tag:blogger.com,1999:blog-297921092024-03-14T16:51:22.459+11:00Andrew's OperaUnknownnoreply@blogger.comBlogger234125tag:blogger.com,1999:blog-29792109.post-40680407914778374932022-12-27T19:39:00.008+11:002022-12-28T19:56:50.509+11:00Andrew Byrne’s New York Opera Post-card, November 2022. <p class="MsoNormal"><span style="font-size: 14pt;">Bizarrely, one of my New York
treats actually occurred back in Sydney with the excellent Pinchgut Opera
production of Chapentier’s Medée (1693).
This allowed me to compare the baroque sorceress Medee Catherine Carby
with Sondra Radvanovsky as Cherubini’s Medea (1797). Both productions were of gut-wrenching, relentless
drama prompting five deaths by the hand of Medee/Medea – including her own
children by Jason (of the Golden Fleece).
Like Callas these sopranos had to do a stentorian job and in both cases we
were given every bit of the love, jealousy and murderous deeds. Would five corpses be a record? <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">New York is a very changed
place since our last visit before Covid.</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">Many businesses are gone, others reduced and short-staffed.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">During lockdowns most restaurants and cafés
erected pavilions which were permitted on the roadway for ‘outdoors’ dining.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Despite the disadvantages to traffic, bike
lanes, deliveries, etc, these remain and supplement seating, in some cases
requiring enlarged kitchens.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Will they
become permanent?</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Menus are mostly
limited and lack any of the usual specials making dining out more
expensive.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The subway is busy again and
only a small minority were wearing masks (including me).</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Shops, museums, auction rooms, concert halls
and the opera were all less than fully utilised.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Four exceptions were the Paul Allen Christie’s
art sale; Tom Stoppard’s new play Leopoldstadt; The “Tucker Gala” at Geffen
Hall; “The Hours” Met opening with Fleming, DiDonato and O’Hara.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Each of these were packed out.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Some Verdi houses were less than 50%
full.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The Met’s season included
classics Rigoletto, La Traviata and Don Carlo, each with strong casts and fine
productions.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Too many singers to name
but outstanding were Peter Mattei as Rodrigo, Marquis of Posa and Quinn Kelsey
as Rigoletto.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Tenors Stephen Costello
(Alfredo) and Benjamin Bernheim (Duke of Mantua) also gave very fine
performances.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Equally limited audiences
for Peter Grimes (with ‘our’ Nicole Car and Aussie conductor Nicholas Carter).</span><span style="font-size: 14pt;"> Fine young </span><span style="font-size: 14pt;">Italian soprano Rosa Feola gave a believable version
of Gilda in Rigoletto before performing in Giordano’s rarity Fedora later in the season.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Even Tosca in November was poorly attended –
and I heard that there were ‘give-away’ seats for $50 in prime locations
available for most performances.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">It was a great pleasure to return
to the city for many other cultural outings.</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">These included the Metropolitan Museum of Art, LAX Trio at the Caspary
Hall, Mendelssohn at Carnegie Hall, Korngold, Haydn, Mozart and much more.</span><span style="font-size: 14pt;"> </span></p><p class="MsoNormal"><span style="font-size: 14pt;"></span></p><p class="MsoNormal"><span style="font-size: 14pt;">After glorious autumn weather
we had a cold snap at the end of November but nothing to compare with the
current December snow bomb affecting much of the country. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Happy
New Year to all my faithful readers.</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">Please let me know if these notes are surplus to your needs.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Written by Andrew Byrne ..</span></p>
<p><span style="font-size: 14pt;"> </span> </p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-60965077311559644642022-07-21T08:12:00.005+10:002022-07-21T08:14:08.016+10:00Il Trovatore – Verdi – Sydney Opera House 15th July 2022<p><span style="font-size: 14pt;">This was the third production
for the Sydney winter season after Madama Butterfly and La Traviata (which I see
later).</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">It was a homecoming for many of
us with cruise ships again gracing Sydney Harbour and for our delectation, a
full moon rising about 7pm over the harbour giving us back the magic atmosphere
denied for so long due to Covid.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The
moon has special relevance in this opera, too.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">It has been said that Il
Trovatore requires four of the best singers in the world … and we had four
capable principals, even if the tenor seemed very slightly off colour for two
brief moments in the first half.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">He also
lacks modulation of his powerful delivery, occasionally going soft for a few
bars then returning to forte voce seemingly at random.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">In some ways opera is like a tight-rope walk
and we are all the cliff-top spectators!</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">The fifth voice of David Parkin needs commendation as Ferrando who
starts the action in fine basso form.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">As Leonora, American soprano Leah
Crocetto certainly had all the notes and acted creditably despite being given
some very unflattering costumes.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Our Azucena
was Elena Gabouri who had both the lows and the highs in abundance.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Korean tenor Yonghoon Lee has thrilled
audiences around the world’s great opera houses and he succeeded again as
Manrico for his Sydney audience.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Belarusian
baritone Maxim Aniskin played the evil Count di Luna with aplomb.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Like Scarpia in Tosca it is hard to like the
man.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">His </span><i style="font-size: 14pt;">Il balen</i><span style="font-size: 14pt;"> aria was magnificent.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">This production was yet
another in the series using mobile pixilated screens with an infinite range of
coloured panoramae.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The genre started
with The Ring in New York over ten years ago when the biggest screen was the
size and shape of a child’s see-saw.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Now
we have screens which are a couple of metres across and the height of the
proscenium.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The video flexibility is so vast
that no director can leave them still for very long.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">In my view the scenery should largely remain
unchanged during one aria, a chorus or an overture, so as not to distract from the
vocal drama.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">If we don’t understand the
Italian we can follow the story from English titles … and stories of a burned
baby hardly need the reinforcement of foetal skeletal images all over the stage.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The opera chorus and orchestra
under Maestro Battistoni performed superlatively, even though the ‘anvil chorus’
had no anvils … or even ‘cat like treads’ for that matter.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The singing was superlative.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Other boxes to tick include Ah si ben mio, Di
quella pira, Miserere, Stride la vampa plus the shocking final scene with
unexpected throat slashing.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">‘Trovatore’ or troubadour has
a specific historical meaning being poets, musicians, dancers and philosophers
of a bygone era in the west Pyrenees region and adjacent areas.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Being less serious about the art we were
presented with an entire circus whose connection with the actual Troubadour was
hardly important.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Clowns, acrobats,
weidos, tympani, etc paraded on stage rather than the usual band of gypsy
bandits.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Even the word ‘gypsy’ is now
politically incorrect and fairly so considering all the negative connotations.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">‘Romani’, while of Indian origin, have a wide
diaspora yet kept their identities both by being side-lined from mainstream
society and suffering as a consequence right up to the Nazi period and beyond.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">For Verdi’s purposes they were an exotic
community whose friction with the establishment causes so many moments of high
tension for his glorious music.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Our monastery
where Leonora was to take her vows is now a hospital and the nuns all nurses
tending sick patients who find themselves in a war zone.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">A bit like hospitals nowadays.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Much can be said about this
production and people will either like it or hate it.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">I don’t much care for the extent of the
constantly changing backdrops and movement of the pixilated pillars.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">But to hear fine voices in one of the great
operas is a privilege we appreciate all the more due to its long absence during
Covid.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Uniquely in this production Azucena
stabs the count after slashing his neck as the curtain falls.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">This prevents Di Luna’s immense regret after learning
that he has just killed his very own brother!</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">Hence her mother’s death at the stake is avenged and there is yet
another body left on stage.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Written by Andrew Byrne .. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Some fine singing on this excerpt from the opera: </span></p>
<p class="MsoNormal"><a href="https://www.youtube.com/watch?v=39N7Nn4fsQQ">Verdi:
Il Trovatore (The Royal Opera) - YouTube</a></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="font-size: 14pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-32738449826233116962022-05-30T08:53:00.001+10:002022-05-30T08:53:53.706+10:00Pinchgut Opera, Orontea by Cesti 26/5/22. Wonderful fun! <p><span style="font-size: 18.6667px;">Dear Colleagues, </span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">From its premier in Innsbruck
in 1656, Cesti’s Orontea became one of the most popular operas of the time.<span style="mso-spacerun: yes;"> </span>And why?<span style="mso-spacerun: yes;">
</span>Because sex sells!<span style="mso-spacerun: yes;"> </span>This opera contains
gentle wooing, scenes of headstrong amorous moves and raunchy bedroom
frolics.<span style="mso-spacerun: yes;"> </span>And it is all in the text - which
was projected as English titles to the sung Italian.<span style="mso-spacerun: yes;"> </span>Pleasingly the entire libretto was also in
the program.<span style="mso-spacerun: yes;"> </span>Given a brilliant book by
his second generation playwright Cicognini, Cesti adds melody, original
orchestration, arias and duets to move the new art of opera ahead several
steps.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">This performance proves that
good opera does not require big casts, large orchestra or even a traditional
proscenium stage.<span style="mso-spacerun: yes;"> </span>The cut-down orchestra
of 9 members made for a wonderful continuo using traditional 17<sup>th</sup>
century instruments.<span style="mso-spacerun: yes;"> </span>Each of the ten
singers had substantial and interesting voices and all were tasked with
portraying serious dramatic development in the complex tragi-comic plot.<span style="mso-spacerun: yes;"> </span>The two non-singing roles were also crucial
to the drama … the muse cupid, played by Ryan Smith, being on stage for the
entire performance, even hanging from a high trapeze before the audience had
filed in.<span style="mso-spacerun: yes;"> </span>He grinned continuously at his
hapless amorous victims while also doing cartwheels amongst his other complex
choreography.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Anna Dowsley played our
heroine superbly, at first aloof to love then as involved as everyone
else.<span style="mso-spacerun: yes;"> </span>Jonathan Abernethy played the
desirable but apparently lowly born artist Alidoro who conveniently travels
with his mother Aristea (Dominica Matthews) from the Phoenician court.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Playing the drunk is one of
the challenges of the stage and basso Andrew O’Connor pulled off this feat with
aplomb.<span style="mso-spacerun: yes;"> </span>He handled at least 20 bottles of
wine during the performance, taking a solo dreaming sleep scene in total
control while seemingly severely drunk.<span style="mso-spacerun: yes;"> </span>And
amongst his fine deep basso singing he also hit two forte falsetto notes which would
have shamed many a coloratura soprano!<span style="mso-spacerun: yes;">
</span>And there were other ‘party tricks’, even a sailor-boy strip scene,
double couple coitus interruptus and more.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">We welcomed the return of
bass David Greco as Creonte.<span style="mso-spacerun: yes;"> </span>He may be
the only member of cast who is remotely sensible, reflecting on events
worldly.<span style="mso-spacerun: yes;"> </span>His brother Matthew is, in real
life, first violinist and a permanent fixture of the company.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">The part of Corindo was written
for a castrato. I was pleased that the company chose not to automatically use a
counter-tenor.<span style="mso-spacerun: yes;"> </span>None of us will ever know
for sure the sound that castrati made but it is unlikely to be like what we
hear from most counter-tenors today.<span style="mso-spacerun: yes;">
</span>Douglas Kelly sang and acted a fully believable lover with his fine
tenor voice and matching physique.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">For those who are followers
of G&S, this opera plot has the essence of Patience at the start and HMS
Pinafore at the end. <span style="mso-spacerun: yes;"> </span>There is also a
sense of the ‘Slave of Duty’ from Pirates as well in the Queen’s resolve.<span style="mso-spacerun: yes;"> </span>‘Nothing is new in the world’.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">The sets and settings were
many and varied but piece de resistance perhaps was when the rear curtains
opened to reveal a part-finished tableau ready for royalty’s likeness.<span style="mso-spacerun: yes;"> </span>Our artist hero had palette in hand with his
model Silandra in amorous mood painting each other’s bodies in ecstasy.<span style="mso-spacerun: yes;"> </span>The rival, Queen Orontea then makes a
dramatic entrance by slashing through the unfinished canvas to catch the lovers
and claim her own prize, the ever desirable and desired Alidoro.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Pinchgut ‘prime mover’
Maestro Erin Helyard received a huge ovation along with his bespoke orchestra
and talented cast.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Highly recommended if you can
get a ticket.<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Notes by Andrew Byrne .. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span><a href="https://andrewsopera.blogspot.com/">Andrew's Opera
(andrewsopera.blogspot.com)</a></p>
<p class="MsoNormal"><br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-4784824329730617132022-04-04T16:54:00.001+10:002022-04-04T16:54:52.749+10:00Maria Stuarda at the Sydney Opera House Fri 25th March 2022<p><span style="font-size: 14pt;">MARY QUEEN OF SCOTS - Olga
Peretyatko</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">ELISABETH I - Carmen Topciu<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">TALBOT - Richard Anderson<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">LEICESTER - Valerio Borgioni<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Conducted by Renato Palumbo</span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">This was a splendid outing of
a Donizetti ‘Queen’ opera (the other two being Roberto Devereux and Anna
Bolena). It was the first time I have
seen an opera ‘in concert’ in the opera theatre (1500 seats). Many have been performed in the Concert Hall
(2700 seats) which is currently nearing completion of major renovations. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">It is such a pleasure to
arrive at the glorious Sydney Opera House, mingle on the terrace with a glass
of wine and attend a top cultural event after 2 years of stop-start Covid
seasons. We had almost a year in Sydney when
we pretended Covid did not affect us, cut off as we were from the rest of the
world. Now the state of NSW is having up
to 20,000 cases daily of what seems like a minor illness for most (Omicron
variant). At the same time New York City
is having less than 1000 for reasons that are still not completely clear. The logistics of daily RAT testing for
orchestra, chorus, etc must be tedious and costly. Masks are worn all round except when drinking
or blowing an instrument (or singing!). </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Back to the opera which I know
and love mainly due to Joan Sutherland and Huguette Tourangeau’s wonderful
recording with Pavarotti as Leicester. We also had a Sydney production in 1997
with Deborah Riedel and Amanda Thane. It
was originally intended for two sopranos yet the opening had mezzo Malibran
singing and often one or other role is still sung by a mezzo-soprano. The two queens exchange some of the nastiest
insults imaginable as they almost tear each other’s eyes out in their out-door
meeting (which historically never actually happened – but remember, this is
opera!). So bad is the regal language
that the opera was banned in Naples which may be one reason it has never risen
to the popularity of Lucia di Lammermoor, Elixir of Love or Fille du
Regiment. Also, despite lots of
wonderful melodies, choruses and dramatic encounters, none of its arias has
become a show-stopper. Nor does it have
cleverly lifted tunes which we find in Roberto Devereux (English National
Anthem) and Anna Bolena (Home Sweet Home by Henry Bishop). </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">The star of our Sydney
performance was Romanian mezzo Carmen Topciu with a large and expressive voice,
breath control and stage presence as QE I.
