Category Archives: opera trips
What better return to regular programming chez dehggi than a Tito trip? This is my first Tito trip in two years and this one comes with a historical side dish, as it were. Tito itself is running in Liege but whilst one is at it, a roadtrip to Aachen, the Carolingian capital, is just the thing to do, opportunities permitting. Plus you get to be in three countries in one day (four, if you count the point of origin). I am doing my bit for the upcoming EU elections.
But back to the main things –
Tito with Bonitatibus and Ciofi and the lovely Opéra royal de Wallonie = excellent, though we were already expecting that. I will, of course, write more about it but I was very pleasantly impressed with the conductor, as well. Your chance to catch it on Culturebox is very good, as it will be broadcast on the 22nd of this month, and will likely stay there for a while. Whether you will like the production or not depends on your level of tolerance for the whimsical.
Aachen Cathedral = gets the dehggi stamp of badass approval. Definitely among my top three cathedrals, with Sagrada Familia and San Marco (though I still need to go inside San Marco). If you ever get in the area, I highly recommend making a stop in Aachen just for the cathedral. It is that good, especially for lovers of Early Gothic slash Romanesque. And also because it is neither of the more famous ones above, you will not need to queue for entrance. They do charge you 1 Euro for taking pictures inside, but I am sure you can google the rest of the artwork. Seeing it for yourself is the thing even if you take no pictures.
Like any self respecting city with a long history, Aachen has legends, in this case regarding the (not very bright) devil. Here is the paw of the she wolf used by the clever citizen to thwart his evil scheme of collecting human souls –
…And back to Liege –
PS – yes, cobblestones… they are a thing on the Charlemagne trail (ie, also in Aachen). For Liege, I do recommend the Montagne de Bueren steps, however, you might get your yearly feel of cobblestones on the way back, especially if you are taking the alternative route down after (or during) light rain. It is a very picturesque route, though, so I do recommend it. But I have never seen more unruly cobblestones in my life. They just do their thing as far as roads go, sort of like if the Loch Ness monster had hidden underneath.
You can’t go to a theatre like La Fenice and not think about its history. Staying true to the name, it resurfaced after three fires (1774, 1836 and 1996). What we see today is the house re-opened in 2004. So it’s both old and new. You may think it’s big because it has that compact design, but although the horseshoe is packed with seats, the stalls don’t go far back. The capacity is a mere 1126, according to Wiki. And yet, some of the operas now played with big orchestras in massive houses have premiered here1. Top belcanto WS favourites were first mounted here: Tancredi, I Capuleti e i Montecchi, as well as Semiramide itself.
Before we arrived for the very late 7pm2 start time, thadieu and I roamed the streets without much planning aside from 1) must have dinner some time before the opera and 2) must have gelato sooner rather than later. That eventually turned into an obsession for yours truly: find the 2 Euro 2 scoop gelato or else! You see, gelato gets more expensive the closer you get to the TripAdvisor sanctioned areas (all of sestiere San Marco, Ponte Rialto etc.). Tip: get your gelato early on (ie, closer to the bus station). I think I drove thadieu a bit mad with my stubbornness but cheap gelato was eventually found, eagerly consumed and then all was serene again 😉
We had a leisurely dinner of seafood at a Mom and Pops restaurant in a very quiet neighbourhood somewhere near the Arsenal. After that we strolled back with enough time to do some touristy shopping at the Fenice shop. It’s rather well stocked! They do La Fenice bags for 12 Euros and La Fenice t-shirts (off white, navy, black and red) for 19.99 Euros or thereabouts. There are magnets, cards, pencils, lots of books and CD/DVDs as well. We got the t-shirt – thadieu in navy and yours truly in red. You know I also got one of the magnets.
After getting our La Fenice fan fill, it was already time for the opera. As we were walking up the very cosy stairs I kept thinking “this is our floor” but thadieu just knew we had a long climb to our loggione seats. As with Teatro Malibran, the trick is to get first row in your area, no matter how high or low you’re sitting. We had seats in the central block of the top loggione and aside from an unfortunate pole (old school design…) – which could, in the end, be negotiated – we had excellent views. Ok, you had to lean forward a bit due to lights and railing, but nobody actually sat behind us3, so we didn’t have to worry about blocking someone’s view and we even stood for the most interesting duets/ensembles. The party in the loggione is very friendly, as is the Upper Amphi at ROH, the very top in Munich or at Theatre des Champs Elysees. It’s also mostly locals (of which there were plenty on the bus back to Mestre as well).
The orchestra were already busy tuning up. We noticed our main timpanist was a lady and she did a very good job during the night.
Semiramide: Jessica Pratt
Arsace: Teresa Iervolino
Assur: Alex Esposito
Idreno: Enea Scala
Oroe: Simon Lim
Azema: Marta Mari
Mitrane: Enrico Iviglia
L’ombra di Nino: Francesco Milanese
Conductor: Ricardo Frizza | Choir and Orchestra of La Fenice
Director: Cecilia Ligorio
The production looked to me “modernised Pizzi”, which turned out to be fine. It’s “generic period opera” costumes, with some black vs white business for the dancers/Semiramide or Assur’s attendants. As the opera progressed, Assur’s outfit morphed into “generic Bond bad guy” (ie, black and pretty tight). Arsace, who has been brought up to believe he’s Scythian, wears “generic BC foreign dude” wear, in other words “stuff put together to confuse sophisticated Babylonians” (a cow patch cape, two-tone wide leg trousers, platform shoes4 and a beret). None of this motley stuff detracts from Iervolino’s cuteness in this role ❤ or from her vocal awesomeness. THIS is Arsace.
Semiramide agrees, because in this production it’s pretty clear that these two are getting it on, though initially cute and disciplined Arsace stops Semiramide’s wandering hand before her touch becomes too distracting.
Arsace: I’d die for you [my Queen]!
Semiramide: oh, no, gorgeous, I’d rather you live for me (winks and lounges seductively). Come closer and tell me what you’d do to… I mean for me.
Arsace: like I was saying, I’d die for you! I’m a warrior…
Semiramide: oh, a warrior is exactly what I – by which I mean this empire – need(s). (strokes his thigh) You’re so strong…
Arsace: err, my Queen, I must tell you something…
Semiramide: I know what you’re going to say and the answer is yes! As long as you’re as faithful to me as you’ve been so far you can ask me anything – and I mean anything.
This goes on for a while, wine5 is involved and, well… what’s a young man to do when a beautiful and powerful woman his mother’s age offers him the world (literally and metaphorically)? Azema would have to hold down the fort against Idreno’s wooing by herself for a while. Though after his Ah dov’è, dov’è il cimento? (also known as dude, where’s the cement?!) she too is getting a bit frisky. Lesser known historical titbit: conversations about construction materials were pillow talk back in ye olde Babylonia. I mean did you think the Ishtar Gate and the Hanging Gardens built themselves?!
