Score Desk

Vergogna? For Scarpia, Yes, This is a Shame

2009-10-19T18:02:00.009-04:00

We've all heard about it: The groping of the Madonna statue, the prostitutes in Act II, the leap from the tower, the stark sets, the absence of the candles, and most of all, the boos. Whether you love it or hate it, this production of Tosca will be talking about for seasons to come, if it lasts that long. And there's no doubt it will, considering the stir its caused. Peter Gelb is probably rejoicing at the icy reception it has received, the run was mostly sold out!!!

On Saturday, I attended the evening performance of Tosca in standing room. I got a good look at the set, and was, needless to say, underwhelmed. Act I was disappointing, no church in Italy is as blank as that. Even a street chapel has some ornamentation, or at least a proper altar! No, you won't find a painting of a topless Mary Magdalene in a church, but that was the least of my worries by the end of the act. There were some good moments leading up to the final notes of the "Te deum," including Scarpia's entrance on the balcony on the left side of the stage, and the ominous procession of bishops, priests, and choir boys, but in the final chords, Scarpia, in a moment of insanity, pulls the statue of the Madonna on top of him in a very inappropriate manner. I heard some audible murmurs of disgust around me, including my own.

I'll jump right to Act III (in order to save the worst for last): The set I did not mind, I even liked the patrolling officer pacing on the wall, it was an ominous and appropriate effect. I thought the leap was cool, even if I was worried Tosca wouldn't make it up the tower in time. There was, however, a slight delay in the lighting, so we saw the stunt Tosca humorously rebound after the wire caught her fall. Other than that I have no serious complaints about that act.

Act II, I believe, was the worst. I dare to call it a travesty. Never before have I had the urge to boo any opera, or scream "vergogna! shame!" at anything, and in the middle of the performance no less! Of course, I restrained myself, waiting until the curtain to voice my opinion. The act opens to an ugly room in the Palazzo Farnese, colored with yellows and browns and covered with maps of Italy. It was beyond ugly, but that wasn't the worst of it. The crudeness of the prostitutes was absolutely unnecessary. Luc Bondy has to realize that American audiences are not like European audiences, we DO mind when sex is too blatantly presented to us on the stage, especially when it's nonsensical. Not only that, but anyone will tell you that the character of Scarpia would never solicit prostitutes. It is so beneath him. It's not about the money, or the women really, it's about his power! Power is Scarpia's driving force and Luc Bondy completely misses that and shows no consideration for the character when he presents those women on the stage. The next glaring problem I saw came after Tosca agrees to give in to Scarpia's demand and she asks for a safe pass out of Rome. Scarpia says "You wish to leave us?" and Tosca says "Yes, forever," whereupon Scarpia falls to his knees and starts to convulse in fake sobs. He crawls towards Tosca, to the audience's horror, and the stands up, gives a typical Scarpia look of disgust, and goes to his desk to write the pass. When he fell to his knees, I literally took a step back, stunned, and others around me look similarly surprised, even some people in the orchestra seats shifted around uncomfortably. Finally, the whole business with leaving out the candles and the crucifix would not bother me half so much if (1) Puccini had not clearly written it in the score or (2) Bondy hadn't replaced it with something ridiculous. What person would stay at the scene of the crime long enough to relax and fan herself on a couch? No, it's not right. Plus, I don't agree with having "foreshadowing" with Tosca almost jump out the Palazzo window. You can bring new things in, just don't disrespect the composer.

Actual review for singers coming next.

Confirmation: VERY STRONG BOOS at Opening Night

2009-09-21T21:55:00.004-04:00

Slightly shocking........heehee but not really.
I knew it was going to be an "interesting" production.
Production team HEAVILY booed by the Met audience. Tremendous applause for all of the vocalists (and it's well deserved) but the director and production staff ohhhhh myyyyy that was QUITE intense. Not as wishy-washy as even the Sonnambula booing fiasco. This was LOUD, CLEAR booing.

I'm kind of in shock hahahaha I almost can't believe it.

All I have to say is: Franco Zefferelli is somewhere chuckling to himself.

Happy Listening!! =)

OPENING NIGHT!!!!!!!

2009-09-21T20:45:00.006-04:00

Well here we are! Look at this, the start of the new season already! It seems like just yesterday that I was watching Renee Fleming waltz in designer bling through three acts from three of her favorite operas!!!!!!!

Now I'm here listening to POWERHOUSE Karita Mattila dive into the role of Tosca. I am a great fan of this woman and I hope that she performs masterfully. Well, I'm sure she will.

I am more concerned, however, with the new production. Secretly, (well not anymore) I want it to not be a good production just so I can fight to have the Zefferelli production back. Oh, how purist of me. Apparently, as I've heard so far this production is veeeerrrryyy different from all past productions. The end of the second act especially. (were those "boo"s I've heard?? Hmmmmm...) I am so curious to see what it looks and feels like. A whole new feeling for Tosca, I'm intrigued.

This has, so far, been an interesting beginning to the season. Innovative to say the least.

More on this later, when we've had more time to discover this new Tosca.

Happy Listening!!! =)

Hildegard Behrens 1937-2009

2009-08-22T13:17:00.003-04:00

I came out of my not-blogging cave to sadly announce the death of one of the great Wagnerians sopranos, Hildegard Behrens. I was introduced to her work, however, not through Wagner, but through the perfection that is the 1985 Zefferelli Tosca. When I delicately dipped into the world of the Wagner cult, the Otto Schenk Ring cycle with her as Brunhilde was the only one I could watch. She always stunned me with her emotional and dramatic power on the stage, not to mention the force of her beautiful voice.

The soprano died on August 16th in Japan, reportedly of an aneurysm, at the age of 72. Ms Behrens was in Japan for a festival where she would perform and give master classes. She will be remembered fondly as the best Brunhilde in the post-Nilsson era.

Rest in Peace.

Ballet Boot Camp Year II aka Ashley Bouder Knows My Name aka Darci Kistler: The End of a Remarkable Era

2009-07-23T21:01:00.004-04:00

Well if you have been wondering what I have been up to the past.....month I have not been posting, then you should know that I have been dancing my tail feathers off at a ballet summer intensive in Saratoga Springs, New York.

DARCI:
One of the benefits of this particular program is that many of the dancers you look up to on the SPAC (Saratoga Performing Arts Center) stage then come to teach your ballet class! For example, my intensive was witness to the incredible New York City Ballet Gala which marked the final performance of Darci Kistler in Saratoga in the ballet "Slaughter on 10th Avenue." She is retiring with the NYCB next year at the David H. Koch Theater in Lincoln Center. Her retirement marks the end of an era with the NYC Ballet because she is the last ballerina in the company to have been chosen by Balanchine to join the company. Just a few short days after this amazing gala I was taught by Darci Kistler herself. First she watched our rehearsal of the "Raymonda Variations" and then taught us an amazing pointe class. Oh and just saying: She said I did beautiful pique turns =D =D It was possibly the best moment of my life.

ASHLEY:
We also had the fabulous opportunity to be taught the Raymonda Variations (and many other classes) by none other than Ashley Bouder, one of the best ballerinas in the whole world and a principal dancer with the NYCB, and Melinda Roy, a former principal dancer with the NYCB and the director of the summer intensive. We worked so closely with Ashley that she quickly learned all of our names. She is one tough cookie, but she makes everything perfect. She is a wonderful teaher and oh my gosh what a gorgeous dancer. I can't even describe! One day we walked into the studio and she was rehearsing Firebird. All of us were stunned. We sat 5 feet from her as she danced through the pas de deux by herself, hearing her breathe and seeing her every move. That's an experience that none of us will forget.

JOCK:
One of the perks of being in the highest level of the intensive (while it is extremely difficult) is the opportunity to take a partnering class with dancers from the NYCB. Such participants include Ask la Cour, Amar Ramasar, and Henry Seth who are so wonderful and kind and are so helpful. This was my first experience in a pas de deux class and they were so understanding and always wanted to help. The other wonderful thing is that we had four classes: two taught by Jason Fowler, one taught by Philip Neal, and one taught by the legendary Jock Soto. It's hard to imagine my emotions when he walked into the room. He said so many funny and wacky things like "You want to be like the prize turkey" and when we stood proud before a combination he turned to Melinda Roy and said "Those are prize turkeys." He was quite the character.

DANIEL:
Daniel Ulbricht.... Oh my what to say what to sayyyyy. Well he complimented my passe and had me demonstrate a balance for the whole class. It made my day. He taught us only twice but both times he was so charming and personal and we all learned a lot from him. He is such a charismatic dancer and he translates that so well to his teaching. He gives difficult combinations that are often very fast and very complicated and it's fabulous because it makes us work so hard! Plus we're trying to impress him =) but that's not a big deal haha. He says that he gives us these crazy things so that when another teacher comes and gives us a simpler combination, we can relax and focus on our technique rather than too much on the steps. I found that to be so logical, or maybe I was just charmed. No....it's logical.

This NYCB SPAC season, while a week shorter than last years, was just as exciting. Even more exciting than the season itself, however, was the dancers that I had the privilege to study under this summer. Thank you NYCB!

Back to opera soon I promise!

Happy Listening!! =)

Some Enchanted Matinee

2009-06-11T12:27:00.007-04:00

After the opera season has ended, what is an opera fanatic to do but to search the city for other shows to attend? I jest, I am a huge fan of Broadway, and always have been, but never in my life have I attended a production at the Lincoln Center Theater. That is, not until last Saturday when I finally saw the award winning Bartlett Sher production of South Pacific.
Ever since I saw Paulo Szot serenade Deborah Voigt during the opening night moviecast last September I've been itching to see it. Plus, who doesn't get the irresistible urge to hear a true baritone sing "Some Enchanted Evening"?
I first have to say that I am a great fan of Bartlett Sher, I loved his Barber of Seville at the Met and this was just as impressive. There were no moving doors, mind you, but the sets were beautiful and the moving thrust stage was very affecting at certain moments in the show, particularly the first act curtain. The stage also pulled back during the famous and fabulous overture, revealing the talented orchestra led by Fred Lassen. They sounded like a lush, old-fashioned Broadway orchestra. In other words, very much like an opera orchestra or a philharmonic, and they accented the singers beautifully.

I kept hearing how I simply must see Kelli O'Hara, as the original Nellie, but truthfully I thought Laura Osnes did as fine a job as anyone. She was charming, sang beautifully, and moved with grace and sparkle across the stage. My one bone to pick is that she did not keep her "hick" accent while she was singing. I know how hard this can be, but if you want to have an accent you have to keep it. Otherwise I thought she was lovely, particularly during "I'm Gonna Wash That Man Right Outa My Hair" and "Honeybun."
Paulo Szot was frankly put the best pick for the role of Emile de Becque. His European charm, dashing good looks, and operatic voice (which made any microphone virtually unnecessary) made him a perfect romantic hero. Being in the very front row, I could watch him very carefully, not to mention that he almost sang "Some Enchanted Evening" right to me. You could tell the moment he started singing that he was an opera singer, just the way he approached the music made it so obvious. It was beautifully done, as was "This Nearly Was Mine." Besides his beautiful singing, Mr. Szot is also an affecting actor, eliciting so many emotions from the audience.
Another actor who brought heart-wrenching emotion from the audience was Andrew Samonsky as Lt. Cable. He portrayed the lieutenant as very suave and yet tortured. His "You've Got To Be Carefully Taught" was chilling, and "Younger Than Springtime" was beautiful. His death was the most poignant moment in the show, and when Liat (played by Li Jun Li) learns he has died I must admit I cried.
Danny Burnstein was hysterical as Luther Billis, the comic figure in the show. He was wonderful, a real joy to watch. As Bloody Mary Loretta Ables Sayre was both spooky and intriguing; "Bali Ha'i" was a highlight of the evening. Both of these - what could be considered - supporting roles were rightfully portrayed as major characters and both actors made their mark on the production.

Being that most of the original cast is still in the production, I say that no one should wash this show right outa their hair, and everyone should go and prepare themselves for some enchanted evening! (Could that be any more cliched?)

Happy Listening!!! =)

Anvil by Anvil, the Met Continues its Search for a Proper Production of "Il Trovatore"

2009-04-26T19:57:00.007-04:00

Il Trovatore April 25, 2009

In other words, the Met has not found its definitive Trovatore production.
I won't talk about the singers, even though that's totally sacrilegious, because all the singers were very good, even though it was not the original cast. Right now I just want to talk about the production because the Met has had such problems finding the right Trovatore.

