The moment Mattila waltzed in, grand and self mocking at the same time, as Primadonna/Ariadne on the ROH stage a couple of years back I was in love. So I jumped at the opportunity of a night of listening to her alone. What I got was unexpected.
Karita Mattila soprano
Ville Matvejeff piano
Johannes Brahms (1833-1897)
Zigeunerlieder Op. 103
Richard Wagner (1813-1883)
Alban Berg (1885-1935)
Vier Lieder Op. 2
Richard Strauss (1864-1949)
Der Stern Op. 69 No. 1
Wiegenlied Op. 41 No. 1
Meinem Kinde Op. 37 No. 3
Ach Lieb, ich muss nun scheiden Op. 21
Wie sollten wir geheim sie halten Op. 19 No. 4
Allerseelen Op. 10 No. 8
Cäcilie Op. 27 No. 2
The Zigeunerlieder were cracking, the kind of chutzpah that first attracted me to her but eventually the night turned into something very introspective, with Mattila mostly parked at the low end of her range. Her voice is plummy there but that part of her range doesn’t necessary have a lot of colour, neither does it have the sparkle I was chasing. But she sprinkled some sparkle later on and in the encores, which were her cabaret best – I wasn’t the only one to think so.
I love her natural charm, the direct, unfussy way she communicates, the way she can build a low brow joke even in an evening dress, with dangly earrings. I also like how she controls her hands and uses them a lot but makes it look necessary. Another thing I enjoy is watching singers between songs/when they aren’t singing. I like to catch the moment they get in character/change from one to the other. She’s very spontaneous, just slips in and sails with the mood.
It was a quite weird, though, the sober mood that permeated the night, which sent my thoughts to some issues I’ve tried to
avoid sort out for years. I must’ve felt very comfortable with her in the house to visit those ultra personal places. My mind sometimes wanders during performances but usually to more immediate matters. This was indeed the week of singing psychotherapy.
I went to see Adès’ latest offering mostly on the strength of the cast. Then I thought the Bunuel connection could be interesting. Also it’s good to know what’s being written these days, although the vocal writing makes Baroque vocals sound positively natural by comparison. Pehaps this artificiality is intentional.
Leonora Palma (Dr Conde’s patient/stalker): Anne Sofie von Otter
Blanca Delgado (pianist, wife of Roc): Christine Rice
Edmundo, Marques de Nobile (party host): Charles Workman
Lucia, Marquesa de Nobile (his wife): Amanda Echalaz
Count Raúl Yebenes (explorer): Frédéric Antoun
Doctor Carlos Conde (GP/Psychiatrist): John Tomlinson
Alberto Roc (conductor): Thomas Allen
Francisco de Avila (Silvia’s younger brother): Iestyn Davies
Eduardo (Beatriz’ boyfriend): Ed Lyon
Leticia (opera singer): Audrey Luna
Silvia de Avila (young, widowed mother): Sally Matthews
Beatriz (Eduardo’s girlfriend): Sophie Bevan
Lucas (footman): Hubert Francis
Enrique (waiter): Thomas Atkins
Señor Russell (dude who dies): Sten Byriel
Colonel Alvaro Gomez (Marquesa’s lover): David Adam Moore
Julio (butler): Morgan Moody
Conductor: Thomas Adès | Royal Opera Choir and Orchestra
Ondes martenot: Cynthia Millar
Librettist/Director: Tom Cairns
Co-production with Salzburger Festspiele, Metropolitan Opera and The Royal Danish Opera
Seeing the composer himself conduct is another interesting angle. I had the kind of seat (on the right arm of the trusty horseshoe, where I’ve sat many times) from where I could see him at work. His style of conducting struck me as very clear, though what do I know? As far as sound levels he did not go easy on his singers, though the whole (wall of sound) benefitted in my ears. It’s pretty much just Sprechgesang so it’s not like you’re missing some beautiful ppp lines. That’s not to say singers didn’t indulge in dynamic variation, they did (I remember some nice work from Workman and Rice) and these were sometimes swallowed by the whole. Which was rather fitting.
It turned out Cairns’ libretto was wickedly funny.