Speaking of which, why is Idreno expecting Semiramide to just give him the keys to the empire? He’s just some dude from India, pretty much on Arsace’s level, except he looks like he’s commanding an army of blingy tailors rather than burly warriors. Semiramide wears her “belcanto diva” dress but we all know belcanto heroines like their men heroic (except for Violetta). I would also say this Arsace is most definitely a man, any ambiguity present is not of the gender kind.
So even though they got pretty well acquainted the day before, Arsace is still stunned when Semiramide makes the big announcement (that she’s passing on the throne to him as well as wants to marry him).
Arsace: shit! How am I going to explain this to Azema?!
Luckily, the spectre of his father gets involved (after all a father should attend his son’s wedding even if he had to bribe Cerberus to get there) and the conversation suddenly turns horror-film style. Trope #1: being mesmerised by weird stuff:
Arsace (to the spectre): I feel compelled to touch you! Can I?
I mean the spectre looks pretty damn well preserved for having been dead for 15 years, except in dire need of a shower – like he’d come down a chimney rather that up a drainage ditch from the world below (come to think of it, this decision is for the best; the production had hinted at it earlier when the sacred fire went out and ashes poured out from the sacred ash plates. Later the temple virgins did a surprisingly poor job at cleaning the floor (what amateurs don’t soak the towels first?!) but let’s not get lost in details like Scala did in his cement).
Oroe is a very congenial high priest but I have a feeling he’s rigged this game from the getgo, namely he made sure the basement’s (is, burial chamber’s) electrical instalation wasn’t working. The last act boasts that famous trio that goes something like this:
Semiramide: it’s very dark in here, I can’t see my hand. I hope I don’t soil my finery before this ordeal is over.
Arsace: wow, it’s so dark in this basement! Even as a fearless warrior I feel my bowels loosen…
Assur: was it always so dark here? With my luck that stupid spectre will come back and scare me shitless.
All: it’s so dark in here, we’re pooping our pants!
thadieu: someone hand them flashlights already!
We’re lucky this is in flowery, 19th century Italian, thank you very much.
But flashlights do eventually appear, because somehow Oroe’s attendants are able to locate Semiramide and realise she’s been stabbed to death.
Oroe: arrest Assur!
Arsace: …OMG! Who did I stab, then?!
Like, dude…! What kind of army commander of the Babylonian Empire are you, stabbing randomly in the dark?! This production does not give Arsace a stuffed unicorn to hold.
So, after much noodling that didn’t even mention the eyeliner wearing male harem that gets Semiramide hot and bothered whilst she’s singing about how happy she is that sexy stud Arsace is back in town, how was the singing, the conducting and the house band?
Let’s start with the conducting: compared with Pappano, Maestro seemed more interested in keeping the forward movement – which he did. Occasionally (the overture, for instance) he turned the corners a bit too abrasively for my taste, where I would’ve preferred more detail/more legato. But 4 hours went fast. The singers were not hampered by the orchestra. The house band sounded good to me, all the solos went without hitch and the instrumental tones were pleasant to the ear.
The singing went like this, from best to not so good: Iervolino, Pratt, Esposito, Lim, with Scala sort of around the corner. Dude started a bit shaky, with some intonation problems and wobble at the very top, which made the cement aria appear unfocused both vocally and dramatically. I loved it when Brownlee sang it but here it seemed to just go on and on. To Scala’s credit, he got it mostly together as the night went on. But he’s not someone I’m in any hurry to hear again. The public loved him.
Both thadieu and I agreed Lim as Oroe has a very warm, secure, rounded bass but he doesn’t have that much to sing. That warmth and rondness made him feel wise and kind dramatically, which fit. Would listen to him again.
Esposito was the night’s revelation to me, as I have been mostly cold toward him until now. This is the smallest house I’ve seen him in, which I’m sure has something to do with it. In this absorbent6 environment and at this size his voice travelled very well and dramatically he was ideal. Maybe I just need to see him in bad dude roles 😉 The only unintentionally amusing moment came when Assur sang about the spectre’s pulling his (Assur’s) hair 😀
Pratt has the belcanto diva down pat, without coming off too cold. I wonder why ROH doesn’t hire her. As I mentioned elsewhere, I’ve enjoyed her excellent technique, ease with coloratura, beautiful, completely unforced – “blooming” (as per thadieu) – top and stylish touches of unfussy softer singing. Thadieu thought she applied too many ornaments but I disagreed. This is Rossini, there is no such thing as too many ornaments7; furthermore, even if you – which is me, quite often, lately – think Rossini did write too many notes, I didn’t feel like that in her case.
I guess thadieu liked JDD’s more psychologically exploratory approach – and certainly her lower notes, which, true, Pratt does not have – but this production is different and this Semiramide is a less conflicted heroine (until the end, where her conflict is more of the “omg, this is my child!” kind) and rather someone who is always trying to do what she has to do without overthinking it (that kind of thinking might’ve got her in this mess in the first place, but she’s a woman in charge of an empire, she can’t vacillate too much).
Even thadieu agreed that once she started interacting with Iervolino’s Arsace she “humanised”. Indeed, their interaction was excellent. I also thought her and Esposito’s Assur worked – something akin to a mutually destructive relationship. I mean, she still has the broader gestures of belcanto acting but within that frame she’s very effective.
That leaves us with Iervolino’s Arsace. Right after the entrance aria, thadieu and I were in agreement:
thadieu: I’m in love!
dehggi: this is perfect!
What can I say? She’s got everything: the whole range, the ease with coloratura, the wonderful warm contralto tone, the eveness from top to bottom and she can act. A pleasure to listen to/watch. Do yourself a favour and book a ticket to see her NOW. We’re lucky to have caught the Iervolino train this early 😀
After the opera finished, staff was eager to go home and pretty much rushed us out, hehe, somewhere in a narrow street at the back or side of the house.
thadieu: should we get the phone out?
dehggi: yes, because who the hell can navigate Venezia in the middle of the night?!
In the end we followed the crowd, comprised of orchestra members and audience, which took us back to Piazzale Roma more or less in no time. I have to say that nighttime walks through Venezia are the most romantic thing ever, even when you’re rushing to get the last bus. I was tempted to risk having to walk back to Mestre on the side of the motorway 😉 I mean, secluded little bridges, with not a soul in sight, Canal Grande in the darkness, the temptation to try and steal a gondola and glide into the night – you get the picture. With full moon to boot.
We passed a bunch of young people being loud with pizza (and beer?) in a piazza and that seemed the most incongruous thing ever to do in Venice.
thadieu: they’re missing a really great performance.
Youth is really lost on the young (I wouldn’t have cared about opera or, indeed, Venezia, when I was that age, either). But there’s a time for everything and right now I can’t wait for another reason to return ❤
ps: more pictures later, I wanted to get the post out.
