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Upcoming at ROH and Glyndebourne 2019

What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:

Solomon in concert with Zazzo in the title role

Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point

Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)

Carmen and Hansel and Gretel for the mezzo-deprived; Dudnikova might be an interesting Carmen, I liked her Principessa de Bouillon.

Winter:

The Queen of Spades = must not forget

Traviata for the casual goer – it’s still the much loved production

Katya Kabanova – I’ll probably go

Cos√¨ returns but don’t count me in

Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season

Spring:

La forza del destino ūüėČ yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times

Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.

Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…

Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!

Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.

Summer:

Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…

Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!

Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.

La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.

In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.

Glyndebourne 2019

La damnation de Faust – a Richard Jones production, so it could be much fun

Rusalka – nah

Il barbiere – see below

Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino ūüėČ

Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…

Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.

May Madness Mix 3: La forza del destino (Munich, 7 May 2015)

templeofmusic

we’re not worthy!

As one advances on their opera journey new objects of adoration spring up. Works, composers, singers but also places. In my case Bayerische Staatsoper has slowly morphed into a mythical temple of music. I know, I know, corny Рbut, alas, too true. Proof that free video streaming does bring in new audiences. Dirt cheap tickets help too. When the occasion presented to finally see something there Рeven Verdi РI was filled with trepidation.

More madness was coming¬†as we made our way that morning from Basel to Z√ľrich and from there to Munich. As I had been too excited to sleep the night before, I thought I might catch a few zzzzs on the bus. Not so fast, tiger! A couple right across from us did not stop chatting through the trip. At some point the conversation turned to Cecilia Bartoli’s Cenerentola. We finally made it to Munich where I sort of caught a few zzzzs until 5:30pm when a terrible realisation came over us: tube¬†strike! = one train an¬†hour. On the platform we ran into this local who had already seen the show (Forza) twice and was going again that coming Sunday (his wife really liked JK ūüėČ ).

Life is full of coincidences: last year around this time I had a¬†bit of stress going to see another Verdi opera, also due to a tube strike (that time in London). What with being on local turf last year I made it on time. This year the Cerbers at Bayerische held us back until the¬†start of Act II (for being about 10min late). But dashing¬†from the Marienplatz tube station through the back streets and up the opera house stairs is perhaps one of the most fabulous entrances one can make into their temple of music ūüėČ

legoforza

poor Leonora

Il Marchese di Calatrava: Vitalij Kowaljow
Donna Leonora: Anja Harteros
Don Alvaro: Jonas Kaufmann
Preziosilla: Nadia Krasteva
Padre Guardiano: Vitalij Kowaljow
Fra Melitone: Ambrogio Maestri
Curra: Heike Grötzinger
Un alcade: Christian Rieger
Mastro Trabuco: Francesco Petrozzi
Un chirurgo: Leonard Bernad
Don Carlo di Vargas: Simone Piazzola
Conductor: Asher Fisch | Bayerisches Staatsorchester | Chor der Bayerischen Staatsoper
Director:¬†Martin KuŇ°ej

I found the acoustics of the house very interesting. Now I know memory is a tricky thing and seating should be taken into consideration as well as composers’ orchestration style etc., but I was glad to have a stab at ROH only two days later, so that I could try and compare the two anyway. I’d say the sound at Bayerische is warmer and more intimate, whereas at ROH it’s more in-your-face loud. The way the houses are designed might support this feeling1 – ROH with less rows of balconies and upper slips going further back could possibly allow for the quicker circulation of raw sound, whereas Bayerische’s steep horseshoe wall might cocoon the sound in the centre with gentler dispersion.

forzakusej

I’ve already expressed my contempt for the libretto but it’s never too late for¬†another go: I fail to get how some can find¬†anything deeper in¬†honour killings in this day and age but hey. Presented with dumb characters that do not evolve I focused on beauty of sound. There was plenty of that, starting with the outstanding orchestra. Apparently it did not go so smooth back during its first run but I thought Fisch did a very good job with his orchestra this time around, bringing out all sorts of textures (listening to Verdi makes me constantly think about¬†how much he learned from Bellini, though I know he liked to¬†trash Bellini’s poor attempts at orchestration; this performance did emphasize his richness of orchestral ideas but I feel the soul of the music is Bellinian nonetheless; perhaps that’s what they¬†call Italian). The balance of soft/loud was engaging and there were many¬†moments through the night when solo instruments ( ‚̧ the clarinet) rivaled the singers in expressiveness; especially in the interminable various back and forths between Alvaro and Carlo, when you want to shake the librettist and say shit or get off the pot!

Fisch¬†could¬†have kept a tighter leash on Pace, pace, dio mio, which seemed shorter than usual. After listening to¬†a few different versions including Harteros’ from the original run, I came to the conclusion that his conducting was rather unfocused here. However as far as Harteros’ tone throughout the show and in the maledizione specifically2 I have no complaints: as beautiful as one can hope for, full, sizable, smooth and secure. As I was saying to thadieu, I’d like more abandon in Verdi than her reserved/introverted singing allows but it’s gorgeous¬†nonetheless. Poor Leonora, a proper powerless 19th century female character. In other words, quite¬†a bore. Makes sense¬†that¬†KuŇ°ej buries her under a pile of crosses.