“I slept worse than that time on the train to Nice that derailed!” and “Perhaps I’m insensitive but the fate of those squashed common people [3rd class carriage] didn’t affect me at all”. These are gems from Silvia de Avila, who also boasts “I love this oddness! I don’t like anything normal!” or words to that effect. The answer to that is “We’ve all noticed that [in reference to her overly maternal (Oedipal) relationship with her whingy/neurotic brother] but we never said anything because we’re polite!” – this by the opera singer character (soprano), Leticia Maynar, who speaks in acuti only. Luckily Luna wasn’t pingy, because she had quite a bit to say.
As you can tell from the Surrealist connection, the shadow of Freud looms large. The voice of reason is the Doctor, who is GP and Psychoterapist rolled in one. This gives him funny lines like “In 5 days s/he will go completely bald” – his answer to any medical question posed to him. But even that has a funny answer “That’s not bad, she has a very fine skull!”
The libretto offers one of the most positive portrayals of Psychiatrists I’ve seen, with the Doctor reminding everyone of the need to preserve their humanity. The day is, however, saved by the soprano, who organises a reenactment of the moment everything went pearshaped, which in turn restores order. So music fixes everything. But it also screws things up (that’s sopranos for you).
It sounds like the host’s enthusiastic/polite quip that “you can’t leave now! This is the most intimate hour!” trapped them all in his drawing room for what seemed like an eternity (sounds like most parties after about 3am). I enjoyed both sides of the conversation – with the hosts complaining about being tired or bored and the hosts – subtly – trying to get them to leave already (“Give them breakfast and they’ll leave”).
The libretto boasts astute observervations along the way, such as people’s transition from abject hunger to contradictory complaints about the cooked meat when sheep appear out of thin air. Speaking of sheep, there were live (and very docile) sheep on stage when we were allowed into the auditorium and I could only relate their presence to their connection with sleep/dreaming.
So I took this as a meditation on human condition via a “very bad trip”, from luxury to degradation and back. The Ondes Martenot (related to the Theremin) was the anchoring instrument of the evening, with its eerie, early electronica sounds. Millar played it from the left Dress Circle (the orchestra is so big it takes the entire pit, with a few instruments spilling below and above) and I had a very good view at her work and got to appreciate it.
It wasn’t an easy evening but it kept me constantly engaged, even though I had had a long (and very cold) day, which included some flitting about in the ROH vicinity, because I had time to kill and I realised I knew very little about the area beside tube station – opera house – Covent Garden Market, which all in all comprises about 200m. Because of this I had the
misfortune chance to hear a busking opera singer whose chief tool was a heavily undulating vibrato which rivaled that Martenot but completely obscured the tune of whatever he was attempting to sing shout.
The singing in the opera was more conversational but it’s still not easy for me to gauge how the singers fared. With so many characters it was initially a challenge to figure out who was who and what they were on about. It seemed like a marathon of dramatic intensity and focus rather than one of singing prowess. Everyone appeared engaged and did their thing when called for it – sometimes after long periods of not singing, though they were all stuck on stage at all times. Thomas Allen as conductor Roc had it easiest, one would say, as his character slept through most of the drama. As someone quipped, “why did Sr Russel die, why not the conductor? What difference does one conductor less make?” There were other such in-jokes in the libretto, not the least Francisco’s (I think?) reccurent cry “play us something by Adès, I implore you!” when the pianist, Blanca, regales them with a few phrases on the piano.
Dramatically, I really enjoyed the way Silvia was drawn as a character (obsessed with oddness, caricaturally overprotective of her brother + ambiguously close to him whilst potentially oblivious of Padre Sanson’s intentions towards her son, homeschooled by him. Though considering it’s her brother Francisco who voices doubts about Padre Sanson’s saintliness it was hard to tell whether she was negligent or he was paranoid. Matthews showed some top comedic timing when delivering her lines. Davies as Francisco also did a very good job acting neurotic/infantilised. Tomlinson as Dr Conde was very credible as the well intentioned “saviour of humanity”.
In conclusion, it was highly entertaining, though I think I need to see/hear it a couple of times before I can form a more coherent idea about the whole. Also seeing the original Bunuel film might help.
- Padre Sanson (Yoli’s teacher): Wyn Pencarreg | Yoli (Silvia’s son): Joshua Abrams | Pablo (cook): James Cleverton | Meni (maid): Elizabeth Atherton | Camila (maid): Anne Marie Gibbons ↩
Now that venues are posting their 2017-2018 offerings it turns out that ENO is bringing out their 2014 production of the beautiful Rodelinda in Oct/Nov, whilst the Barbican is airing Rinaldo on 13 March, with a few features from the Glyndebourne production – Iestyn Davies 1 in the title role and Pisaroni as Argante + the addition of Jane Archibald as Armida. I have to say my £15 was for Pisaroni’s Sibilar gli angui d’Aletto. I hope the trumpets live up to the hype all the way to the balcony. I’m not sure about Rodelinda (Io t’abraccio in English) just yet, I might pull a Partenope-move and book at the last minute if I can’t get it out of my mind long enough.