Maybe I was just in a bad mood, but I did not enjoy it at all. The small cut out windows on the wall and the wire crucifix? I didn't quite get the whole thing; it looked rather industrial. The only set I liked was the scene of the Anvil Chorus, that really had life in it. With the pyre and the red aura it stuck out more than any other scene. Well, at least it was the one that stuck out for the right reasons.
I suppose the reason I didn't like it at all, besides the Anvil Scene, was because I had such high expectations for such a beloved opera. I had never seen Il Trovatore, this was my first time ever, and I wasn't as blown away as I expected myself to be. Perhaps the cast didn't suit me? Was it the production? Or a combination of the two?
I will be kind and give it another season before I start calling for a new production. Let's hope that a more invigorating cast can save this almost distressing production next time. =)

I'd also like to add, this is totally random and has nothing to do with anything, that Junior year is not a fun year for a student haha. Yes, this is my excuse for being totally neglectful of this poor blog. After this year it's smooth sailing (besides college applications) so the future looks bright. I just need to get to the end of this year and I will be completely myself again!!!!! =)

Happy Listening!!! =)

The Met's Summer Plans (plus: Pictures from London!)

2009-04-23T17:08:00.010-04:00

The Metropolitan Opera now has two options for summer opera fun! One is the Summer Recital Series and the other is a Summer HD Festival.

The Summer Recital Series will feature singers such as Paulo Szot (YES), Lisette Oropesa, Alek Shrader (who I noticed specifically during a commercial for The Audition, I would keep my eye on this kid), John Moore, Ashley Emerson, Joyce El-Khoury, and Keith Miller in parks in every borough of New York City. The singers will be accompanied by pianist Vlad Iftinca and the host for four of the six evenings will be Damon Gupton.

The Recital Series looks, if nothing else, to be a good opportunity to scope out what appears to be the future of the Met.

The Summer HD Festival, held in Lincoln Center Plaza, is a ten day extravaganza brimming with all of the best HD broadcasts! From August 29th to September 2nd the Met will show productions from its 2006-2007 and 2007-2008 seasons, namely Il Barbiere di Siviglia, Madama Butterfly, Eugene Onegin, Il Trittico, and Romeo et Juliette. Of course, if you don't like any of those four, there are six more to choose from!!! You must get to the Met early, since there are only 2,800 seats available, totally for free. Expect to see me with my ScoreDesk binder at most, if not all!!!

Just a quick aside: I went to London over spring break and, while I did not have many operatic adventures, I did pass through the Royal Opera House in Covent Garden (naturally my favorite section of London) and I took some pictures I thought you all would enjoy.

I hope to be returning to the ROH soon to experience some amazing opera! =)

Happy Listening!!! =) =)

PS. Gotterdamerung AND Il Trovatore this Saturday. Get excited!!! =)

Met's 2009-2010 Subscription Highlights and Lowlights

2009-03-28T17:35:00.005-04:00

Dear Metropolitan Opera,

I would like to first introduce some proposed improvements to your recent presentation of subscriptions...Lowlights!

Will someone PLEASE make sure that Rolando Villazon gets his life in order before we all get our hopes up about Contes d'Hoffmann????? From recent reports via Parterre and Opera Chic should we get the hint that maybe Rolando isn't going to be appearing at the Met if not after an extended absence, then ever? This whole situation makes me rather depressed.
Someone just remind me why we are replacing the Zefferelli Tosca? No, no I shouldn't think like this. I'll be open minded: Will someone reassure me that the new production will be fantastic??
Why, for goodness sake, can't the Met fit in a Der Rosenkavalier into any of the Saturday Evening subscriptions? That is one of the few operas that I am absolutely dying to go see and I can't squeeze it in to any of my subscription choices! I will have to buy tickets separately, but can't the Met replace anything with Rosenkavalier?
Another little detail they forgot about in the Saturday subscriptions: The Nose. This is another opera I want to see so badly (just for Paulo Szot, but shhhh don't tell anyone!) and it's nowhere to be found on Saturday Evening!
I just have this to say about Renee's new production of Armida: Can we trust Mary Zimmerman with another bel canto opera?

Alright, that's all the complaints I have. On a lighter note, here are some events I'm looking forward to this season...Highlights!!!

I'm very curious about From the House of the Dead. I have a very funny feeling about it, but a good funny feeling. Something is going to make this opera interesting. I'm intrigued!
The new Carmen! I'm usually very conservative when it comes to new productions, especially when they're for such staples as Carmen, but this is another case where I have a good feeling about it. I'm hoping that even if the production turns out eurotrashy or just flat out obnoxious (ie. the recent Sonnambula) the stellar cast will keep it afloat.
As I said in the Lowlights, I'm looking forward to the Der Rosenkavalier and The Nose, but for very different reasons. The primary reason in The Nose is, of course, Paulo Szot, but I'm trying to branch out into more contemporary opera to see if I like it. Trying to stay hip and "with it." =) Der Rosenkavalier, on the other hand is a shameless guilty pleasure. Not only does it star my dear Renee Fleming, but oh look! there's Susan Graham and Thomas Allen! Did I mention that this is one of my favorite operas of all time?
Maybe this season I'll finally get to see Damnation de Faust or Il Trittico. I wanted to see Damnation this year, but never got around to it. It looked like a strange production!!!! Il Trittico is in support of my darling Patricia Racette. She's got the triple bill going and I wouldn't miss it for the world!!!!!

This is sure to be a season of opportunity. There are so many new operas and genres to try, new productions to explore, and new singers to fall head-over-heels for (namely Paulo Szot). Even if we hate (or love to hate?) every single new production, or if we bash every singer in a revival, we KNOW that this season will NOT be boring. The blogosphere and Angela Gheorghiu will make sure that we will always have something to talk about during the 2009-2010 season!!!

Happy Listening!!! =)

PS. *sighhhhh* I missed posting! =)

Bravo Domingo!!!! Audience Overflows at Domingo's Last Maurizio

2009-03-01T13:00:00.006-05:00

The audience at the Metropolitan Opera's performance of Adriana Lecouvreur last night was far from its usual loud self. On the contrary, it was perfectly silent the whole evening. The one detected no-no was an overabundance of flash photography during curtain calls, but for once the nazi-ushers (I say that lovingly, of course) didn't cry out for "no photographs in the house!" Instead, they let the audience wallow in the greatness that was the presence of Placido Domingo and to bestow onto him every compliment and gesture of adoration we could muster.

In what was probably his final performance as Maurizio ever, Placido Domingo sang and acted as if he didn't have 40 years under his belt, but was still in his primmest prime. He doesn't put on airs, he does not act as if he is on top of the world (which he is, by the way), but he acts as he has always done: like the character he is playing. Acting like a dashing young prince can be difficult when you're an almost-70 [still dashing] king of opera, but it isn't hard to imagine any woman falling in love with Placido Domingo even when it is hard to imagine him riding into battle.

40 years ago Domingo debuted in this role opposite the illustrious Renata Tebaldi. Last night his final Adriana was Maria Guleghina who, despite what I have heard about her pushing, gave a wonderful vocal and dramatic performance. Olga Borodina was, as usual, the cool mezzo that she is, a worthy Princess to Domingo's probably intimidating Prince of Saxony. Her husband, played by John Del Carlo, was imposing and comic, towering over his colleagues and providing well needed comic relief. Roberto Frontali really stood out as Michonnet, the real tragic character in this opera, his powerful and beautiful voice that became the icing on this already stunning operatic cake.

What could possibly have been going through Domingo's mind last night as he stepped on to the stage? Could he have seen himself, 40 years younger, nerves bouncing off the wall, beside one of the greatest sopranos of all time? Could he have been reliving those glorious moments of his debut at the Met? Or is it possible that he didn't think of his debut at all, thinking only of the performance ahead and going over in his mind his endless knowledge of opera, its characters, and finding exactly what he needed for Maurizio?

Oh, Domingo, the world may never know.

Happy Listening! =)

My Dear Readers

2009-01-31T08:51:00.003-05:00

I apologize for my two week absence, but I haven't opened a computer since the Dudamel concert because of two words: midterm week. I haven't touched a computer or anything like that in order to study for these awful awful tests. However, I am back! Midterms are over, I have an opera tonight, and I have missed so much already!
It's crazy how many things I've missed:
The return of Trebs and Villazon,
the cancellation of the OONY season,
and the birthdays of:
Sherrill Milnes
James Morris
Juan Diego Florez
Renato Bruson
Ben Heppner
Marilyn Horne
Katia Ricciarelli
Placido Domingo
Joseph Calleja
Marcello Giordani
Wolfgang Amadeus Mozart
and today's birthday boy: Philip Glass

In a few words about the Dudamel concert:
Mahler's 5th has changed the way I look at orchestras
Zukerman changed the way I see violins because that Knussen piece was crazy
and
Dudamel has changed the way I look at hair.... forever...
<33333

Happy Listening!!! =) =)

Tonight: Gustavo Dudamel and the NY Philharmonic at the Tilles Center

2009-01-17T16:36:00.003-05:00

Gustavo Dudamel leads the New York Philharmonic in Mahler's 5th Symphony

Pinchas Zukerman plays Knussen's Violin Concerto

Needless to say, I'm listless with anticipation.

Happy Listening!!! =)

Ah Mes Amis! It's Juan's Birthday!!!!

2009-01-13T19:47:00.003-05:00

(Let me take this time to say HAPPY NEW YEAR!!!!! I usually only say that at this time anyway since it takes a while for the idea to settle into my head. It usually takes me about two weeks before I'm used to righting the new year on my homework, so here's my belated new year wish.)

Juan Diego Florez. Well, we all know who that is, don't we?
Oh you know, the little tenor who broke not just one, but TWO encore traditions in the course of a year.
Did you know it was his birthday? That's what I'm here for.
Let's take a look at some of his famous roles and some of my favorite clips:

Let's start with the obvious: "Ah Mes Amis...Pour mon ame"
"Una Furtiva Lagrima"
"A Te O Cara"
"Ecco ridente in cielo"
"Cessa di piu resistere"
"A leve toi soleil"
"La donna e mobile"
"Sogno soave e casto"
"Pour me rapprocher de Marie" (listen to that Db and tell me that's not one of the most beautiful things ever)
and extensive coverage on his wedding??

Happy Birthday Juan!!!! WE LOVE YOU! (but mainly me =])

Happy Listening!!!! =)

Was it Utterly Shamless Diva Worship? Yessss. Do I Regret a Minute of it? Noooo.

2008-12-28T11:13:00.005-05:00

Thais
by Jules Massenet
December 27th, 2008

Conducted by Jesus Lopez-Cobos
Thais- Renee Fleming
Athanael- Thomas Hampson
Nicias- Michael Schade
Palemon- Alain Vernhes
Albine- Maria Zifchak
Crobyle/Myrtale- Alyson Cambridge/Ginger Costa-Jackson
Violin Solo- David Chan

I think the whole point of putting on a production like Thais is so that the audience can bask in the glory of a diva and worship her 'til night is done. In fact, I know that the only point of showing a rarely seen diva-mobile is to show off an opera house's most venerated soprano.

Renee Fleming herself seemed to rise to the occasion and delivered a beautiful and rich interpretation of this saintly courtesan. My one fear of the evening was that she wouldn't make the high note at the end of "Je suis seul", but how foolish of me! She of course sang the note perfectly, along with the rest of the gorgeous aria. While she might need some more lessons in "seductive dancing", as it were, Renee needs no help in playing the part of the ultimate diva, because isn't she the ultimate diva herself? She looked glorious in the two Christian Lacroix gowns, especially the first with the huge pink poofy jacket that I want to own and wear on the weekends. =) My English teacher always says that an author can not expect his/her audience to believe that a character’s personality can drastically change unless there are hints throughout the work. I had that in my mind while watching Thais, looking for hints. The biggest hint of course comes from the opera itself in Act II when Thais explains that she is looking for more in life and her fear of what will happen when she grows old. Massenet leaves the rest to the soprano. Renee here again rose to the occasion. Hint #1: Thais meaningless declarations of love to Nicias. Hint #2: The way she reacts when Athanael comes into her room and promises her eternal life. Hint #3: Her desire for eternal life. Hint #4: Her reaction when she hears Nicias’s voice (she says she hates Nicias.) Hint #5: Her willingness to burn everything she owns, even if she wants to keep a small ivory statue, she’s only human. We can forgive Renee the last note she sang, which was…not lovely… because the rest of the performance was truly magical.

While this opera is a diva-mobile it struck me how much focus there is on Anthanael. That’s not a problem of course, because I found the character intriguing thanks to the brilliance that is Thomas Hampson. The opera could be called Athanael, because I feel that the focus is (or should be) not just on Thais’s conversion, but on Atahanael’s struggle and decent into obsession. Thais is almost a cameo role, while Athanael has a back-story and a struggle and a journey that shapes the plot. Thomas Hampson was miraculous as this tortured monk. He, if you can believe, almost (almost) completely stole the spotlight from Thais/Renee. He almost overshadowed her in their scenes together, but I suppose that that is the intention of the opera, for Athanael to overpower Thais. Either way, he sounded fantastic. To my ears he sounded thousand times better than he did at Renee’s Big Opening Night. Athanael suits his voice much better than Germont. His “conversion” was more believable than Thais’s, in that he becomes obsessed with her memory and when he finds her dying he yells “It was all lies! There is no heaven! Everything I have told you is wrong! Stay with me!” While extremely disturbing, these lines do provide a small amount of comic relief.