Ms Peretyatko also sang well as Mary, keeping her final magnificent
scena for her best. As in act I of
Lucrezia Borgia the soprano is required to sing a legato high note continuously
for many bars while the chorus sings andante, then to do a forte run. Very impressively and authentically done on
this occasion as she heads for the block.
Mr Borgioni has a voice more suited to this part than Pavarotti ever did
and he made beauty of the difficult tessitura and believable the drama of his
place in the royal love triangle. Mr
Anderson is the local go-to basso and he did not disappoint in his major role
as Talbot, Earl of Shrewsbury. Maestro
Palumbo and his orchestra gained a well deserved round of applause, as did the
company chorus. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Again it is a privilege to
hear such quality opera so near to home for Sydney-siders and I noted numerous
visitors from out-of-town for this rare spectacle. Even rarer was the opening night of Phantom
of the Opera on a pontoon on Sydney Harbour across Farm Cove from us. Obligingly the noisy Phantom fireworks
occurred during our intermission. Andrew
Lloyd Webber was in town to supervise the first time his musical has been performed
in the great out-doors. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> N</span><span style="font-size: 14pt;">otes by Andrew Byrne ..
recently retired doctor from Redfern via Bowral. </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;"> </span><a href="https://andrewsopera.blogspot.com/">Andrew's Opera
(andrewsopera.blogspot.com)</a></p>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-AU; mso-fareast-theme-font: minor-latin;"><br clear="all" style="break-before: page; mso-special-character: line-break; page-break-before: always;" />
</span>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 10pt;"><o:p> </o:p></p>
<span style="font-family: "Times New Roman","serif"; font-size: 14pt; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-AU; mso-fareast-theme-font: minor-latin;">Ours was a concert performance, very cleverly
lit from above with slick </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-14971559311549000712022-03-23T09:46:00.001+11:002022-03-23T09:46:11.069+11:00La Juive – Halevy, Sydney Opera House Sat matinée 12th March 2022<p> <span style="font-size: 15pt;">Rachel – Natalie Aroyan</span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;">Eleazar – Diego Torre<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;">Leopold (Samuel) – Francisco
Brito<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;">Princess Eudoxie – Esther
Song<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;">Cardinal de Brogni – David
Parker<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;">Conductor – Carlo Montenaro<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">Here is a rare opportunity to
see a 19</span><sup>th</sup><span style="font-size: 15pt;"> century Paris opera masterpiece in an enjoyable and
original production with an exceptional cast.</span><span style="font-size: 15pt;">
</span><span style="font-size: 15pt;">Like a score of other composers this was one magnificent success out of
many other failures (40 according to one source I read).</span><span style="font-size: 15pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">Although there is much, much
more, opera fans must wait four acts to finally hear the famed tenor aria “Rachel,
quand du Seigneur” in which Eleazar laments that after devoting his life to
Rachel from the cradle he now he must deliver her to the executioner.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">La Juive is a complex and harrowing story,
not as consistent or profound as Merchant of Venice but with lots of twists and
turns.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">More than once a Jew turns out to
be a gentile. </span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">After big choral scenes,
Latin mass extracts and dramatic revelations, the big tenor aria was sung with
pathos and passion by Mr Torre (the short, racy but rarely performed cabaletta
was omitted).</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">In the silence before act
5 there was a massive thump as about twenty clumps of shoes fell from height
onto the full width of the stage.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">It was
one of the most shocking and unexpected ‘stunts’ I have seen on stage.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Due to their silvery grey colouring it was
not immediately clear what the items comprised, at least from my seats in the
front row of the circle.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Yet shoes they
were, one of numerous reminders of the holocaust which was brewing in the
period of this staging in 1930s France.</span><span style="font-size: 15pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">This story of religious
devotion and prejudice is complex and sometimes contradictory.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">At least three cast members are not who they
seem to be.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">But this is opera and each
scene has strong characters in emotive situations with glorious lyrical vocals
from huge Christian choruses to intimate farewells.</span><span style="font-size: 15pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">One reason this opera is so
rarely performed is that there are two soprano parts, one dramatic and one
coloratura.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Although written originally
with Eleazar as a bass Halevy rewrote the part for the tenor so there are two
big tenor roles as well.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Prince Leopold
was ably played by Argentine Francisco Brito whose upper register rang out well
both as the Prince and when dressed up to be the Jewish painter Samuel.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">Local soprano Esther Song played Princess Eudoxie
admirably.</span><span style="font-size: 15pt;"> </span><span style="font-size: 15pt;">David Parkin rose to the
occasion at the Cardinal with some spare resonating low notes to his
register.</span><span style="font-size: 15pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">Ms Aroyan, also a local, sang
and acted with distinction, honourable to her father and her religion right to
her immolation at the end when all is revealed just too late to save her (real)
father’s anguish. But this is
opera. As Bugs Bunny says: “Did you
really expect a happy ending?” </span><a href="https://vimeo.com/444002896">What’s Opera Doc on Vimeo</a></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><span style="font-size: 15pt;">Comments by Andrew Byrne ..</span></p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span><a href="https://www.youtube.com/watch?v=arMaHPeY0ss">Aria y
Cabaletta de Eleazar: Rachel quand du seigneur. - YouTube</a></p>
<p class="MsoNormal"><o:p> </o:p>Neil Shicoff, tenor. Simone Young, conductor. Vienna 1999. [cabaletta: ‘Dieu m’eclaire,
fille chère’] </p>
<p class="MsoNormal"><span style="font-size: 15.0pt;"><o:p> </o:p></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-72114749794688882992022-03-10T21:06:00.001+11:002022-03-10T21:06:13.840+11:00Otello, Verdi, Sydney Opera House, Sat 19th Feb 2022. Follow-up notes.<p> <span style="font-size: 14pt;">Dear Colleagues,</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> M</o:p></span><span style="font-size: 14pt;">y brief notes on Otello did
not do justice to the piece which is one of the greatest works written for the
operatic stage.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">After further thought
and some reading I offer the following observations about this work which I did
not enjoy on first seeing it many years ago.</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">Leo Schofield used to distinguish the more ‘accessible’ works from those
which were more profound yet less immediately appealing to some.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Regarding The Moor of Venice I
am now a devoted convert to both play and opera.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Discussion about Iago’s devious motivations,
evidence, plot, history, etcetera goes on endlessly amongst experts … yet the
basic theme of love, suspicion, jealousy and revenge are the relentless focus
of this piece.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Boito’s libretto was such
that they fully intended the opera to be called ‘Iago’ until the last stages of
their collaboration when Verdi pushed for a return to ‘Otello’.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">The supposed rivalry between
Wagner and Verdi was largely a fiction.</span><span style="font-size: 14pt;">
</span><span style="font-size: 14pt;">Born in the same year 1813, each rose to the top of their respective
national schools of opera.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Furthermore
both aimed at the perfect musical and vocal drama in their operas.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Living longer, Verdi came out of retirement
at least twice to compose and revise 4 or more operas, Otello being second last
to Falstaff, Verdi’s only mature comedy.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Leitmotifs occur throughout Wagner’s
operas yet Otello contains just one to my observation.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">Otello’s love theme (or ‘another kiss’ as I
call it) recurs three more times after its introduction in the act I love duet.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">While many of Wagner’s musical motifs may go
over the head of the average audience member, few would miss Verdi’s melody which
is unmistakably linked to the love between Desdemona and Otello.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">A similar device is used by Donizetti in
Lucia di Lammermoor, another love theme which returns briefly but unmistakably
in the Mad Scene.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Boito was one of the very few
composers who also wrote libretti (his revolutionary Mefistofele was first
presented at La Scala in 1868).</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">He joins
Wagner, Berlioz and Leoncavallo but uniquely, Boito also collaborated with
others in successful operas.</span><span style="font-size: 14pt;"> </span><span style="font-size: 14pt;">His reduced
version of Shakespeare’s Othello became a perfect foil for the elderly but
enthusiastic Verdi.</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">This brings us to the origin
of the story which appears to be Cinthio’s 1565 ‘Un Capitano Moro’ (or “Disdemona
and the Moor”) a short story which had not been translated into English until
after Shakespeare’s time. Along with many
other pieces of evidence including the naming and feminist sentiments of Emilia
in Othello, this has led some recent commentators to question whether William Shakespeare
was presenting plays and sonnets originating from the pen of Emilia Lanier
Bassano. This fascinating woman came
from a large Jewish musical family from northern Italy, several of whose
members had been in the service of the court of Henry VIII. See Atlantic article by Elizabeth Winkler </span><a href="https://www.theatlantic.com/magazine/archive/2019/06/who-is-shakespeare-emilia-bassano/588076/"><span style="font-size: 14.0pt;">Who Was Shakespeare? Could the Author Have Been a
Woman? - The Atlantic</span></a></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Now that should get people
a-talking!</span><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 14pt;">Notes written by a still a-learning
Andrew Byrne ..</span></p>
<p class="MsoNormal"><br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-80808919928532638582022-02-22T14:25:00.004+11:002022-02-22T14:25:25.229+11:00Otello, Verdi, Sydney Opera House, Sat 19th Feb 2022.<p> <span style="font-size: 14pt;">Otello – Yonghoon Lee</span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Desdemona – Karah Son<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Iago – Marco Vratogna<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Cassio – Virgilio Marino<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Emilia – Sian Sharp<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Roderigo – Hubert Francis<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Montano – Andrew Moran<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Lodovico – Richard Anderson<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Herald – Andrew Williams<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Dear Colleagues, <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">This was a magnificent return
to the serious opera house after a plague-ridden period nobody wants
repeated.<span style="mso-spacerun: yes;"> </span>Harry Kupfer’s steep-stepped
production has grown on me over the years. <span style="mso-spacerun: yes;"> </span>It was conducted by rising Maestro Andrea
Battistoni from Verona.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">For my overseas readers: By
isolating from the rest of the world most of Australia avoided the pandemic for
over a year.<span style="mso-spacerun: yes;"> </span>From May 2020 to June 2021
NSW had either zero or single figure daily Covid cases, mostly in localised
clusters associated with foreign arrivals.<span style="mso-spacerun: yes;">
</span>Sydney even had an opera season of sorts while overseas houses were
closed.<span style="mso-spacerun: yes;"> </span>However, from mid-June 2021 we were
struck with the delta and then the omicron Covid variants, plunging us in with
the rest of the world for another six months.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">By January we were using
frequent testing, shorter quarantine periods and a reduction in the severity
and duration of the individual infections, especially in younger people were
noted.<span style="mso-spacerun: yes;"> </span>As a result, authorities recommended
a return to normal life, schools reopened, offices, cafés and restaurants, etc
were doing some normal business.<span style="mso-spacerun: yes;"> </span>Since
January a brave opera company has now put on La Boheme, Turandot, Nozze di
Figaro and Otello.<span style="mso-spacerun: yes;"> </span>Just today, overseas
tourists can enter Australia freely for the first time in 2 years!!<span style="mso-spacerun: yes;"> </span>25 flights are to land at Sydney airport
today alone!<span style="mso-spacerun: yes;"> </span>Welcome, World!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">This performance had the benefit
of world-renowned tenor Yonghoon Lee who sang the socks of this gigantean role
(as he had done in Turandot earlier in the season).<span style="mso-spacerun: yes;"> </span>His singing was more nuanced that his hugely
declamatory Calaf.<span style="mso-spacerun: yes;"> </span>Desdemona was also
Korean Karah Son sang with the style and dignity required.<span style="mso-spacerun: yes;"> </span>She occasionally had momentary difficulty
with long, high legato notes yet never petered out.<span style="mso-spacerun: yes;"> </span>As Marilyn Horne once said: “OK, so you got
phlegm; get over it!”<span style="mso-spacerun: yes;"> </span>Our Iago Marco
Vratogna was sufficiently evil both dramatically and vocally.<span style="mso-spacerun: yes;"> </span>The duets were thrilling.<span style="mso-spacerun: yes;"> </span>As was his Credo.<span style="mso-spacerun: yes;"> </span>Cassio was under-cast compared to the
substantial voices of the other three principal singers.<span style="mso-spacerun: yes;"> </span>The other supporting roles and chorus were
all excellent, each managing to perform on a huge staircase the full width of
the stage (one remembers Joan Sutherland on a similar perilous staircase in
Merry Widow!). <span style="mso-spacerun: yes;"> </span>But no bed for the final
Kupfer scene was just plain odd.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">The audience wore masks
throughout and it was about 75% capacity.<span style="mso-spacerun: yes;">
</span>The performance received huge applause for orchestra and at the final curtain.<span style="mso-spacerun: yes;"> </span>It was so nice to see life returning to
something like normal.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">For my own case it will be
very different as I closed our addiction clinic after 38 years last weekend.<span style="mso-spacerun: yes;"> </span>I will just see occasional dependency
patients in the future and hope to do some research.<span style="mso-spacerun: yes;"> </span>I will take in the last few weeks of the Met
season in New York in May all being well with travel, viruses, weather events, wars
and other global challenges.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Best wishes to all my patient
readers (you must be patient to have got this far!).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14.0pt;">Andrew Byrne .. <o:p></o:p></span></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-65243653146689814162021-03-31T21:01:00.012+11:002021-04-08T06:45:35.652+10:00Sydney: 4 operas past season, 4 more this winter plus chamber classics.<p align="center" class="MsoNormal" style="margin-bottom: 12pt; text-align: center;"><span style="font-size: medium;">Chamber
music icons perform around the country while Sydney opera season returns with
four classics from summer and another four to follow this winter.</span></p><p class="MsoNormal"><span style="font-size: medium;">The Tosca run ended near
the Ides of March after a season which started with The Merry Widow followed by Ernani and Bluebeard’s Castle. The last time a <b>non-opera</b>
opened an opera season I castigated the management (My Fair Lady in 2008) but
this time I have nothing but praise and admiration for a company which has
reformed itself to a changing set of Covid rules as local cases waned towards
zero. Initially only 50% of seats could be sold for maximal distancing:
then 75%, now 100% in mid-March for the fourth opera in the series. In
January there were limited pre-opera drinks only but by March intermission
drinks were restored as long as patrons only mingled outdoors – and masks during
the performance were compulsory. </span></p><p class="MsoNormal"><span style="font-size: medium;">There have been rumours of
pay cuts and cancelled contracts with orchestra and chorus members but at least
they are now getting some work and the audience is seeing some high quality
opera. Bela Bartok’s Bluebeard’s Castle is not my favourite opera yet the
audience went wild at the end of the 55 minute shocking musical drama.
