16 Mar 2008
Tristan und Isolde — The Metropolitan Opera
I bet this doesn't happen at the movies:
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
I bet this doesn't happen at the movies:
As the flick begins, they announce that Matt Damon has a virus and had to leave; he's being replaced by someone who's never done the part before. But it's okay. Then, halfway through, Gwyneth Paltrow (the star) goes running off-screen, leaving the guy hanging in mid love scene. After a moment, the screen goes dark (but not before you saw the panic in his eyes). Pause. Then they announce Miss Paltrow is ill, and will be replaced by (name you never heard of). She wears the same dress and wig but doesn't look anything like her. She takes a while to warm up, but hey, Daniel Day-Lewis walks off with the character part anyway. (As you expected.) Somehow the kid gets through the big final scene, and the girl takes the climax. Thundering ovation. You never had that happen to you at the movies, did you? (Low class bastards.)
At the Met tonight, Tristan und Isolde. Rumors of doom had been circulating since the disastrous prima on Monday. Ben Heppner, virused up, has run back to Canada. (He's been cracking on all his high notes anyway.) The tenor who replaced him Monday was so bad, he was booed off the stage. (Ugly too, they tell me.) So tonight they found some kid who'd never sung Tristan before. Gary Lehman (this is a heldentenor?) We're all very hopeful. (Besides, Matti Salminen is King Marke, and bound to be a hit.) Peter Gelb, announcing the change, looks like he has veins of ice water and this happens all the time. The kid is tall, well built, looks like Errol Flynn, sings okay, acts okay, keeps an eye fixed on Jimmy. Then, halfway through the love duet in Act II, Debbie Voigt runs off stage. To get a drink of water I presumed. The tenor just sort of stands there, singing ardently to a blank stage, Jimmy keeps conducting ... the curtain comes down. Pause. Someone (not Gelb) comes out to say: Don't leave the room, Debbie's sick, some soprano no one has heard of (Janice Baird, and she IS on the roster) is getting dressed and will take over.
Of course she hasn't had time (much less a whole act) to warm up, but anyway: At last we get the duet again (which means the poor Tristan will be singing more of the opera in one night than ANYONE EVER HAS). Isolde finally warms up by the climax. Matti Salminen walks off with it, as I knew he would. In the intermission, my friend La Cieca (opera columnist a l'outrance, see www.parterre.com) says, "I'm speechless." I said, "Don't tell me we'll have to replace you too!" Well, Lehman sings Act III, the toughest workout for tenor ever composed. Doesn't sound fabulous, but he's okay. No cracked high notes. Isolde rushes in clumsily (she's never rehearsed), sings Liebestod. She's okay. Silence to the last chord.
Chaos: Standing ovation for the pair, then for the whole cast, then for Jimmy. It's 1 a.m. and nobody wants to leave without screaming. Nobody wanted to have been, for those six hours, anywhere else in the world.
I bet you've never been at a movie where this happened.