- Ernani, Rigoletto, La traviata and Simon Boccanegra. ↩
- I don’t know what the deal is with the union in Venice, but Italians in general don’t seem to mind a show going well into the night (see Torino and Napoli). Semiramide is a long opera even with cuts, so our performance finished well after 11pm. ↩
- though people did shuffle around to get better views. ↩
- the Disco era alive and kicking up in the Caucasus! ↩
- and perhaps a bit of GHB… ↩
- kinda like in Munich, this is not a dry acoustics house. ↩
- whether you like it or not. ↩
After Spring comes Autumn… err, just in my Venice trip calendar 😉 but having visited in Spring, thadieu and I thought “how about
Autumn Semiramide?” You can’t have too much Semiramide/Venice, can you? I’ll spare you the Canal Grande shots and leave you with these for now:
L’incoronazione di Poppea or sex vs the oversized crown of rarefied intellectualism (Salzburger Festspiele, 12 August 2018)
Your reactions to my first impressions were so conducive to discussing the ideas behind this production right there in the comments section that I first decided not to do it again here. But then I thought I can just be very foldy-Baroque and quote myself in green (didn’t them Baroquers invent meta?) for coherence.
If you want to see the larger context of that discussion you can always click on the above link. And if you’ve already read them, you can just skip to the pictures 😉 To those who happen not to know: the stuff in green are my replies to questions, so (even) more colloquial than usual.
Poppea: Sonya Yoncheva
Nerone: Kate Lindsey
Ottavia: Stephanie d’Oustrac
Ottone: Carlo Vistoli
Seneca: Renato “I’m not a bass!” Dolcini
Virtu/Drusilla: Ana Quintans
Nutrice/Famigliare I: Marcel Beekman
Arnalta: Dominique Visse
Amore/Valletto: Lea Desandre
Fortuna/Damigella: Tamara Banjesevic
Pallade/Venere: Claire Debono
Lucano/Soldato I/Tribuno/Famigliare II: Alessandro Fisher
Liberto/Soldato II/Tribuno: David Webb
Littore/Console I/Famigliare III: Padraic Rowan
Mercurio/Console II: Virgile Ancely
Haus fur Mozart, Les Arts Florissants with William Christie
Director: Jan Lauwers
Let’s start by saying the Concept is overly Intellectualised, in a manner similar to the treatment of last year’s Currentzito but luckily the music wasn’t fudged with (thank you, Christie). Trust the mature chap in red socks over the trendy dude from permafrost. Or trust Valletto:
Se tu non dai soccorso
Alla nostra Regina in fede mia
Che vuo accendert’il foco
E nella barba, e nella libraria.
In fede, in fede mia.
(Before we move on, did y’all notice that Valletto’s scene with Damigella is basically Non so piu + Voi che sapete? Plus ca change…).
I think the discourse today is anti-storytelling ([the director] also mentions broken narratives, nonlinearity, different (ie, women’s) perspectives etc.) – which I guess is what they did with Tito as well – but human brains still function this way, so… overreaching.
Even so, it wasn’t without merits if you didn’t blink much:
it’s definitely interesting but I would’ve done so many things differently! From the booklet I learned that the director likes improv and I don’t think you can do good improv with people who don’t know each other very well. The singers feel left to their own devices, which might – just might – work with very seasoned performers and musicians who have worked together for a long time, otherwise it’s all a bit amdram to me.
Maybe I’m wrong. He’s very into “let’s build the moment” rather than come up with a plan, which, in theory is great, but I learned it the hard way that many moments are very dull for those who are not within that moment with you (it’s like being the only sober person in a roomful of drunks). Maybe fun for those on stage but what about us? If you’re not communicating with us in a language we are privy to, then what is the point? This is not meditation, it should be a shared experience. I don’t mean everything should be scripted but you do need to have a direction towards which people can guide their improv. You can’t just say “act crazy” or “act silly” – more like, come on, which kind of crazy, which kind of silly? Giving some guidelines does not mean people’s imagination is stifled, on the contrary, it has a basis on which to flourish.
But let’s move on to specifics:
Prologue: regarding divinities: [the director’s] point was that they are obsolete – which would make the prologue redundant – so to illustrate that he doubled all three of them with a cripple. What I thought was that they each had “adopted” a cripple and were behaving with him according to their (divinities’) nature but it turned out the cripples were themselves!
I mean if Amore was crippled Ottone could’ve succeeded in killing Poppea 😉
Aside from all the usual characters in the opera there are a lot of people (dancers) on stage at all times.
Most of the dancing is someone (they swap places when one of them gets tired) continuously spinning in the background. Now that stops being interesting about 5min in. After much watching it dawned on me that the spinning = how divinities (remember the prologue) are playing with humans as with puppets. Hardly original. Kosky might’ve used a spinning class instead 😉
What you will absolutely not get without reading the booklet is how [the director] means all the people we see in the background to be “the forgotten of history”. Like I said, nice nod to the little people but 1) nothing to do with Poppea, 2) you wouldn’t be like “aha, that’s it!” just from watching.
I guess he wants us to remember that the world doesn’t revolve around those remembered by history, though since the opera is about Poppea/Nerone and not about the little people the point is moot 😉 Also the libretto actually deals with this issue, with all the already existent “little people” characters, which there are a lot more than in an “I really care about the people” opera like Aida, where we have what, 2 outsiders? Plus the little people here aren’t always victims.
So now that we have dancers
get in the way make us pay attention to the plight of the unseen, what?
the dancing never stops! So when you have so much focus on that, you better come up with something very elaborate and interesting, no? I’ve seen by now quite a bit of dancing incorporated in opera – just to give you a very recent example, Saul – that had a lot more cleverly done movement that commented on what the libretto was saying. In fact, I was just thinking as it was happening “hey, Salzburg, is this all you’ve got? Come to London/UK, you’ll learn a thing or two”. Rodelinda from ENO, Kosky’s The Nose, Sellars’ The Gospel according to Mary – all very interesting movement compare to this that I can think off the top of my head.
My buildup to the performance was why isn’t this the Zurich
Ottone Poppea which ran in June/July? Boohoo. Except you forget all about it around the time you reach Salzburg town. Because the grass is really greener in Salzburg. Whereas it’s always nice – and these days, very rare – to have a contralto Ottone in a production that surprisingly seems to understand Ottone has some sexy scenes to exploit, it’s even better to have a woman Nerone – and by that I don’t just mean a mezzo Nerone. One of the things this production hits a homerun in is to have a gender ambiguous Nerone. For WS that means more woman for your buck, for trendy types it means whatever you want it to mean. A golden Klimt suit/poses, high heels, braids, or maybe bread foam, circus and free makeout sessions for all.
As far as women’s perspectives, this opera is about Poppea to begin with and if we establish Nerone is also a woman, then I guess you would want to see how a woman deals with unlimited power? But it looks more or less like a male Nerone does, so I wasn’t the wiser in the end – missed opportunity if I’ve ever seen one. Unless he wants to say women behave in traditionally male ways when they achieve power, but the booklet didn’t say anything about that.