John Rayment’s contrasted lighting was amazing and orchestration brilliant yet
the drama could overexpose the bass and mezzo-soprano in an opera lacking a
chorus, tenor or soprano (!). As Bluebeard’s newest wife Judith, Romanian
mezzo-soprano Carmen Topciu was most impressive both dramatically and
vocally. The title role was bass Daniel Sumegi who kept up the incredible
tension to the very end. I’m not sure if Hungarian is a natural language
for opera. But at least I can now say that I have heard a quality
performance of this repertoire classic in a major opera house. Ernani was
splendid so early Verdi fans should be happy to hear Natalie Aroyan is
returning in another La Scala shared production Attila in winter (it was
suspended after 2 performances a year ago due to Covid lock-downs). </span></p><p class="MsoNormal"><span style="font-size: medium;">Tosca with soprano Carmen
Giannattasio, tenor Diego Torre and bass baritone Marco Vratogna was simply
splendid … conducted by brilliant young maestro Andrea Battistoni.
John Bell’s 1940’s updating seems to work better than most. And a “first”
on our performance, possibly due to women’s day and the current movement
exposing violence against women: a large part of the audience burst into
applause when Scarpia finally died after a hectic stabbing bout.
Furthermore, just after this, as Tosca is forgiving her attacker’s corpse, she
covers the body with the Nazi banner which Cavaradossi had ripped down in his
joyous ‘Vittoria’ strains. So the production vilified Nazism. </span></p><p class="MsoNormal"><span style="font-size: medium;">In the Southern Highlands
front we have had two concerts in March … <i>Australian Haydn
Ensemble </i>doing three string quartets by Pleyel, Mozart and Haydn on a
Sunday afternoon at Burrawang. Then a week later <i>Selby and
Friends</i> did four piano trios at Chevalier College in Burradoo. Featured were
Turina, Bloch, Shostakovich and Schubert. The first three were lovely
snippets but the Schubert was a major musical world of joy, melody and playful
harmonies between piano, ‘cello and violin. All absolutely splendid and
wonderful to think that these magnificent performers, many of whom have played
in Wigmore Hall, Carnegie Hall and other similar international venues, also tour
to Canberra, Melbourne, Adelaide and Sydney venues. </span></p><p class="MsoNormal"><span style="font-size: medium;">Artists coming from overseas
had to spend 2 weeks in hotel quarantine, like the tennis players.
Nothing is easy. We are very fortunate to be almost Covid-free in
Australia. </span></p><p class="MsoNormal"><span style="font-size: medium;">La Traviata on Sydney Harbour
is on for most of April. The new winter opera season starts on 22<sup>nd</sup> June
with a ‘digital’ Aida followed by Otello, Attila and the Tales of
Hoffmann. The latter is with Jessica Pratt performing all 4 heroines
following in Joan Sutherland’s footsteps from 1985. Should be fun for all,
except for the title tenor! </span></p><p class="MsoNormal"><span></span></p><p></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-13196031830757649572021-02-04T17:27:00.006+11:002021-02-04T17:27:36.370+11:00Ernani by Verdi. Sydney Opera House 2nd Feb 2021.<p> Dear Readers, </p><p></p><p class="MsoNormal"><span style="font-size: 13.0pt;">We were privileged to see
Verdi’s early masterpiece Ernani in a co-production with La Scala Milan.<span style="mso-spacerun: yes;"> </span>Following last year’s Attila (also a Milan
co-production but stymied after two performances by the Covid pandemic) we
again heard soprano Natalie Aroyan and tenor Diego Torre as doomed lovers.<span style="mso-spacerun: yes;"> </span>Bulgarian baritone Vladimir Stoyanov was the
king and Ukrainian Vitalij Kowaljow sang basso role of Silva.<span style="mso-spacerun: yes;"> </span>All these singers, other soloists and chorus
were at the highest level and put in sterling performances.<span style="mso-spacerun: yes;"> </span>There were ravishing choruses, duets, trios
and a quartet, all in excellent form with much exciting music included for the
love ‘quadrangle’, populus and court.<span style="mso-spacerun: yes;">
</span>The orchestra was also in fine form under Maestro Renato Palumbo,
receiving a huge ovation in the single intermission.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">Nicely balancing the crazy Quixotic
plot by Victor Hugo, this production by Sven-Eric Bechtolf became a ‘play
within a play’.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">During the overture our
travelling troupe arrived with their bags and wide eyes to an open proscenium,
flies, flats, ropes and curtain control wheels all visible … which venue became
the various scenes for the opera.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">I
found it terribly clever while others said it was silly.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">It certainly allowed numerous comic elements
in an otherwise profound tragedy.</span><span style="font-size: 13pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">Ms Aroyan sang and acted
superbly, as did her three suitors.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Her
Act I set piece ‘Surte e la notte’ was superb, comprising recitative, aria and
cabaletta (with chorus).</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">This was one of
the first and last arias recorded by Joan Sutherland about 25 years apart.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">I heard more than one audience member saying
that Aroyan was no Joan Sutherland.</span><span style="font-size: 13pt;">
</span><span style="font-size: 13pt;">Well, yes, but who is?</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Netrebko
is busy and may not cope with 2 weeks in quarantine.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Few top sopranos could sing all these notes,
let alone carry off the role … and I don’t think Joan Sutherland ever did
Ernani on stage either – and furthermore, her full recording was made when both
she and Pavarotti were past their primes.</span><span style="font-size: 13pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">Verdi wrote famously for the
baritone and we were not disappointed with Mr Stoyanov.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Likewise Mr Kowaljow sang with a manly
presence and velvet tone.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">And Diego
Torre put forward perhaps his best role yet, having a full bodied tenor range
and ample volume.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">We are fortunate that
he is now a company member and an Australian citizen.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">He commences the magnificent final trio,
‘Solingo errante e misero’ which was popularised by the Lincoln Centre concert
with Pavarotti, Sutherland, Horne (Horne singing the baritone part!).</span><span style="font-size: 13pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">Overseas artists must have
travelled to Sydney with special permits and stayed in hotel quarantine for
which we should all be appreciative.</span><span style="font-size: 13pt;">
</span><span style="font-size: 13pt;">Covid stringencies affect artists just like tennis players.</span><span style="font-size: 13pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">How fortunate in Sydney that
we had a 75% full auditorium (socially distanced, compulsory masks, no foyer
mingling) of opera fans enjoying this art form once again in Sydney.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Covid has been at low levels here for 6
months and the last isolated cases were just two weeks ago.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">Opera is indeed an “exotic and irrational
entertainment” as per Dr Johnson’ dictionary.</span><span style="font-size: 13pt;">
</span><span style="font-size: 13pt;">One day someone will write an opera about Covid-19.</span><span style="font-size: 13pt;"> </span><span style="font-size: 13pt;">I wonder what Johnson would have made of The
Merry Widow or Cats!</span><span style="font-size: 13pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 13pt;">Written by Andrew Byrne ..</span></p>
<p class="MsoNormal"><span style="font-size: 11pt;"> </span></p><br /><p></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-73115336158737139312021-02-04T09:21:00.005+11:002021-02-04T11:00:52.096+11:00Opera season resumes at Sydney Opera House with The Merry Widow. <p><span style="font-size: medium;">Dear Readers, </span></p><p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;">I
have been to the opening night of a marvellous production of The Merry Widow,
part of a four opera subscription season this summer (along with Ernani, Tosca and Bluebeard’s Castle). We still have some Covid clusters in
Sydney but life largely continues as usual. The 50% capacity rule for
live theatre was raised to 75% a few weeks ago and I estimate that was about
the attendance last night. Things can change very rapidly with Covid-19
so we are all on tenterhooks and taking all precautions and sanctions by our
state governments. </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;">It
was a strange feeling returning to familiar scenes in unfamiliar times ...
masks compulsory, drinks pre-opera but NOT during intermissions; social
distancing, digital tickets, logs in and out on QR codes, etc. </span></p><p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;">Only once before did the opera company open their "opera" season with a piece from musical theatre rather than opera - My Fair Lady many years ago. </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;">More
about 'Widow' from the usual reviewers … I enjoyed it greatly and felt that
all singers were excellent, the show was non-stop fun. Highly
recommended! Seats available from $40 to $335 see OA web site.
We had an extraordinary electrical storm here in Sydney after the opera ...
quite theatrical! And no charge!! </span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;">Andrew
Byrne ..</span></p><p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: medium;"><br /></span></p><p class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><br /></p>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-2839805588226903522020-04-23T08:18:00.000+10:002020-06-30T12:03:07.454+10:00Met stream repeat of "at-home" gala this weekend.<span style="font-size: large;">Dear Opera Friends, </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The Met has been streaming one opera per day from both HD series and earlier archives. These are available by simply opening their web site and clicking on 'watch now'. Their unique initiative to engage performers and audience again began on April 25 with over 40 of their top artists performing from home. It was a great success but only available on-line for 24 hours.
Most moving perhaps is 'Va pensiero' from Nabucco with chorus and orchestra members somehow coordinated digitally, conducted from Canada by Yannick Nézet-Séguin. Clever audio mixing, clever camera work and magnificent choral opera at its best. Your favourite singers and very likely some of your favourite solos in a 4 hour spectacular. A couple of duets, too.
We now learn that singing is a potent transmitter of Covid virus and it is depressing to think that normality in the entertainment world may not return until a vaccine is found.
Best wishes from Andrew Byrne in Sydney, NSW where we are very fortunate to be almost Covid-free (only one community case in past 2 weeks).
https://www.metopera.org/
https://andrewsopera.blogspot.com/
</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-49560012476325229452020-03-29T20:43:00.001+11:002020-03-31T21:10:50.574+11:00Last Tango in Sydney-Attila at SOH-Great production, great singing of early Verdi work. <div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;">Dear Colleagues, </span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;">In the weeks before the storm clouds
of Covid 19 gathered I was privileged to attend a series of moving cultural
events culminating in the opening night on 12<sup>th</sup> March of Attila at
the Sydney Opera House, a co-production with La Scala, Milan, conducted by
Andrea Licata. I attended with my sister and brother-in-law from Perth,
WA plus a lot of local dignitaries, pollies and other free-loaders. Broadcast
on ABC Classic FM radio: <a href="https://www.abc.net.au/classic/programs/sunday-opera/sunday-opera-verdi-attila/12083484">https://www.abc.net.au/classic/programs/sunday-opera/sunday-opera-verdi-attila/12083484</a>
</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
The sets used some ruined stone arches from antiquity joined to modern steel
girder structures. These opened and closed, just like the windows of opportunity
for peace and war between all-conquering Attila and a failing Roman
state. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
As Odabella Australian soprano Natalie Aroyan was strident and accurate for the
requirements of this stentorian role (her opening scene is my ‘desert island
piece’ and I was not disappointed – go to 14 minutes in on ABC audio if you
dare). Taras Berezhansky sang the title role with his resplendent bass
voice and elegant frame while tenor Diego Torre sang Foresto using his
magnificent spinto, perhaps the best we have heard from a resident tenor since the
days of Donald Smith. Italian baritone Simone Piazzola played Ezio the
Roman general, also not missing a beat along with Australian trained tenor
Virgilio Marino playing Uldino. All were top notch and up to the enormous
demands of the roles. <span style="border: none 1.0pt; color: #222222; font-size: 13.0pt; padding: 0cm;">I note while listening the ABC broadcast that Mr Piazzola sang his
declamatory and patriotic second act aria ending on a most exciting B flat, a
note usually reserved for tenors (1hr 28m).<span style="mso-spacerun: yes;"> </span></span></span><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br /></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br /></span>
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;">A formal review of the opera could take some pages … very little to criticise
and much to praise. The cold-blooded shooting of numerous female captives
in the opening scene was a little shocking but emphasised the gall and spirit
of Odabella in addressing the King of the Huns.<span style="mso-spacerun: yes;">
</span>A great sadness that the season was curtailed after the second
performance and that so few will see this magnificent work (even the opening
was only half full). It was the Australian premiere. And we may not
see it again for a very long time. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
I had seen Attila at Carnegie Hall in 2003 with Lauren Flanagan and then again
in 2010 in a wonderful production at the New York Met. On that occasion
we met some cast members backstage afterwards including bass Samuel Ramey and
conductor Marco Ameliato. Mr Ramey had sung the title role in 2003 and in
his ‘retirement’ sang the small role of Pope Leo in the Met production 7 years
later. He may be the last living singer from the ‘Golden Age’ [sic] of
Opera which included Joan Sutherland. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
My pre-corona season had started 3 weeks earlier with a concert by young
singers for our NSW Wagner Society. My immediate reaction was that young
singers should not be singing Wagner. Fortunately the program was
balanced and ‘safe’ including some Weber, R. Strauss, Humperdinck, Beethoven
and Marx. There followed a fun Sydney Mardi Gras party - a sedate
gathering of young and old the night before the big parade. Then a
wonderful Selby and Friends chamber group concert called ‘A Tale of Two Cities:
St Petersburg and Vienna’. Ms Selby at the piano with clarinet, violin
and ‘cello we heard works by Mozart, Brahms, Stravinsky and Arensky. The
Arensky piano trio in D minor was most novel and impressive and it appears I
have been missing this wonderful late Russian composer and will seek out more
of his works. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
During this period I also celebrated my brother’s birthday in Erskineville then
my nephew’s engagement in Potts Point, a gay wedding of an old school friend
and long-time Aboriginal partner on Sydney Harbour then sadly there was the
funeral of a friend in the Southern Highlands (not Covid related). During
February my niece’s young medical student colleague was holed up on the Diamond
Princess in Japan with regular bulletins from his parents and sibs isolation on
board – portending what is now happening around the globe. And I continue
working at the medical clinic near Sydney's Central Station (where there are
very few travellers nowadays). </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
With regards and wishes for more strength to all readers for the difficult days
ahead. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 13.0pt; padding: 0cm;"><br />
Andrew Byrne .. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<span style="font-family: "times new roman" , "serif"; font-size: 13.0pt; line-height: 115%;"><br clear="all" style="page-break-before: always;" />
</span>
<span style="font-family: "times new roman" , "serif"; font-size: 13.0pt; line-height: 115%;"><a href="https://www.abc.net.au/classic/programs/sunday-opera/sunday-opera-verdi-attila/12083484">https://www.abc.net.au/classic/programs/sunday-opera/sunday-opera-verdi-attila/12083484</a>
</span><br />
<span style="font-family: "times new roman" , "serif"; font-size: 13.0pt; line-height: 115%;"></span><br />
Andrew’s opera: <a href="https://andrewsopera.blogspot.com/">https://andrewsopera.blogspot.com/</a>
<br />
Andrew’s blog: <a href="https://ajbtravels.blogspot.com/">https://ajbtravels.blogspot.com/</a>
<br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-62551968845687144042020-03-28T17:00:00.003+11:002020-03-28T17:07:03.870+11:00I’m on a Handel High ! In praise of Semele ! <span style="color: #004000; font-family: "&quot" , "serif"; font-size: large;"></span><br />
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Dear
Colleagues (it’s long, so get a coffee or press delete!),</span><br />
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;"><br /></span>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Semele by George Friderich
Handel – novel opera of great genius, unfairly overlooked. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">This it to praise the joys of
Handel’s magnificent masterpiece of 1744 and to recommend the numerous
recordings and YouTube versions available to readers. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Handel changed the face of
opera, concert and choral music in a long career from Germany to Rome and then
to London where he was virtually adopted by the English and even became a
naturalised citizen. Handel was born in the same year as JS Bach,
Domenico Scarlatti and John Gay, 1685. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Handel wrote 40 operas in 30
years, most of which disappeared into obscurity until the 1950s when
enthusiasts in England and America became interested to re-create these works
using original instruments and the vocal devices and techniques of the baroque
period (excluding castrati!). </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Apart from some recent praise,
unkind things have sometimes been written on this list like: ‘all his music
sounds the same: they just change the title’. However, closer listening
reveals a mature genius in melodic invention, dramatic flow and orchestral
originality. This is certainly the case with Semele. Most Handel
operas have one aria which became a memorable showpiece. Ombra mai fu
(‘Handel’s largo’ from Serse); Torami a vagheggiar (Alcina); Let the bright
Seraphim (Samson); Care selve (Atalanta); V’adoro, pullilae (Julius Caesar);
Where shall I fly? (Hercules); Lascia, ch’io pianga (Rinaldo); Dove sei, amato
bene (Rodelinda). </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Apparently some in London were
sick and tired of Italian operas. Samuel Johnson even defined opera in
his dictionary in 1755 as ‘an exotic and irrational entertainment’.