Michael Schade has never been on my list of favorite tenors. Don’t ask me why, because he was a wonderful voice, but something about him just doesn’t click with me. However, his portrayal of Nicias was great. Despite his Mafioso style costumes (which are not his fault) I enjoyed his performance as the thoroughly creepy, but idolizing Nicias. His duet with Thais was beautifully sung, and I wouldn’t mind hearing him again.

All the supporting roles were very commendable. Alain Vernhes as Palemon, the head monk, was beautifully sung as was Maria Zifchak as Albine. Alyson Cambridge and Ginger Costa-Jackson as Nicias’s lackey’s Crobyle and Myrtale were extraordinary. One is a graduate of the Lindemann Young Artist Development Program and the other a member, if these are the singers this program is churning out then I am an avid supporter!
The “Meditation” was simply glorious and although it was at times rudely interrupted by noisy set changes backstage, it was mesmerizing as played by David Chan. I found myself not looking at the orchestra but gazing around the opera house thinking “Is there a more perfect place to play such a perfect piece?” I just worship the Met and the “Meditation.”

DEAR MET AUDIENCE,
IN THE WORDS OF A FAMOUS TENOR “SHUT UP WITH YOUR DAMN COUGHING.” For goodness sake, people. During intermission hack up your lungs for all I care, sneeze until your brains come out, but when the lights go down I want SILENCE! It wasn’t just an occasional sporadic cough or sneeze, but every time someone coughed it would send a chain reaction of “Okay, then I can cough/sneeze now too.” Sometime’s it would go on for minutes until I wanted to scream! Seriously, opera fans, it’s not that hard to cough at intermission, or to keep quiet for the short amount of time the singers were on stage!
Love always,
CaroNome of Score Desk

Quick note on the production itself: It reminded me of the Otto Schenk Ring. The desert set looked very difficult to navigate, I was always worried Thomas Hampson was going to fall!!!! Overall, I did enjoy it. Nicias’s palace was my favorite set.

Next Post: The New Met Opera Store!!!!!!!!!!

Happy Listening!!!! =)

Did No One Else Hear This?

2008-12-23T22:09:00.003-05:00

NY Post: Page Six
December 18th, 2008
WE HEAR...
"THAT Placido Domingo is being touted as the next general manager of the Metropolitan Opera should Peter Gelb depart. The tenor would presumably quit his posts at the Washington National Opera and the LA Opera."

Did no one else see this on one of the most notorious gossip pages presumably in the country? Or am I the only gossip hound in the opera blogosphere?
However, I digress. The main point here is for me to say: WHAT THE HELL, PETER GELB, WE'RE ALREADY TALKING ABOUT YOUR RETIREMENT?
You just got here, for crying out loud! I don't mean to be rude, but quite frankly (if Peter Gelb doesn't mean to retire right away) wouldn't Placido Domingo be too old to take his place? I love him, I really do, but he has two other opera companies and I don't think it would be fair to them and their fans if he picked up and left them for the Met.
Peter Gelb leaving the Met was not on my radar at all until I saw this little blurb. Why would he leave? Why would he do this to us?
Yes, granted, the Met has been through some trying economic times, but isn't that part of the process of change? You need the valley to get to the mountain, right? That's no reason to ditch the whole project.

I'm getting ahead of myself. This is, after all, a gossip column. This could be totally fictitious in every way, shape, and form.
It's late, I'll revisit this in the morning.... or after Christmas.

Happy Listening!!!!!!
AND HAPPY HOLIDAYS!!!!! =) =) =)

Merry Puccinimas!!!! 150 Years of the Italian Master

2008-12-22T15:08:00.006-05:00

(Title lovingly taken from the FaceBook event titled "Puccinimas" which I thought very clever.)

HAPPY 150th BIRTHDAY TO PUCCINI!!!!!
In honor of this GENIUS's birthday, I will present an assortment of my favorite moments in Puccini operas.
One of my favorite things about Puccini is that you can hear a simple chord progression or a rhythm and immediately say "Oh, that is so Puccini!" What would we do without his melodrama?

Che il bel sogno di Doretta from La Rondine
Donna non vidi mai from Manon Lescaut
Act 4 Duet from Manon Lescaut
Ch'ella Mi Creda from La Fanciulla del West
Un Bel Di from Madama Butterfly
The Humming Chorus from Madama Butterfly
Si Mi Chiamano Mimi from La Boheme
Che Gelida Manina from La Boheme
O Soave Fanciulla from La Boheme
Act 3 Marcello/Mimi Duet from La Boheme
Sono Andati from La Boheme (One of my favorite moments in the opera is when Mimi tells Rodolfo that she's not beautiful like the dawn, but like the sunset. *sob*)
Vissi D'arte from Tosca
Act I curtain of Tosca
Recondita Armonia from Tosca
E Lecevan Le Stelle from Tosca
O Mio Babbino Caro from Gianni Schicchi (Sorry, I couldn't resist!)
Nulla, Silenzio from Il Tabarro
Final Scene of Suor Angelica
In Questa Reggia from Turandot
Liu's Death from Turandot
Signore Ascolta from Turandot
Act I Finale of Turandot
Act II Ping, Pang, and Pong from Turandot
Nessun Dorma from Turandot (Pavarotti)
Nessun Dorma from Turandot (Lando Bartolini)
Final Scene of Turandot

I hate to wear this story out, but seeing the final scene of Turandot changed my life. Almost four years ago I sat down with my mom to watch The Turandot Project (yes I WILL tell this story every year) and almost had a heart attack when the big crashing "Nessun Dorma" theme came booming out of the stereo system. I never thought anything could sound like that! Sure, I'd heard "Nessun Dorma" but this was insane! It gave meaning to those foreign phrases.
Puccini changed my life. Puccini is life.

Happy Birthday Puccini!!!!! May another 150 years go by just as happily!

Happy Listening!!! =)

"The Year in Classical And Dance" from New York Magazine

2008-12-08T19:22:00.003-05:00

The Big Entrance
The unofficial start of Alan Gilbert's reign at the NY Philharmonic with a free concert in Central Park takes the cake as the most important classical music happening of 2008. While some people (and some players) expressed grief at his replacement of Riccardo Muti who, as we know, lovingly declined the position of music director, his official reign (which starts in September) is guaranteed to be new and exciting. He already expressed some new ideas he has for the Phil: Phil: "a new-music ensemble, a renegotiated balance between contemporary music and traditional repertoire, and the world premiere of a work by composer-in-residence Magnus Lindberg; Messiaen’s Poèmes pour mi, sung by Renée Fleming; and Berlioz’s Symphonie Fantastique."

The Year in Superlatives
Best Changing of the Guard: City Ballet's New Male Trio
Sean Suozzi, Tyler Angle, and Robert Fairchild are the three new male headliners for the New York City Ballet. Having seen all three I can tell you that these are three thrilling dancers. Sean Souzzi happens to be my favorite of the three, with his "dark romanticism" and gorgeous dancing.
Best Choreographer: Benjamin Millepied
I've only seen him dance (and sing) in Jerome Robbin's West Side Story Suite so I can tell you nothing about his choreography. To experience Millepied's "unique vision" for yourself you can visit the New York City Ballet this spring at the start of its new season.
Best Use of an Unexpected Space: Die Soldaten
This avant-garde opera written by Bernd Alois Zimmermann found an equally obscure home at the drill hall in the Park Avenue Armory. In this extraordinary production has movable bleachers that transport the audience from one scene to another.

The Top Ten Classical Events
10) Youtube Symphony- Global online auditions for an orchestra to play a new work by Tan Dun were launched by Google last week. All auditioners post a video of themselves on Youtube playing the music Google posted. Sounds like I'll be wasting even more hours on Youtube!
9) Tristan und Isolde- That old cursed thing? Apparently New York Magazine thinks it was worth the wait.
8) Alarm Will Sound- I'm not sure I understand it, but apparently this ensemble played an orchestration of a player-piano piece that can not be played by human hands.
7) The Opening of (Le) Poisson Rouge- A new hot spot for "genre hoppers." I'm not sure it's a cross-over club...
6) Brooklyn Rider at the Brooklyn Lyceum- Brooklyn's leading string quartet and Iranian fiddler Kayhan Kalhor displayed "magical logic"during that one night concert, which you can catch on their CD Passport.
5) Peter Grimes- The most disturbing production, in my opinion, of the Met's 2007-2008 season
catches this number 5 spot with Athony Dean Griffey's performances as Peter Grimes.
4) Bernstein at 90- What would a classical countdown be without a little Bernstein love?
3) Jordi Savall & Hespèrion XXI- A unofficial soundtrack to Don Quixote played by a Catalan viola da gamba master and his ensemble, featuring works written during the time of Cervantes.
2) Jeremy Denk at Zankel Hall- Fellow blogger Jeremy Denk performed two rigorous piano works by Ives and Beehtoven and later picked the keys out of his teeth.
1) Doctor Atomic- "Adams’s score overwhelmed the weaknesses in Peter Sellars’s quilted-together libretto." Apparently. The orchestra, led by Alan Gilbert, was the real star of the show. Not that I would know. I didn't the production and I don't possess a true ear for new music.

So, the best the Met could muster was Doctor Atomic, Peter Grimes, and Tristan und Isolde. Well, good for them, it could have been far worse I suppose.

My favorite?
The Worst of the Year:
"Already wheezing during the boom years, New York City Opera suffered a triple trauma when renovations to the State Theater forced the current season's cancellation, fund-raising hit a wall, and incoming general manager Gerard Mortier decided to take his ball and go home. The tragic debacle leaves the company on the brink."
Silly Mortier, NYCO is for Sills!

Happy Listening!!! =)

85 Years of the Operatically Divine

2008-12-03T16:09:00.002-05:00

"To My Biggest Fan" Part II

2008-11-24T21:15:00.004-05:00

I want to call it right now: I OFFICIALLY SAID IT BEFORE THE NEW YORK TIMES. If you will allow me to paraphrase, I first said that Patricia Racette is a powerhouse with a performance not to be missed as Cio-Cio-San last season!!!!!!! Get with the program, professional critics!!! Dare I say "Butterfly of the 21st Century"???? Oh yes, I dare. Scream at me all you want, you'll find that it's the truth.
I knew this performance was extra special when I started tearing up at Butterfly's Entrance. I always forget how beautiful Butterfly is until I experience it again. I heard her coming over the hill and I nearly broke my mother's ribs I nudged her so hard. "That's her! That's Patricia Racette!" What a nerd I am. Trust me, though, if you had been there for her "Un Bel Di" you would have cried as hard, too.
Can you not get me started on how realistic her portrayal is? I'm morphing into complete teenager mode. Ready for this? Patricia Racette's Butterfly is just so uber realistic that I can't even talk about it without have spastic convulsions. Even the coldest of hearts melts for Joe-Shmoe's Cio-Cio-san, so can you even imagine what the audience was like during the final scenes of Racette's Butterfly? I, at least, was a complete mess. During the curtain calls, in between clapping like a crazy person, I was trying to make sure my eyeliner wasn't running so as to look presentable when I met Patricia.

Oops! I gave it away! (Just in case the picture of the Green Room in the last post and of the playbill in this one didn't give you a hint.)
I'll start by saying that I am the worst at meeting famous people. I need to remember that these people are human beings too! What's wrong with me?????
Next I will tell you a little side story: In between saying "I can't do this" and hyperventilating I hear a group of men approaching the Green Room. My mom, who is standing outside the room, shoots glances at me and gestures like I know Sign Language. My heart is pounding as I see PATRICK SUMMERS, DWAYNE CROFT, AND MARCELLO GIORDANI WALK BY THE ROOM. Literally 5 feet from where I was standing. I had to hold onto the table while my aunts just laughed at me. I ran to the door to watch them walk away (don't call me a stalker, you know you would have done the same thing!), but I couldn't say anything.

After having sufficiently recovered from that, which means I was breathing, Beth Clayton walks in and says "Hi, I'm Beth. Patricia is just getting ready and we can go inside in a minute." She shook all of our hands and was soooo nice! She was so casual, in fact, that I almost forgot that she herself is a well known and extremely talented singer. Then I had to recover from that (does it get easier over time?) in time to walk to Patricia Racette's dressing room.

Once I got there all hell broke loose. I couldn't breathe, much less speak. We're some of the last to greet her, but here's basically how it played out, all casually and pleasantly:

Aunt 1: "Hello Patricia, this is one of your biggest, and youngest, fans."

Me: "Ms. Racette....you were so....you were so great....it was just so amazing... you're so amazing." Hyperventilating, sweating, being overly nervous.

Aunt 2: "She's kind of nervous, but can we get an autograph?"

Patricia Racette: "Sure, of course!"

Mom: "Oh and a picture too!"

Patricia Racette: "Haha, oh great!" Even though she looks fabulous, she wipes her face and shakes out her hair.