(More) Salzburger Festspiele fawning
When, merely two months ago, I was made an offer I couldn’t refuse I didn’t quite realise that not only dude, you’re going to Salzburger Festspiele! but dude, it’s Poppea‘s premiere night and your seat is in the parterre stalls. Luckily this summer’s few stints at Glyndebourne came in handy by dunking me in poshness long enough to survive this much swankiness in one go. Dude, I’ve never actually walked on a red carpet (that wasn’t faux persian) before! Excuse the country bumpkin sense of wonder, but it’s still surreal. An actual red carpet! So the key terms of summer 2018 are “hot”1 and “posh”. As Arnalta would say, much better than “cold” and “poor”.
As far as opera festivals go, Salzburg, too, lives up to its reputation. It’s the Rolex/
Mercedes Audi! Audi!2 of opera festivals. Wood panels and really comfy seats/legroom aplenty3. Not just comfy seats but seats for all. Now we can sit for a moment and ponder if seats for all at higher prices is better than standing for some for a bargain. It’s interesting to have the opportunity to compare Glyndebourne poshness to Salzburg poshness, whilst sharing the hall with familiar faces (hello, Christie and Lindsey, haven’t I seen you just a month ago?). I wager Haus fur Mozart (the smallest auditorium of the three) sits about the same number of people as Glyndebourne and the acoustics seem similar as well. The audience, though, reacts quite differently.
People kept dropping things, like at least 5-6 times. I wonder if they fell asleep 😉 (and why would you hold things in you lap when there is SO much legroom and room under your seat? you could stash a Golden Retriever in there). The chap next to me actually glared when I chuckled at Valletto’s antics towards Seneca but then sort of lay back on the backrest as if taking a break from all the talking. But when Arnalta had her bitchy arioso later on others finally laughed as well! Small steps.
The Festspiele caters to you so much that you can use your ticket on public transport before and after the opera. Except, come on, you’re in Salzburg, the rivers are crystal clear and the hills alive with… they actually are, because the opera houses are built into the cliff. I for one wanted to breathe the air and walk all the streets and mountain trails and have my own makeout session – with the venues 😉
After a midday stroll around town/hike, I went to the venue really early and waited on my now beloved steps for busy woman Giulia who was packing two operas in one day. I hope she writes about Salome, because we had some fun discussing the dead horse head, which she (Salome, not Giulia) gets instead of Jokanaan’s sexy mug. Maybe religion is a dead horse to be beat? Or something? Anyway, I didn’t see that production (I’m fine with one Salome a year) but it sounded like another exercise in trying really hard to be different. It’s kind of interesting that sexy cannot simply be sexy anymore (imo, Salome has enough kink not to warrant trying to twist it further, but who knows, I may be really square and not know it).
Poppea wins but about the unlucky ones?
Now let’s have a word about Vistoli’s Ottone and d’Oustrac’s Ottavia. These two didn’t seem to interest the director, so they both looked like they wandered in from another (unsexy) opera about middle management – especially Vistoli, whose E pur io torno qui was completely ruined by the video projections to the point that his performance seemed lacklustre to me, in comparison to his stint as Ruggiero in Orlando, where his voice stood out beautifully. Younger singers really benefit if a director helps them out. He also appeared to understand this and looked like he was toughing it out in spite of the projections.
I really thought […] incorporating video projections will work but it never went anywhere (as usual with projections – again I remember how Richard Jones worked it in cleverly in Rodelinda) and I thought it was too bad!
You know there was that thing a few years ago when VR was all the rage and this video company did this “choose your own adventure” opera project and had this very thing, with multiple cameras on stage – I thought it was gonna be that! And we could see what everyone was doing at all times during the opera. That would have been great – again, IF what they did was at all interesting. But you need a bit of pre-planning for that, which there was none. And then they just stopped! I was like, wait, where are the cameras? Try some more, you made a big deal out of it and now the idea seems totally abandoned. MAYBE it was part of the “let’s stay in the moment and if it ain’t working we’ll cut it”, but that seems very whimsical for not very much and also very lazy! If you have a good idea and you presented it to the world, you kind of have a responsibility to do something with it, otherwise it’ll make you look like a fool.
It looked like Lindsey and Yoncheva were the only ones briefed about this video thing and they tried to play into it best they could, whereas Desandre, Quintans, Beekman and Visse just went with their regular opera instincts and won their battles by being good actors in the old, established way. The rest appeared not to know if they were coming or going in the midst of all this madness.
What I am curious NOW is if/how they change anything as the run moves on, because the boos were hearty 😉 I would’ve wanted to come see more shows just for that alone (but if things didn’t change much I’d’ve been annoyed).
(Returning to crimes against Ottone) they did not dress [him] as a woman, he kept wearing his normal clothes. Here is exactly where a contralto Ottone makes sense, when Ottavia observes that s/he could fool anyone wearing women’s clothes. But nothing was done with this. Poor Vistoli just had to stand there, looking rather forlorn.
As for d’Oustrac, she was a classic Ottavia as far as I could tell and so her appearances (accompanied by a lowering chandelier) had the effect of stopping the sexy action. I’m not her biggest fan as it is because of lack of colour but I couldn’t say there was anything wrong with her interpretation and her stage presence was solid, very illustrative of Nerone’s bitching that Ottavia is infrigidita ed infeconda. Then again, laments. It’s really not easy to rock Ottavia and, again, perhaps I prefer more heft. And/or Hallenberg (though Larmore sure had her charm/chutzpah and felt like a real person).
The other ones escaped unscathed old school-style, with very good singing and distinctive stage presence from Desandre’s Valletto (he and Damigella made a really fun couple) and Quintans’ Drusilla, especially. Beekman sang beautifully like he did at TADW and Visse is still a stage animal.
Out of the costumes on display, this side of the principals, Seneca’s pompous coat (actually pointy-square) was a lot of fun, though I was starting to pity the singer for having to wear that on such a hot day. Drusilla’s dress built on layered-transparency was also up my alley.
There was this blob on stage, originally stashed to the side and eventually brought to the fore and assembled for Drusilla and Ottone, all sparkly silver, like a Christmas-y foam Mr Hankey, which I really didn’t get. Man, it was fugly as all getout! I don’t think I’ve seen such an hideously cheap-looking prop in my life, Poundland would be ashamed to have it on its shelves. In comparison, the gameshow desks from Guth’s TADW Poppea were ITV at its most ghetto fabulous. I suppose all the money went to the video projections which were abandoned 20min in?