- He sang in the recent revival which I missed because he’s not Prina. ↩
Yes, the one we know and love, with Sarah Connolly, Patricia Bardon and Dumaux reprising their 2005 roles and Christie conducting. Now with Joelle Harvey as Cleopatra. Sounds like another picnic date to me 😀
We also get Saul (two Handels??) with Karina Gauvin among others and the first edition of the Singing Competition, with a Mozart theme.
Also in an attempt to get Leander into 20th century opera we have a revival of the 2014 production of Der Rosenkavalier with Kate Lindsey in the title role 😉
There must be a reason why Statira is wearing a blonde wig whilst Argene has on something very much akin to a cycling helmet (everyone knows cyclists are pests!). Ok, so it’s a ropey turban 😉 she still looks ready to mount a bike (considering all the men are steering clear…).
Similarly, there must be a reason why Dario is wearing the same attire as the shadow of Cyro (Saudi style). The other guys simply can’t compete, whether they have the oil or the weapons.
You would think a smart woman like Argene knows 1) what the oracle says goes (whoever marries Statira will rule the empire) so 2) simply tempting Dario away from the blonde won’t do the trick. But it appears she has fallen for him much in the same way men who should know better (Niceno) have gone gaga over Statira. During part I she languishes in bed, mopey because he won’t notice her. But she springs into action as soon as he wanders into her room (as opera characters seem to; to be fair, she promised him her “help” in getting Statira to love him).
Flora: Mylady, Dario is coming, cover yourself so you can receive him!
Argene: better yet, I shall receive him naked! (she lounges, eyes aflutter, legs and bosom exposed – by her time period’s standards; in this production it means the blanket-robe is off).
Dario: any news about Statira?
Argene: still hates you.
Dario: oh, how cruel my fate etc.
Argene: well, there might be others who like what they see when they look at you (wink-wink, nudge-nudge).
Dario: that’s nice, but could you possibly talk to Statira again?
Argene: sure, I’ll do all I can. But first help me write a letter, all of a sudden – right about the time you stepped into the room – I became so overcome with emotion my hand has started trembling (wink-wink, nudge-nudge)
Dario: ok. Who’s this letter addressed to?
Argene (gets into his personal space): the man who has conquered my dreams. Write! My sun, light of my days (mega bosom nudge, power eyelash flutter) –
Dario (eyes popping, scoots away): My sun, light of my days… ok, next?
Argene: oh, I’m wasting away for your love! (mega nudge)
Dario: the man of your dreams must be very difficult indeed. Light of my days, oh, I’m wasting away for your love…?
Argene: you didn’t understand anything, did you?
Dario: on the contrary, I understood perfectly.
Dario: remember you said you’ll help me with Statira?
Argene (eyeroll): ok, enough writing. Go, go, I’ll write the name later.
In the meanwhile, Statira is worried about suddenly being pushed into the limelight.
Statira: Flora, what is this commotion all about?
Flora: Mylady, you’ll soon be queen!
Statira: hm. What does a queen do?
Flora: she wears a tiara!
Statira: that’s nice. What else?
Flora: she presides over public ceremonies!
Statira: eh, that sounds tedious. Anything else?
Flora (wink-wink): she does her wifely duties to the king.
Statira: but what are those?
Seriously. Was she raised by wolves? Clearly not, otherwise she wouldn’t be so scared when she gets to the woods. But talk about sheltered. And she’s the older daughter. Reminds me of that joke about the two pious virgins who got married and were still childless a year later (not for lack of trying).
Niceno, who’s supposed to be the token Arabian (nights) philosopher (must have a philosopher at the Persian court, right?), has poured all his emotions into a soulful and finely crafted series of letters to the woman who makes him sigh but who, he has a feeling, might not be returning his feelings. He finally plucks the courage to give Statira the letters. She really gets into the amourous atmosphere and reads aloud with pathos to wistful viola da gamba backing (I have a horribly sneaky suspicion this is a joke on emotionally astute but otherwise dim actors) only at the end to prove she has absolutely no clue about what he’s trying to tell her.