‘Exotic’ in those days meant foreign. So Handel moved with the times and
wrote Semele to an English libretto penned from the Ovid’s Metamorphoses about
the illicit liaison between Jupiter and Semele to the consternation of his wife
Juno and with the conniving of Semele’s sister Ino. The last lines of the
opera allude to the birth of Bacchus, son of Semele and Jupiter and bringer of
mirth, joy and libido. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">However, when in early 1744 the
libretto was presented to Covent Garden as a raunchy piece involving sex out of
marriage, betrayal, death on stage, etc, it was determined that it could not be
staged during Lent, a season of solemn self deprivation. Brilliant
tactician as he was, Handel told the management and his publisher that Semele
was an opera “in the manner of an Oratorio”. Hence it was performed from
the concert platform in English to the delight of the public. London did
not want to miss out again on the first performance as they had with Messiah
which opened in Dublin after London found it inappropriate for a church.
Like Messiah, Semele was reportedly written in about a month, a phenomenal
feat, especially for someone who had a recent heart attack. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Messiah has become one of the
most popular choral pieces of all time (see excellent videos from Trinity
Church Wall Street). It is my view that Semele should have been as
popular, such are its enormous musical, vocal and dramatic virtues.
Semele’s time may have finally arrived as a few serious performances have been
given and mainstream opera companies are turning their attention to
Handel. YouTube provides some impressive examples (see below for some
recommended links including Cecilia Bartoli in Zurich). </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span><br />
<br />
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Some say Semele is Handel’s
best opera. I heard Charles Mackerras spoke highly of the work and
conducted Joan Carden in the title role in Australia. Just the second act
has three of the most famous arias ever written … ‘Iris Hence Away’ for the
mezzo-soprano; ‘Sleep, why do’est thou leave me’ for the soprano and ‘Where
‘ere you walk’ for the tenor. Do many (or any?) other operas have three
immortal arias in just one act? All singing students should learn some
Handel … and often one of the above - but only when they are quite advanced in
their training since these are all major exercises in breathing, coloratura and
ornamentation. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span><br />
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">The soprano sings two
phenomenal pieces each of which dwarfs even the Queen of Night’s arias by
Mozart. ‘Myself I shall adore, should I persist in gazing’; ‘No, no, I'll
take no less …’. Semele could become my favourite opera (equal with
Norma?). </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Notes and hyperbolae by Andrew
Byrne in Sydney .. (quivering at the prospect of visiting New York in 3
weeks despite Coronavirus threat). Will the Met stay open, I wonder? </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<a href="https://www.youtube.com/watch?v=FibDMWk0i5k"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=FibDMWk0i5k</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;"> </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span><br />
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Zurich Opera with C. Bartoli</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=NqHe4FAKYhI"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=NqHe4FAKYhI</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">
(audio only)</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Rosemary Joshua soprano
classy. C. Curnyn 2007 </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=xKL0Rd7kYGE"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=xKL0Rd7kYGE</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">
(video Act I ENO)</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=-VyXjc0ZBGk"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=-VyXjc0ZBGk</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">
(video Act II ENO)</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=APzCz4sf-X8"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=APzCz4sf-X8</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">
(video Act III ENO)</span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=p2GbHKtsll8"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=p2GbHKtsll8</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;"> </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">A very alternative and modern
production from Long Beach Opera. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://www.youtube.com/watch?v=SIlWXYvBLi8"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://www.youtube.com/watch?v=SIlWXYvBLi8</span></a><span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;"> </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Phenomenal soprano
antics. ?who ?where Simone Kermes? </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<a href="https://handelandhaydn.org/enhanced-program-notes-semele"><span style="border: none 1.0pt; color: #6611cc; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm; text-decoration: none;">https://handelandhaydn.org/enhanced-program-notes-semele</span></a><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="border: none 1.0pt; color: #222222; font-family: "&quot" , "serif"; font-size: 14.0pt; padding: 0cm;">Boston Handel/Haydn society web
site is very impressive and instructive. </span><span style="color: #222222; font-family: "&quot" , "serif"; font-size: 8.0pt;"></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-7406697056620114392019-08-17T17:59:00.002+10:002019-08-17T18:00:20.488+10:00Kaufmann, Westbroek, Tezier excel in Andrea Chenier at Sydney Opera House.
<a href="https://www.blogger.com/null" name="OLE_LINK1"><span style="font-size: 14.0pt;">Jonas Kaufmann
as Andrea Chenier at the Sydney Opera House – Thurs 8<sup>th</sup> August
7pm </span></a><span style="font-size: 14.0pt;"></span><br />
<br />
<span style="font-size: 14.0pt;">I am still reeling in the
after-glow of this magnificent outing of Giordano’s masterpiece, Andrea
Chenier. </span><br />
<br />
<span style="font-size: 14.0pt;">55 years ago a determined
impresario obtained the services of three of the world’s greatest singers to
perform Andrea Chenier in Tokyo. Happily Renata Tebaldi, Mario Del Monaco
and Aldo Protti were filmed for Japanese television and the B&W DVD is one
of my prized opera recordings. Their performances are all staggering and
the applause equally enthusiastic in this fully staged version. Now,
decades later in Sydney and Melbourne we have three great singers at their
peaks in this same opera, in concert. </span><br />
<br />
<span style="font-size: 14.0pt;">We were fortunate to hear
German tenor Jonas Kaufmann, Dutch soprano Eva-Maria Westbroek and French
baritone Ludovic Tezier. Any one of these opera stars should have ensured
a full house … but to hear all three with numerous superb Australian singers,
chorus and orchestra in Utzon’s ‘wunder-barn’ yielded one of the best nights at
the opera since Sutherland and Pavarotti sang here together in 1983. No
costumes, no wigs, no sets. Just glorious vocalism as its best. The
Concert Hall performances were options in the year’s season subscription.
In fact they were a major draw-card. </span><br />
<br />
<span style="font-size: 14.0pt;">Giordano’s brilliance
shines through time and again in this wonderful opera … illuminating Luigi
Illica’s moving and tragic libretto. Chenier is a revolutionary poet and
he addresses country, love, honour, chivalry, charity, justice and punishment
to a rare dramatic perfection. Monsieur Tezier sings a stunning ‘Son
sessant’anni’ to set the scene for revolution; then his equally stentorian
‘Nemico della patria’ to ensure the opera’s unhappy ending. The tenor has
four arias in the two long acts, starting with ‘Un dì all'azzurro spazio’ Mr
Kauffman devotes enormous vocal and dramatic energy to each piece. Ms
Westbroek, who sang Sieglinde at the Met recently, sang her famous aria ‘La
Mamma morta’ which brought the house down before their final duet ‘Vicino a
te’. </span><br />
<br />
<span style="font-size: 14.0pt;">Sian Sharp (Pendry), Anna
Dowsley, Ben Rasheed, Richard Anderson, Luke Gabbedy, Domenica Matthews,
Jonathan Alley, Christopher Hillier, Alexander Hargraves and Graeme Macfarlane
all sang significant roles with style and flair. </span><br />
<br />
<span style="font-size: 14.0pt;">One of the unique
performances belonged to Gerard, the manor valet who first evokes the
anti-patrician sentiments, uniforms, generations of servants and service
without recognition, remuneration or choice. And looking francishly
elegant, Monsieur Tezier wore a bespoke arch-cut tuxedo in deepest green and
black which was a ‘uniform’ of sorts emphasising his designated station in
life. And he sang the demonstrative notes of this magnificent role,
almost equalling the amazing feat of Aldo Protti in the old TV recording from
Tokyo (still available on-line). While the lovers inevitably take the
lime-light at the glorious ending (Madame Guillotine notwithstanding) it is the
baritone who carries much of the dramatic weight of this unique work. </span><br />
<br />
<span style="font-size: 14.0pt;">Israeli Sabra Pinchas
Steinberg conducted the Opera Australia Orchestra and Chorus. He was
clearly au fait with the piece but for some reason took the start of Act II at
a ridiculously fast pace, seemingly to prove that the instruments could keep
up, which they seem to have, but few audience ears could have done so in my
view. The chorus likewise did as required to great effect, although this
is not a great choral opera. </span><br />
<br />
<span style="font-size: 14.0pt;">There were shades of
modern Hong Kong in the story line, such is the revolutionary spirit there just
now. </span><br />
<br />
<span style="font-size: 14.0pt;">There are few operas in my
experience with as many spine tingling moments as Andrea Chenier and it will a
long time before the privileged Sydney audience forgets this experience.
I spoke to two patrons who were determined to re-live the performance on the
Sunday matinee following. Good luck to them! Another decided against it,
‘lest it dent the indelible impression of the prima’. </span><br />
<br />
<span style="font-size: 14.0pt;">Notes by Andrew Byrne ..
Sydney addiction physician.</span><br />
<br />
<span style="color: #1f497d; font-family: "Calibri","sans-serif"; font-size: 11.0pt;">If you want YouTube treat try the improviso <a href="https://www.youtube.com/watch?v=BTGERozgjPw">https://www.youtube.com/watch?v=BTGERozgjPw</a>
</span><br />
<br />
<span style="color: #1f497d; font-family: "Calibri","sans-serif"; font-size: 11.0pt;">Equally the last 10 minutes of the opera are splendid … as our
heroes the lovers face the guillotine. </span><br />
<br />
<span style="color: #1f497d; font-family: "Calibri","sans-serif"; font-size: 11.0pt;"><a href="https://www.youtube.com/watch?v=q1Mb7NVKsz4">https://www.youtube.com/watch?v=q1Mb7NVKsz4</a>
</span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt;">Or
in B&W TV from Tokyo in 1961: <a href="https://www.youtube.com/watch?v=kbjAKdZ8FT0">https://www.youtube.com/watch?v=kbjAKdZ8FT0</a>
</span><br />
<br />
<div style="punctuation-wrap: simple; text-autospace: none;">
<span style="font-size: 11.0pt;">Opera blog: </span><a href="http://andrewsopera.blogspot.com/">http://andrewsopera.blogspot.com/</a><u><span style="color: blue; font-size: 11.0pt;"> </span></u><span style="font-size: 11.0pt;"></span></div>
<div style="punctuation-wrap: simple; text-autospace: none;">
<br /></div>
<div style="punctuation-wrap: simple; text-autospace: none;">
<span style="font-size: 11.0pt;">Andrew's blog </span><a href="http://ajbtravels.blogspot.com/">http://ajbtravels.blogspot.com/</a><u><span style="color: blue; font-size: 11.0pt;"> </span></u><span style="font-size: 11.0pt;"></span></div>
<div style="punctuation-wrap: simple; text-autospace: none;">
<br /></div>
<br />
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-42046294074294100052019-05-11T18:05:00.000+10:002019-08-17T18:07:40.303+10:00Tenor Michael Fabiano wows audience in Sydney Werther.
<div align="center" style="text-align: center;">
<span style="font-size: 14.0pt;">Werther at the Sydney Opera House. Friday 22<sup>nd</sup>
Feb 2019</span></div>
<br />
<span style="font-size: 14.0pt;">The Sydney audience gave a
rare standing ovation for American tenor Michael Fabiano after four relentless
acts of this devolving tragedy. Unlike most operas, Werther has a simple
story line of unrequited love leading to suicide. And Massenet’s evocative
orchestration and vocals take us through every stage from observation,
recognition, desire, love, lust, envy, loss, anger to despair and death.
Haunting solos and dramatic duets reach incredible operatic high points in each
of four acts and this is against the banal backdrops of a family gathering,
street scene, a church anniversary and a Christmas dinner. </span><br />
<br />
<span style="font-size: 14.0pt;">We last saw this opera a
decade ago with its charming and innovative production by Michael Yeargan and
Elijah Moshinsky. The clever use of indoor/outdoor settings well suits
the story which takes place in a home, garden and village square. An
initial stage coup sees an entire sheet of shimmering silk covering all on
stage, tables, chairs, bicycle, toys, fence, etc. As the prelude progresses it
was almost imperceptibly pulled away, ‘sucked’ into a hole in the middle of the
stage! All is revealed: a weird and wonderful exposé for the scena of
bright green grass, garden furniture, festooned entrance architrave, etcetera.</span><br />
<br />
<span style="font-size: 14.0pt;">Charlotte was well sung by
Elena Maximova who played Olga to the Tatiana of Anna Netrebko at the
Metropolitan Opera in 2017. Young sister Sofie was ably played by Stacey
Alleaume with her several impetuous but melodious teenage interjections.