I’m not opposed to a mostly empty stage, in fact I prefer it to clutter, but if you’re going to have a prop, make it look like… something (it occurs to me that maybe it was a very crude representation of “happy ending clouds”?). Usually with Poppea we have a setee or a bed for obvious reasons, but a floor can function well for all the down and dirty getting. A blob… well. At least it wasn’t a dead horse head and our anti-heroines kissed at the end (and quite a bit in between), no particular dark clouds looming in the future (though a couple of times I think Poppea looked a bit uncertain, which I liked. A hint is ok, overdoing the foreshadowing is too much. We all know, I promise you, what is going to happen; in fact, having it pointed out that Poppea is soon going to be kicked to death by the hubster is for me on par with hearing once again how Baroque really means “broken pearl”. I want to beat it with that dead horse head).
When it’s good, it’s sexy good
But let’s talk a bit about the things that worked. After Poppea and Nerone’s sexy scene where Nerone says she needs to leave in order to divorce Ottavia, we have Poppea happily sing to herself about her good luck. Whilst she’s all wahey! Nerone is finally trapped in my honeypot! we see Nerone run around in the background, making out with everyone and their nutrices – actually, it’s “the little people”, who all look grim and scared of her, except for a couple of “fans” who can’t believe their goodluck at having been snogged by sex-guru Nerone. That’s the kind of foreshadowing I can get behind.
You could say well, dehggi, aren’t you the very same person who bitches to no end about the horribility of Don Giovanni? Why are you ready to cut Nerone so much slack? I guess because it’s so obvious s/he’s a loose cannon? I’m not saying I’m right or not hypocritical; I just like Nerone a lot better4. I know Don Giovanni is also satire but it feels to me a lot more laced-up (different times). This one is relaxed and tongue in cheek and unsentimental from end to end. We don’t pity anyone, there are no heroes, just a bunch of flawed people who behave very badly indeed in moments of crisis. Plus Don Giovanni just isn’t sexy (aside from Zerlina’s antics, which would fit right in here).
Speaking of sexy, I was talking about what the production did well. Most of the Poppea/Nerone interaction is hothothot, as I’m sure you all know by now from the gifs already in circulation. Yay to that, because Poppea without sex is just an extended moaning session set to music. It’s good to see the singing and the action on stage raise the temperature in the room instead of tripping each other. Though Nerone seems at her most together in Poppea’s company, her other behaviour makes it a bit difficult to see why Poppea specifically.
At one point it seemed like both of them were partaking of those scared semi-naked people5 but usually Nerone is indulging when Poppea is busy making plans for the future. But maybe he likes her because Poppea is the only one not afraid? Usually it’s Nerone who does things to others but Poppea is very ready to take the lead, which seems to get Nerone’s undivided attention.
This is a good place as any to comment on how, though others have ariosos – sometimes more than one – Nerone only ever appears in scene-duets with others. How interesting. We don’t really know what she really thinks (Lauwers may rejoice that Nerone’s perspective is skipped in favour of those less favoured by fate 😉 ).
I also liked – visually – the scene where Poppea falls asleep. Here she’s standing, sort of in the arms of the… little people again? It looks good, naked and semi-naked people holding each other, in the way a more racy fashion photoshoot does, but I wonder if it’s meant to say anything? Like she’s the embodiment of the hopes and ambitions of all those people who try to get rich but die trying instead (if you pardon my 50 cent pun)? If this is foreshadowing again then cool. If it’s not, still cool.
Though I’ve seen the production with Yoncheva and Cencic, I thought by now she had moved on to later rep. I suppose she likes this role (she looks like she’s enjoying herself) and the voice is still surprisingly able to cover it without sounding 2 levels bigger than everyone else’s around her. This was an excellent achievement. Not to diminish her obvious musicality and professionalism, but I think Christie’s experience shows here as elsewhere. The whole really fit together seamlessly – and we really should see her and Lindsey paired more often (before it’s too late and she does embrace Verdi6 and whatnot for good) because it’s not just eyecandy, their voices do work wonderfully together.
There was one good bit about [dancing], when it finally looked functional – when Seneca has to kill himself and all “his people” are dropping dead around him – that was well done.
I realise I spent so much time talking about the production and did not mention the “ugly singing” even in my first impressions. Said unpretty singing (worst offender: Lindsey) really ticked Giulia off, but I could live with it mostly without issues. Every once in a while (when he’s particularly mean) Nerone pulls off a squeak, on the goofy side of unpretty (Nerone going a bit Lazuli – not as strange as it may seem, Lindsey made out with all the women on stage there as well!). But this isn’t just some random thing Nerone did to aleviate the boredom of roaming the back of the stage, kicking hard working people. Nope, this is something our director specifically wanted, in order to better express the “dark nature” of Baroque. Because, you see, it’s not just an imperfect pearl with many folds, but those folds are very dark indeed.
Gorgeous singing – this is the best I’ve heard from Lindsey, and I’ve seen her a lot, even two months ago; she should sing more of this stuff; Yoncheva rocked, too, and the two of the have excellent chem, both vocally and dramatically – some fabulous diminuendi in their scenes together (you know which, the supremely sexy ones = Scene III Act I, Scene X Act I, Scene V Act II and, of course, Scene VIII Act II).
- Guess what, gentle reader? It was hot in Salzburg, too! Haha. ↩
- Must get the sponsors right 😉 they “paid” me with sandwiches and coffee, after all. ↩
- And exceptionally clean toilets. ↩
- Me, like Roman characters? You don’t say. ↩
- Reminds me of Darla and Drusilla of Buffy-fame’s spree – speaking of which, I can totally see a vampire themed Poppea! Has this been done? ↩
- Giulia saw her as Elisabeth de Valois in Don Carlo and thought she wasn’t yet ready for that. ↩
Gorgeous singing – this is the best I’ve heard from Lindsey, and I’ve seen her a lot, even two months ago; she should sing more of this stuff; Yoncheva rocked, too, and the two of the have excellent chem, both vocally and dramatically – some fabulous diminuendi in their scenes together (you know which, the supremely sexy ones)
Christie and team – YEA! Well deserved most applause – some badass original ornaments, especially around Seneca’s parts
Desandre and Quintans – lovely discoveries for me, great stage presence and very confident, stylish singing
Production poster – if you long to see two women headline together ❤ I took some very cheesy non-selfies with it 😉 (Giulia was so gracious to put up with my “photo shoot”) and you will be forced to see them, because when are we getting that kind of poster for a major festival again? Not for next year’s Alcina, that’s for sure.
The venue – so bloody stylish! You know I like my casual everything but I can appreciate style when it’s done right. And great acoustics, too, though diction was so-so
Company – it was great hanging out with Giulia, I hope I did not exhaust you 😉 ah, going to the opera with enthusiastic buddies is a drug in itself!
Some of the production ideas were great; some not so much; generally it was undercooked. Rest assured I will go into how I see this done right, because – though I was here to enjoy myself “to the bitter end” 😉 – I am getting a bit tired of directors overdoing Poppea. It really is not that hard. The Glyndebourne production is still the most concise and coherent for me.
Dude, it’s Salzburg!
