The real 2015/2016 ROH Season

Autumn 2015

  • Ariadne is back with Mattila et. Co. Looks like I’ll make room for it again 😉 The pull of Ariadne is very strong and I liked that production a lot.
  • Orpheus by Rossi (who?) comes to the lovely Wanamaker Playhouse. I might invest in a better seat…
  • I’m still iffy about Orphee with JDF in the title role (and Lucy Crowe as Eurydice). However, Amanda Forsythe is Amour. Does JDF do drama? Maybe he did in La donna del lago and all I remember is the trills…

Winter 2015/16

  • Il trittico might break my no Puccini clause.
  • I have no bloody clue what L’etoile is but the names of the characters sound like fun (King Ouf I, Prince Hérisson de Porc-Epic). And Kate Lindsey’s in it too. Sounds like a project to ressurect my currently semi-hibernating Thursday series.
  • I might check Onegin out this time around, with Bychkov at the helm.

Spring 2016

  • Boris Godunov! Yes. Bass power.
  • Oedipe with an interesting cast. Another project for the Thursday series.
  • Lucia with two casts: Damrau and Castronovo then Kurzak and Costello.

Summer 2016

  • Nabucco is back with Domingo/Platanias. Then there’s Monastyrska back as Abigail and also John Relyea and Jamie Barton. Looks like I might have to make time for the second Nabucco in 3 years… I didn’t imagine the opportunity would return for at least 10 years.
  • If JDD doesn’t make me care about Werther I’m giving up on it.
  • There’s also Il trovatore with two casts. I really dislike the opera so far but… I’m having all sorts of confused feelings about Giannattasio (the Leonora in the second cast). I kinda like her rather than her voice. Eh, I’ve a year to make my mind up.
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About dehggial

opera lover with a predilection for Mozart and Baroque

Posted on April 16, 2015, in royal opera house and tagged , , , , , , , , , , , , . Bookmark the permalink. 11 Comments.

  1. oh how niiice, you get Christof Loy!! champion of white shirt + thin-tie! and Jane Archibald is reallly good (i heard her in same role in toronto). Donose, how interesting. i only know her from being Isaura in that salzburg ’92 tancredi..

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    • Yes, I generally like Loy. I’ve actually seen this production last year with the same cast but I am a very big fan of Ariadne so I find it difficult to skip it 😉 However, I wasn’t particularly into Archibald. I liked Laura Claycomb at Glyndebourne a lot more. Maybe I’ll change my mind next year. Donose has done a lot of things, there is a Glyndebourne Cenerentola on DVD with her. She’s a very accomplished singer but not the most interesting voice (according to me). She was very good here, though.

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      • that was the same year i had already missed out on VK + harteros, then the diva kept whining and finally the big tenor showed up to save the day, and i thought nope, Ariadne is just not for me :D, esp. when she had soo many chances to strike up convo with the komposer (Alice Coote!) But i heard Daniela Sinham is der Komposer, missed a chance to see her in Munich last year with diana damrau!! will have to keep eyes out…
        so, that was my only time seeing Ariadne, perhaps staging can contribute a lot, Jane Archibald was definitely the star for me in that production.
        (on a side note, i got it connected to Händel’s Arianna in Creta, nice music!)

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        • Composer + Zerbinetta, Ariadne + Bacchus is the way it goes. Though some productions make the Composer and the diva/Ariadne have something going on. The Composer is one of my favourite characters, he’s so idealistic, I just love him 😀 Musik ist eine heilige Kunst indeed! I was once like that. Ok, still am 😉

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          • niiice music! (though i ‘ll have to read up on content..) as i mentioned, was such a newbie really didn’t know Strauss at all (only knew b/c seeing the clip of VK presenting the rose on yt) so everything was really going in opposite direction in ears (esp. when compared to capuleti 😀 )

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  2. “JDF in the title role”
    omg.. i was hoping it’s a different composer… that’s…
    though i did sit through the youtube tenor nerone, but this is really an attack on one of my fav operas :p . he’s gonna milk every single note and insert long sustainable high C (à la rossini) and re-sing the whole aria again in response to thunderous public “approval” 😀

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    • ps- i read the extended ROH page again, it says nothing about tenor! all about switches between alto-tenor to counter-tenor.. so may be JDF will deliver for London audience his head-voice debut 😉

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      • haute contre =/= countertenor though it looks like it. I always thought haute contre was a good description for JDF’s voice = high, pinched and elastic, sort of the opposite of JK.

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    • he’s gonna milk every single note and insert long sustainable high C (à la rossini) and re-sing the whole aria again in response to thunderous public “approval” 😀

      you got that right! it was exactly like that when I saw him live. Gluck re-wrote it like 3 times (for French tenor also, which is like a low countertenor) so it’z not outrageous, just kinda meh thinking of JDF’s pinched voice. I like Richard Croft as Orphee (check out his Amour viens rendre if you don’t know his version) but obviously I’d prefer a (good) mezzo. I too really like the opera and am very tempted to go (there just haven’t been enough Orphees around lately 😉 ) just because. Plus Gardiner will probably do a good job.

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