After that we took the picture, said about a thousand "thank you"s, and then I stumbled to the car. I flipped out the whole ride home. I ranted about how "great, now she thinks I'm a freaky stalker and that I can't talk. They all think I'm a loser blahblahblah I'm such a creeper." The creeping comes with the package. =) Heehee just kidding.

All I need now is advice on how to approach famous people/my idols. Any pointers?

Parting Statement:

Viva La Racette! OMG she can't get any more uber amazing and down to earth.

Love you girlfraayyynnddd!!! =)

Happy Listening!!! =)

(Do I really have to apologize again for the lateness and the extensive length of my posts?)

"To My Biggest Fan" Part I

2008-11-24T19:58:00.007-05:00

With the grueling demands of Nutcracker "Hell Week" (more excuses later) it was impossible for me to be near a computer much less logging on and updating this lovely blog of mine. Plus, I'm currently suffering from something called [by medical professionals] "Star-struck Dementia."

By some miracle of nature a friend of a friend got us (meaning my aunts, my mom, and I) backstage after a mind-blowing Madama Butterfly to meet Patricia Racette. But I digress.

I should start being careful about what I say before performances. At dinner I accidentally said, "The only way this evening could be any more perfect is if Marcello Giordani magically appeared as Pinkerton, but since he's in Damnation that will never happen." WELL. Isn't it ironic... We get the usually dreaded slip of paper in the program, I instantly grab it from my aunt and INVOLUNTARILY give out a "YES!" I couldn't have had better luck. I will admit to being less than enthusiastic at the prospect of seeing Roberto Aronica based on what I had heard from others.Marcello looked like he never left the set! He was so natural (when is he not?) and of course his voice was clear and beautiful as it always is. Since he makes a career out of stepping in at the last moment I shouldn't be so surprised at his ease and style. =) Speaking of style: his perfect Italian style moves me to such great emotion that in my "Score Desk" binder I wrote "VIVA ITALIA!" I wish he'd sub in every time I go to the opera! Vivo Giordani.

Maria Zifchak returned to repeat her role as the loyal and heart-breaking Suzuki. Besides being blessed with a smooth and rich mezzo voice she also possesses sincere acting abilities that, at a few points, stole the scene. Most notably when during one scene Suzuki, overcome with the realization of the heartbreak her mistress is about to experience, buckles over in sobs outside of the little house. My eyes were drawn to her completely. Did you miss these performances? Don't fret, Ms. Zifchak will be playing Albine in Thais. Don't miss that!!!

Some supporting roles (not to mention the puppet) that caught my ear were David Won as Yamadori, Keith Miller as the Bonze, and Greg Fedderly as Goro.

My aunts both saw an undercurrent in Dwayne Croft's Sharpless that I never even considered before. They both said, "Do you think he was in love with Butterfly?" Talk about a whole new perspective. It's interesting to think about: Does he want Butterfly for himself? He never really chastises Pinkerton for leaving her and never tries to convince him to stay, does he? Regardless, it was a beautifully sung and acted Sharpless. Seeing his name in the playbill was very reassuring because he has delivered consistently fabulous performance from season to season.

SEE NEXT POST ON RACETTE COMMENTARY!!!!!!!

Happy Listening!!! =)

2008-11-15T19:52:00.000-05:00

I'm at butterfly. Aronica is out, Giordani is in. Praise Puccini, the opera gods are smiling on me today!!!!!!

Bartlett Sher is Off The Hook and Peter Gelb: "Ghost"buster

2008-11-15T12:21:00.004-05:00

Michael Kaiser, the head of the Kennedy Center, is the savior of New York City Opera.
He has promised to assist NYCO in finding a new leader while helping schedule the 2009-2010 season. It is made very clear in the AP report that Michael Kaiser will not be the next general manager/artistic director. He is only helping NYCO and guiding them into a new, and hopefully extremely exciting, era.
So, WWBD?? She'd find someone to help her beloved company. Good work, Bubbles. =)

IN OTHER NEWS:

It seems that New York City Opera isn't the only opera company at Lincoln Center to be feeling the effects of our economic crisis. The long awaited Met revival of John Corigliano's The Ghosts of Versailles has been cancelled for, of course, financial reasons. The opera, that was supposed to show next season, was going to star Thomas Hampson, Angela Gheorghiu, and Kristin Chenoweth. Hampson and Gheorghiu will instead star in La Traviata, which will replace Ghosts. We have no report of Chenoweth, we figure she's "pop-u-lar" enough to find a new project.
Peter Gelb has said, however, that none of next season's new productions will be cut.
Personally, I don't think he should make any promises about that. New productions are expensive and God knows how this economic situation will play out in the next few months.

Happy Listening!! =)

Ask Figaro: What Opera Am I?

2008-11-12T21:00:00.002-05:00

Are you perplexed by the endless choice of interesting opera being exhibited at the Metropolitan Opera this season? Ponder no further!!!!
The Met has created a personality test that will match you up with a production that seems it could be made just for you! The questions may seem non sequitur, but if you look closely you can find hidden operatic meaning in them all.
Here is my "Perfect Metropolitan Opera":

Le Damnation de Faust

You are a visionary who appreciates big gestures in art, food, and love. You would rather attend 10 infuriating performances than one boring one, and your mind is like a great white shark on a feeding frenzy, gnashing its way to the next new thing. Broadway musicals are, generally speaking, your idea of time earned off from Purgatory. But are you ready to have your mind really, truly, and inarguably blown sky-high? Then you have to come and see the hallucinatory masterpiece from two artists whose imaginations are even more extravagant than yours, Hector Berlioz’s La Damnation de Faust, in a new production by Robert Lepage.

Nice build up. I like it.
It's funny, I've had this strange, but very powerful urge to go see Damnation.

Happy Listening!! =)

Who Can Save City Opera? and WWBD?

2008-11-09T11:54:00.002-05:00

While sitting here going through tissue after tissue with probably the worst cold since tuberculosis I received the bad news the Gerard Mortier is officially "parting ways" with the New York City Opera. While some people foresaw this, I, being the idealist that I am, thought this talk of backing out would blow over and Mortier would make NYCO into a major house for modern works.
I should have seen it coming. The lay-offs. The co-directorship at Bayreuth. I just thought this was temporary. Silly, silly CaroNome.

What New York City Opera needs right now is a Peter Gelb. An influential businessperson who knows how to fundraise and get the crowds excited. They need Peter Gelb's marketing genius. This brings me to my next point:

Bartlett Sher's Obligation to Lincoln Center
Since we know that Peter Gelb could never double dip and help out NYCO (being the Met's "little sibling across the plaza"), I think that as the new director of the Lincoln Center Theater Bartlett Sher could take a temporary position as director of NYCO. He can learn from Peter Gelb's genius, take his own directing genius and put it together to put NYCO back on its feet. When they find another Mortier to take over, he can go back to just running the Lincoln Center Theater.

I have another point:
Poor Bubbles, she's rolling in her grave...
What could be worse. Only a year after her devastating death, her beloved opera company is going up in smoke. If only she was here, she would know what to do. She'd either beat Mortier into the ground, Sills-style, and make him stick to his promise using her charm and convincing Brooklyn attitude or just take over again. We need to ask ourselves "What would Bubbles do?" WWBD?

There's my two cents. Now NYCO needs to run with its own ideas and get itself together!
I hope things work out. It would be heartbreaking to see anything happen to such a wonderful company.

Happy Listening!!! =)

I Endorse Bellini

2008-11-04T17:15:00.003-05:00

Instead of pressuring you all to vote and telling who to vote for this Election Day 2008 (and you should vote, of course) I will instead give you some peace to meditate on the magnitude of the decision you are making for our country. For us younguns who can't vote yet your decisions are extremely important and will affect the rest of our lives.
So hear is some Bellini (in celebration of his birthday, which was yesterday) to ease your mind.
A compilation of one of his most peaceful and beautiful pieces: "A te o cara" from I Puritani.

Alfredo Kraus and Mirella Freni
Luciano Pavarotti and Joan Sutherland
Juan Diego Florez
Lawrence Brownlee and Norah Amsellem
Franco Corelli and Himself
Giacomo Lauri-Volpi
Giuseppe di Stefano and Maria Callas

Now go vote! =)

Happy Listening!!! =)

Chi Mi Frena In Tal Momento?

2008-10-28T17:23:00.005-04:00

Who dares to restrain me in this moment [of epic proportions]?

October 25th, 2008
Lucia di Lammermoor
Lucia- Diana Damrau
Edgardo- Piotr Beczala
Enrico- Vladimir Stoyanov
Raimondo- Ildar Abdrazakov
Alisa- Michaela Martens
Arturo- Sean Panikkar
Conductor- Marco Armiliato

As promised, here is a review of the birthday celebration Lucia. I took three friends to sit in the Orchestra of the Metropolitan Opera House to see Diana Damrau, one of the great sopranos singing today, in Lucia di Lammermoor, one of the greatest bel canto operas ever written. I want to reiterate this because, not only did I witness an EPIC (to quote my friends) performance, but three of my friends did as well. I hesitate to say "converts", but they certainly enjoyed themselves immensely and have an added respect for this extraordinary art.

Really quick, here is the origin of "EPIC."
I usually use the thunderous applause after arias and during curtain calls to give my commentary. So after every aria/duet in the opera I had said "Beastly. That was amazing. Oh my gosh, beastly!" I figured I had used the adjective "beastly" (as a compliment, remember!) enough, so it was time for something new. After the mad scene I was dumbstruck. I couldn't even say anything! Suddenly my friend yells "EPIC! That was epic!" It was too perfect. The rest of the evening all we could saw was. "Wait, can you believe how EPIC that was?" "It was so EPIC, I can't even stand it." We even had to make up a new category of epic: Lucia-style Epic. =)

In case you want to hear about the singers at all...

Part of the epic-ness was the perfection of the cast. Looking at the list some of us may have been caught saying "Who?" Well, that question (and some of our prayers) were quickly answered.
Sean Panikkar as Arturo (while not exactly Stephen Costello *wink*) and Ronald Naldi as Normanno were strong supporters with beautiful voices and definite presence. An opera is only as good as it's supporting singers and these guys were great.
Michaela Martens as Alisa was, as last year, a force to be reckoned with. Hopefully, after the sextet you don't want to be heard, because this mezzo's voice is so big that during her high notes she drowns out everything else. It's a good thing. I love it. It's like proclaiming "Hello! I'm here! And I have a wonderful mezzo voice!!"
Ildbar Abdrazakov was a great Raimondo. He staggered onto the stage just before the mad scene in such a way that it made everyone in the audience nervous. Let's face it, we all know the mad scene is coming, but the horrified look he had made it so....real! His singing in the second act was great as well. His guidance to Lucia was heartfelt and very affecting.
No one likes Enrico. No one ever is supposed to like Enrico. He's a mean brother who has no consideration for his sister's feelings. Right? I guess not. Vladimir Stoyanov showed (me, at least) another dimension of Enrico. Sure, he is dishonest and mean to Lucia, but his intentions are clearer. With his deep voice and impressive acting Mr. Stoyanov shows a man who, in desperation, would sacrifice his sister's happiness for the "good" of his family's name. He is struggling, as head of the family, to maintain the favor the Ashton family had previously enjoyed. This all becomes clear through Stoyanov's personal interpretation of Enrico Ashton.

The real find at this performance was Piotr Beczala as Edgardo. He comes on stage and all of my friends lunged for the only pair of opera glasses we brought. Enough said? Well on the visual part of the discussion anyway... I'm always excited but nervous to see tenors I haven't heard [of] before. While I want them to succeed I'm always afraid they will disappoint. My worries were for nothing! Piotr Beczala possesses a gorgeous tenor voice with vibrant high notes and luxurious tone. He also has amazing acting abilities. Last year I commented on Marcello Giordani knocking over chairs for no apparent reason after he denounces Lucia. Beczala did that too, but here it looked normal. (Don't get me wrong, I adore Marcello Giordani, but his clear Italian style and knocking over chairs don't mesh well together.) Everything he did was perfectly relevant to the music and to the story. You really believed him and felt for him. This is a tenor to watch for! He is performing in two other roles at the Met this season (Duke in Rigoletto and Lenski in Eugene Onegin) so his name will be on every opera fans lips. Remember his name, because you won't forget his voice. <3
Diana Damrau. Lucia-style Epic. Lucia Ashton is not a half-insane girl who is clingy and weak and unstable. She's about as insane as any teenage aristocrat with a forbidden lover. She has a strong personality (demonstrated when she throws Edgardo's coat on the ground in Act I and rushes right back into his arms to elongate their duet) and a strong will (demonstrated in her duet with her brother, until she reads the forged letter). It's only, like I said, when Enrico shows her the forged letter that she breaks down. It's all downhill from the there. The wedding, the decrying, the mad sc-...we aren't there yet.
Diana Damrau. What a voice on this woman! You wouldn't know this was her role debut. You would think she'd been singing this for years! I've never seen a Lucia like this. All Lucia's are unique, but this was uniquely unique. It was Lucia, Diana Damrau style. That means it has sass, flair, it's piquant, vibrant. It's everything it should be, but with an edge. That edge is the mad scene. Every soprano is dying to do it, but only few get it just right. Need I say more? It's implied that she got it "just right." I've never seen a Lucia hobble in circles so many times, or stretch across the prompter's box and sing those extremely difficult passages. She had blood on her face, her arms, her dress. It was everywhere! Don't even get me started on this woman's high notes. THE HIGH NOTES! The High Notes. We know she has them from her Queen of the Night, but these are out of this world! All in all, it was ridiculous. It's ludicrous that those sounds can come out of a human being.
Never seen a Lucia quite like it. Beczala and Damrau have a warm and believable chemistry that had me thinking "Oh, I could see that." There was just something very different about how they reacted to each other. With some/most couples it's all about the love they share right now. Lucia and Edgardo are in love right now and yes our families fight, but now we are in love. With these two you can sense their past. You know that they know that they aren't supposed to be together, but it doesn't matter to them. You see the complexities of their relationship without them having to spoon feed it to you.