Hey, Mr Bookworm, didn’t you notice by now that she’s Miss Literal? So, in his desperation, though he has pined for her for who knows how long, he makes a terrible pact with Argene, who, apparently (it’s still wink-wink territory, blink and you missed it, though with Galou at the helm you most likely won’t) promises him she will sleep with him if he helps her break the not-yet lovebirds apart. If you can’t have one sister… the librettist’s commentary is clearly that no matter how intellectual or practical the man, none of them likes the smart sister (pfui! back to the kitchen) but will “work” with her if she throws something else into the pot. At some point whilst Statira is once again acting “blonde”, both Niceno and Argene turn to the bottle. That’s a bit like 2017.
Statira soon finds out what her future husband wants from her: her eyes, her hands. Very alarming! The man sounds like a right serial killer 😀 She has a stern/earnest sounding aria (quirky Vivaldi) about how she simply won’t allow that malarkey. Which plays right into the hands of the more practical Arpago and Oronte, who each boasts about their military or admin-y (oil pumping? there’s a dirty joke in there) exploits.
If you think the silly comedy can get tired after a while then more credit to Mingardo who remained funny even after we knew exactly what was coming. Also credit to Vivaldi who has a very clever way of putting silly and extremely catchy together with very beautiful.
After trying his luck in vain, Niceno defects to Argene’s side, “guiding” Statira by telling her each of these young men is worthy of her hand. She promptly promises her hand to both (I guess she quickly got over the fear of literally losing her hand to every man in the country 😉 ). This annoys Dario, who thinks she’s playing hard to get. He vows to take his anger out on his rivals. Now we know the cause of so many bloody battles through history.
Next comes Niceno’s badass bass aria with bassoon obligato (bullseye) along the lines of Tardi s’avvede. That is to say a “wise adviser aria”, in which Niceno cautions Dario that getting irate makes him appear less suave. The youthful looking Mr Bassoon did a solid job and I can assure you youtube doesn’t have a better version than Novaro’s, who has a somewhat similar type of voice to Galou (light but of high density).
I guess the Saudi connection is that Persia was the Saudi Arabia of its time. The Oracle is the West, who always somehow supports the winners in the area, though it pretends not to get involved. Astutely, then, neither the ones who have the oil nor the ones with the guns really win and whoever tries to stand up to the Oracle’s dictums will end up in the “harshest chains” (I really like that bit. Are they the kind with spikes on the inside?).
It only took me several listens and two live performances but I must say the libretto isn’t that bad after all!
On Sunday we made our way back to Piazza Castello, where we could already recognise some people as dressed for the opera. After soaking a bit of the very congenial atmosphere we went up to our box on the other side (left) of the auditorium. Interestingly, the door was locked. We tried other doors and it seemed hit and miss. We noticed others had similar problems, so we made our way to the auditorium to look for an usher.
Suffice to say we sat somewhere central, next to these very nice old ladies, who had upgraded too. This was the last performance of the run and there were empty seats scattered around the venue. But no more cameras.
The sound from the auditorium was very good on both nights, perhaps a bit better on Sunday, when we had prime location. We could hear every singer’s consonants. Finally we could see what we missed stage design-wise on the first night (quite a bit).
You might remember the poster that says “the best voices in Baroque for Dario“. It didn’t lie. Regardless of one’s preference for one singer’s tone or another, Dantone had assembled a gorgeous sounding team indeed. Vivaldi saw to it that everybody had their time to shine and the direction dropped the curtain behind all but the two main ladies to give them centre spotlight at least once and they took the challenge with gusto.
Mameli’s phrasing in particular rivaled the main ladies’, though her role is quite clearly written for “we need to give something to the soprano” reasons. Alinda is Oronte’s ex, who is – as ever in Baroque opera – stalking him and generally putting spanners in his works with amazingly precise timing. She’s stealthy like a ninja and her outfit fits the description.
One has to comment on their very toxic relationship. She’s, as I was saying, a stalker and he is very abusive towards her up until the very end (he even has an aria along the lines of “leave me alone with your fidelity, I’ve moved on”). Yet they are “happily” reunited. Of course, we are led to believe that he’s only discarded her because of his ambitions to the throne, but he is still extremely emotionally abusive throughout. You don’t want to be reunited with someone who’s done that to you. You also might want to stay away from people who are so needy as to take you back unconditionally after repeated abuse. [ / soapbox]
I wasn’t too into Cirillo’s voice until she had a slow (and a bit boring) aria with long lines. Those came out rather nice. Perhaps Oronte’s music isn’t quite that gripping, on top of his character being a selfish dick, so I didn’t get that much out of the whole thing beside said long lines.