Luke Gabbedy cut a fine Albert while other supporting singers rose to the very
substantial occasion for a well balanced performance. </span><br />
<br />
<span style="font-size: 14.0pt;">Werther is best known for its
Act III tenor aria <i>Pourquoi me reveiller</i> which Mr Fabiano sang to
perfection … as we once heard Luciano Pavarotti do likewise in this same opera
house (in concert). The connected duetto was vocally satisfying and
emotionally wrenching, preparing us for the Act IV death scene. </span><br />
<br />
<span style="font-size: 14.0pt;">We first heard Michael
Fabiano here as Faust in 2015, then in Lucia in 2018. His voice may have
broadened and his technique become more nuanced and shaded, each vocal phrase
carefully crafted. </span><br />
<br />
<span style="font-size: 14.0pt;">With its newly functional pit
‘enhancement’ the orchestra sounded full bodied under the baton of Maestro
Carlo Montanaro. As with the vocals, there is a particular style for
French tempo, timbre and temperament. Massenet would have been delighted
at the modern presentation of his 1892 masterpiece. </span><br />
<br />
<span style="font-size: 14.0pt;">The opening night audience
will long remember being bowled over by the vocal power and intense drama
contrasted with subtlety and equipoise of Michael Fabiano’s stentorian
performance. Along with his fellow artists and bright production this is
a ‘must-see’ opera. There are seven more performances so opera lovers in
reach of Sydney should get a ticket quickly (there are plenty available
according to the company’s web site). </span><br />
<br />
<br />
<span style="font-size: 14.0pt;">Notes by Andrew Byrne .. </span><br />
<br />
<div style="punctuation-wrap: simple; text-autospace: none;">
<span style="font-size: 13.0pt;">Opera blog: <a href="http://andrewsopera.blogspot.com/">http://andrewsopera.blogspot.com/</a><u><span style="color: blue;"> </span></u></span></div>
<div style="punctuation-wrap: simple; text-autospace: none;">
<br /></div>
<br />
<br />
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-41277762389226813642018-10-09T02:13:00.003+11:002018-10-15T17:18:29.119+11:00Culture and tulips in the Southern Highlands.<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-YhYaxD8EJ3U/W8QwW3Fo4tI/AAAAAAAAETI/lWa7s52ED1Ucqq4uY6fjpyPmEgYglqmmACLcBGAs/s1600/rudd0918prog.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://3.bp.blogspot.com/-YhYaxD8EJ3U/W8QwW3Fo4tI/AAAAAAAAETI/lWa7s52ED1Ucqq4uY6fjpyPmEgYglqmmACLcBGAs/s320/rudd0918prog.JPG" width="320" /></a></div>
<div style="margin: 0px;">
<br /></div>
<div class="separator" style="clear: both; margin: 0px; text-align: justify;">
<span style="font-size: large;">One does not have to travel to Sydney as the arts come to
the Southern Highlands on a regular basis. Ruddigore is one of the least
known Gilbert and Sullivan works but is a dark classic, famous for patter songs. It
originally ran in London in 1887 for 300 performances and earned Mr Gilbert
6000 pounds. I last saw it in Armidale, NSW, in 1965! The Bundanoon
Soldiers’ Hall performance on Sat 29<sup>th</sup> September was full and
frolicsome. G&S were forerunners of today’s West End and Broadway
musicals. </span></div>
<div style="margin: 0px;">
<span style="font-size: large;"><br /></span>
</div>
<div style="margin: 0px; text-align: justify;">
<span style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Selby and Friends</b>
concerts continue in Mittagong and Bowral, returning to their original location,
now fully refurbished, at Chevalier College in 2019. Every two months for
many years renowned pianist Kathryn Selby has brought three or four virtuoso
musicians for a chamber concert centring on Beethoven but featuring many others
from before and since including some contemporary works. The concerts are
always an entertainment and often an education as well, ideally timed for 5pm
on Saturday evenings. Next concert is Sat 13 October. </span></div>
<span style="font-size: large;"></span><div style="margin: 0px; text-align: justify;">
<br /></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-size: large;">The <b style="mso-bidi-font-weight: normal;">Australian Haydn
Ensemble</b> continue their performances, the latest at Kangaloon Hall on Sat 6<sup>th</sup>
October with the same program played the following day at the Sydney Opera
House, Utzon Room (Winx on the sails!). This featured an important 19<sup>th</sup>
century genre being transcriptions of full symphonic works for smaller groups
of instruments. This was the only way most people living away from the
big centres (as most did) would ever hear the great symphonies of Beethoven,
Mozart, Haydn and others. We were treated to a wonderful performance of
Beethoven’s first symphony in C by 6 string instruments plus flute. It
was brilliant, being both familiar and different at the same time. </span></div>
<span style="font-size: large;"><div style="margin: 0px;">
<br /></div>
</span><div style="margin: 0px;">
<span style="font-size: large;"></span></div>
<div style="margin: 0px;">
</div>
<span style="font-size: large;">Local born pianist Andrew Rumsey has been doing a popular
French duet program around the towns too including the Rose Room in
Burradoo.<span style="margin: 0px;"> </span>Too much on for me to get
there but it must have been fun.<span style="margin: 0px;"> </span></span><br />
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-size: large;">I have seen the tulips in Bowral each week for the past
several and while some beds are over their peak, there are still lots to see …
and finally the double Japanese cherry is starting to flower. With some
light rain, nobody is complaining. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: large;">Best wishes to locals and visitors alike. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: large;">Andrew Byrne .. </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: large;">Andrew's
blog <a href="http://ajbtravels.blogspot.com/"><span style="color: blue;">http://ajbtravels.blogspot.com/</span></a><u><span style="color: blue; margin: 0px;"> </span></u></span></div>
<div style="margin: 0px;">
<br />
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<a href="https://3.bp.blogspot.com/-y-HFnG6Igdg/W8QwszGLgCI/AAAAAAAAETQ/GE_do3D5vesj1Phf3UNm4suIh4p_wqIPwCLcBGAs/s1600/DSCN1691.JPG" imageanchor="1" style="margin-left: 16px; margin-right: 16px;"><img border="0" data-original-height="1245" data-original-width="1600" height="249" src="https://3.bp.blogspot.com/-y-HFnG6Igdg/W8QwszGLgCI/AAAAAAAAETQ/GE_do3D5vesj1Phf3UNm4suIh4p_wqIPwCLcBGAs/s320/DSCN1691.JPG" style="cursor: move;" width="320" /></a></div>
<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-74035753877867100612018-07-31T20:46:00.000+10:002018-07-31T20:46:36.219+10:00Opera trifecta ... glorious vocal drama at Sydney Opera House winter 2018
<div style="margin: 0px;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 13pt; margin: 0px;">Lucia di
Lammermoor</span></b><span style="color: black; font-size: 13pt; margin: 0px;"> with Jessica Pratt, Michael Fabiano, Giorgio Caoduro, c. Carlo
Montanaro.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 13pt; margin: 0px;">Rigoletto</span></b><span style="color: black; font-size: 13pt; margin: 0px;"> with Dalibor
Jenis, Gainluca Terranova, Irina Lungu, Taras Berezhansky, c. Renato
Palumbo.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-size: 13pt; margin: 0px;">Aida</span></b><span style="color: black; font-size: 13pt; margin: 0px;"> with Amber
Wagner, Elena Gabouri, Riccardo Massi, Warwick Fyfe, Roberto Scandiuzzi, c.
Andrea Battistoni.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="color: black; font-size: 13pt; margin: 0px;">Dear Colleagues, </span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">I feel very torn having seen three truly
magnificent opera performances while at the same time seeing further evidence
of a company on a path to self-destruction. </span><span style="font-size: 13pt; margin: 0px;">Each year Opera Australia has contained less opera and
less Australian content under present management.<span style="margin: 0px;"> </span>There is no opera at all for three months of
the year (musicals take centre stage) and most of the main opera roles are taken
by foreign-based artists.<span style="margin: 0px;"> </span>What a sadness
that so much artistic dollar now goes offshore ... and as a result the company
no longer encourages talented young local singers with the prospect of a career
in opera in Australia.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="color: black; font-size: 13pt; margin: 0px;">These things aside for a moment, we were privileged to enjoy the glorious,
full blooded operas with Lucia, Rigoletto and Aida, starting the new winter
season.<span style="margin: 0px;"> </span>These include the famous Sextet,
the Quartet and Triumphal March, along with much, much more.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">There were many high points …
but two stand-out performances were Jessica Pratt in the Lucia Mad Scene and
Michael Fabiano’s finale of the same opera.<span style="margin: 0px;">
</span>Both were unique demonstrations of the finest renditions of vocal drama
– each a master class.<span style="margin: 0px;"> </span>Both had done the
same roles in New York recently, but not together.<span style="margin: 0px;"> </span>Ms Pratt omits the act I cadenza which is
sensible but adds a needless if very exciting high F in the scene in her
brother’s studio.<span style="margin: 0px;"> </span>The sextet and
cabaletta with chorus are high class vocalism but the mad scene wins all the
gongs in town.<span style="margin: 0px;"> </span>Ms Pratt has everyone
spell-bound with her flights, frights and heights.<span style="margin: 0px;"> </span>The glass harmonica is replaced by the flute
in a tight and accurate orchestra under Maestro Montanaro.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">A libretto I consulted omits
the wonderful Wolf Crag Scene which was sung splendidly by Messrs Caoduro and
Fabiano.<span style="margin: 0px;"> </span>The libretto also left out the
scene in act II between Lucia and Raimondo (played here very competently by
Richard Anderson).<span style="margin: 0px;"> </span>There are also some
lines after the chorus endings later in the opera which were included in this
very full and fine rendition.<span style="margin: 0px;"> </span>I wish I
could say the same of the production which was bland, grey and
uninspiring.<span style="margin: 0px;"> </span>There was no fountain!<span style="margin: 0px;"> </span>Nor even an oily doily marking the spot.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">Leo Nucci had cancelled his
much anticipated Rigoletto, replaced by a very fine Dalibor Jenis from
Bratislava.<span style="margin: 0px;"> </span>The new production had also
been cancelled due to funds but was unlikely to match the standard of the
wonderful old Moshinsky / Yeargan set in Mantua’s court portrait gallery in surely
its last outing.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">American soprano Amber Wagner
was a mighty Aida with one of the loudest voices I have ever heard (and big,
beautiful vocalism <i style="mso-bidi-font-style: normal;">is</i> what we pay
for).<span style="margin: 0px;"> </span>The pace-setting new production
uses tall LED panels in place of scenery and props.<span style="margin: 0px;"> </span>Yet the production used images more like
Iceland than Egypt.<span style="margin: 0px;"> </span>We were regaled with
huge fast moving clouds, bush fires and sea scapes, all rare in Egypt … and
there seemed no impression of Egypt’s torrid heat and blue sky.<span style="margin: 0px;"> </span>The towering structures projected were like
Maurits Escher inventions, containing multiple arches.<span style="margin: 0px;"> </span>Yet the arch was not invented until
Greco-Roman times.<span style="margin: 0px;"> </span>The head-dresses bore
little resemblance to Egypt and some looked more like Meso-American eagle gods
and <i style="mso-bidi-font-style: normal;">Doctor Who </i>Cybermen.<span style="margin: 0px;"> </span>Some of the hieroglyphs were real (in the tomb
scene) while others might have been a hieratic washing bill.<span style="margin: 0px;"> </span>But no matter - the voices were all splendid,
notably local Warwick Fyfe as Amonasro.<span style="margin: 0px;">
</span>His magnificent “Ma tu, Re, tu signore possente” is still humming in my
ear.<span style="margin: 0px;"> </span>Ms Gabouri and Mr Massi were
excellent as Amneris and Radames.<span style="margin: 0px;"> </span>Even
the relatively small role of Ramfis was taken by top international bass Roberto
Scandiuzzi, adding to the star-studded line-up.<span style="margin: 0px;">
</span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">The technicolor panels were
moved incessantly, often for no particular dramatic reason – up down and
sideways, etc.<span style="margin: 0px;"> </span>Yet at times the set
change was dramatic and almost instantaneous.<span style="margin: 0px;">
</span>Apparently we will see more operas using such technology, as with the
Met Ring which uses narrow hinged LED panels to great effect.<span style="margin: 0px;"> </span>It was surprising to me that there were still
several short pauses in a darkened house between scenes in Aida.<span style="margin: 0px;"> </span>The company chose to have only one
intermission which in my view is an insult to composer, patrons, singers and
bar staff alike.<span style="margin: 0px;"> </span>On a practical note for
an aging audience it also causes more congestion in the toilets in the single
intermission.<span style="margin: 0px;"> </span>Another reflection of the
audience is that the matinee is so heavily booked these days.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">So what is to become of the
national opera company now that it has so few resident artists and spends so
much of the year performing musicals?<span style="margin: 0px;"> </span>A
successful formula used for over 50 years has been dumped and a repertory
company has been turned into a ‘festival’ company.<span style="margin: 0px;"> </span>The present management makes no apologies as
this has been the aim for some years, only now coming to fruition.<span style="margin: 0px;"> </span>Even costumes are now made in Thailand.<span style="margin: 0px;"> </span>The MEAA cannot defend Australian artists,
wig makers, etc.<span style="margin: 0px;"> </span>My question is whether
the ‘new formula’ is sustainable.<span style="margin: 0px;">
</span>Already the opera on the harbour has had to start repeating popular
works and the great majority of theatre performances are of ‘top of the pops’
or ‘ABC’ of opera (Aida, Boheme, Carmen).<span style="margin: 0px;">
</span>When is Sydney going to hear Wagner?<span style="margin: 0px;">
</span>Will we ever hear Trittico, Huguenots, Fidelio, Gioconda, Nabucco or
Fanciulla again?<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">I for one am grateful that we
still have an opera company at all.<span style="margin: 0px;"> </span>But
it cannot claim to be a truly <i style="mso-bidi-font-style: normal;">Australian</i>
opera company any longer and may not qualify for government subsidy which would
be a disaster considering already high ticket prices up to $350 per seat.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">I will be keeping my
subscription for the time being and remain a supporter if a critical one.<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">Cheers to all opera lovers
(and thanks for the patience of the normal people out there).<span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">Notes by Andrew Byrne ..</span><span style="font-family: "Calibri","sans-serif"; font-size: 11pt; margin: 0px;"></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">Opera blog: </span><a href="http://andrewsopera.blogspot.com/"><span style="font-size: 13pt; margin: 0px;"><span style="color: blue;">http://andrewsopera.blogspot.com/</span></span></a><u><span style="color: blue; font-size: 13pt; margin: 0px;"> </span></u><span style="font-size: 13pt; margin: 0px;"></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<span style="font-size: 13pt; margin: 0px;">Andrew's blog </span><a href="http://ajbtravels.blogspot.com/"><span style="font-size: 13pt; margin: 0px;"><span style="color: blue;">http://ajbtravels.blogspot.com/</span></span></a><u><span style="color: blue; font-size: 13pt; margin: 0px;"> </span></u><span style="font-size: 13pt; margin: 0px;"></span></div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
<br /></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-77088852996866654852018-05-08T15:17:00.004+10:002018-05-08T15:19:12.186+10:00Best Lucia in years at the Met. Jessica Pratt has it all! <div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><span style="font-size: 13pt;">Lucia di Lammermoor.<span style="mso-spacerun: yes;"> </span>Metropolitan Opera Tues 11<sup>th</sup> and
15<sup>th</sup> April 2018<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Dear Colleagues, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">It is my view that these
performances are a milestone in the performance history of this opera.<span style="mso-spacerun: yes;"> </span>And I don't just say that because I am an