Let me be emotional for once, those of you who know that my opera moment zero is the – now – old Tito production from this very festival 😀 also after my freak out moment last year, with the new production – you can say Salzburger Festspiele is a very special place for me indeed…
As soon as I got in town I went directly to Felsenreitschule to touch it, after which I sat on the steps of the festival venue and ate lemon mousse, what with being super classy. I did not plan on visiting, certainly not this year, but sometimes things work themselves out.
All this excitement has given me a major headache, so I can also see why Wolfie always wanted to get out of here 😉
ps: it’s not quite as touristy as Venice, but it’s giving its best shot.
That week was all about Glyndebourne and it being June, we were graced with good to very good weather – bright skies, fluffy clouds, fragrant roses and fields and acceptable temperatures for this time of the day in a temperate climate.
It’s quite amusing (in an endearing way) to see people’s first reaction at arriving in the bucolic English countryside for opera. Agathe said pictures don’t do it justice, as you think what is posted is the best of the best possible angles but when you get there it’s that in 360 surround. She also reckons it’s bigger and more remote than Bayreuth. Though remote isn’t exactly what I would call English countryside (unless it’s the moors). It is very much the country, rolling hills that just cry out for a long walk with your hounds, healthy crops, shady country lanes and exquisitely tended to look awesome-wild flower beds but it isn’t quite the same as Croatian forest wild.
Under the care of the younger Christie Glyndebourne has become more accomodating to the younger and trendier crowds (though the big bulk is still mature audiences that think nothing of dishing out £200 on a ticket and having the swanky G-dining experience on top of that) whilst at the same time getting really creative with the type and design of products they can attach the G logo to. If I had the money to spent I’d be shelling a few hundreds on G goods, they are all very well done.
So this time it was Agathe and I who took the train from Victoria to Lewes along with various picnic-ers and someone who looked suspiciously much like Patricia Bardon (conspicuous: no luggage, no picnic/gown attire but took the designated train and got off at Lewes with all of us; moreover, she was on the train back with all of us). In the G gardens, we met Giulia at the interval over some major Baroque-swooning (you can read her account here if you haven’t already).
Giulio Cesare: Sarah Connolly
Cleopatra: Joelle Harvey
Tolomeo: Christophe Dumaux
Cornelia: Patricia Bardon
Sesto: Anna Stephany
Achilla: John Moore
Nireno: Kangmin Justin Kim
Curio: Harry Thatcher
Conductor: William Christie | Orchestra or the Age of Enlightenment
Director: David McVicar
Like a vintage convertible, Cesare took a couple of performances to come into its own. Compared to previous week (second performance of the run), everybody seemed more relaxed and ready to adlib.
After seeing two performances, I am happy with everything but above all I loved the sound of the orchestra to a delirious degree (ha!). With the less than satisfactory acoustics of Ulrichskirche still fresh in mind, the Orchestra of the Age of Enlightenment in the Glyndebourne hall had my ears purring.
All three of us agreed that this is one of the best period ensembles (or ensembles who play period Baroque) on the market today. I still have the gorgeous sound of the low strings from Svegliatevi nel core1 ringing in my ears. It’s not quiet playing but it’s always accomodating the singers and still the power comes through. Certain Baroque-playing bands that fancy themselves rock’n’roll badass should pay attention to this subtle solidity.
I highly enjoyed focusing on this time was Christie’s interaction with orchestra and singers. He quite obviously allowed the singers to lead and do their thing2 and then he would bring in the orchestra with perfect timing, giving specific instruments their moment to shine as well – all this with elegance of movement and minimal fuss (none of that flying off the conductor’s stand).
Dear all, this month has been busier than usual and it’s only now that I get around to writing about this wonderful performance! Sorry all about the delay, it’s the madness of everything, work and fun, amping up at the same time, so I ended up running from one to the other, like a headless but musical chicken.
There are two things about Halle: it seems it’s always unbearbly hot in June (like 30C and up, plus humidity) and the Ulrichskirche is inescapable. Other than that = fabulous.
Early June is too early for London to get that hot-busy, so for me it was a bit of a shock to the system (we’ve updated ourselves to Summer heat since, especially this week). It’s now one of those memories, very akin to childhood ones, of thadieu, Agathe and I walking up the tram tracks in the scorching sun, in an effort to get to the road we needed to be on for the airbnb. I have a vague feeling we complicated our lives a bit but that’s what fun memories are made of!
We quickly took showers and then headed off for some before-the-show grub. Once again, Halle was deader than a Dodo. We speculated some but our host came to the rescue and revealed the dark secret: everyone and their cat was out at the beach. Yes, thanks to the river, there is such a thing even this deep inland. Indeed, on the way to grub we ran into people with beach bags. Apparently the locals were expecting thunder storms with their lunch but seeing as how those got postponned, people took the opportunity to roast themselves in the sun and cool themselves in the Saale river. We thought maybe next year we should make it a longer trip and avail ourselves of the beach as well.
As you can imagine with this cast, there is very little more one can want musically aside from less humidity. The singers braved 30C for 4 hours, which is one of the most commendable efforts I’ve yet witnessed with my opera. And they sang well, too! I don’t know how they did it. True, water bottles were consumed throughout and there was liberal fanning – of your colleague, as well, which only made it all more congenial and down to earth (although by that I don’t mean to say singers should endure these temperatures day in, day out). The ladies singing ladies at least wore dresses, but Nesi had on a frock and Hallenberg a suit – whew!
Though everyone’s Baroque chops are superior, this was hands down Hallenberg’s show. The Energiser Bunny had nothing on her. She just merely spun really complicated arias and probably would’ve still gone on into the night, with an ease and cheerfulness that still looks amazing even after you’ve seen her several times.
Aspromonte was a bit of a revelation to me, as I hadn’t quite felt her in Vivaldi. I know everyone else praised her, but there you go. Here, though, and in a Vagaus-like trouser role at that, she sounded very good and enthusiastic, with enough energy throughout to match her experienced colleagues. It was very sweet of Hallenberg to give her a friendly push onto the stage when Aspromonte’s Alceste had to sing right after a bring-down-the-house aria by Teseo.
As Giulia noted (in her account of this performance), Arianna fits Gauvin’s voice really well (it sits at that not very high spot where her voice is at its most beautiful) and she threw in some cool and interesting ornaments in that bigger, more furious aria Arianna has (sorry if I’m not very well acquainted with the opera – most of Arianna’s arias are somewhat anguished but there is one that has kick to it).
This was the first time I heard Nesi and Hammarstrom live and they both lived up to their respective names. I was a bit irked when Emelyanychev, who had been thus far very accomodating to his singers (especially Gauvin, who strikes me like the kind of woman who will work out the best deal for herself 😉 which is a good thing!), all of a sudden let the horns loose on a particularly rambunctious Tauride aria.