There’s that bit of sparring roughly in the middle, between Arpago’s soldiers and Oronte’s techies, which I guess makes less sense in reality than in this production. It reminded me of the military parade in the Aix Tito in that the sparring people shout at every move. For my money it was a bit slow but entertaining enough, moreso because all involved were women.
I was – predictibly – more excited when Argene pulled a gun on Arpago at the end and then even turned it on Dario himself. That Dario just plucked it away was, as thadieu already mentioned, less climatic, especially since he had not, at any point in the production, looked like much of a warrior (rather like middle management). Pointing a flashlight at Niceno and repeating back his creepy words at him doesn’t quite count as heroism in my book. Then again, Argene was in love with him and Oronte was hardly helping with his getting cold feet over killing Alinda (why not just throw her in jail?).
Did I mention that Argene, after mistakenly revealing to Dario the plan to get rid of Statira (in a last ditch attempt to get him) decided to get Oronte on her side and as consort? Why not Arpago, the chap without a stalking gf is anyone’s guess (clearly Argene digs administrator types). But after bitching about Oronte and Alinda’s disfunctional relationship I can’t say that any two people in this opera have a healthy relationship, aside from perhaps Dario and Statira, who look like they they’ll work it out.
Thadieu was suggesting a different take on the ending rather than the floppy plucking of the gun. I also thought that Argene’s last line of recit – “Every crime has a punishment” – was one of those Captain Obvious moments that 18th century librettists liked to tack on the ending for moralistic reasons. I’d’ve done away with that and just gone into Ferri, ceppi, sangue, morte! The announcement about Galou’s indisposition ran on Sunday as well, but she amped it up for the last show of the run, with an appropriately desperate cry on the last (il mio) furror! And she was hilarious in this super scheming role. I don’t think I’ve seen a more persistent schemer yet, 80% of what comes out of her mouth is post truth fare.
So because thadieu has goaded me enough over the (last) weekend I’ve raked my brains for my own description of Galou’s voice – as I feel it. Thus far I basked in an ah, so smooth! cloud every time I heard her, unusually not needing further word-anchoring. But after the “beam of light” analogy I thought I agreed but not quite. Then I listened a bit and right after this version of Quel torrente1 it hit me:
Luscious mascarpone cheese layered with espresso-soaked sponge fingers, with a touch of cognac or brandy.
Also known as tiramisu. Light (weight) and dark (colour) and soft and heady (and often humorous). I think the way she approaches singing is more impressionistic than architectural/visual, so too much analysis won’t leave you any more knowledgeable than the moment it hits you (or doesn’t). The sound just brushes you in passing, disolves almost instantly and you’re not quite sure if you’ve imagined it or if it was real. For instance it this bit of Stabat mater the sound just envelopes you much like darkness itself would. It’s there but it’s kinda not. Very poetic. Then for a return to Vivaldi, just check out the smile in the voice and general impishness in this cutest of arias (Io sembro appunto quell’augelletto; my mum was right after all, it is birds and flowers/leaves 😉 ). The delay in posting this was partly due to my spending a fair bit of time fawning over this charming aria.
On that note we should perhaps move on to Mr Dario, sung here by Mr Belcanto Tito. Allemano’s larger (and darker) voice makes a fine contrast to the others and sets him apart as “big boss”, though the role itself is pretty congenial. He more or less waltzes in without fantastic credits like Arpago and Oronte and gets the throne with the help of personal charm (un bel viso) and a few good decisions, like the one where he pretends to take Argene up on her offer, simply to find out where Statira might be. Allemano’s not a bad actor at all, looking a bit dorky here and showing good comedic skills (especially when Argene is – unsubtly – trying to put the moves on him). He copes well with the coloratura demands and has that typical Italian tenor smoothness when it comes to languid arias.
Though affable on both days, the public was more animated on Sunday and they also applauded different arias (the Sunday crowd liked Galou better 😉 – her “instant double manipulation” moment got (very deserved) applause too, whilst the Saturday one really loved Tomasoni (I also thought her big aria was done especially flashy on Saturday); thadieu felt she was trying to steal the show but I think she was simply making the most of her time on stage, given she is very young. It would have been very difficult to upstage the main ladies, though the public – and pretty much everyone else – seems to adore Mameli; I’m not all that taken with her tone, though, like I said, her artistry is very fine. Everybody was happy with Mingardo on both nights, though I think the giggles were louder on Sunday).