Dear Marco Armiliato, I salute you. Love, CaroNome of Score Desk.
EPIC. (The chorus, too. Finally catching up to the orchestra!)

To Summarize:
My birthday performance was LUCIA-STYLE EPIC.

Happy Listening!!! =) =)
PS. I apologize for the lateness.
PPS. I always try to make my reviews shorter, but it never works. You can handle that, right?

Birthday Birthday Birthday!!!!

2008-10-26T16:14:00.004-04:00

IT'S MY BIRTHDAY IT'S MY BIRTHDAY IT'S MY BIRTHDAY!!!! =)

That's riiiight!!!!! Today is my birthdayyyyy! Not that I'm excited about it or anything...

I saw Lucia di Lammermoor with Diana Damrau last night with some of my friends to celebrate. I might actually be the first girl to ever have her birthday party at the Metropolitan Opera. Thank you, Peter Gelb!!! Hahaha.

I will have to talk about the epic-ness (aka beastliness) of Lucia another time, because I'm awfully busy right now!!!! Go Diana Damrau!!!! =)

Happy Listening!!! =) =)

Three of My Favorite Things!!!!!

2008-10-22T18:24:00.003-04:00

Tosca, James Bond, and Daniel Craig!!!

I Have Been Tagged

2008-10-21T19:49:00.003-04:00

I never thought I would get tagged, but there you go. Learn something new every day.

1. Link to your tagger and list these rules on your blog. Leah was my tagger.

2. Share 7 facts about yourself on your blog - some random, some weird.

3. Tag 7 people at the end of your post by leaving their names as well as links to their blog.

4. Let them know they have been tagged by leaving a comment on their blog.

5. If you don't have 7 blog friends, or if someone else already took dibs, then tag some unsuspecting strangers.

THE FACTS:

1. When I was in the fifth grade I got mad at my brothers and slammed the door to my room. My finger got caught in it, so I instinctively put it in my mouth to make it hurt less. It tasted really funny and when I looked at it my finger was covered in blood. Turns out some of the finger came off with the slammed door. We went to the hospital and all was okay. 10 stitches for my 10th birthday, which was a few weeks from then. Traumatizing? No. Weird? Yes.

2. While working at an internship near Union Square in the city, I had a bag of carrots that I didn't want for lunch. I passed a homeless man every day and I thought I would see if he wanted them. I gathered my courage, because I don't usually approach anyone, and I asked, "Excuse me, would you like these? I'm not going to have them." I was so proud of myself and I wanted to do something nice for him, but he said, "No. I don't want them." The weirdest part about the whole thing was that as I was walking away I heard the lady behind me say to the person she was with "Well, she just caught a druggie." Weird.

3. I used to play the viola. Then I switched to clarinet, and then to oboe. I quit the oboe when band wasn't a requirement in school anymore and it was after school instead. I had dance class, homework, and voice lessons. Something had to go. I slightly regret it. College applications are soon and oboes look pretty amazing.

4. I saw an Aida at the Arena di Verona last summer. It was the craziest thing I've ever witnessed. It started to rain, but then I channeled my inner Tosca, prayed to the Virgin Mary, and it stopped raining 15 minutes before the performance was supposed to start. Now we say in my family that God wanted me to see that performance.

5. I have only loved opera since February 2006. It's when my mom brought home the DVD of The Turandot Project from the local library. I didn't know what it was about, but Zubin Mehta came on the screen talking about how everything is about "color. You never see a gray dragon." Suddenly, the finale music starts playing and the most incredible production of Turandot ever (Florence) appears on the screen. I literally jumped onto the couch screaming "I KNOW THIS SONG. I KNOW THIS SONG. OH MY GOD I KNOW THIS." So this is love, mm-mm-mm-mm, so this is love...

6. Besides Opera, the loves of my life are: Ballet, Art, John Adams (c. 1776), British and Russian Literature, British History, and Broadway. Also, I'm an anglo-phile. It's pretty bad. I have a jar in my room that JOKINGLY says "Long Live the Queen." My friend and I both have one. We're saving up so that when the queen dies (far far from now) we can fly to London and mourn with the British people. We could possibly stay for the coronation, or however long it takes the princes to fall madly in love with us.

7. Here are some other random facts: My brothers and I have a game called "Random Sentence from Anna Karenina." I hated Der Rosenkavalier the first time I heard it. This blog has a binder that I bring to the opera house to write reviews in; it's sad I know, it's made so I don't forget any detail of the performance, so if you see a teenage girl walking around with a white binder or if you sit next to her, it's ME. I am a member of the Metropolitan Opera Guild. I am on the opera-l list service, but I'm a bona-fide lurker. I have 7 editions of Pride and Prejudice in my room alone, I don't even know why. I am in love with Venice, Italy. It was my mom's idea to make this blog. It is my mom's fault I love opera, so whenever she gets annoyed with the loud opera music I remind her it's her fault.

Now, 7 Bloggers Tagged:

1. Crazy Daisy, the only not classical music blog I read, which is sad. =) You should be proud.

2. ACB from The Concert. =)

3. The one who introduced me to Patricia Petibon and unleashed my love of Baroque opera, Sarah Noble.

4. Olivia from Orchestra Ring.

5. Gert from Gertsamtkunstwerk

6. ANY OTHER BLOGGERS WHO READ THIS

7. Please see above. I'm a young'un. I don't move in the higher circles of the opera-blogging world. If I ever found out that La Cieca or Opera Chic read this blog once I'd fall on the floor.
=)

Happy Listening!!! =)

Have a Question About the Atomic Bomb?

2008-10-15T18:33:00.002-04:00

Just ask Gerald Finley...
or Robert J. Oppenheimer.

If it's too much work to ask, just watch the Met's new Doctor Atomic trailer.

PLUS: Get ready for the Met Player, coming to a computer near you October 22nd.

Happy Listening!!! =)

And You Thought I Forgot...

2008-10-14T16:09:00.002-04:00

You know, Columbus Day weekend and all that...

The Two Geniuses of Italian Opera:

http://www.youtube.com/watch?v=9LEjLGf-dbo
http://www.youtube.com/watch?v=8A3zetSuYRg
http://www.youtube.com/watch?v=T0_UG2UnM7o
http://www.youtube.com/watch?v=r1zmUbthbr8

Happy Birthday Pavarotti!!!! (10.12)
Happy Birthday Verdi!!!!!! (10.10)

Happy Listening!!!!

Lucia Photo Gallery

2008-10-08T16:04:00.005-04:00

Congratulations to Diana Damrau on her debut as Lucia!!!!!! What a feat, and at the Metropolitan Opera House! Any worry was for nothing because the reviews were awesome! Raving reviews from the New York Times, Seattle Times, The New Yorker, and the Associated Press are proof that Diana Damrau is the soprano to watch out for. Not that she wasn't before, she was always a force to be reckoned with, but now it's over the top!

The Metropolitan Opera has documented this historic debut in the form of a photo gallery in which Ms. Damrau looks gorgeous (and frightening!!!) as Lucy Ashton.

I can't wait to see her (for my sweet sixteen!!!!!) at the end of the month as Lucia. I'm so excited! I'm taking a few friends to see her and show them the majesty that is Donizetti, Lucia, and Diana Damrau. Is it too much to hope that I can meet her after? Maybe she'll stop by Fiorello's for dinner after the show, like me! =) =) Nah, it's definitely too much to ask for.

Happy Listening!!!! =)
and Congrats to Ms. Damrau again!!!!! =)

From OverHeardInNewYork.com

2008-10-05T21:37:00.002-04:00

One of my favorite websites...

Who Needs a Television When You've Got the City?
(a soprano is singing an opera aria in her apartment on the 4th floor)
Random man on street (screaming up to the window): Girl, you're not even gonna sing the high note?! Sissy!
Soprano (screaming out the window): Everyone's a freaking critic!
--Inwood

This being New York, you can expect that I edited some of the language. I just thought it was a very comical situation.
Bringing opera to the public isn't as satisfying for the singers after all...
=)

Happy Listening!!! =)

Teddy and Isabel Sittin' in a Tree...

2008-10-02T18:42:00.003-04:00

To the dismay of many a sighing opera fans, barihunk Teddy Tahu Rhodes is planning to be married in New York City, where they will have their home, this December.

I'll give you some hints about who he's engaged to...

She's a mezzo.

She's up and coming.

She is on my cool mezzo list.

She was in Romeo et Juliette at the Met last season.

She is the only mezzo I could possibly stand giving Teddy up to.

That's right! It's my favorite up and coming singer and fellow New Yorker, Isabel Leonard!!!! I wish them the best. They are both so cute and I hope they have long and happy lives together.

Enter opera's next big opera love couple.

Happy Listening!!!!! =)

The Catfight

2008-10-02T18:00:00.002-04:00

http://www.metoperafamily.org/metopera/news/features/detail.aspx?id=5092

Deborah Voigt and Olga Borodina fight to the death for Enzo's love...
I mean, Gioconda and Laura fight to the death for Enzo's love...

Or is it really Debbie and Olga? Hm...... Watch the video and find out...

Happy Listening!!!! =)

September Birthdays

2008-10-01T18:46:00.003-04:00

In the fuss of Opening Night I neglected to mention some very prominent birthdays from last month (my goodness, October already?).

Cornell Macneil on 9/24. One of the greatest (and my favorite!) Verdi baritones. That's not even mentioning his off the charts Scarpia. He happens to be my favorite Scarpia also. Just because he was the first Scarpia I heard/saw (with Behrens and Domingo on VHS) doesn't mean I'm biased! Of course not! His act I curtain sets me off on a rant every time.

Alfredo Kraus on 9/24. Acclaimed as one of the great tenors of out times, Alfredo Kraus always guarantees a perfectly sung performance. Truth be told, I never had much exposure to Alfredo Kraus, but as I'm looking at his youtube clips now I'm realizing that he truly is a legend.

George Gershwin on 9/26. Gershwin and the livin' is easy. A legend in his own, and every, right. You can not say enough about this American genius! I can't even speak, I'm so amazed by him. Could we ask for anything more?

Richard Bonynge on 9/29. I can't have Bonynge clips without having Sutherland clips. They're a pair! The great operatic love couple! He's also a legendary conductor, in case you didn't know. Mr. Sutherland? Au contraire! Mr. Bonynge if you please.

Happy Listening!!!! =)

La Gioconda at the Met 9/27/08

2008-09-29T18:04:00.003-04:00

La Gioconda- Deborah Voigt
Laura- Olga Borodina
La Cieca- Ewa Podles
Enzo- Aquiles Machado
Barnaba- Jason Stearns ****
Alvise- Orlin Anastassov
Solo Dancers: Angel Corella and Letizia Giuliani

****replacing a sick Carlo Guelfi

Saturday was my first time seeing Deborah Voigt live and boy was I excited!!!! Despite the fact that I was dead tired and my dad could barely keep his eyes open it was a thrilling night!!! (Note: It was not the opera that made us sleepy!)

I was so pumped. Beyond excited. Here was a performance of an opera I had seen before, but not with as much knowledge as I have now. Two of my favorite singers, Olga Borodina and Deborah Voigt, and one of my favorite dancers, Angel Corella, all on one stage. It's almost too much!
Here's the low down:

I'll start with the men. Tenor Aquiles Machado was not my choice Enzo. Let's just put it that way, nicely. His "Cielo e mar" was, in my opinion, less than thrilling. He can hit the notes, just not in the nicest ways. Am I a spoiled opera-goer? Yes. Do I hide it? No. I want the best tenors all the time. =) His entrance was better than the rest of the night, which is weird. Usually it's the other way around.
The Alvise of Orlin Anastassov was so creepy. He went towards the curtain with the "dead" Laura behind it and I got chills up my spine! He sang very well, too. His Act III aria was evil and yet moving. That whole "I'm killing my wife, but only for the sake of family pride" works every time...but it never does (see also Un Ballo in Maschera).
Mr. Not-Peter-Gelb (you can tell I'm terrific with names) came in front of the curtain, to many boos and scoffs, before the performance to announce that baritone Carlo Guelfi (Barnaba) had a bad cold. Not catastrophic! At least Debbie Voigt doesn't have a throat infection! His cover, Jason Stearns, was a very very good baritone. Despite some severe rushing in the act II "Pescator" which caused him to be way ahead of the orchestra, he was quite amazing. His Barnaba was so evil he was almost Iago-like. In the act I "O Monumento" especially. He has a great future ahead of him I can tell, at the Met or not.