Now the thing is, Tauride seems to have all the horn arias (which is also a good thing – we need more horn arias), so it was more than once that Nesi’s very solid low notes were swallowed by the combined efforts of the horns and Ulrichskirche acoustics. Most of us know that Nesi has one of the most reliable chest registers among mezzos, one of the very few mezzos who can sing Holofernes without sounding like the ship is sinking. So I wanted to hear those notes! Anyway, her singing was excellent and she has this sort of cool but badass aura to her that is unique.
Hammarstrom is a very different singer, rather reserved in manner and with a lyric piangency to her equally reliable chest register. Though she’s a Bradamante veteran, here she sang a girly-girl (Teseo’s ex?), who’s eventually whisked off by Alceste for the happy ending (we joked that Alceste and Carilda return for the finale after a lengthy period, in which one could only imagine what is happening).
Wolf seems to be a veteran of Halle bass(-baritone?) roles and he sounded good here too, putting some fear into Arianna (is he her dad?). I’m low on details but the gist of this particular Arianna story is she’s in trouble (with the Minotaur?) and Teseo flies to her/her people’s rescue, they fall in love, there’s some typical Baroque drama with exes and rivals but they finally get married or whatever the equivalent was in Creta back then. This story does not hint at all at what will happen in Naxos, all is Teseo ❤ Arianna here.
Speaking of an opera that isn’t very often performed, the team made it flow seamlessly for 4 hours, which is another excellent achievement. I could quite see how without a cast, orchestra and conductor of this level it could flag. Really looking forward to hear Emelyanychev and Il Pomo d’Oro later this year, under better acoustic conditions.
About two thirds into the show thunder and lightning arrived in Halle but by the time the show ended we were actually happy for some rain. So we, joined by Giulia since intermission, ran around a bit, looking for a place to sit down and chat and possibly eat/drink something.
Now this was 11:30pm on a Sunday morning and the centre of Halle had, as far as we could see, about 2 1/2 places still open. We finally chose a shisha bar, of all things, only because it looked like it was gonna be open indefinitely and had room to sit. The bar staff were actually cool and turned off the awful music on offer, though whether that was for our benefit or because it was late I can’t tell. But I for one really appreciated the effort and we went on chatting for a good while into the night.
ps: sorry, Giulia, I said I didn’t have any pictures from the curtain call – turns out I did have this one and it somehow got lost amidst all the other 2018 opera trip ones.
Der Rosenkavalier is, in many ways, the ultimate trouser role opera. Octavian is a mezzo with not one but two sopranos to choose from. That could be the end right there but s/he also gets to humiliate the ridiculous villain out of the opera, just to doubly underline the point.
What’s more, it’s actually funny. In Richard Jones’ hands that’s very silly. The second time around it seems even more hilarious.
I was sort of swept by peer pressure (that’s actually a strong term, peer enthusiasm rather) and went again, on the strength of the daring wallpaper in Marschallin’s salon. It was also because Carsen’s production from ROH was a bit too heavy on its own meaning and way, way too light on the comedy for me. I don’t want to overthink things when it comes to DR, I want to have a silly couple of 3 hours.
Octavian: Kate Lindsey
Die Marschallin: Michaela Kaune
Ochs: Brindley Sherratt
Sophie: Louise Alder
Faninal: Michael Kraus
Annina and Valzacchi: Stephanie Lauricella and Alun Rhys-Jenkins
Italian tenor: Sehoon Moon
Marianne Leimetzerin: Garniele Rossmanith
… and others
Conductor: Robin Ticciati | London Philharmonic Orchestra and Glyndebourne Chorus
Director: Richard Jones / Revival Director: Sarah Fahey
Whilst the production still stands 4 years later and acting across the board served it very well, the singing was a bit more approximative. We appreciated Lindsey’s ability to project over the orchestra and the Kaune’s… acting ability. She wasn’t quite as comfortable as Kate Royal during the “manhandling Mariandel” scene (when Ochs is merely boasting about his “female hunting”1 techniques and says oh, yea, you only know how it is to be pursued, but, omg, to be on the prowl every season of the year like me! – and the Marschallin is playfully trying some fun hunting moves on Mariandel for a change), but she was game most of the rest of the time.
The monologue scene wasn’t particularly memorable and the last trio was marred by Ticci allowing the jets in the orchestra to finally take off, so that the singers were left to fend for themselves. The result was more akin to an enthusiastic racket rather than smooth and alluring. Yo, Ticci, I guess you don’t know the one about trouser role operas and threesome epilogues. Someone should send him the memo.
Alder as Sophie has finally come into her own as far as I’m concerned. That’s a voice that begs to soar over something, and she’s ready to move on from sinking a delicate Baroque mezzo/contralto. She was the epitome of modern woman when it came to scolding Ochs for his ochsnoxiousness or generally being outraged at what is going on around her when Octavian isn’t there. Her interaction with Lindsey’s Octavian was very good in the Presentation of the Rose (this production has them sway back and forth, languishing in the arms of budding teenage desire).
Sherratt’s Ochs was more Ochsish than last run’s Rose (who was rather the bumbling English country cousin type) and was probably in possession of the best suited voice for Strauss on that stage, at this particular moment.
None of the rest or the orchestra stood out for any kind of faults as far as I can remember, but then we don’t go to DR for Faninal or the Italian Singer ™, do we?
On the way back from Glyndebourne we caught an earlier train and spent the ride back into Victoria thinking about scenarios regarding the fictitious act IV. Put a bunch of WS together and pretty soon discussions about whether Octavian would or would not (and under which conditions) return to the Marschallin arise.
Forgot to say: at Cesare, crows and magpies thieved our blackberries (and were well on their way to make off with the celery)!!! :p so this time we got clever and put all the fruit away. And then at the short interval we only had time to move the blanket into the sun before we had to go back to the opera. I ended up very thirsty.
Crow: what are you doing this summer?
Magpie: I’m going to Glyndebourne.
Crow: trying to get famous, are you?
Magpie: I heard the catering is fabulous. Then again, if I get offered a cameo I’m not going to say no…
The lawn was mobbed with picnic-ers even more so than at Cesare‘s, so we (this time Mon, Anna and I) ended up also pondering if the Cesare and DR crowds are different or the same. I think we agreed they should more or less be the same. It was also amusing to note that DR is 30min shorter. Baroque operas mean business.
This year it was very smooth sailing as far as trains were concerned (knock on wood from now on). If anyone is interested, the recommended train is going to Ore/Littlehampton and you need to be in the 4 front (Ore) carriages. It (usually) runs from track 15 during the week and track 12 at the weekend.
- you just know he would call women females. ↩
Remember this post? Let’s see if Canaletto’s account of 18th century Venice stands for truth in April 2018.