A large bunch of people took a delibrate selfie with the big Dario sign. Just to the far side of the collonade was a couple of buskers who drew a pretty good crowd singing what sounded like vaguely traditional Italian music. In Piazza Carignano a chap was singing The Ring of Fire, which struck me as very odd after the opera, but there you go.
That was our first experience of seeing Italian opera in Italy. I hope they hang on to the Vivaldi Festival, as there are more good things to see from him and I – in case it wasn’t clear – I really liked Teatro Regio. Just not the far boxes. Sounds from the chat after the radio broadcast that there will be reasons to return, as the Baroque project is mainstay at Teatro Regio. Also interesting from the chat is what Dantone says about Dario‘s place in Vivaldi’s oeuvre, due to the ascendence of opera buffa. Though he thinks that Vivaldi’s operas are usually harder to stage (back then it was apparently left to the singers to improvise in opera seria), this one, because of the commedia dell’arte influence, is a lot easier. As we know, Vivaldi, though very successful in his youth, died in poverty, because of changing trends he couldn’t buck. Dantone also says he was happy with the Teatro Regio musicians who were interested in the language of Baroque, though their usual repertoire is the typical late 19th century fare… etc.
And, yes, this post better be posted. I might tweak it a bit in the coming days (too many pictures to choose from!), I spent to much time playing with that curtain call picture…
- not that I’m going to convince TADW who’s already decided to have her sing Cornelia. ↩
Glyndebourne has posted a podcast on Tito with their current team (none of the singers, though), featuring music from the 1993 Harnoncourt recording (and not their own recording, for some reason). Usual readers aren’t likely to hear many new things but at least it’s clear that teams have left behind the old school slight embarrassment at producing Tito and are now focusing on the music (how it’s different from the other things Mozart composed in his later years) and what it’s about.
Aside from the 3 August Glyndebourne livestream (6pm London time), Tito will appear at the Proms (semi staged with the same cast) on Monday 28 August at 7pm London time. All I’m going to say about that is the broadcast will be a much better deal than the actual Royal Albert Hall acoustics.
First: I added pictures to the initial Torino post 🙂
Second: there is a second Dario post on the way.
… but back to gelato. OMG. I’m not even an ice cream person (I haven’t had any since a bad accident involving an allergy to strawberries or strawberry flavour (they aren’t real, are they?) back in the ’90s). Over the weekend I sampled about half the flavours on offer in Torino. You hear this from people who go to Italy and you kind of roll your eyes but it’s true1. Contraltos
with and gelato = stuff of legend. We took no pictures as neither of us wanted to chance it when holding an ice cream cone, especially one with two delicious flavours – a true Io t’abraccio of tastes.
Aside from gelato (and contraltos2), the staff at Teatro Regio Torino – at least this past weekend ones – are darlings. Maybe the weekend crowd is easy but this is how ushering should be run: helping instead of policing you around. They helped with everything from printing out tickets (yours truly has obviously never gone through the click to print stage before) to showing us to our box (us = contralto fans in the woods) and finally, hooking us up with production posters for that unforgettable feel ❤
btw, Teatro Regio does not seem to have an actual shop. They sell programmes and… tickets. There are magnets with the Shroud and Pope Francis (sometimes together) around town, loads with the Mole (which is cool all right) but none with the opera house! There is one post card where you can see its corner, though, so I promptly got that one for mum. As for magnets, I bought one with hieroglyphs instead (no visit to Museo Egizio as the opera timing (3-6pm) overlapped with opening hours (you can’t get yours truly out of the house before noon; not on holiday)).
But before you think we only ate ice cream, we also had pizza, and about this you can hear further lyrical waxing from thadieu.
