Rossini's La Donna del Lago at the MET

[whipped guy]

With the HD theatre presentation of La Donna del Lago on 3/14/2015 the MET concluded its run of this rarely heard opera. Who has seen it either in the house or via the HD broadcast? It would be interesting to get their opinions of the production, the quality of the singing, and thoughts on the piece itself. I will withhold my thoughts as I would like to give others a chance to comment first. The last time that Joyce Di Donato appeared at the MET in a Rossini opera (La Cenerentola) it evoked a lively discussion here and especially regarding the tenors who appeared with her during that run of performances. Since La Donna del Lago opera has two extensive tenor roles (Juan Diego Florez and John Osborne) I would hope that a similar discussion can be initiated that might result in some lively exchanges.

 

 

All I'll add is that if you missed it there will be an encore presentation of the HD on Wednesday March 18.

[+ WilliamM]

With the HD theatre presentation of La Donna del Lago on 3/14/2015 the MET concluded its run of this rarely heard opera. Who has seen it either in the house or via the HD broadcast? It would be interesting to get their opinions of the production' date=' the quality of the singing, and thoughts on the piece itself. I will withhold my thoughts as I would like to give others a chance to comment first. The last time that Joyce Di Donato appeared at the MET in a Rossini opera ([i']La Cenerentola[/i]) it evoked a lively discussion here and especially regarding the tenors who appeared with her during that run of performances. Since La Donna del Lago opera has two extensive tenor roles (Juan Diego Florez and John Osborne) I would hope that a similar discussion can be initiated that might result in some lively exchanges.

 

 

All I'll add is that if you missed it there will be an encore presentation of the HD on Wednesday March 18.

 

WG, the key words for me are in your first sentence, "rarely heard." I was in New York City yesterday, but was not able to get a good seat. Or more accurately, a good cheap seat. I know very little about the opera, beyond the reviews.

 

Could you give me (and others) at least some of your opinions. I am very interested in the seeing HD presentation.

[whipped guy]

Well... My advice would be to run, as opposed to walk, to catch the encore presentation. Of course, I am biased as I have always loved the piece. However, don't take my word for it. A good friend saw it in the house in February. I was in Florida at the time and I got a call saying that he had to see it a second time and knowing that I would be seeing it in the house in March upon my return up north asked if I would like to see the HD a second time as well. He simply said that he had enjoyed it, but didn't want to be a spoiler so he gave me no other opinions or details regarding the performance. I said that I would let him know...

 

The morning after I had seen it he called again and asked if I would be interested in seeing it a second time... My response was, "Absolutely!" Here's why...

 

The production is traditional in nature and uses a unit set that can easily be transformed into a variety of scenes... be it the shores of the lake in the opening scene, the interior of a simple cottage, or the opulence of the throne room of the final scene.

 

All the singers not only sang well, but also looked their parts (and that included mezzo Daniela Barcellona who portrays a man!) which certainly added to the believability of the plot, which plot can be a bit convoluted. However, that is probably more due to the epic poem by Sir Walter Scott upon which the opera is based as opposed to Rossini and his librettist. Incidentally, Rossini had read the poem in an Italian translation and was so captivated that he asked the management of the Teatro San Carlo in Naples where he was under contract to set the wheels in motion for the first production. The Prima Donna of that company was the famous Spanish diva Isabella Colbran, a low voiced soprano who was to create the title character and was later to become Rossini's first wife. The theater also had the two top tenors of the day under contract... the lyric tenor Giovanni Davide (the king) and the more robust baritonal tenor of Andrea Nozzari Rodrigo)... both of whom were capable of hitting high C's in spades. The contralto Benedetta Pisaroni was also on hand for the "pants role" of Malcolm. The bass role is smaller by comparison and not as demanding.

 

That the MET was able to replicate the quality of the original cast is a big feather in its cap. Daniela Barcellona was superb and with her bigged-boned frame had the part of the highland warrior totally down pat. She was able to sound masculine and forceful as well but without introducing any undo stress into her otherwise smooth sounding mezzo. John Osborne has a voice that can be recalcitrant at times. However, as Rodrigo he sounded as good as I have ever heard him. His many high C's were all tackled head on and he certainly gave Juan Diego Florez as the king a run for his money. That he was able to match him high C for high C in the act two trio certainly made for an exciting experience. Of course JDF was the tenor star and he did not disappoint. I just wish that there was a bit more of nuance and poetry in his singing, but when the tone is so sweet, open, and easily produced one can easily cut him some slack. He has a wonderful lyrical aria that opens the second act. He sang it with a great deal of panache tossing off roulades of coloratura in a breathtaking manner. It was quite impressive, but if he had taken things as a slightly slower pace the beauty of he aria would have been more evident... the equivalent of a master pianist playing a delicate Chopin nocturne. However, his approach was equally valid and on its own terms was quite impressive.

