Sometimes you have an idea about a singer that is so far off the mark that you (I) discreetly check your ticket to see if you’re at the right performance 😉 I exaggerate but only so much.
Golda Schultz soprano
Jonathan Ware piano
Wolfgang Amadeus Mozart (1756-1791)
An Chloe K524
Das Lied der Trennung K519
Franz Schubert (1797-1828)
Heimliches Lieben D922
Romanze zum Drama Rosamunde D797 No. 3b
Suleika I D720
Suleika II D717
Amy Beach (1867-1944)
Three Browning Songs Op. 44
John Carter (1929-1991)
Somewhere over the Rainbow
South African Song
I know thadieu will remind me that she was also in that ‘trovatore in Munich with Harteros but to me she has so far been Vitellia in this past Summer’s Curretzology in Salzburg. That time I had to use a mental shovel and push away quite a bit of currentz-balast but in the end I liked her and upon seeing that she’d be coming to Wiggy I seized a ticket.
Well! This was a very good opportunity to be reminded that singers play roles in opera productions and whatever you think you can glean about them during the performance might be very little of or very different than how they are like in real life.
I don’t know that I’ve seen such a cute singer before (Petibon, perhaps, but that’s different kind of cute; cute with a lot of life experience; Schultz is young-cute – somebody giddy-positive that all is right with the world and happy to be doing what they’re doing). I don’t want to detract from her artistry; with me cute is a very high recommendation indeed. So much for Vitellia!
Schultz has sung the Countess, I hear, but I think Susanna or Adina are emotionally more up her alley. Or Rosina (I know she’s way past Serpetta career-wise, but she would be a hoot! Or how about the witty serva in Pergolesi’s La serva padrona? Does anyone sing that anymore? I wish someone (her) did in London!). I mean I’m all for getting ahead in life but there was such a brightness and liveliness to her in this recital, I think (and it might just be me) would be a shame to waste on more serious roles at this time. Anyway!
It was fresh and bright and happy and it flowed seamlessly from Mozart to John Carter then I teared up during Somewhere over the Rainbow – but in a good way – happy for her that she’s made it.
I wrote this immediately after and thought it was too short a writeup, but, really, this is how the performance was: short and sweet.
Yes, another contralto post this weekend. And it’s Lemieux again:
Isn’t her tone just perfect for this?!
Just to make me happy, it starts off with Parto. I haven’t seen it yet but I hope it’s good (almost 2 new hours). If it’s not good we can laugh about it here 😉
After watching/listening to it:
For those who don’t know and would like to before applying yourselves to an 1hr and 46min, this batch is mezzo only and it containts work on three mezzo staples: Parto, Dido’s lament and Non piu mesta (which I always call Non piu messed up). They are all promising singers but the young woman working on Dido’s lament has a particularly beautiful tone (baby contralto? we should be so lucky 😀 ). She is also very cutely star-struck.
(it’s one of those old news chez dehggi moments)
From Serenade‘s account of a 2017 performance of Le Nozze at Wiener Staatsoper (the other opera house in Vienna 😉 ):
The Countess was played by Dorothea Roschmann herself an erstwhile Susanna. In my opinion she has not quite graduated yet to the bigger role and she would do well to limit her appearances as the Countess. Her Porgi amor at the beginning of Act Two was sung with beauty of tone and a quick vibrato. But her Act Three Aria Dove sono was disappointing as it lacked breath control and a sense of line. She was unable to take any of the long phrases in a single breath and there were times when the voice just did not carry forward.
She has not quite graduated?! Ehehehe. I think I’d still like to see her as the Countess even on a so-so day. Then again, I’d rather see my fave singers on their good days.
Remember this one? I posted parts I and II way back when in January 2014. Thanks to this performance I 1) got interested in Idomeneo, 2) realised I quite like Rene Jacobs as a conductor, 3) became interested in the Arnold Schoenberg Choir, 4) Theater an der Wien appeared on my radar in style. So whilst cleaning the cobwebs inside the vault I thought I should to put this last part out, even all this time later.