- If I’m not mistaken, Torino was the place where mezzo Jennifer Rivera survived on gelato alone for 2 months and got acquainted with all the local banks before being able to pick up her paycheck. So when our host replied “it’s complicated” to my seemingly simple question “can you direct me to a mailbox in which I can drop my post card?” I had to just leave it at that, as much as I really wanted to hear the whole complicated story. It’s a mailbox, right? Well, remember about the deserted train station? But back to gelato: I could see myself feeding on it for the foreseeable future. ↩
- I hear there were also other voice types in this production but I’ve yet to remember anything about that 😉 (half) kidding. ↩
Thadieu and I arrived bright and early in Torino on 21 April, after a (very smooth) redeye flight that saw us leave the house at 4am. As per instructions, we went to the train station across from the airport. It was deserted, the ticket machine broken. We went back into the airport looking for another machine, as per the instructions on the broken one, but in the end it turned out the train wasn’t running (don’t ask me why, my operatic Italian only goes so far) and we got bus tickets to the rail replacement instead, with assurance the bus will leave us in the proximity of the Dora Station, where we needed to get in the first place.
But this is a commuter bus and you need to know when your stop is coming up. We, of course, didn’t. We followed it on Google maps but then, at an unknown distance from our stop, the bus made a right turn and crossed the river. Oops. We got off and made our way on foot, which wasn’t bad at all, and it took us to China Town and to that – apparently – famous and very large street market near the Duomo, to thadieu’s delight.
After a very welcome nap (yours truly slept like a hollow log, heard nothing, smelt nothing whilst the host cooked downstairs), we got some tips from our host and went out exploring. The theatre was comfortably close, right outside Regio Parco, through an ivy covered wall and up a short, curved slope. From the outside it looked like all the other buildings lining up the square – all with collonades facing Palazzo Madama. Inside, though, is a modern building. Much to our enjoyment, L’incoronazione di Dario was advertised in immense letters and in various posters.
We ventured into the box office and I picked up a leaflet advertising the local Vivaldi Festival. If there is a Handel Festival – several, in fact – it only makes sense someone somewhere should celebrate the Red Priest 🙂 hopefully every year?
From the leaflet I learned that Galou and Cirillo were singing Vivaldi and JS Bach’s Magnificats with Dantone and the local orchestra and that night!
thadieu: should they be singing three nights in a row?
dehggial: I guess they can!
Whilst we gently wandered around the square, I inched towards wanting to attend the show even if thadieu wanted to get back due to raging allergies and in spite of the fact that we only had one key. But I learned a valuable lesson: the box office closes at 6pm during the week so no greed for dehggial. We also realised they had a Juditha with lesser known singers (including a contralto who sang Holofernes, Abra and Ozias!) on April 19, part of the festival.
To ease the pain 😉 we went and got 2 flavour gelato (€2) and capped the day off with fluffy pizza at a place frequented by locals (suggested by our host). On the way back we marvelled at – and approved – the homely feel of the practical use of window and balcony space.
After a 12 hours sleep (thadieu due to jetlag/allergies, yours truly due to lack of sleep in general) and an amazing racket made by the host’s cat in one of those mad moods, we were ready for the opera! We got there with enough time to leisurely marvel at the venue (selfie time with… everything, but especially the doors, which are very clever and the giant sign advertising Dario – pictures when I get home and also at thadieu’s blog) and realise our tickets actually needed printing. That wasn’t an issue, the staff at the venue/box office were very nice.
We then got to our box – as you can see from pictures of the venue, there is an open plan auditorium and one level of boxes all around. The layout reminds me a bit of Opera Bastille. The views are good from everywhere in the auditorium but not from all the boxes. Namely, not from ours, because the orchestra pit is curved, so I don’t at all recommend the first 6 boxes on the sides, unless you particularly want to see the orchestra – you get the best view in the house for that, and we did make the most of what we had. This production added insult to existing injury by having the singer’s often sing from the back of the stage, so, for instance, Dario’s first aria came to us through the wall, which made for some guessing. We also missed some of the visuals, like late Cyrus’ portrait and half the action during the fight scene.
However, you know we’re always looking to upgrade and I spotted central seats on the row with the camera. Yes, there were cameras in the house so one can hope for possibly a TV broadcast? Ideally a DVD, but who knows how Italian houses do it. Considering the market is not saturated with Dario DVDs and Dantone believes in this cast… in any case, we successfully upgraded to the 8th or so row centre for the second half and we could then see and hear everything.
It would have really been annoying to miss the “contralto in the woods” aria, with Mingardo’s back and forth flights to the back of the stage, because it was absolutely hilarious. If you don’t know what I’m talking about, it’s the moment when Statira, having been tricked by her scheming sister, Argene, is imagining how beautiful the woods with the chirping birds will be when she meets Dario outside city walls. The aria repeats the A section several times and she keeps coming back to the centre of the stage, much to the annoyance of Argene and her paid help, who want her gone already. Suffice to say the aria showed off Mingardo’s artistry both in singing and with regards to comedy. I especially enjoyed a moment where she deliberately allowed the violin centre stage, having varied her dynamics in sorts of ways up to that point.