Australian ... Ms Pratt was born in England and came to Australia aged 11.<span style="mso-spacerun: yes;"> </span>In the past decade she has sung in many
European opera houses before being engaged by The Met as second of three Lucias
after Olga Peretyatko and before Pretty Yende.<span style="mso-spacerun: yes;">
</span>Pratt has sung only rarely down-under but is finally engaged to sing
this very role with the national company later this year.<span style="mso-spacerun: yes;"> </span>I would advise everyone to try for a ticket
as they will not be disappointed on the Met performances.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">There was a strong cast in a
dark but effective production by Mary Zimmerman.<span style="mso-spacerun: yes;"> </span>The production was up-dated to the 1920s
which would have been fine but for two rather stupid and distracting ‘side
shows’ starting with the entire sextet being a set-up for a wedding photograph,
hooded box camera, old slide film, flash and all.<span style="mso-spacerun: yes;"> </span>Furthermore, for the end of the mad scene a
doctor arrived with black bag and hypodermic in the right deltoid … like the
Cuckoo’s Nest.<span style="mso-spacerun: yes;"> </span>Most unnecessary and from
the box of: “when in doubt, add more” as my decorator uncle used to say.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Popular Italian tenor
Vittorio Grigolo took all the difficult options as Edgardo and at times he was
almost over the top.<span style="mso-spacerun: yes;"> </span>His final scene in
the graveyard was exemplary, ending the opera on a seriously exciting and
tragically moving point.<span style="mso-spacerun: yes;"> </span>I was told it
was a semi-tone down … to which I replied: “So what?”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">It was a matter of 'if you
have got it, flaunt it!'<span style="mso-spacerun: yes;"> </span>Ms Pratt sang
an unwritten and unexpected high F (youch!) at the end of the scene with her
brother and the priest.<span style="mso-spacerun: yes;"> </span>This was about
the only thing I would be critical of but for the magnificent overall
portrayal.<span style="mso-spacerun: yes;"> </span>A colleague told me that
Beverly Sills once did it.<span style="mso-spacerun: yes;"> </span>Like the high
E flat in Callas's Mexico City Aida, it is exciting and unique.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">The mad scene was a tour de
force and Ms Pratt added quite a few of her own flourishes, all now tasteful
and in keeping with the bel canto piece.<span style="mso-spacerun: yes;">
</span>Her final cabaletta E flat was the longest and strongest E flat I have
ever heard and it was simply extraordinary, especially when the rest of the
aria was sung to perfection in a stylish manner worthy of any opera house.<span style="mso-spacerun: yes;"> </span>All principals had voices which were large
and beautiful.<span style="mso-spacerun: yes;"> </span>It was a shame that
Normanno played admirably by Gregory Schmidt did not hit his optional high note
in the first scene with the woodsmen which would have set the standard for the
entire performance.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Enrico on the Wednesday was
Luca Salsi with Mr Cavaletti on the Saturday, both singing at a very high level
and taking the difficult options.<span style="mso-spacerun: yes;"> </span>There
were some rubati, ritenuto and other liberties which must have been with the
conductor's permission (Maestro Abbado was back from being indisposed).<span style="mso-spacerun: yes;"> </span>Raimondo was played more than adequately by bass
Mr Kowaljow from the Ukraine.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">The applause from the Met
audience was rapturous, almost ecstatic.<span style="mso-spacerun: yes;">
</span>Like most operas these days the house was not full.<span style="mso-spacerun: yes;"> </span>There were no bouquets or ticker-tape which
would certainly have been the case if Ms Pratt had sung the whole season.<span style="mso-spacerun: yes;"> </span>The comparison with the first soprano could
not be more contrasted.<span style="mso-spacerun: yes;"> </span>The first was
adequate while the second, Ms Pratt was incomparable.<span style="mso-spacerun: yes;"> </span>Brava Jessica Pratt who went on to sing I
Puritani in Italy the following week.<span style="mso-spacerun: yes;"> </span>We
look forward to hearing her Lucia in June/July.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Notes by Andrew Byrne .. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; punctuation-wrap: simple;">
<span style="font-size: 13pt; mso-font-kerning: 14.0pt;">Opera blog: </span><a href="http://andrewsopera.blogspot.com/"><span style="color: blue; font-size: 13pt;">http://andrewsopera.blogspot.com/</span></a><u><span style="color: blue; font-size: 13pt;"> </span></u><span style="font-size: 13pt; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; punctuation-wrap: simple;">
<span style="font-size: 13pt; mso-font-kerning: 14.0pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; punctuation-wrap: simple;">
<span style="font-size: 13pt; mso-font-kerning: 14.0pt;">Andrew's blog </span><a href="http://ajbtravels.blogspot.com/"><span style="color: blue; font-size: 13pt;">http://ajbtravels.blogspot.com/</span></a><u><span style="color: blue; font-size: 13pt;"> </span></u><span style="font-size: 13pt; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; punctuation-wrap: simple;">
<span style="font-size: 13pt; mso-font-kerning: 14.0pt;"><o:p> </o:p></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-798948764643621782018-05-01T11:57:00.000+10:002018-10-21T11:58:07.030+11:00Opera scene in April 2018 in Manhattan:<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 16px; margin-bottom: 13.33px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 17.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 20px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">New York offered a real panoply of
opera this April: Cosi fan Tutte, Lucia di Lammermoor, Turandot, Romeo and
Juliette, Luisa Miller, Cendrillon and Tosca at the Met along with Bernstein’s Candide
at Carnegie Hall.<span> </span>Ms Netrebko’s Tosca
was a high point and the only time we saw the Met actually sold out.<span> </span>Her very fine tenor husband Yusif Eyvazov
played Cavaradossi since Marcelo Alvarez had pulled out.<span> </span>We also heard Exteminating Angel, Lucia and
Luisa Miller on the Saturday afternoon radio broadcasts while we were in the
city.<span> </span><o:p></o:p></span></div>
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br />
<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 16px; margin-bottom: 13.33px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: 17.33px; line-height: 20px;">Our<i> Cosi fan tutte </i>matinee was spoiled by jet-lag so we were fortunate
to get ‘rush’ seats a couple of weeks later, getting much more out of the
brilliant up-dating to 1960s Coney Island fun fair and adjacent ‘Skyline Motel’
in Brooklyn.<span> </span>The sometimes problematic
story line became slightly MORE believable - the girls not recognising their
own lovers … some of the audience might have been in the same boat, such was
the transformation of handsome uniformed naval officers into boyish Brooklyn
denim dandies.<span> </span>Broadway star Kelli
O’Hara played the scheming maid Despina while accomplished baritone Christopher
Maltman played Don Alfonso, patron to the four lovers. <span> </span><o:p></o:p></span></div>
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 17.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 20px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The final season performance of
Turandot may well spell the end of the wonderful grand production set in the
forbidden city of Beijing.<span> </span>Many of the
old productions have been replaced into the ‘close-up’ world of HD telecasts, Aida
and La Boheme remaining from the previous Met dynasties.<span> </span>Martina Serafin was stunning at Turadot but
Marcelo Alvarez has been having vocal problems after losing some weight, or so
we were told, and his Calaf was under-par.<span>
</span>Liu was Hei-Kyung Hong a stalwart of the Met for decades and she did not
disappoint with a most touching legato display of vocal and dramatic
skills.<span> </span><o:p></o:p></span><br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br />
<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 16px; margin-bottom: 13.33px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: 17.33px; line-height: 20px;">We attended the first (ever)
performance of Massenet’s Cendrillon (Cinderella) at the Met.<span> </span>It had three of the world’s top
mezzo-sopranos, Alice Coote, Joyce deDonato and Stephanie Blythe in an
absolutely brilliant production … yet the opera fell flat for me just as Don
Quichotte and Thais had recently.<span> </span>Perhaps
I am not a Massenet person.<span> </span>I just can’t
imagine why he chose to put neither a baritone nor a tenor into a serious opera.<span> </span>Others have substituted a male for Prince
Charming since, but not at The Met where ‘<i>come
scritto</i>’ is the rule.<span> </span>The hen-pecked
father was excellent French bass Laurent Nouri.<span>
</span>He also plays old Capulet in Gounod’s Romeo and Juliette.<span> </span><o:p></o:p></span></div>
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 17.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 20px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Cendrillon dragged on for 4 long
acts, each a dream of the following one.<span>
</span>All I could think of was Rossini’s Cenerentola which had more glorious
melodic invention in its overture than Massenet’s entire piece.<span> </span>A singer friend told me afterwards that it is
more a ballet-person’s opera than a singer’s.<span>
</span>Are there any well known arias from Cendrillon?<span> </span><o:p></o:p></span><br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><br />
<div class="MsoNormal" style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 16px; margin-bottom: 13.33px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: 17.33px; line-height: 20px;">A New York Times critique of Placido
Domingo aged about 80 in Luisa Miller is worth reading on its own <a href="https://www.nytimes.com/2018/04/01/arts/music/review-placido-domingo-met-opera-luisa-miller.html" style="color: #5588aa; text-decoration: none;"><span style="color: blue;">https://www.nytimes.com/2018/04/01/arts/music/review-placido-domingo-met-opera-luisa-miller.html</span></a>
.<span> </span>This brilliant piece of writing likens
Domingo’s feat to Federer winning a grand slam ten years hence.<span> </span>As well as performing the father in Luisa
Miller, Domingo was also conducting Romeo and Juliette!<span> </span>A phenomenon of operatic history.<span> We enjoyed the performance greatly having </span>first heard Aprile Millo in Rome as Luisa
Miller with Alberto Cupido playing the tenor role about 25 years ago (</span><a href="https://www.youtube.com/watch?v=5d92LLNchYc" style="color: #5588aa; text-decoration: none;"><span style="font-size: 17.33px; line-height: 20px;"><span style="color: blue;">https://www.youtube.com/watch?v=5d92LLNchYc</span></span></a><span style="font-size: 17.33px; line-height: 20px;"> )<span>
</span><o:p></o:p></span></div>
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 17.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 20px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">A fraction of balance was added to
our grand opera schedule was Bernstein’s Candide at Carnegie Hall where Erin Morley was a
magnificent Gunegonde … she will sing Woodbird next year in the Ring I
believe.<span> </span>Her <i>Glitter and Be Gay</i> was like the Queen of the Night on
steroids.<span> </span>It was an unexpected privilege
by chance to meet sopranos Pretty Yende and Camilla Nyland (quite separately)
each in relaxed circumstances far from their costumes, roles, critics, agents,
etc in the Met foyers.<span> </span>Only in New
York.<span> </span></span><br />
<br />
<br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" />
<span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #333333; display: inline !important; float: none; font-family: Georgia,Serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 21.33px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-11573579215322236882018-03-26T20:54:00.004+11:002018-03-26T20:54:29.700+11:00La Traviata at the Sydney Opera House March 2018. <div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Nicole Car
joined by world class colleagues in splendid outing of this Verdi classic.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Dear Colleagues, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Rarely since the Sutherland
days have we heard such dynamic vocalism as from these three magnificent
principal artists and the massed talents of the national opera company and
orchestra.<span style="mso-spacerun: yes;"> </span>I was so impressed on opening
night that I ventured back mid-season and was not disappointed.<span style="mso-spacerun: yes;"> </span>Both nights were full houses apart from the
balcony boxes which were almost empty.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Mr Ji-Min Park as the younger
Germont took all the hard options and they came off splendidly.<span style="mso-spacerun: yes;"> </span>A famous American tenor once called this a
tenor-killer role which few take on a second time such is its vocal and
dramatic challenges.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Ukranian baritone Vitaliy
Bilyy sang and acted a dignified Papa Germont.<span style="mso-spacerun: yes;">
</span>His voice is deeply resonant with extended breath control, almost like
the late lamented Dmitry Hvorostovsky.<span style="mso-spacerun: yes;">
</span>His big aria was splendid with some personal flourishes: <i style="mso-bidi-font-style: normal;">Di Provenza il mar il suol</i> with full
cabaletta ending the act. He sings very long phrases on single breaths and acts
the drama with sincerity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">But top card goes to soprano
Nicole Car who has ‘arrived’ with this portrayal of Violetta, one of the most
difficult roles in the operatic canon.<span style="mso-spacerun: yes;">
</span>She is required to sing coloratura in Act 1 then solid dramatic soprano
for the remainder of the 4 acts.<span style="mso-spacerun: yes;"> </span>It would
be easy to cast the role using two singers but only rarely does a woman come
along who can encompass this double challenge adequately.<span style="mso-spacerun: yes;"> </span>But Ms Car does more than that as she becomes
the character and sings the heart out of the lines written by the masterful
Verdi at the peak of his powers.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Kobbé describes as the
opera’s “emotional touchstone” Violetta’s plea “<i style="mso-bidi-font-style: normal;">Amami, Alfredo, amami quant'io t'amo</i>” which Ms Car sang to its full
richness and pathos.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">These three singers would
have sounded very fine in a large opera house so in the confines of our small
auditorium in Sydney the effect was absolutely extraordinary.<span style="mso-spacerun: yes;"> </span>There were standing ovations on both
occasions I attended this season and well deserved.<span style="mso-spacerun: yes;"> </span>On the other hand, several magnificent
moments receive polite clapping from an audience which perhaps did not know the
quality and rarity of what they were hearing away from the better known
numbers.<span style="mso-spacerun: yes;"> </span>In the first five minutes of
the opera comes the duet and chorus <i style="mso-bidi-font-style: normal;">Libiamo</i>
sometimes called the drinking song.<span style="mso-spacerun: yes;">
</span>There is often a whisper of familiarity from members of the audience at
that point.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">For those into high notes <i style="mso-bidi-font-style: normal;">Sempre libera</i> had Ms Car taking the E
flat option on both nights, initially nailing a high, sustained and excitingly
unhurried ending but clipping the note only briefly on the Tuesday
performance.<span style="mso-spacerun: yes;"> </span>Even if it was transposed
down slightly it was still creditable.<span style="mso-spacerun: yes;"> </span>The
tenor also sang his (also unwritten) high C or D flat early in Act 2 as a
sustained, accurate and thrilling end to his cabaletta <i style="mso-bidi-font-style: normal;">O mio remorso, O infamia</i>.<span style="mso-spacerun: yes;"> </span>Mr
Bilyy also did some extraordinary things vocally, all tasteful and in keeping
with the paternal part.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">The Moshinsky/Yeargan
production was resurrected for the umpteenth time simply because it is so
good.<span style="mso-spacerun: yes;"> </span>Despite the small stage, or
perhaps because of it, there is a busy crowd feeling to both first act party
and the gambling scene.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Maestro Licata conducted the
orchestra with sympathetic tempi, fundamental to the joy of these unique
operatic performances.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Notes by Andrew Byrne ..