 

This brings us to Joyce DiDonato as Elena. She was perfection! The voice is sweet yet capable of being rich and powerful. That it has a quick vibrato that is not obtrusive adds to its pleasing quality. As noted above, Rossini's original Lady of the Lake was a low voiced soprano. Being a mezzo DiDonato had no problems with the lower lying portions of the role, she also had no problems with the higher aspects as well. This all culminated in a final aria ("Tanti affetti") that literally drive the audience wild with enthusiasm. She and conductor Michele Marinotti began the piece in a hushed manner emphasizing the wonderment of the many emotions being experienced the leading lady. This perfectly sets up the exuberant choral interlude that follows not to mention the vocal fireworks of the final section of the piece. Rossini pulls out all the stops here. Wild runs of coloratura all backed up by not only the chorus, soloists, and orchestra, but also by an off stage band that brings the piece to a rousing conclusion. As Noted, at the performance that I attended in the house the audience went wild and gave Ms. DiDonato a well deserved standing ovation.

 

I must mention that Rossini really lavished a lot on the orchestration of this opera. Throughout there is extensive use of the "banda sul palco", a stage band that alternates with the orchestra and in an often ingenious manner. The highlight of the piece is the finale to act one and the section beginning with the Chorus of the Bards. After a rousing section the orchestration is reduced to a single harp and the effect is simply mesmerizing... This leads to the off stage band alternating with the action on stage in a contrapuntal manner, a comet flys across the sky, and the act comes to a rousing conclusion. Add in all the vocal fireworks... and the piece is a veritable feast for lovers of the art of Bel Canto. As I said run...don't walk... to catch the encore of the HD!

 

The two tenors fight over the la Donna... but the mezzo gets the girl!

http://images.latinpost.com/data/images/full/38332/john-osbourne-joyce-didonato-juan-diego-florez-highlights-a-terrific-cast-alongside-daniela-barcelona-in-rossinis-la-donna-del-lago-at-the-metropolitan-opera.jpg?w=600

[+ honcho]

Random Comment about the opera itself

 

I was driving around on saturday morning and heard the intermission interview with the conductor.

 

Of interest is that he said that this particular opera was what ignited his interest and passion for the art form when he was young.

 

Then on returning from the errand, I heard a tenor singing; have never heard either of them, but the sweetness

and clarity (and just a hint of south american richness) made me think it was likely JDF.

 

Didn't have time to stay in the car and find out ... shouldda

[sydneyboy]

I was listening today to some Joyce diDonato youtube clips particularly from La Donna del Largo. What a voice! How I envy you New Yorkers or Londoners too for that matter. I reported here previously that the ''Spectator'' magazine's opera correspondent reviewing diDonato and Florez in La Donna del Largo at Covent Garden a few years ago described them as being in stupendous vocal form and made the (unqualified) statement that it was the most spectacular singing ever heard at the Royal Opera House.

I also did a bit of googling and discovered that one of Joyces' ambitions is to sing at the inauguration of President Hilary Clinton. Hear, hear to that from someone down under.

[sydneyboy]

A question for the opera queens. There are a few gaps in the repertoire of Joyce diDonato. In Rossini Arsace in ''Semiramide'' and ''Tancredi'' and Bizets' ''Carmen". My assumption is that the vocal line lies too low, more into the contralto range but this is less so for ''Carmen''. Comments appreciated.

[hornytwells]

She will sing the title role in Semiramide, rather than Arsace. Semiramide was originally a Colbran role, as was Donna del Lago, etc so it makes sense. Tancredi as you suggested, also lies too low for her. Carmen just seems wrong temperamentally to me, and the taste for Met Carmens is always for bigger voices (rightly or wrongly). She could of course sing it elsewhere, but I cannot quite see it as a good fit vocally or dramatically.

[whipped guy]

She will sing the title role in Semiramide, rather than Arsace. Semiramide was originally a Colbran role, as was Donna del Lago, etc so it makes sense. Tancredi as you suggested, also lies too low for her. Carmen just seems wrong temperamentally to me, and the taste for Met Carmens is always for bigger voices (rightly or wrongly). She could of course sing it elsewhere, but I cannot quite see it as a good fit vocally or dramatically.

Hornytwells... I totally agree that Joyce diDonato is not an Arsace, but a Semiramide, and if anything the title role in Semiramide is a tiny bit lower than that of Elena in La Donna del Lago... So it should be a perfect fit. I also agree about Tancredi as being too low for her and certainly I don't see her as a Carmen at this stage.... we need her to concentrate on the Colbran roles as you mention.

 

Now from what I hear the MET plans to revive Semiramide in a couple of years... I heard that Angela Mead will be the Babylonian Queen... I would much prefer JDD... Mead would be a decent choice... actually a good choice, but it won't be anything special. Though she did sing it credibly at Caramoor few years ago. I do have a copy of that performance... and actually it was tenor Laurence Brownlee in the lesser role of Idreno who seemed to steal the show.

 

In any event, I also see DiDonato as being Desdemona in a Rossini Otello... Her "Colbran the Muse" CD where she essays a nice cross section of what Rossini composed for his lover/first wife is probably one of her best. I made a copy for a fellow poster here and he's hooked on her. Incidentally, I also liked many of the embellishments that she used on that CD... She definitely got some good advice in that regard!