Speaking of amico¬†KuŇ°ej, it’s no secret that I’m a fan of his work and I once again admired his elegantly ugly tableaux but hell if I could follow the deeper meaning in this production. Given the cross overload I take it¬†religion is bad, which is fair enough. I suppose the¬†crosses could also stand in for¬†tradition – Leonora has no escape, tradition is larger than life.

click pic to see the entire scene from Bram Stoker’s Dracula

At the beginning of Pace, pace dio mio she’s sitting among the crosses then as the aria progresses she gets out to break some bread (weak attempt at¬†rebelling against religion/tradition?) and finally she re-inserts herself among the crosses, much like Lucy Westenra does when Van Helsing repels her with a cross back to her coffin. Vampire Leonora could have been a nice touch, eh.

A central view does not do justice to the top¬†tableau. It was a lot more fun seeing it from an angle. Kudos to the actors who had to hold their uncomfortable positions legs up for quite some time. The mysterious character who gets out of a coffin (? vampire hint again!) then slowly climbs up the wall and projects a very long dark shadow was another visually interesting touch. What does it all mean? Alvaro doesn’t fit in this world? He’s doomed? He should skiddadle pronto? I know I could check what he’s singing for clues…

forzaascentThis was also my first time seeing (in the flesh!!! like omg!!!) god’s most generous contemporary gift to female opera fans, Jonas Kaufmann. He was slimmer and sprightlier than I thought; visually he made a credible Alvaro (ok, he’s white but one imagines Alvaro as some sort of dreamboat regardless of ethnic background). On the other hand he spectacularly failed to engage me. I know I have a tendency to poke fun at him for being such a smooth chap, but I did expect a bit more spark in a live setting. As chief expressive tool he employed¬†his tremolo which I think sets bosoms mightily atremble and which is as close as he gets to sounding Italianate. As far as I’m concerned it was efficient but nothing more. Also I thought he’d be louder though I’m glad that wasn’t the case.

Even after seeing it three times (twice on video recordings) I was still confused who the hell was who in the middle bit. In fact I don’t get what is the use of the middle bit. We’ve got this story where Good Girl is in love with Exotic Boy who is discriminated against by her family and kills her Stern Father in self defence. Pretty good start. All of a sudden another storyline is introduced for no discernible reason. Ok, let’s say they really needed to make Exotic Boy save Traditionalist Brother’s life to show us the¬†misguided values held by traditionalists. Or something. I suppose this story makes a better novel than play/opera.

Perhaps hiring I-love-to-complicate-things KuŇ°ej for a strictly for Verdi hard core fans opera where characters are prone to disguising themselves was¬†a bad idea.

My main frustration with not knowing who the hell was who and why they were there was because someone¬†had really good comic timing (you got it, there’s a funny bit in the middle!), was ace in the recits and sounded very Italianate. Melitone, perhaps? Whoever it was, excellent job. Those recits flowed like mountain springs ūüėČ Though later he made less of an impression, I thought Piazzola as Carlo (thadieu saw it twice and swears¬†it was him!) pulled some very touching¬†pianissime around the time he was interacting with Preziosilla. Which brings us to the mezzo role in this brew. Verdi, Verdi, you’re shit at mezzo roles. How bloody annoying is that Rataplan aria? Good grief. At least¬†KuŇ°ej made a proper mess of (what is here) the orgy scene and gave her a dominatrix outfit which she almost rocked. Singing-wise I thought she was pretty good, at least of large enough voice to hold her own. Honestly I can’t remember anything specific¬†about Kowaljow, except I didn’t mind the Padre Guardiano’s part.

For me this was a quaint introduction to Bayerische Staatsoper but life is odd like that and I was in too good a mood and in too much awe of being there¬†to be bothered. I guess it’s proof that even a strong cast can’t help a not very good opera. However it was sold out and so was I due Foscari at ROH so the pull of big names is great indeed. You know what’s funny?¬†Bieito is directing it for ENO in November/December! The Verdi leprechun is so laughing at me:

An action-packed drama of passion, war, honour and vengeance

Or rather:

A confusing mess of two good tunes and common-sense lacking characters in endless disguises

By the end of the opera I was finally starting to flag and the both of us were famished, so we made our way to the sausage place down the street where we inhaled that weird German white pizza thing that’s basically onion on thin dough,¬†plus¬†some wurst. Then I slept like a log for the first time in months.


  1. …or not; I don’t know anything about architecture + acoustics but I assume with the best of them ūüėČ if I’m talking bollocks so be it. 
  2. I’d probably care very little about¬†this opera if there were no maledizione

Weekend’s Something Else (La forza del destino)

tseThis week’s effort is a bit different; not the work of a composer I don’t know, not even I work I don’t know. Rather, a work I’m not very familiar with.

I’d heard Forza once before a few years ago because I liked the bombastic title and I was very familiar with the overture. It didn’t leave a lasting impression. But seeing as how I seem destined to see this in the near future, I thought I’d familiarise myself with it before standing for 3 hours for the sake of sampling Bayerische Staatsoper at long last (yay!). the typical Verdi plot and more