation and I'd say that less than 5% deserved it.

[bostonman]

And...an encore again tonight for Camarena.

 

On one hand, thrilling to hear, especially as he gets to thrill us with a 2nd interpolated high D, as well as more C's.

 

On the other hand - not only is this now a carefully planned machine (I wish I could say the same for the horrid "set" used for the Met's new Ring Cycle, lol), but I would imagine that there were enough people in tonight's audience who know about the encore the other night, ready to try to get history to, um, repeat itself.

 

I'm no party pooper - encores are fun. But when you see it coming from a mile away, maybe it's not *quite* as fun. Still, I enjoyed hearing it tonight.

[+ WilliamM]

 

I'm no party pooper - encores are fun. But when you see it coming from a mile away, maybe it's not *quite* as fun. Still, I enjoyed hearing it tonight.

 

Yeah, I felt that way about Florez's encore in Fille in the fourth or fifth performance. There was a lot of audience reaction, but not quite enough, at least to me, to justify an encore.

[uwsman2]

When Toscanini first came over from Italy to conduct at the Met, one of his major reforms was to abolish encores, on the theory that an encore disrupts the dramatic flow of the performance and emphasizes the artificiality of the entire enterprise. In my opinion, this was not a worthwhile reform. Opera is a show and inherently artificial, because people don't go through life singing. As long as the enterprise is not placing a high priority on dramatic verisimilitude, why not do encores if the audience response warrants it?

[MrMiniver]

Yeah, I felt that way about Florez's encore in Fille in the fourth or fifth performance. There was a lot of audience reaction, but not quite enough, at least to me, to justify an encore.

 

I'll disagree. He didn't do it at every performance, only a few. And I went to every single performance of the run and will admit I was disappointed when he didn't do it. He's a truly great singer, one of the few singing today. And he could encore every night and I'd be perfectly happy.

 

The Camarena thing is beginning to (or has probably already passed that point) look cheap and manufactured. And he's not a star. I wonder how some of the star singers at the MET (Netrebko, Kaufmann, et al) are feeling when they've never been given the chance to do an encore? I wouldn't want to be in Gelb's position of having to answer that question from someone's agent. No one complained when Florez did it because he was a huge star. But Camarena is mostly unknown. I would think there are some really ruffled feathers out there .. and what happens if Camarena flames out in the next few years (anyone remember Erika Sunnegardh who got front page treatment in the New York Times and then disappeared after all the hype died down?) ... this will then look really silly.

 

The MET is likely to go dark for a good portion of next season (especially considering the current tactics of thug Alan Gordon) so I'm not sure to what end all of this hoping to achieve.