I care because you do, as Richard D. James would say. Thanks to some interest shown in Act I and II, I took pity on this production and went back to finishing Act III, most of which – you will weep – was already written in January. Yes, that’s right, I had it in my drafts just sitting there, gathering virtual dust. But I couldn’t make up my mind what I wanted to say about Andro ramingo (I’m still not sure) and the ending (dramatically; now I think meh) and I had to also watch it again because my attention drifted away from the extremely exciting production. And then a flurry of Clemenze completely distracted me for many months. We all know it’s game over for everything else when that happens.
- Idomeneo: Richard Croft
- Idamante: Gaelle Arquez
- Ilia: Sophie Karthauser
- Elettra: Marlis Petersen
- Arbace: Julien Behr
- Il Gran Sacerdoto di Nettuno: Mirko Guadagnini
Conductor: Rene Jacobs | Theater an der Wien, Vienna, 2013 | Freiburger Barockorcherster | Arnold Schoenberg Choir
So it’s only been what, 3 years+? Right. Back in January 2014 we left off where Nessie gets angry at the Cretans. But by Act III he’s lost some steam and the weather has improved, because Wolfie needed to shoe in a bit of lovin’. Monsters and storms are fun for a couple of acts. But what’s the use of having two young people of marriageable age in your opera if you won’t make them fall in love?
Act III starts with Zeffiretti lusinghieri. Up to this point I said barely anything about Ilia. SK started quite screechy but maybe that’s how the director wanted it or maybe it was nerves. I gave her time to come into her own but by now I know that I don’t particularly like her voice. It’s sort of run of the mill, her vibrato bothers me and I’m not one to call foul on its use. She’s not that lacking in technique just kind of meh in presentation.
Principessa, a tuoi sguardi… ah, s’io non moro a questi accenti isn’t bad. Arquez is coping very well with Idamante’s transporto. Ilia takes pity on Idamante, who is at the end of his tethers after being rejected by both father and the woman he loves. She admits to her feelings and tells the poor sod she actually shares his love. They launch into the gorgeous duet that is S’io non moro. It’s a sweet moment, where our hitherto doomed lovers are finally getting a bit of respite from all the gloom and mud. Tutto vince il nostro ardor, Arquez and K sound beautiful together – moving and delicate. (But now that I’ve been there a few times it’s really hard to imagine the stage at TADW as muddy as that!) Of course they get interrupted but at least now they know where they stand which is together.
Andro ramingo e solo – an unsual one, this ensemble. Idamante: I’ll go looking for death and I’ll find it (and after that I’ll write a long post about it in my (online) diary). Ilia: Me too, me too! I wanna go with you. Elettra: (mocking Ilia wordlessly) Me too, me too! Then she abuses a lone plant (standing for hope I guess) Ilia later cares for. Idomeneo: Somebody kill me! I can’t watch Nessie chomp on my son! All: I can’t take this anymore! Idamante gives his dad his jacket (to sing to?) and Idomeneo physically abuses him a bit. Hey, mister, you’ve been really tough on the youngster by which we know you mean you really love him. Idamante puts the jacket back on, ready to take on Nessie. Ilia takes off his jacket, because we all know he can’t leave without it.
Arbace mourns Sidon’s fate and goes on a bit of rampage of his own then sings his aria about saving the local royal family. Behr’s voice is pleasant but the aria ain’t all that.
Nice intro to the Gran Sacerdoto, who’s got a pleasantly sacerdotal voice. The chorus swings low and noble then the music goes on like this for quite a while.