(with some assistance).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 11pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="mso-bidi-font-size: 14.0pt;"><o:p> </o:p></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-23143167519218041862018-01-08T17:41:00.000+11:002018-01-08T17:42:22.989+11:00Merry Widow at Sydney Opera House ... or is it the West Wing? <div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">The Merry Widow – second ‘opening’ night 2 Jan 2018.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Dear Reader, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Franz Lehar’s The Merry Widow
is rightly a classic of the musical stage which requires a soprano of the
greatest talents in both acting and voice.<span style="mso-spacerun: yes;">
</span>Gladys Moncrieff, June Bronhill and Joan Sutherland were Australians who
mastered the role of Hannah Glawari (called Sonia in some English
productions).<span style="mso-spacerun: yes;"> </span>Danielle de Niese also has
what it takes but the microphone, which could have been used as subtle enhancement,
was over amplified and unpleasantly unnatural.<span style="mso-spacerun: yes;">
</span>Ms de Niese dances superbly and is an outstanding personality on
stage.<span style="mso-spacerun: yes;"> </span>Her partner is Alexander Lewis,
star of opera and musical and son of popular Australia baritone Michael Lewis
and mezzo-soprano Patricia Price.<span style="mso-spacerun: yes;"> </span>He
also sings and acts well as the distant and reticent lover Danilo.<span style="mso-spacerun: yes;"> </span>Mr John Longmuir has a substantial tenor
voice but he is hardly the dashing figure required of Camille de Rosillon.<span style="mso-spacerun: yes;"> </span>Furthermore, the amplification distorted his
extraordinary high range so we will never know what he really sounded
like.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Despite handsome sets and
costumes, I could not recommend this production.<span style="mso-spacerun: yes;"> </span>Our national ‘opera’ company has sunk to new
depths, pushed along by a drive away from opera in favour of popular musicals
for weeks on end.<span style="mso-spacerun: yes;"> </span>They mix opera singers
with stars of musical theatre, a very difficult task considering the different
training and talents involved.<span style="mso-spacerun: yes;"> </span>This
immortal operetta, performed by opera singers in a relatively small theatre (1500
seats) with sub-titles, needs no amplification.<span style="mso-spacerun: yes;">
</span>But it cannot be sung every night without the use of obvious, imperfect
and distorting amplification.<span style="mso-spacerun: yes;"> </span>It is a
sad irony that in the first production using the new staging and orchestra pit
acoustic improvements we are blasted with loud speakers, upsetting the fine
balance needed in an opera theatre.<span style="mso-spacerun: yes;"> </span>We
go to the opera to hear natural voices.<span style="mso-spacerun: yes;"> </span>The
orchestra sounded the same as usual to me but was sometimes overshadowed by the
amplified voices. <span style="mso-spacerun: yes;"> </span>The Viennese tunes seemed
unstoppable and Maestro Vanessa Scammell kept a traditional pace.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Some may like the new
Australian translation with its updated details, coarse and sexually explicit
references.<span style="mso-spacerun: yes;"> </span>On many occasions I noted
corny and awkward turns of phrase which replaced the charming poetry of the
traditional old English translations.<span style="mso-spacerun: yes;"> </span>An
exception might be the horsey song from Hanna Glawari’s youth which was
certainly an improvement on the ‘original’.<span style="mso-spacerun: yes;">
</span>Mr Fleming is obviously a gifted poet but it was as if he had done this
enormous job in a hurry.<span style="mso-spacerun: yes;"> </span>I do not know
the original German or Hungarian but the spoken dialogue largely came across as
unnatural and unfunny.<span style="mso-spacerun: yes;"> </span>I recall one
point at which lovers were supposedly ‘embalmed in sweet perfume’ … were they
corpses?<span style="mso-spacerun: yes;"> </span>Did the company avoid some
copyright fees by using a new Australian translation?<span style="mso-spacerun: yes;"> </span>Or did it cost <i style="mso-bidi-font-style: normal;">more</i>?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">There were a number of other
changes to the work if I’m not mistaken.<span style="mso-spacerun: yes;">
</span>Lehar’s overture was omitted (it was written after the opening and is
often left out).<span style="mso-spacerun: yes;"> </span>The <i style="mso-bidi-font-style: normal;">Grisettes de Paris</i> are normally led by a
contralto ‘Madam’ called ZoZo but here the Widow herself danced with the Maxim
girls.<span style="mso-spacerun: yes;"> </span>Was this money saving again?<span style="mso-spacerun: yes;"> </span>It did seem incongruous.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Having seen ‘Hello Dolly’
recently in New York I know just how split-second timing, a professional
Broadway cast, balanced amplification from orchestra, soloists and chorus can
yield a tight and satisfying work.<span style="mso-spacerun: yes;"> </span>I
have never seen so many smiling faces as in the intermission in the Shubert
Theater at Times Square.<span style="mso-spacerun: yes;"> </span>I wish I could
say the same about the Sydney audience in Lehar’s Merry Widow.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Over many years during
January this ‘opera’ company has produced three or four high quality grand
operas, indirectly contributing to the Festival of Sydney.<span style="mso-spacerun: yes;"> </span>This year there will be 30 performances of
The Merry Widow, making a mockery of the new-found abilities of the opera
hall’s mechanical equipment to rapidly change sets from one opera to another
following six months of extensive renovations.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Are there parallels with the
current White House?<span style="mso-spacerun: yes;"> </span>Decades of
tradition have been thrown out in favour of an unproven change in direction.<span style="mso-spacerun: yes;"> </span>The fundamental constitution (Mission
Statement) of the organisation has been flouted until moves to change it to
allow the ‘opera’ company to perform virtually anything.<span style="mso-spacerun: yes;"> </span>Pantomimes?<span style="mso-spacerun: yes;">
</span>Cabarets?<span style="mso-spacerun: yes;"> </span>High masses?<span style="mso-spacerun: yes;"> </span>Perhaps someone should write a book about
it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">Notes by Andrew Byrne .. </span><a href="https://andrewsopera.blogspot.com.au/"><span style="font-size: 13pt;"><span style="color: blue;">https://andrewsopera.blogspot.com.au/</span></span></a><span style="font-size: 13pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 13pt;">PS – I was bowled over by
magnificent performance of Monteverdi’s Coronation of Poppea at Pinchgut Opera
in November – twice the quality at half the price!<span style="mso-spacerun: yes;"> </span>Nero’s court was replaced by tattooed
Brooklyn thugs – ‘Render unto Caesar …’.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "calibri" , "sans-serif"; font-size: 11pt;"><o:p> </o:p></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-34640096182269824142018-01-07T16:33:00.001+11:002018-01-07T16:34:06.406+11:00Render unto Caesar .... Poppea at Wynyard in Sydney CBD<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
L’incoronazione di Poppea – Monteverdi (1642)</div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Pinchgut Opera – Sydney Recital Hall, Wynyard.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Dear Colleagues, </div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
This was yet another stylish and witty outing of an operatic
rarity by this innovative and daring opera company.<span style="mso-spacerun: yes;"> </span>Set in a world of tattooed Brooklyn thugs,
big-boss Nero finally gets rid of his legal lady in favour of Rome’s popular
paramour, Poppea.<span style="mso-spacerun: yes;"> </span>In the process we meet
her other admirers and rivals.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
The singers were all excellent while the orchestra was
populated with ancient instruments and young musicians who knew how to use
them.<span style="mso-spacerun: yes;"> </span>It was cute to see a family first
with Seneca played by excellent baritone David Greco while the first violin was
his grinning brother Matthew Greco.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
The opera starts with a hopeless suitor of Poppea, waiting
for her to appear at her window.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
The second half opens with a cocaine fuelled orgy, imperial
blow job and all.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
The City Recital Hall is a very agreeable venue in the heart
of Sydney’s CBD.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
For more details, get your own subscription … it will be far
better value than the national opera company.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
Brief notes from Andrew Byrne .. </div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p> </o:p></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-3637291444025099192017-08-01T13:05:00.000+10:002018-03-25T13:09:10.504+11:00Thaïs by Massenet – Concert performance at the Sydney Town Hall. <div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Thaïs by Massenet – Concert performance at the Sydney Town
Hall.<span style="mso-spacerun: yes;"> </span>Saturday 22<sup>nd</sup> July
2017.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">The Wiki page on this work states that the title role “is
notoriously difficult to sing and is reserved for only the most gifted of
performers. Modern interpreters have included Carol Neblett, Anna Moffo,
Beverly Sills, Leontyne Price, Renée Fleming, and Elizabeth Futral.”<span style="mso-spacerun: yes;"> </span>Now that Renee Fleming has announced her
retirement from the opera stage one wondered from the publicity whether Nicole
Car might be the world’s new Thaïs.<span style="mso-spacerun: yes;"> </span>On
Saturday’s performance there is little chance of this, despite a creditable
performance overall.<span style="mso-spacerun: yes;"> </span>One wonders at her
advisors, agent and the opera company management with a talented singer so
early in her career.<span style="mso-spacerun: yes;"> </span>Furthermore, to
sing a rehearsal then two performances within just a few days is something
Renee Fleming has probably never done.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">The Sydney audience has been deprived of a winter opera
season for the first time in 60 years due to incompetence of management.<span style="mso-spacerun: yes;"> </span>Despite long announced repairs to the opera stage
no viable replacement venue or venues were organised early enough causing
cancellation of the main season.<span style="mso-spacerun: yes;"> </span>Instead
we have a few piecemeal efforts each of which could as easily have been mounted
by the ABC or the private sector.<span style="mso-spacerun: yes;"> </span>I
believe the entire opera company board should be sacked and an administrator
appointed.<span style="mso-spacerun: yes;"> </span>An orchestra without a
season, chorus sent home, principal singers unemployed and the public denied mainstream
opera in the city of the world’s most recognisable opera house!<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Back to the performance which had many fine aspects, most
notably an enlarged opera orchestra filling the enormous stage of the Town Hall
under the skilled baton of Maestro Guillaume Tourniaire.<span style="mso-spacerun: yes;"> </span>Massenet was at his most innovative and
creative in his score for Thaïs, notably in the ‘Meditation’ without which the opera
would probably be almost unknown.<span style="mso-spacerun: yes;"> </span>Jun Yi
Ma, orchestra leader and first violin played exquisitely in what became a
concerto with humming chorus in the full operatic version.<span style="mso-spacerun: yes;"> </span>So, in his genius, Massenet wrote one of the
most accessible and beautiful pieces within an opera which can only be
performed by a soprano with the rare talents of American Sibyl Sanderson (d.
1903) for whom he also wrote Esclamonde (whose only studio recording is by Joan
Sutherland, such are its vocal demands).<span style="mso-spacerun: yes;">
</span>The score also evokes every sentiment from morning riverside noises to
ecstatic rhythmics, even one moment which sounds to me like a busy office with
a telephone ringing!<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">On her performance on Saturday night, it would appear that
Ms Nicole Car has been ill-advised to take on this unique and challenging role,
despite a stunning recent recording of the ‘mirror’ aria. In contrast to her
recording, Ms Car curtailed the terminal high note, losing Massenet’s
intention.<span style="mso-spacerun: yes;"> </span>This was not the only clipped
high note and furthermore, she appeared uncomfortable in two high passages in
the final duet.<span style="mso-spacerun: yes;"> </span>A musical colleague mentioned
‘goldfishing’, a term I was not familiar with, possibly in relation to two
quite low notes.<span style="mso-spacerun: yes;"> </span>Of course opera is much
more than high notes and low notes, yet when they are required an audience
deserves to hear them.<span style="mso-spacerun: yes;"> </span>Ms Car has a
regal presence on stage, a pleasing vocal delivery with poise, accuracy and
beauty.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Company regular Richard Anderson as Palemon started
proceedings with his elegant basso voice and even delivery.<span style="mso-spacerun: yes;"> </span>French Canadian baritone Etienne Dupuis, who
is Nichole Car’s partner in real life and father of their young baby, sang the
enormous role of Athanael with great aplomb. <span style="mso-spacerun: yes;"> </span>He pushed the vocal limits without strain or
inelegance, raising goose bumps in my case.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Rich city-slicker and Thaïs’ current lover Nicias was
performed by excellent company tenor Simon Kim.<span style="mso-spacerun: yes;">
</span>As with the others, he sang accurately and with obvious knowledge of
what he was singing.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Other supporting cast were also excellent
along with male and female chorus situated behind the orchestra, next to the
enormous pipe organ (which sadly was not used).<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large; mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">The story of Massenet’s Egyptian masterpiece finds us in seamy
and steamy Alexandria in the early Christian era where Athanael is trying to
convince the object of his attention, Thaïs, to convert to a monastic life from
her life of depravity as a follower of Venus, ensuring eternal life. Only
by the third act does he realise that he is physically attracted to Thaïs and
by then she is dying.<span style="mso-spacerun: yes;"> </span>He renounces God,
Jesus and the scriptures in favour of the flesh … all too late, unfortunately.<span style="mso-spacerun: yes;"> </span>But this IS opera!<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">So I feel on the one hand that we were fortunate to hear
this rare work but uncomfortable that our lead lady was misled to tackle such a
role at this time.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">As a venue the Sydney Town Hall leaves much to be
desired.<span style="mso-spacerun: yes;"> </span>Little has changed since Nellie
Melba sang here.<span style="mso-spacerun: yes;"> </span>The single narrow entry
(for security reasons I understand) led to a queue before the performance going
most of the way down Druitt Street almost to Kent Street.<span style="mso-spacerun: yes;"> </span>Disabled patrons were permitted to enter by
the basement.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Notes by Andrew Byrne .. </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; mso-pagination: none; punctuation-wrap: simple;">
<span style="font-size: large; mso-font-kerning: 14.0pt;">Opera blog: </span><a href="http://andrewsopera.blogspot.com/"><span style="font-size: 11pt; mso-font-kerning: 14.0pt;"><span style="color: blue; font-size: large;">http://andrewsopera.blogspot.com/</span></span></a><u><span style="color: blue; font-size: large; mso-font-kerning: 14.0pt;"> </span></u><span style="font-size: 11pt; mso-font-kerning: 14.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Please let me know if you no longer wish to receive these
opera notes: ‘personal only’ in subject line would suffice as I’ve no desire to
spam anyone.<span style="mso-spacerun: yes;"> </span>Have a great day.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">Thais Finale with Fleming and Hampson: </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<a href="https://www.youtube.com/watch?v=7zTm60jRO6g"><span style="color: blue; font-size: large;">https://www.youtube.com/watch?v=7zTm60jRO6g</span></a></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: large;">‘Mirror, mirror’ aria: </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<a href="https://www.youtube.com/watch?v=hTDeuWc8Iww"><span style="color: blue; font-size: large;">https://www.youtube.com/watch?v=hTDeuWc8Iww</span></a></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<o:p><span style="font-size: large;"> </span></o:p></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-34895481338617696272017-06-10T17:53:00.004+10:002017-06-11T20:49:33.594+10:00Further notes on the 50th Anniversary Metropolitan Opera Gala 7th May 2017. <div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">There were 28 discrete pieces