Now to the highly commendable ladies:
The best singers of the evening were by far the women.
Deborah Voigt was, in my humble and probably insignificant opinion, amazing! Granted, I have heard her better (ie. last year's Tristan, when she wasn't dying of consumption, etc.), but for the first time hearing her in the house it was fantastic. Might I add, if it's not too much, that she is looking stunning these days. Not that she needs to hear it from me, but she's gorgeous and is looking super healthy and what EVERYONE should aim to look like. I didn't even mind the brown wig so much. =) Back to her singing... Her "Enzo adorato, come t'aaammmooo" was really beautiful. A taaddd pinchy on the high, high note, but I, and I think a few other people, had to consciously stop myself from clapping. "Oh right, this isn't Zinka at the old house, just kidding!" The "Suicidio" was fantastic as well, of course!
Olga Borodina, an original member of the Cool Mezzo List, was amazing last night. I saw her two years ago in the same role and I can't decide which was better. She had a little trouble with the last note of her act II aria, but other than that her voice rang with beauty. She looked radiant as always and her booming voice magnifies her presence by 100%. That's adding to her already apparent stage presence. She's just a BEAST. She's amazing. I love her.
EWA PODLES! Where have you been all my life???? NEWEST MEMBER OF THE COOL MEZZO LIST. She got the longest ovation (of the singers) all night, and rightfully! She sang the heck out of La Cieca!!!!! Not to mention I seriously wondered whether she actually could see or not. She's perfect! Gorgeous voice and very natural acting. Legend.

I'd also like to say that I was not disappointed with any of the supporting roles. Namely David Crawford as Zuane, Tony Stevenson as Isepo, and Ricardo Lugo as a Monk. I was pleasantly surprised at the quality of singers the Met got for these roles. Bravi!

The dancers were heavenly. Letizia Giuliani is an Italian ballerina. She was absolutely stunning; her feet are beyond words! I have this thing about dancers' feet, maybe it's because I'm a dancer too, I don't know. She has amazing feet, her arches go up to her eyes! She danced beautifully and she was equally matched in her partner, Angel Corella. Star of the American Ballet Theatre, Angel Corella is, in my opinion, one of the best danseurs currently dancing in the world.

Side Note: The chandeliers looking glorious. They sparkle like nothing else I've ever seen. It looks like it's shooting out rainbows! I noticed chandeliers that I think I had never seen before. They were so bright and beautiful. One thing.... That wonderful affect we all love when the lights come down and they raise the chandeliers: it's gone. Gone. I don't know why, but I guess someone decided that the lights should go down and the chandeliers be brought up in darkness. An eerie effect for the opening cello solo of La Gioconda, but I hope it will not be continued!
I demand old-fashioned pre-curtain routines! I shall not stand for it!

Happy Listening!!! =)

La Gioconda Tonight!!!!

2008-09-27T10:43:00.003-04:00

I'm really excited. This was my first live opera ever when I saw it two years ago. It's like reliving that exciting day when I saw opera on the stage for the first time. What beautiful memories....

La Gioconda
by Amilcare Ponchielli
Gioconda- Deborah Voigt
Enzo- Aquiles Machado
Laura- Olga Borodina
La Cieca- Ewa Podles
Barnaba - Carlo Guelfi
Alvise- Orlin Anastassov

Happy Listening!!! =)

Divas Take Over New York, Bloomberg Jealous (Part II)

2008-09-25T17:31:00.005-04:00

Welcome to part two!!!! This was probably the worst week to have opening night (for me anyway) because all of a sudden I have all this school work and no time to do it! In the midst of all this I want to write this review and be done with it!!!!
Reminder: This part is about the actual performance.

RENEE FLEMING:
I noticed that since she did not have all of act one to warm up, she sounded a bit rough for the first few minutes of Traviata. By the time she was up to "Dite alla govine" and certainly by the aaamaaazing "Ah m'ami Alfredo" she was in tip top shape. Sopranos are noted for always wanting to dddrrraaagggg those bars out, but why not? Beautiful voice, beautiful music, impassioned situation. Who's complaining?!?! In Scene Two the "Alfredo, Alfredo" was, as she always does it, long and drawn out. If she has the breath capacity then I say go for it! It sounded stunning and she sang it sitting on the ground! That can't be easy.
Now, while Renee isn't exactly a coloratura expert, I think she handled Manon very very very nicely. She approached the bravura a little differently than most sopranos, to be sure, but I think it sounded fine. Okay, okay, yes I do prefer Beverly Sills, but Sills was the queen of Manons, so I have to give everyone else a break. The St. Sulpice scene was, in my opinion, a better scene for Renee. The "N'est ce plus ma main" was gorgeous and was sung with such feeling! The "pole dancing" on the prie dieu was not my favorite moment of the evening, but it added a bit of controversy (and adamant muttering in the movie theaters).
Capriccio was the real highlight of the evening. I feel bad for those who did not stay through to the end due to the lateness of the evening. This was my favorite and probably the best of the three acts for Ms. Fleming. This is said to be one of her favorite scenes in all of opera, and there's a reason for it. The metaphorical significance is obvious, and the music is enchanting. The soprano has a choice to move around and really use the stage or to stand in one place and sing to her "reflection." (Which I think is another metaphor. The soprano looks for herself in the audience. The reflection of herself comes from the audience, the spectators. Ah ha!) Renee chose the former course of action. She really moved around the stage and used the set. It wasn't exactly a chew-and-swallow kind of using the set, but she got around. Some awkward motions at the end almost (ALMOST) ruined it a tiny bit. However, her singing more than made up for it and the little laugh she gave at the end. Woof. It makes you want to know who she picked SO BADLY.
I have one more thing to say about Renee and the whole experience: BEAST.

Ramon Vargas:
The secondary, but very front and center (oxymoron?), star of the evening was Ramon Vargas. After a very beautiful, but cut, Alfredo in Traviata Ramon banged out a beautiful performance of Des Grieux in Manon. "O mio rimorso" is one of my favorite parts of Traviata and although I had this feeling that they were going to cut it I was still sad that they did. *Sigh* What we do for Renee.... Anyway, as usual Ramon Vargas knocked his roles out of the ball park. The Des Grieux (by the way, this was his first time singing it on stage!) was absolutely perfect! I loved the "Ah, fuyez!" even though he was gasped for breath during the applause. Everything was spot on. I'm always so happy when he comes on the stage. He has such an uplifting presence.

Thomas Hampson:
I never realized how well Thomas Hampson could play an old man. Now, while he would probably say "It's not really acting" or "Well, it's not that much of a stretch" (or other such jokes on himself) we also have to give him some real credit for looking so completely arthritis ridden during the Traviata. I bet that was hard. Shoulders all the way up, stiff movements, and he even shook his hands sometimes while he was singing to make himself look older. That takes some serious talent, and my gosh Thomas Hampson has enough talent to feed an army. His arias sounded great and his voice was, from what I know of his voice, in excellent shape. I also just loved the way he stood over Violetta at the very end of Act II like "Oh my gosh, I'm really sorry about what just happened, but don't expect me to give my son back!" and the way she looked at him. Ah! What a great moment! I know I've beat this into the ground, but I want to say it again: For a very good looking man he sure does play a mean old guy!

Robert Lloyd:
Well, Robert Lloyd. Older timer Robert Lloyd. What is there to say? Magnificent as always. I love the sound of his voice and the deep sonorous tones he produces. His acting is spot on, too. When he begins to mock clap for his "son" Des Grieux (not a realistic match visually...) you just sit there like "Ouch. That one's gotta hurt." He embodies the character perfectly. For the short period he was on stage he really stood out for me. Bravo!

All the conductors (James Levine, Marco Armiliato, Patrick Summers) were fabulous. One thing about Patrick Summers. I think he did the best job out of all of them, though I do adore James Levine. He conducted Capriccio so beautifully and so perfectly. It was wonderful.
The chorus is sounded so fantastic these days! I can hardly believe it! It seems like just a season ago I was complaining about the chorus women! Now look, I can't stop raving about them!
Orchestra. Nothing to say. Perfection. (Look perfection up in the dictionary. It says "per-fec-tion. noun. see Metropolitan Opera Orchestra")

I have one closing question for the world....
WILL EMI RELEASE THIS ON DVD?
I sincerely hope so. This is a historic opening night. Get on that one, Gelb. =)

Happy Listening!!!! =)
Happy 2008-2009 Season!!!!! =)

Divas Take Over New York, Bloomberg Jealous (Part I?)

2008-09-23T16:55:00.014-04:00

I think I may do this in two parts, one for the performance and one for the extra fluff. (Not that we don't love fluff) This first part is for, as Jane Austen puts it, the "all important nothings."

Quick little blip: We didn't have subtitles until "Pura siccome" which was slightly annoying, although I'm sure everyone in the movie theater knew at least the gist of what was happening. Also, for the first few seconds of Susan Graham's opening statement my theater didn't have sound. I was so worried that I accidentally let a little swear word pass my lips, followed by an ardent "Sorry!" We got sound after a few seconds and had no audio problems (or subtitle problems!) after that.

(I've heard that other theaters had the same problems, so it must have been the Met or the satellite, not the theater.)

Susan Graham was so adorable as the hostess! I think she did a wonderful job considering she problem didn't have much rehearsal or prep. I thought she looked stunning, but personally I think she's better as a brunette.

All the interviews went wonderfully. Christine Baranski and her daughter were funny and Nico Muhly was very articulate and cute! I'm looking forward to his new opera which is coming out "in the next million years" even though online stalking is not exactly my favorite topic. =) I always feel so artistic and intelligent when I see someone like Francesco Clementi speak. He's so informative and I feel like he knows so much. His portraits are so beautiful and I can't wait to get to the Met to see them. Diana Damrau looked beautiful, as usual. She's such a cutie and I can't wait to see her in Lucia, which she was very reluctant to talk about. Obviously she's very nervous???

I liked the montages of Renee Fleming's life story and the opening night designer costumes. The interview with the costume and wig designers had some fun little trivia in there, like all of the REAL jewels in Renee's jewelry for the evening. You heard some whispers as you saw in the background shoe boxes that said things like "Great Gastby, Upshaw" "Frittoli, Fiordiligi."

Deborah Voigt, looking very slim and healthy, really enjoyed her time in Times Square! I had to laugh at the faces she made at Paulo Szot (although he did deserve those fluttering eye-lashes). She's such a ham! Those few lines from "Some Enchanted Evening" were amazing, by the way. He got me! =) Debbie got some other cute interviews with the opera-goers, some of them unsuspecting spectators.

Intermissions:

I'm a tad miffed that in no way shape or form can Martha Stewart's "Grande Dame" cocktail be made "virgin." What like some underage kiddies don't want to drink an operatic cocktail? How about a Diva Daiquiri? That's easy to take the alcohol out of!

I find it amusing that Susan Graham suggested Mister Mayor Michael Bloomberg appear in an opera at the Met! He even said "I can't sing a note!" However, Susan's right he wouldn't have to say a word. That would be a funny cameo!

The guy who took Joe Clark's job (gosh I can't recall the job title or the new guy's name!) seems extremely competent. Everything ran smoothly and I wish him luck in this extremely difficult job!

THE GOWNS:

Hated the first Traviata gown. Renee can wear a dress, let me tell you, but this wouldn't look good on Grace Kelly. It's like they ripped apart an ugly sofa and made a dress out of it. The dress for scene II was SO MUCH BETTER. I thought it was beautiful. That red was gorgeous and I love the acres and acres of fabric!

I was not happy to notice that someone tampered with the Manon dress, aka attacked it with a Bedazzler. What was with the rhinestones? It looked almost like a copy of the dress in Vogue (seen above). Having said that, I did adore the cape for the St. Sulpice scene. I want it, I want to own it, I want to wear it. I love capes like that, I love them!!!!! The glorious Capriccio gown was my favorite. It was many people's favorite as well, from what I hear. That coat really made the dress, even though one lone feather stuck to La Fleming's back and irked me considerably. I almost (ALMOST) wanted Renee to wear the feather in her hair like in the above photo, but the at first horrifying bob wig grew on me and by the end of the act I didn't mind it very much. The only gowns that actually lived up to the Vogue hype were the Act II Scene II Traviata and the Capriccio. I would give A LOT to be able to wear those gowns just for a few minutes.

For What's The Sound of the World Out There? Those Opera Noises Pervading the Air.