Trumpets. The choir gets busy. Idomeneo wonders what’s going on. Arbace rushes in with the news that Idamante put on his power suit to face off with Nessie. Idomeneo isn’t sure his delicate son is cut out for hand-to-tentacle combat. Idamante tries to convince him how noble it is to save his people by handing in a son. They argue over idealism vs. paternal love. Ilia shows up and isn’t keen on this Idamante as sacrificial lamb deal. She offers herself. She and Idamante go back and forth outdoing each other on who’s more ready to die.
Creepy celestial womb rumbles, all stand to attention. Foetus ex machina speakth: Idoemeo’s humanity has been taken on board but as a manager he has failed. He’s fired. Idamante is replacing him as King of Crete effective immediately. Ilia shall marry him and to hell with Elettra’s plans.
She can’t take this dissing and flings herself about in mud with abandon. The wig comes off. No more Miss Ditzygirl, she’s feral now. Marlis Petersen, that was some taking one for the team. The entire crew owes you one for getting mud in your eyes whilst singing the best (known) aria from the opera. Jacobs offers gentle support and she copes (although she bypasses the second set of evil laughter), especially considering what she has to do but it’s not all that grand vocally. I don’t think Petersen holds back as much as she doesn’t have the vocal oomph for this aria. I might be among the few who thought this production was entirely miscast save for this bad motherfucker. I mean, HELL yea, that’s portraying your character. No need for mud there. Harteros is pretty damn good in the Salzburg production but not on that level of losing it. Then again, her timbre is the closest to how I envision Elettra. Good thing nature never tossed Behrens and Harteros together, the earth might cleave and swarms of locusts might obscure the sun. (this paragraph sounds amusing to me now but that’s what I thought at the time…)
All live happily ever after. The end, tnx bi. (By which I mean I don’t get whatever Michieletto is trying to say. If you do, please enlighten me. Some productions seem very hard to break through)
The ballet and chaconne at the end is some of my favourite music in the whole piece, though I can imagine it gives headaches to directors (and is often cut? luckily it was neither here nor at ROH later that year). Conclusion 2017: Jacobs and the Freiburger Barockochester, the Arnold Schoenberg Choir and Richard Croft rock. The tempi are great. The other singers are pretty good. There was another chance to see this in concert performance form at TADW earlier this year but I couldn’t be in two places at the same time 😦 Anyway, it’s really worth listening to.
Ow, ow, check out the chap banging out Parto on the piano 😦 so wrong. The starting tempo is too fast (what will we be doing by the cadenza? Rossini patter? – to be fair, he’s better at that point) and the setup for the initial partos is way too even and decisive. Decisive? Mr Pianoman, what the hell is this aria about? The subsequent lack of legato, the insensitive take on the clarinet line… 😦
To be fair, La Fleming is exclusively talking about sound production here (which is an interesting thing) and we all know what this aria is about so there’s not much loss. Also she thinks he’s good so maybe I’m talking bollocks. Still…
As the banner says, September is normally Tito Month but since we had a very full August this year I think we’re all taking it easy in September 😉 Nonetheless, (this) September 6 marks the 226th anniversary of Mozart’s Tito premiere in Prague. So I’ll leave you with that silly Sesto and Vitellia dance from Sellars’ production:
I think it’s supposed to be erotic? I don’t quite believe Vitellia is trying to ascertain Sesto isn’t armed and ready to off her instead, though they are performing those weird stabbing movements as well… I guess the little dance gives you the gist of the opera and especially the gist of Sellars’ approach to it.
The usual thoughts on arias, recits etc. I’ll put this behind a cut because at this point I think it’s mostly of interest to me. Let’s look at it again when the DVD comes out next year. I’m curious how it’s going to feel from a few months’ distance. Read the rest of this entry
Just a reminder, in case you haven’t had enough Tito this month: tonight the Glyndebourne team will be live at the Proms at 19:00 GMT for a last round of Tito. If you can’t make it tonight, you’ll find the concert archived by the BBC for a while (a month, I think).
ps: since I’m gif happy now (thanks for the relentless push, t 😉 ), I also added the Parto shake to the big WTF Medley post. You know you want to see it.