That’s a closer picture of what Canaletto has in the background of his: the East side of Piazza San Marco with the Doge’s palace and the tower and the San Marco Cathedral in the back – but crucially, I’m glad I got St Mark’s lion’s bum in the picture 😉 Below we have the very calm waters of the lagoon (a proper puddle!), from the opposite side to Canaletto’s, because we didn’t have the time to boat around it like he did:
Looks just a bit less festive than the Marriage of the Sea, though if you peek closely you see there are plenty of boats going to and fro. Cielo e mar are pretty much a spitting image of their 18th century selves.
Sorge l’irato nembo
e la fatal tempesta
col sussurrar dell’onde,
ed agita e confonde,
e cielo e mar.
Ma fugge in un baleno
l’orrida nube infesta
e il placido sereno
in cielo appar.
Pretty much! Coming from London where you get 5 types of weather in one day, I basked in the eveness of Venice. Every day sunny, breezy and roughly the same temperature. Serenissima and all that. Today’s weather in my neighbourhood: Max 7C, min 4C. Raining steadily. Winds strong enough for the cornices to howl. Tomorrow is Mayday.
I mentioned earlier that Venice is all about history. The fact that it’s not built to include cars and other such vehicles beyond Piazzale Roma (where the buses etc. drop you if you’re arriving from inland), goes a very long way to removing that sense of living today that you don’t even realise until car engines are turned off (comercialism is alive and kicking – perhaps a trading city like Venice was always meant to incorporate – even welcome – that). I felt like stepping into the past – and though I sometimes enjoy fantasising about medieval times etc., I’m not exactly a la-la-la, I’m a princess! type 😉 but in Venice it felt almost wrong to place yourself in 2018. Funny enough, Prina hints to that in her Orlando interview with Mezzo TV.
Another thing about Venice that I don’t think I felt so strongly anywhere else (yet?) is how happy everybody is to be here (Agathe pointed this out when we encountered a group of middle aged women whose collective jaw dropped – loudly! and amusingly – upon coming face to face with a carnival item shop). It’s absolutely mobbed with tourists but the general attitude is of wow! and so cool! as well as how cool am I for being here? though, of course, I’ve seen some bemused faces (or perhaps they were tired of seeing so much in one go?).
But as a lover of Vivaldi’s work there’s an extra something about making your way through the narrow streets which sometimes don’t accomodate two people at once and most certainly are winding confusingly in the beginning. He lived here and wrote here (and Orlando premiered here – I swear we accidentally stopped there on our way to finding a bridge to cross back from the San Marco side; whilst we’re on Vivaldi spots, Ospedale della pieta used to be here and yes, we (unknowingly) did pass by it because hello, Tourist Central – told you, it’s the kind of place where you accidentally step into another piece of history).
Back to Teatro Malibran, which is La Fenice’s studio theatre (aka, where the cool stuff happens). The back (the Artists’ Entrance) is apparently located in what used to be Marco Polo’s house. How cool is that?! Or maybe it’s the next building over or across the tiny canal. Even so, how cool!
Look at the below picture and learn as we did: the loggia is nice and airy and gets all the music. The more expensive balcony space below and back of the stalls are all covered. The further back you are, the more you get 1) sound muffle, 2) no view of the surtitles and of the top of the stage (when Orlando climbed the moon, everyone around us was ducking left and right to see what he was doing up there). But the seats are almost twice the price! On the upside, you get a rather eye level view of the stage. Hm. Choose wisely. And, yes, that metal bar holding up the lights all around the venue was as annoying irl as is in this picture.
So just how fabulous was Orlando? By now you’ve probably seen the livestreaming footage, as it’s up online, I’ve jogged your memory with a few pictures of the environment, which I know aren’t everything, because you really have to feel the gentle air in Venice, but, still, the sights can go a long way – I doubt it could’ve been anything but fabulous even before it started.
From up on our perch (second row in the loggia) we had that badass loud sound and we could see much better than on Saturday. The railing occasionally interfered but not to a great extent. The stage was small enough to feel super cosy and the very 18th century informed special effects (the ripples of the sheet-sea, the papier mache hippogriff, the very obviously not real “ruins”) are tongue-in-cheek but also charming and more effective than one would immediately think.
The house is very unpretentious, what you see in that indoors picture is most of the decoration. The staircases are narrow (of course) but bright and simple and the ushers a bit stiff but mostly very friendly. One of them remembered us on the second night! T thought we “looked very specific” and I agree we were more dressed down than most but the rest of the audience (lots of locals) weren’t particularly sporting crown jewels. They were friendly and chatty (even occasionally during singing) and did not boo anyone, on the contrary, were free with their applause (I believe only a couple of arias did not get a response).
It is a bit weird to have the opera called after Orlando but see all this other action taking most of the space, with Orlando himself only having two (very badass) arias and some havoc wreaking at the end. Though, to be fair, that havoc and its respective recits were way worth it. And, again, sort of unusual, because it’s almost regular theatre with these bits and pieces of music to highlight the most important emotions Orlando is experiencing. Prina mentioned Fasolis stripped it even further so you do start to get into the “play” – or I did, at least. It had a stronger emotional impact than usual, because sometimes music can lift a bit of the tension – you get into the pretty sounds, you admire the musical skills…
I really like Orlando the character. He’s in a unique position, of someone who’s physically stronger/more skilled than everyone around him, and everyone fears him and gives him a wide bearth, which impinges on the possibility of developing any sort of real relationships. For her part, I think Angelica does not fear him (for herself) as much as is fed up and wants him gone, because she knows he can crush Medoro, who’s not macho at all.
Though in this production it is brought into question just how much she wants him gone… We have some very explicitly non repellant interaction between her and Orlando in that balloon aria where she bewitches him. There are ways to get rid of someone via wiles that don’t have to involve so much participation from the supposedly unwilling partner.
Then again, this is an opera where women are very 3D, as opposed to men (except for Orlando). And, true, if you can’t match someone for strength you should try to outwit them. We see the damage Orlando causes once he realises he’s been had.
What I also find interesting is Angelica and Medoro’s position at the end, once Alcina is defeated. Up to that point they were quite obviously on her side, what with Alcina concocting the plan to get them happily hitched and away from Orlando and providing the very sophisticated nuptial entertainment. But in the end Angelica’s like “oh, btw, what Alcina did to Orlando is totally uncool (it’s pure coincidence that it worked for us). And let’s not start on the poor hippogriff! Not cool! Prosecco, anyone?” Medoro: “What she said! I love my cutie-coo gf! Teehee!”
Oh, yea, the 19th was apparently Fasolis’ 60th birthday, so the orchestra and the choir did a very nice Baroque improv on Happy Birthday and everyone clapped and congratulated him on a job well done reaching 60 in the pit 😉
We ended up not getting lost and made our way back via the same winding but well signed streets at dusk and then took the commuter bus back into Mestre. You really don’t need the vaporetto, unless you specifically want to (go to the islands). Basically you’re fine with the 3Euro/day roundtrip from Mestre and back. And unless you must dine on the shores of Canal Grande, prices are reasonable even within Venice.