It’s bright1 and early here for dehggi, as the loot was worth it:
Semiramide with JDD/Barcellona/Brownlee/D’Arcangelo
Salome being Salome (even with McVicar’s vision); next year I’m spoiled rotten: two cool operas to choose from for an outing on my birthday! I predictably went with:
Il ritorno d’Ulisse because when Monteverdi calls one must answer, especially after the great success with L’Orfeo at the Roundhouse two years ago. Let’s hope they’ll livestream this one as well.
There was 0 pain getting in/booking this time. Good job ROH!
- actually, it’s rather foggy (but warm). ↩
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 😉
Again catching up with my links of interest. I didn’t intend to write about this (because it’s so long and I only had 2 1/2hrs set out for it), all I wanted was to casually listen to it whilst sewing a curtain for the kitchen (as you do).
But I was soon very impressed with how Mark Elder handled the score. He kept it light and clear and flowing though the tempi weren’t particularly speedy. His cast was very well chosen for Rossini, with – aside from the main ladies who were known quantities to me and of which Barcellona is a current staple in Rossini contralto roles – an excellent Assur in Mirko Palazzi and a pretty neat Idreno in Barry Banks.
I don’t reccommend the interval chat (more of an intro to Rossini’s Semiramide pre-recorded chat), because the two talkers say little of any importance. On top of that, one of them has the horrible old skool habit of calling everything enormous (the scale of the opera, the length of the acts, the difficulty of the title role etc.) and the other’s speech is riddled with irksome parasites such as “sort of” and “if you like”. I sort of didn’t like it.
I don’t yet know if they finished as well as they started but it seems a very good choice for anyone who wants a contemporary take on Semiramide. Opera Rara with Elder/Orchestra of the Age of Enlightenment and this very cast (= the same team) have actually just finished recording it UNCUT so you’ll get to hear it in all its 4hrs+ glory as soon as they sort it out.
Edit 16/09/16: finally finished it! Very good stuff. I’m now curious how the recording will be, comparatively.
This wonderful production finally opened up the greatness of Semiramide to me. It was long overdue. Now if I can get a production to do a similar thing with Idomeneo.
Sometimes the right visuals will make you more receptive to the music within, just as the right singers will make previously dull sounding music suddenly appealing. Now combine the two.