2008-09-21T19:32:00.003-04:00

As if you couldn't tell, I am beyond excited for the spectacle that is Opening Night at the Metropolitan Opera. Although I will not be in the actual opera house, I will be diligently reporting from my local movie theater. I think it's almost cooler to be in the movie theater for this season's opening night. It's historical! History in the making! Don't you want to be a part of that? Plus, you get to see those gorgeous couture gowns up close! Maybe they'll even spray in some of "La Voce Renee Fleming" into the theaters. They could if they really wanted to. It's the Met! They can do anything!
I will be "mobile blogging" periodically (meaning at every pause or catastrophic event) and then maybe one mass review on Tuesday?

I'm so excited!!!!!!!!!!!!!

Happy Listening!!! =)

When In The Course Of Operatic Events it Becomes Necessary for One People to Dissolve the Bands That Disconnect Them From OPENING NIGHT!!!!!

2008-09-21T08:58:00.004-04:00

Smile...

2008-09-20T11:53:00.000-04:00

What Are You Going To Wear?

2008-09-19T20:19:00.002-04:00

Have you ever seen such a beauiful staircase?

2008-09-18T17:46:00.000-04:00

Give In To Temptation...

2008-09-17T17:43:00.000-04:00

Let Yourself Go...

2008-09-16T16:47:00.003-04:00

Are You Ready?

2008-09-15T19:43:00.002-04:00

2008-09-11T20:54:00.000-04:00

So As Not To Confuse The Allens...

2008-09-11T20:18:00.002-04:00

Since I have become SO bad at remembering to post on people's birthdays I sincerely apologize to all my readers and the singers who have their amazingness neglected. I'm very very sorry.

Yesterday was the birthday of one of my (I only say that because I have a "top two" for each vocal category) favorite baritones of all time, Sir Thomas Allen. This brilliant British baritone first "won my heart", so to speak, when I saw him on youtube singing the role of the Count in Le Nozze di Figaro. That caused me to buy the Solti recording and needless to say hilarity ensued. He has since then become one of my favorite Don Giovanni's, Onegin's, Count's, and, well, Count Danilo Danilowitsch's ever. He's just fabulous! A beautiful singer and an amazingly convincing actor.

I would also like the take this opportunity to touch lightly on the subject of Woody Allen's Gianni Schicci. For clarity's sake we will call Thomas Allen "Sir Thomas" and Woody Allen "Mr. Allen."
I was perfectly alright even a little excited that Woody Allen was going to direct an opera, especially a short comic opera like Schicci. However, I am not okay with any director, no matter how famous or cinematic, changing the ending of an opera. I'm not mad exactly, just a little irked. Sure, maybe it's funny, but that kind of defeats the whole comedy of Schicci just getting away with everything. I hear the rest of the opera was a riot, though, but maybe those were just my sources? I wish Mr. Allen good luck on his other operatic endeavors, should he choose to pursue any. I have no doubt that Sir Thomas was an utterly enchanting Gianni Schicci. With his comic timing there's no question that he owned the part of the great schemer.
I just want to make a point that I don't care if you are Steven Spielberg! You don't have Scarpia whisk Tosca off her feet at the last minute or Carmen and Don Jose get married! It's not right. Respect the opera. Respect the composer.

Happy Listening!!!! =)

A Tribute to Antonin Dvorak and Karita Mattila...

2008-09-08T17:53:00.005-04:00

...Both of whom have a birthday this week. Karita Mattila's birthday was on Sunday, and Dvorak's is today. I thought this would be an appropriate tribute...

How gorgeous is that music? How gorgeous is she?
Happy Birthday!!!!! =)

Happy Listening!!! =)

Congratulations, Schrebko!!!!!!!!!

2008-09-06T10:22:00.002-04:00

We already knew, but... IT'S A BOY!!!!!!

Erwin Schrott and Anna Netrebko's long awaited baby arrived on Friday in Vienna, Austria. He weighs 7 pounds and thirteen ounces and his name is Tiago Arua Schrott.
I've heard a couple of things about the baby's name. La Cieca said Tiago is the Portugese form of "Santiago," but someone on opera-l said that Tiago and Arua are Guarani words for Treasure and Handsome. Maybe Schrebko will make a statement about the "Schrott tot"''s tongue-twister name.

Best wishes to Mommy, Daddy, and Baby!!!!!!!!

Happy Listening!!! =)

A Message From Peter Gelb, And A Message To Peter Gelb

2008-08-31T11:54:00.005-04:00

On August 22nd I received the following email from the Metropolitan Opera. It was followed by a hard copy sent by mail of the same letter.

"Dear Subscriber:
Monday, August 11, was a frustrating day for opera lovers who came to the box office for the first day of our priority period for subscribers and patrons. We should have done a better job communicating new information about the more limited availability of tickets for exchange. Because you and our other subscribers are a vital part of the company, I would like to apologize for the inconvenience this caused.
Four seasons ago, the Met introduced instant ticket exchanges, an unusual measure begun at a time when subscriptions were faltering and ticket sales declining. Now that the company is beginning to thrive again at the box office, such a policy is difficult to sustain. Since we want our subscribers to be happy, some exchanges continue to be available. We've also added the opportunity for subscribers and patrons to buy single tickets before the general public.
I am proud that the Met is doing more for opera lovers than ever before—including numerous free public events, a rush–ticket program, more new productions, and our transmissions into movie theaters, on public television, and on the radio.
I appreciate that many of you have taken the time to share your thoughts, and I regret the confusion that took place on August 11. We are working to make sure that next season things will run much more smoothly and are very grateful for your loyalty and passionate interest in the Met.
Thank you.

Sincerely,
Peter Gelb
General Manager"

I was not at the Met on this apparently very "frustrating day." I'm glad I wasn't there, from what I hear it was an absolute nightmare!

However, I didn't post this letter to complain about the situation on August 11th. I'm posting this letter in response to the new ticket exchange program for subscribers.
I was so grateful to have an exchange program like the Met's. It made everything easy and I got to see every opera that I could possibly want! I didn't want to see War and Peace? That's fine, I can see La Traviata instead! (hypothetical) It was also great for new subscribers, or people new to opera. They (probably) have no idea the importance of Eugene Onegin, but they know all about La Boheme! So they can see that instead. It was a wonderful process, but it was changed this season.
This season there is an exchange fee and you can't exchange your tickets online. You must exchange by mail or in person at the box office. I guess the free online exchange

I did some research and here's what I came up with :
(these are just the opera houses I researched, other opera houses may have different policies

Opera Houses Without Exchange Programs
Teatro La Fenice
Teatro Alla Scala
Teatro Real
Glyndebourne
Mariinsky Theatre

Opera Houses With Exchange Fees
Lyric Opera of Chicago
Royal Opera House

Opera Houses With Free Ticket Exchange
Washington National Opera (first two exchanges are free)
Gran Teatro del Liceu

Note: None of these opera houses let you exchange online.

I guess we're lucky to have an exchange program at all, but let's face it those opera houses don't have the assortment of operas to choose from like the Met does. At the Met you don't get all the operas in one subscription, you get 6-8 out of 24 operas. So, isn't the Met a special case?
I could just be an annoying whiner, but I'm sure other people share my views.
Thanks for listening to my ramblings.

Happy Listening!!! =)

Domingo Replacing Alvarez in "Adriana Lecouvreur"

2008-08-20T12:37:00.004-04:00

Crisis resolved. TBA deleted. Domingo is a superhero.
Not only does Placido Domigo get a gala in his honor, but the Met is also "letting him" (not exactly) jump into the role of Maurizio after not singing it there for 25 years! It was the role he debuted at the Met in (with Tebaldi) and he only performed it at the Met once more in 1983.
Marcelo Alvarez, as we all know, has to replace Salvatore Licitra in Trovatore and can not perform in any of the six performances of Adriana.
Well.... Let's just say Adriana ticket holders aren't complaining. I'm sure Maria Guleghina (the leading lady) isn't either.

Domingo! To the Rescue!

Happy Listening!!! =)

The Inevitable- Cancellations

2008-08-14T18:48:00.004-04:00

Cancellation numero uno:

Anna Netrebko underestimated the time she would need with her new baby before returning to the stage. As a result, she has cancelled her scheduled performances of Mimi at the Met. Maija Kovalevska is going to replace the Trebster in those performances. However, La Trebs will still be singing her scheduled Lucia's at the Met.

Cancellation numero deux/trois:

Despite the amazing advertisements and super cool pictures, Salvatore Licitra will not be singing Manrico in the Met's brand new Trovatore. Marcelo Alvarez will be this season's Manrico (the run starts February 16th). This means that Alvarez will have to cancel Adriana Lecouvreur, but never fear! TBA is here! Old reliable "to be announced" has replaced Marcelo Alvarez as Maurizio until further notice.

Happy Listening!!! =)

How Will YOU Find Your Way To The Box Office?

2008-08-13T20:52:00.003-04:00

Did anyone else see the humor in the Met's new link on their website: "Lincoln Center Construction: How to Find the Box Office"? You can look at it and say "Oh look, they're being so helpful!" Or you can look at it and laugh and say "Haha! Look at them taking a jab at the people who thought up this construction!"
Does Lincoln Center really need all those improvements at once? It definitely ruins the overall awe-inspiring affect of the plaza. Not only for the many tourists who go there daily, but for the veteran Lincoln Center goers. I personally don't like seeing my (yes "my") fountain and plaza torn apart. Not all at once, anyway. Do the front of the Lincoln Center Theater after the plaza is done, or vice versa!
Plus, the idea of not having it in tip-top shape for Renee's Big Opening Night is frustrating to say the least.

So how will YOU get to the Met Box Office?

On West 62nd Street, between Columbus and Amsterdam Avenues, through the underpass/garage,
On West 65th Street, between Broadway and Amsterdam Avenue, through the underpass by the Vivian Beaumont Theater stage door,
OR from Columbus Avenue, via the lobby of Avery Fisher Hall

You decide.

Happy Listening!!! =)

PS. Michael Phelps is a god.

Divas in Beijing

2008-08-08T10:59:00.002-04:00

In follow up of my post about my concern for the health of the opera singers currently in Beijing I've been wondering if any of you have been wondering whether any of us here on the Western Hemisphere will ever hear any of these concerts. I know that I always like to see concerts from around the world, i.e. Proms, etc., so I was excited to hear today that the "Divas in Beijing" concerts will be filmed. They are hoping to broadcast them in November or December of this year. See the Divas in Beijing website for more details on the schedule of releases!

It's fair to say that I am still extremely worried about the well-being of all singers/athletes involved. I'll admit that I hope the opening ceremonies are good. I always love watching those. Hopefully they all won't have to wear oxygen masks!!!

Happy Listening!!! =)

Opera's Biggest Stars Singing Through the Smog in Beijing

2008-08-02T14:13:00.002-04:00

The "Divas in Beijing" concert, which is apparently one of the highlights of the "Meet in Beijing 2008 Olympic Arts Festival", will feature our most treasured opera stars. This includes, of course, Renee Fleming, Angela Gheorghiu, Dmitri Hvorostovky, Marcello Giordani, and others.
Angela Gheorghiu will start the string of concerts on August 7th, the day before the Olympics officially start. She will be accompanied by the China National Symphony Orchestra under Maestro Emmanuel Villaume. All the concerts will be at the Great Hall of the People in Beijing.

As cool as this may sound right now, this could have some serious effects on the singers. I'm very worried about all the singers (the athletes, too, of course) going through the smog in Beijing and the terrible pollution all around that area. I'm especially worried (as we surely all are) about Renee. It would be dreadful if the conditions should threaten her voice for the big Renee Opening Night Gala at the Met. (=]) It's a potentially disastrous situation for all the singers, but the Met (I'm sorry-- the Renee) Opening Night can't be spoiled because of the Olympics. Pardon my saying so, but Rondine, Trovatore, and La Damnation de Faust can't all be robbed of their lead singers because of a little smog and pollution!
In all seriousness, I'm concerned for the health (and vocal longevity) of all of the singers participating. (Once again, I'm concerned for the athletes as well.) At least they will be inside for the concerts, but I hope they don't breath in too many harmful fumes. I don't want anything terrible to happen just before, or during, what promises to be an exciting season in many opera houses around the world.

Happy Listening!!! =)

Snap Back to Reality ("The Little Mermaid" and James Levine... Not Related)

2008-07-27T10:44:00.004-04:00

I was officially snapped back to reality yesterday. My family and I saw "The Little Mermaid" on Broadway and it said to my mind "Yes, you are officially not in Saratoga Springs anymore." In other words "Yes, you are officially back in (arguably) the arts capital of the world."