(taking Boheme Act I as three, Dmitry one, overture one, Aida Triumphal March
as one, etc.<span style="mso-spacerun: yes;"> [see below for my notes on the night] </span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">The seats cost either $1966
or $950 with standing room $50 on the day.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>And there were sporadic single seats
available on the internet Met site in the days leading up to the event.<span style="mso-spacerun: yes;"> </span>The marketing therefore was near perfect as a
fund raiser as well as a celebration for those prepared to take a financial hit
(and most was tax-deductible for US residents).<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">I note it is actually 51
years since the current opera house’s first performance (see Wiki page
documenting first performance (La Fanciulla del West) for students was 11<sup>th</sup>
April 1966 with formal opening with Barber’s Antony and Cleopatra on 16
September 1966 which is 50 years ago last September.<span style="mso-spacerun: yes;"> </span>But hell, any time is a good time for a
party, so party they/we did.<span style="mso-spacerun: yes;"> </span>It may have
been the finest line-up of opera talent in a very long time. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Conspicuous by their absence
were: Jonas Kaufmann (long booked for Cavaradossi in Vienna); Villazon (no
explanation); Florez (doctor’s certificate); Mr Furlanetto (?). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">These are the names who were
advertised to be singing on the night: Piotr Beczała, Ben Bliss, Stephanie
Blythe, Javier Camarena, Diana Damrau, David Daniels, Joyce DiDonato, Plácido
Domingo, Michael Fabiano, Renée Fleming, Juan Diego Flórez, Ferruccio
Furlanetto, Elīna Garanča, Susan Graham, Vittorio Grigolo, Mariusz Kwiecien,
Isabel Leonard, Željko Lučić, Amanda Majeski (??), Angela Meade, James Morris,
Anna Netrebko, Kristine Opolais, Eric Owens, René Pape, Matthew Polenzani,
Rolando Villazón, Michael Volle, Pretty Yende and Sonya Yoncheva.<span style="mso-spacerun: yes;"> </span>But we need to add the surprise of the night:
Dmitry Hvorotovsky.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Despite high ticket prices and few 'complimentary' seats (eg. Richard Bonynge and a
few other first season participants) this should have been one of the most opera-savvy audiences imaginable.<span style="mso-spacerun: yes;"> Nevertheless, </span>inexplicably there was
still premature applause in the middle of Lady Macbeth’s first act scena with Anna
Netrebko as well as in La Traviata Act I finale with Ms Damrau (and Mr
Polenzani off-stage – who BTW omitted the high option in his one-liners).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Although there were no
obvious cameras in the hall to my surprise the Met released the clips below on
YouTube a few days after the event.<span style="mso-spacerun: yes;">
</span>These, I would estimate, comprise no more than 25% of the concert for all
to enjoy.<span style="mso-spacerun: yes;"> </span>None was the full item and
some ended abruptly (such as 'Nemico della patria').<span style="mso-spacerun: yes;"> </span>It is a mystery to me why the concert was not filmed on HD video for future use, not to mention for historical purposes.<span style="mso-spacerun: yes;"> This was like 30 singing lessons. </span>I have since heard from an insider that a
documentary was made about the entire process leading up to this gigantic concert.<span style="mso-spacerun: yes;"> </span>I was keen to know who got the main
dressing-room(s)!<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-size: 14pt;"></span><br />
Comments by Andrew Byrne, Sydney drug doctor. <br />
<br />
<span style="font-size: 14pt;">Below are some links I found on searching YouTube: </span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Che gelida manina: </span><a href="https://www.youtube.com/watch?v=3VPnEcNdZFc#t=175.084615"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=3VPnEcNdZFc#t=175.084615</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Si, mi chiamano Mimi (Sonya
Yoncheva): </span><a href="https://www.youtube.com/watch?v=K4_MiIQfNRs"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=K4_MiIQfNRs</span></span></a><span style="font-size: 14pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">O soave fanciulla (Calleja; Yoncheva):
</span><a href="https://www.youtube.com/watch?v=J-RqUHt0pW8"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=J-RqUHt0pW8</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Quando le sere al placido (Piotr
Beczala): </span><a href="https://www.youtube.com/watch?v=0nx26QTGH3k"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=0nx26QTGH3k</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Cortigiani vil razza dannata
(Hvorostovsky): </span><a href="https://www.youtube.com/watch?v=Nxi-9-roATM"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=Nxi-9-roATM</span></span></a><span style="font-size: 14pt;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Un bel di (Netrebko): </span><a href="https://www.youtube.com/watch?v=XtG8Eab-wTk"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=XtG8Eab-wTk</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Qual voluttà trascorrere (Angela
Meade, Michael Fabiano, Günther Groissböck) </span><a href="https://www.youtube.com/watch?v=R_B2LIauU6k"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=R_B2LIauU6k</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Mon cœur s'ouvre à ta voix (Elīna
Garanča): </span><a href="https://www.youtube.com/watch?v=l7Uel8AA9uA"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=l7Uel8AA9uA</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;">Bel raggio lusinghier (Joyce
DiDonato): </span><a href="https://www.youtube.com/watch?v=KYilS01RPgI"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=KYilS01RPgI</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-size: 14pt;">Pour mon ame (Cammarena): </span><a href="https://www.youtube.com/watch?v=qDYWOc_kQgI"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=qDYWOc_kQgI</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-size: 14pt;">Aida triumphal march (Gala
Finale with Latonia Moore; Dolores Zajick and many more): </span><a href="https://www.youtube.com/watch?v=W2nZZq2s6vk"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=W2nZZq2s6vk</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-size: 14pt;">Met Gala curtain calls (one
by one then grand finale with conductors and tutti: </span><a href="https://www.youtube.com/watch?v=hhSzndFPb3k"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=hhSzndFPb3k</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-size: 14pt;">Nemico della patria.<span style="mso-spacerun: yes;"> </span>(just audio, no video from NPR)<o:p></o:p></span></div>
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<a href="https://www.youtube.com/watch?v=1ka81n56oPM"><span style="font-size: 14pt;"><span style="color: blue;">https://www.youtube.com/watch?v=1ka81n56oPM</span></span></a><span style="font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-size: 14pt;"><o:p> </o:p></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-29792109.post-63725447495392526212017-05-13T17:47:00.000+10:002018-01-07T16:39:11.848+11:00Andrew Byrne's take on Met Gala - "and no-one's anybody!"<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Sensational
Met Opera 50 Year Anniversary concert. 6pm Sunday 7th May 2017</span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Dear Readers, </span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">There was electricity in the
air before this night of nights – some of the singers were still in the foyers
before the concert, mingling with patrons, donors and invited guests.<span style="mso-spacerun: yes;"> </span>There was a red carpet and photographers.<span style="mso-spacerun: yes;"> </span>The program was secret but 33 of the Met’s
named singers would be giving their own, along with the chorus, orchestra and
three conductors for the home crowd in Manhattan.<span style="mso-spacerun: yes;"> </span>There were lots of tuxedoes and women’s
fashions were very much on show.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Having announced her
retirement from the opera stage, Renee Fleming would have to be the sentimental
favourite while old-timers’ prizes went to James Morris and Placido
Domingo.<span style="mso-spacerun: yes;"> </span>Morris sang the Grand
Inquisitor as well as Ramfis in the Triumphal March.<span style="mso-spacerun: yes;"> </span>There was no need for any allowances for age
as both men held their own with others half their age.<span style="mso-spacerun: yes;"> </span>I wondered that Charles Anthony was not
there.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">The carefully chosen operatic
excerpts were interspersed with brief interviews and old newsreels related to
the Lincoln Center.<span style="mso-spacerun: yes;"> </span>In B&W footage
we saw President Eisenhower turn the first sod for construction; Leonard
Bernstein conducted an open-air ‘Hallelujah’ Chorus on the building site; we
heard a recent interview with 90 year old Leontyne Price whose regal photograph
as Cleopatra’s adorns Met programs during May.<span style="mso-spacerun: yes;">
</span>We learned how an accidental paint spill on the foyer's plans indirectly
caused the design for the unique ‘galaxy’ light fittings, contrary to the
wishes of Rudolf Bing and management who had wanted traditional
chandeliers.<span style="mso-spacerun: yes;"> </span>In another clip Mr Chagall
asked for his murals to be lowered (!).<span style="mso-spacerun: yes;">
</span>Too late!!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">The stage setting for each
item was a re-creation using projections onto moving curtains, scrims and giant
flats sliding in from the wings.<span style="mso-spacerun: yes;"> </span>The
manner by which this was done was like rapid painting with an invisible brush
causing columns, walls, arches, wall-paper, etc to appear before our eyes -
each time to finally reveal a familiar Met scena.<span style="mso-spacerun: yes;"> </span>Most impressive for me was the classic Act I
Boheme attic garret, doors, balcony, chimneys, roofs of Paris, etc, all a
projected illusion apart from a small raised platform, student table and two
chairs from which Ms Yoncheva and Mr Calleja performed.<span style="mso-spacerun: yes;"> </span>It was trompe l’oeil after a fashion.<span style="mso-spacerun: yes;"> </span>Some settings even got their own applause
such as for Tosca (interiors of Palazzo Farnese), Aida (Nile colossi, etc) and
Boris Godunov (gilt arched chambers).<span style="mso-spacerun: yes;">
</span>There were representations of many Met production scenes for the
evening, put together brilliantly by Julian Crouch.<span style="mso-spacerun: yes;"> </span>Costumes were either original from the
production or tasteful gowns, etc.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">In the middle of the second
half there was a projected bio of James Levine from his student years right
through his very long association with The Metropolitan Opera.<span style="mso-spacerun: yes;"> </span>Then the spotlights moved to the podium where
Maestro himself appeared in his chair, waving to an adoring crowd.<span style="mso-spacerun: yes;"> </span>“Jimmy” then conducted the remainder of the
concert.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;"><o:p> </o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">I mention the evening’s
wonderful selections in no particular order … each item could have been a
perfect music lesson.<span style="mso-spacerun: yes;"> </span>Inevitably there
were some crowd-pleasers: Un bel di (Anna Netrebko); E lucevan le stelle
(Vittorio Grigolo); Vissi d'arte (Kristine Opelais); Sempre libera (Diana
Damrau); Che gelida manina, Mi chiamano Mimi, O suave fanciulla, (Joseph
Calleja, Sonya Yoncheva).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Mozart: Papagano's aria
(Michael Volle); Porgi amor (Renee Fleming); Count's Aria Nozze di Figaro
(Volle); <o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">And from left field: Overture
from West Side Story (started proceedings); Chorus from Antony and Cleopatra
(Samuel Barber’s opera was commissioned to open the Met); Bess, you is my woman
now (Eric Owens, Pretty Yende); The Tempest (by Ades) love scene (Isobel
Leonard, Ben Bliss with Dwayne Croft); Julius Caesar 'Sempre piangero' (David
Daniels, Stephanie Blythe).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">For the serious consumer:
Nemico della patria (Domingo – the French election result had just been
announced); Iago's credo (Zeljko Lucic); Leve-toi soleil (Grigolo standing in
for Florez); Mon coeur s'ouvre (Elena Garanca as Dalila); Guests' Entrance,
Tannhauser (with trumpets on stage); Quando le sere al placido (Piotr Beczala);
Don Carlo: Grand Inquisitor's scene with Phillip V (Groissbock / Morris).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">For the connoisseur: Boris's
Mad Scene (Rene Pape); Troyens duet (Susan Graham, Matthew Polenzani); Thais
duet with Fleming and Domingo; Charlotte’s aria from Werther (DiDonato).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">For the Guinness record book:
Bel raggio lusinghier (Joyce DiDonato); Ah mes amis (Javier Camarena) with 9
high C’s!<span style="mso-spacerun: yes;"> </span>All pitch perfect, alternating
staccato and sustained – and all with ease and a Mexican smile!!<span style="mso-spacerun: yes;"> </span>Lady Macbeth’s scene, Act I (Netrebko in
amazing form).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Just for fun: Don Pasquale
duet (Pretty Yende, Mariusz Kwiecien); Triumphal March, Aida with full chorus
(but no final 'Mexican' E flat as we heard on Sydney Harbour last year with the
same wonderful soprano, Latonia Moore).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">About 7pm to our great
surprise Mr Gelb announced that ‘a very brave Dimitry Hvorostovsky’ would sing
Cortigiani vil razza – which he did, brilliantly.<span style="mso-spacerun: yes;"> </span>The popular baritone received a standing
ovation even before he opened his mouth – still recovering after brain
surgery.<span style="mso-spacerun: yes;"> </span>He seemed delighted with the
reception, even shedding a tear as did many in the audience I suspect.<span style="mso-spacerun: yes;"> </span>I noted many Russian accents in the foyers
during the single intermission.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Just after the Thais excerpt
the orchestra started playing a violin obligato which I thought momentarily to
be the Meditation.<span style="mso-spacerun: yes;"> </span>It was actually the
final scene of I Lombardi in which the violin features as a solo instrument
just as the ‘cello does in I Masnadieri.<span style="mso-spacerun: yes;">
</span>It is hard to know if Verdi was simply showing off his orchestral skills
or showcasing a particular instrumentalist, or both.<span style="mso-spacerun: yes;"> </span>Yet in this scene the melding of the strings,
vocal and dramatic lines indeed shows his unique genius and was highly
appropriate to show it off again.<span style="mso-spacerun: yes;"> </span>Like
numerous items, it heralds the newly announced season for 2017/8.<span style="mso-spacerun: yes;"> </span>Here we heard Michael Fabiano, Angela Mead
and Gunther Groissbock sing the trio.<span style="mso-spacerun: yes;">
</span>The fiddle was played by David Chan with great virtuosity, showing off
the most difficult manoeuvres of that instrument.<span style="mso-spacerun: yes;"> </span>I was sorry Mr Fabiano did not sing La mia
letizia infondere from Act I … this was one of Pavarotti’s favourite show
pieces.<span style="mso-spacerun: yes;"> </span>I heard Luciano Pavarotti,
Lauren Flanagan and Samuel Ramey in this scene on this stage many years ago,
reminding me that I have been attending this house for half of its life (since
1992).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">The quality of the singing
goes without saying.<span style="mso-spacerun: yes;"> </span>Each singer put
their heart and soul into each piece and adrenalin levels were high, despite
most performing familiar pieces.<span style="mso-spacerun: yes;"> </span>Just as
people were starting to seriously look at their watches near 11pm we had the
selection from Aida and it was all over, barring the huge curtain calls which
were also very emotional.<span style="mso-spacerun: yes;"> </span>I pinched myself
yet again.<span style="mso-spacerun: yes;"> </span>What can one say?!<span style="mso-spacerun: yes;"> </span>“Thank you”, say I.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 14pt;">Notes by Andrew Byrne ..<o:p></o:p></span></div>
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<span style="color: #1f497d; font-size: 14pt;"><o:p> </o:p></span></div>
Unknownnoreply@blogger.com