This is a good moment to mention that thadieu and I (along with Leander and Baroque Bird) saw a performance in London on the 20th, which left us perplexed by the conducting choices. So I was paying special attention to Dantone’s handling of a non-specialised orchestra with Baroque voices. Time and again it was clear that a very delicate touch did the job brilliantly, allowing the singers to vary their dynamics as needed, without being drowned.
However, remember that short convo thadieu and I had upon realising Galou and Cirillo were singing three days in a row? Well…
Teatro Regio announcer: Sra Galou has oversung but will still be with us tonight, just go gently on her.
So she’s not made of teflon, after all 😉 welcome to 40, Sra Galou. Only volume seemed affected, so upgrading helped. The coloratura was there, the silliness of course (Argene is very busy scheming, especially in part two, but all her efforts are thwarted, so she needs to be very resourceful) and the ravishingly beautiful tone as usual. I guess she could vary her facial expressions a bit, there is only so far mischievous winking can go – I say this myself as an abuser of said winking and veteran face puller. But this is an out and out comedy and she, along with everyone else, seemed to have lots of fun. I especially enjoyed the short aria where she manipulates both Dario and Statira and – of course! – the closer, Ferri, ceppi, sangue, morte!, when Argene, having been found out, is put in “the harshest chains” yet she boasts she’s not scared at all. We know she’ll be plotting away. Here was where a bit more volume would’ve helped with the shouts of “morte!” but still the legs to was beautiful (< that was autocorrect, but yes, legs indeed. Argene showed leg at every opportunity, not that anyone was complaining (except for Dario). What I actually meant was legato 😉 ).
I dind’t mind the costumes as much as I thought I would (but I will still bitch about them), though I didn’t understand why Cyrus and Niceno were dressed in Saudi garb, with the women in Gate of Ishtar attire, the army as guerillas, the Oracle in Western suit/PR clothes and Oronte, who’s the chief of Persian administration (so a Prime Minister of sorts) looking like the Captain of the Janitors. It’s especially amusing when Argene, in her sumptuous robes (blankets) asks Mr Janitor in fluorescent jacket and rubber boots to rule the empire alongside her. I guess that would assure special attention would be given to the local plumbing issues 😉 I also don’t think the piping/stage design made any particular statement, aside possibly from pointing to courtly internal machinations/more focus on Captain Janitor 😉 there were also lots of hanging curtains, some of each resembled he local Shroud suspiciously well, at least to my mind. I really admired the work put into the representations of Persian relief sculptures, though, again, the whole concept felt so scattered to me I didn’t particularly see need for them. For my money, the costumes (blankets) and filigree lamps gave enough suggestion of the era.
well, with Giulia’s explaination and after seeing it again, I have finally got the concept. More about that in the next installment.
So that’s it for now (more gelato and pizza after the show, of course). I know there is a lot I didn’t talk about – like more than half the cast – but this is due to the luxury of seeing two performances. I confess on occasion I was so focused on the orchestra/Dantone I had to sacrifice the attention paid to singers. For more impressions on this production, check out thadieu (this performance) and giulia (the premiere). There will be lots of venue (selfies included), town and maybe curtain call pictures when I get home, though as curtain call goes you’re better off with thadieu’s video for the feel of the place.
ps: sorry for any typos, the kindle isn’t made for writeups.
I guess everybody knows by now that JDD had to pull out of the European dates of the Ariodante tour. But there will be plenty of JDD in London later this year, as Semiramide is finally taking place this November at ROH and she has two dates and a Masterclass scheduled at Wiggy at the end of that production.
ROH returns to the Roundhouse for Il ritorno d’Ulisse (Christine Rice as Penelope) next January, which gives yours truly hope that in a year or two we’ll see a Poppea at the Roundhouse as well 😉 you never know. The news about this Ulisse has somehow bypassed me thus far so it was very welcome today.
January is for once busy, as Salome is about as well. Can’t say I’m the biggest Byström fan, but Michaela Schuster is Herodias. Now that I’m older and wiser I’d really like to see her again in Die Frau ohne Schatten. But I suppose she can do ornery as well 😉