This time I cried during Del piu sublime soglio. Awesome performance from Croft.
Everybody is more relaxed by now, the acting flows beautifully. There are no more cameras.
Young woman at intermission: is Sesto sung by a woman? I kept wondering…
Other ladies in the loo queue: Yes, yes, he is. There was a cast change. But the reviews are about the one we’re seeing.
Young woman: oh, wow! Sesto is the star of the evening!
Other ladies: YES!
The only applause came after Parto. I was confused as it had been so beautifully performed, light and gentle, with some swoony ppp along the way (really moving) but also funny (Vitellia putting the moves on Sesto).
Especially in the wake of the Currentzis Tito I want to commend Ticci and Gupta on the fortepiano continuo for a very light, unfussy touch.
It’s raining. I took refuge under a very friendly mulberry tree with a cute little sleepy bird. How appropriate!
We had a weird incident on the way here, that held up the trains for almost an hour and a half. Luckily I was on a train ahead of the suggested train. The shuttle waited for the stragglers 🙂 but we only had 20min to settle and have a bite before curtain up.
Loud thunder was overheard in the auditorium just as the insurrection started on stage.
Staff offered umbrellas but I like my tree. Too bad I couldn’t visit with the sheep properly (now grazing on the adjacent meadow) ❤
Gent next to me in the auditorium: nobody dies! Not very operatic.
Dehggi: nobody should die. It’s all about the search for a better, more forgiving society.
After the intermission:
This was an all around emotional day, as it was my last time at Glyndebourne this year, the end of “my” season (though I really would’ve liked to come back again a couple of times, but you have to observe life-opera balance). Also going to the opera on your own makes for a very different atmosphere, perhaps even moreso when it’s your favourite opera. Even so, a few conversations happened:
Lady who sat next to me for act 2: I saw you talking to the usher about those free seats up there.
dehggi: yes, I want to possibly upgrade because this is my favourite opera.
Lady: …of all operas?!
dehggi: YES! I really like the ideals, forgiveness… and the music is beautiful.
Lady: well, someone is always forgiven at the end of Mozart operas.
(dehggi: someone, even some ones but not everyone.) I didn’t actually say it, because I didn’t particularly want to chat, I was in my own world and cried again during Eterni dei. After the curtain calls I dashed out for fear somebody would notice how tearful I was. Also to be first in line at the loo.
On the bus there were two French people behind me. The woman thought the production was too “brutalist” and concluded “this was the new tendency”. I wanted to turn around and ask where she had been for the past 20 years. She did think the voices very good, though this opera was “by no means” one of her favourites (dehggi: eyeroll). Then she went on to wax lyrical about some wonderful production of Giselle at Opera Garnier.
At 21:30 the train station was almost deserted and the train board let us know the 19:30 was delayed. Some ladies started to make plans in case the trains were still disrupted. I said I’d help them split the taxi bill to London if it came to that. We co-opted some very excited Japanese ladies, so all in all, we would’ve been 5 to split that bill.
The train was on time. I’ve never heard the Glyndebourne crowd whoop so freely outside the opera house before 😀
Everybody said they liked the performance, very good voices. One of the “taxi planning” ladies explained trousers roles to me 😀 Then I somehow got to talking about the earlier Hamlet production/opera with the other taxi lady. She, like the gent sat next to me at that performance, loved it (the actual music)! She also thought the production was “more modern” than this one. (dehggi: head scratching moment. Maybe we were thinking of different things?).
In the end, there were three arias that received applause: Sesto’s and Se all’impero (<- a lot more than for the livestreamed performance). However, there was very loud thumping at curtain calls. I guess this audience is more used to lieder? Heh. I’m not quite sure why they kept their appreciation to the end if they actually liked it this much. There was, however, a lot of laughter, even during Vengo…! Aspetatte! I agree, it’s a funny moment.