Well, here's the scoop on "Little Mermaid" and Francesca Zambello.
I could tell right away that she was an opera director. All the sets were huge, too big for that stage. They looked made for an opera house (heaven forbid) and part of the time it looked like people were ducking and moving out of the way. Okay, I'm exaggerating a tad, but the sets were big and bulky. Other than that, I didn't have a real problem with them. I liked the scary little bubble Ursula traveled around in and the all purpose rotating chandelier that is the sun one minute, a giant chandelier the next and everything in between!
My favorite character: Ursula. Why is it that I always love the villains? I'm destined to be the first female baritone. All villains all the time.

Here's the scoop on James Levine.
I was really upset when I heard that Maestro Levine was to have surgery. I'm really sorry I didn't post about it. You know, SPAC and all that. He had surgery to remove what turned out to be a malignant tumor in his kidney. His brother says that the surgery was successful and curative. The tumor does not appear to have spread and the maestro will continue to recover at home. Get well soon!!!! Don't worry, he'll be ready by the Met opening night!! =)

Happy Listening!! =)

Guess Who's Back, Back Again.

2008-07-21T12:53:00.005-04:00

That's right! I'm home from my four weeks of pure balletic bliss! I have so many stories to tell and so much to catch up with. I'm still getting back into the groove so excuse any neglect.
I would just like to announce to the world that I have performed a Balanchine ballet. That's all. Highlight of my summer. =)
I am happy to be home and I'll have more operatic adventures to report shortly! I promise!

Happy Listening!! =)

Busy Busy Busy

2008-07-13T14:11:00.004-04:00

I haven't written in almost ten days! Don't sue me, I've just been so busy! Almost every day this week I've gone with my ballet intensive to SPAC to see the New York City Ballet (with some of our teachers!!!) perform works by Jerome Robbins and, of course, Balanchine. So far we have seen, by Jerome Robbins (on opening night!): Glass Pieces, Afternoon of a Faun, Interplay, and I'm Old Fashioned. I loved them all a lot, but my favorite of the Robbins that nightwas Glass Pieces. Something about the constant motion in Glass really moved me.
The second night we went the program was all Balanchine: Le Tombeau de Couperin, Tschaikovsky Pas de Deux, La Sonnambula, and Symphony in C. It is hard to choose a favorite in this group, but I did enjoy La Sonnambula. In the operatic thread, it featured music from Bellini's La Sonnambula and (to my shock and amusement) "Son vergin" from I Puritani.
We went to the matinee on Saturday and saw (again all Balanchine) Mozartiana, Prodigal Son, and Symphony in C again.
We saw Daniel Ulbricht in Interplay, Mozartiana, and Prodigal Son. Let's just say that every young ballerina is in love with Daniel. To take his ballet class is heaven on earth for all of us. I've had class with him twice and spoke to him backstage after Prodigal, which is his signature role. He's so nice and very good about signing every one's playbills. The moment in Prodigal when Daniel drags himself onto the stage on his knees is so earth shaking. His energy is so intense and I got goosebumps. I will never forget the moment he came on the stage on his knees with made up blood on his legs and looking exhausted. I almost cried.
A major highlight was Ashley Bouder in Tscaikovsky Pas de Deux. She is always amazing, but she flew around the stage like an animal! Her solo variation had us on the edge of our seats! Not to mention her literally diving into a fishdive in her partners arms. The entire audience gasped and I think someone suppressed a scream (maybe that was me?). She is probably the most amazing dancer I've ever had the pleasure to be taught by. When she's on stage she's all you see. Her jumps go ten feet in the air. Her extensions are gorgeous. Not to mention her unbeatable strength! She turns for days and she makes it look so easy!
We saw Symphony in C twice, which was really great for me. I've always loved it, even since I saw it when I was younger. It is for me the epitome of classical ballet. Even though I've seen Swan Lake and The Nutcracker and all that Symphony always meant classical ballet. The white tutus and the different movements just screamed "classic!" The first time we saw it at SPAC the first movement was danced by Abi Stafford and Jonathon Stafford, the second by Wendy Whelan and Charles Askegard, the third by Sterling Hyltin and Joaquin de Luz, and the fourth by Tiler Peck and Sean Suozzi. My favorite movement is probably the fourth movement and the finale. It's so fun and (not to brag but...) I can do some of the turning sequences that the women do. They're hard and I probably look like a fool, but I can do them!!! The second time we saw it the first movement was danced by Ana Sophia Scheller and Jared Angle, the second by Sara Mearns and Stephen Hanna, the third by Sterling Hyltin again and Antonia Carmena, and the fourth by Tiler Peck again and Tyler Angle. One thing I have to say is that every time I've seen Wendy Whelan so far this SPAC season, her pirouettes are really off. We all have our off days, but I'm just concerned. I do love Wendy, though.

After each "act" the entire intensive goes to the stage door and waits for the dancers. Most of them are really nice and will sign autographs, but I feel bad because there's always so many people. So far here are the dancers I've seen backstage: Yvonne Borree, Ashley Bouder (also a teacher), Daniel Ulbricht (teacher, too!), Andrew Veyette, Jason Fowler (he taught us), Ask la Cour, Amar Ramasar, Devin Alberda, Kyle Froman, Pauline Golbin, and Jacob Prottas. I've also seen Sean Lavery, Peter Martins, Adam Hendrickson, and a few others who I didn't stop for autographs.
For anyone who knows who this is, I took class a few times with Patricia Wilde who was with NYCB for a while and then went to Pittsburgh to run their company. She's a legend and we all love her. She's so nice and she signed my NYCB face-book and everything.
I've also been in the same room as Jock Soto, but that's a story for another time. =)

Happy Listening!!! =)
PS. I'll be back with more operatic adventures soon!!!

Happy Independence Day!

2008-07-04T14:09:00.004-04:00

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness. That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed...

We the people of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promoted by the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.

On this beautiful (at least it is here) Fourth of July I wish to express my patriotism. I have an intense pride in my country and especially for those who defend it. I would like to now that all the servicemen and women, abroad or not, for keeping us safe and working for peace. I would also like to extent my condolences to the families of those service personnel who have died. I say thank you to the families of those members of the armed forces for having such a brave and caring person in their family. Not many people are as courageous and loving (both to others and their country) as our soldiers.

Happy Fourth!!!!

Happy Listening!! =)

Sadness to Joy

2008-07-03T16:44:00.004-04:00

Yesterday marked the one year anniversary of Beverly Sills' death. I'm not keeping track of the days here at camp, but someone said to me yesterday, "It's July 2nd, isn't it?" and I said, "Yes, I think it is... oh..." It didn't ruin the rest of the day for me, but I thought about it a lot. The song we tendued to was "O luce di quest'anima." Not only was I the only person in the room who knew that song, but I was the only one who had a reason to sigh for it. In tribute I've been listening to my Beverly Sills playlist yesterday, and today too because I miss listening to it.

As downtrodden as I was yesterday is how ecstatic I was today!!! Not only am I at the most fun ballet camp ever, it also has some of the greatest guest faculty a little ballerina can ask for! Today I had not one, but two teachers who just happen to be principal dancers with the New York City Ballet. This is no small deal. This is one big deal. In opera terms, it's like walking to your voice lesson and Rolando Villazon is standing there. "Hello, I'll be teaching you today." You collapse and faint, right? Well, I almost did. It was one great day. I'll remember it forever.

Happy Listening!!! =)

Met Futures

2008-06-29T12:16:00.003-04:00

One of my favorite blogs, Sieglinde's Diaries, is back in business and I have some very exciting news! =)
The Met Futures Page has been around for about 8 years and it is so much fun to have. You can see when new productions are coming, who is singing what and when! It has been very helpful to me in the past. So Sieglinde has been asked to join Bradley Wilbur in maintaining the Met Futures Page.
There are so many amazing things in store for the Met. As unpredictable as the Gelb Era is, I hope that these productions stay mostly as they are. Hopefully there won't be any drastic changes to these exciting seasons.

There are a few things that alarmed me slightly. One major new production is the new Luc Bondy Tosca that will premiere opening night of the 2009-2010 season. I've only seen that Zefferelli Tosca once and I'm not sure I want to give it up yet.
In the 2010-2011 season there will be a new La Traviata for the Met. It's the Salzburg production, directed by Willy Decker. Having never seen the Zefferelli and having seen clips of the Salzburg production, I'm hesitant about this new production.
Those are the only changes that really caught my not-so-positive attention. The rest of the lists look fantastic and it makes me long for the future seasons to come!
However, let's hope the 2008-2009 season doesn't go by too fast. We don't want to breeze through this incredible new season!!!!

Happy Listening!!! =)

Heard Today In the Ballet Studio... (And One Big "In Other News")

2008-06-26T16:58:00.004-04:00

A continuation of the different opera arias/scenes I hear played on the pianos in our beautiful dance studios.
Today:

"Quando M'en Vo" from... well we all know. It was bound to come up eventually.
What I call the "Gypsy Chorus" from Act III of La Traviata. When the ladies (usually with tambourines) come out at Flora's party. We used this for frappes.

IN OTHER NEWS:
ROBERTO ALAGNA IS GOING BACK TO LA SCALA.
Big news. I was kind of shocked, but not at the same time. I figured that eventually they would rehire him because he's such a star, but I thought they would punish him a tad bit longer.
He is going to appear in Carmen and Simon Boccanegra alongside Placido Domingo.
Alagna is forgiven. Let's just hope that either the loggionisti keep their mouths shut, or Roberto learns to suck it up.

Happy Listening!!! =)

Ballet Boot Camp Part II

2008-06-25T19:28:00.003-04:00

Well, I'm not sure how much I will post in the next few weeks, but I'll do the best I can. Most of my day is made up of jetes and pirouettes, so I might be too tired some nights or I might just not have time! Sorry!
Anyway here are some of the arias I've heard used as ballet music for the barre and center work:

"Merci, jeunes amies" from Verdi's I Vespri Siciliani
"O luce di quest'anima" from Donizetti's Linda di Chamounix
"Non piu mesta" from Rossini's Cenerentola
That song from H.M.S. Pinafore that goes "I am the captain of the Pinafore (and a right good captain, too...)" I'm not sure if that's what it's called, though.

I'll be sure to update because everyday I hear at least one opera aria. It makes me very happy because most/all of the girls don't realize that they're listening to masterpieces of the some of the world's greatest composers.

Happy Listening!!! =)

PS. Speaking of Cenerentola.... here's a clip that I love...

Ballet Boot Camp

2008-06-22T09:27:00.003-04:00

Today, after my end of the year performance at my dance school (wish us luck!) I'll be off to "ballet boot camp" (it's not actually called that, it's just what I've dubbed it) for four weeks. They're allowing us to bring our computers, which was very exciting for me, but I'm not sure how often I will be posting. I will post as often as possible, but we'll see what happens.

I've already forgotten one person's birthday. On Friday it was Jacques Offenbach's birthday. By far my favorite aria of his is the Doll Song from Les Contes d'Hoffmann. (PS. check out that high A flat on Dessay's clip!!)

I'll leave you with a clip I found a while ago and posted about, but I can't get it out of my head. Please enjoy!!!!
I will post as soon as I am able!!!!!

Until then,
Happy Listening!! =)

The Opera Exam: Dellaaaaa Triviata (Answers for Part II)

2008-06-19T20:26:00.003-04:00

Opera Trivia!!!!!!!

I told you this one was way easier. Josiah got them all right. Yayy!!! Butttttt, it wasn't in five paragraphs... Just kidding! =)

1. Giuseppe di Stefano

2. Marcello, Colline, Schaunard

3. Humperdinck's Hansel und Gretel

4. Amina

5. Donna Elvira

Now that I know you can do it, I'm going to make them a little harder. Stay tuned for more from... THE OPERA EXAM!!!!!!!

Happy Listening!!! =)

PS. I had my last regents today. YAY!!!!! Summer is finally here!!!!!

PPS. I completely missed Eva Marton's birthday yesterday. She is one of my favorites, too. Sorry Eva!!!!!!

Salut, Gounod Chaste et Pure...

2008-06-18T18:05:00.003-04:00

Gounod's birthday was actually yesterday, but in my regents frenzy I neglected to do a tribute post.

The man who brought us Faust, Romeo et Juliette, and that fabulous no-not-the-one-that-everyone-knows "Ave Maria" celebrated his 190th birthday yesterday.
I find it interesting that Richard Wagner refused to listen to Faust. I never really understood why, because that music is just so beautiful. "Salut, demeure chaste et pure" with the high C just makes me sigh every time. And how about that baritone aria! That's not too shabby either!!! Note to world: In every good opera there's a great baritone.
Romeo et Juliette which was at the Met this season is a beautifully tragic opera, but it's only to be expected (it's Romeo and Juliet!!). My favorite aria has to be Juliette's Waltz "Je veux vivre." I find it quite amazing. Some of my other favorite's are the tenor aria just before the balcony scene and Stephano's "Que fais-tu, blanche tourterelle?"

Well, thank you Gounod for all the beautiful music and enjoyment you have given us.

Happy Birthday!! =)

Happy Listening!! =)

The Opera Exam: Dellaaaaa Triviata!!! Part II

2008-06-16T16:51:00.005-04:00

Opera Trivia!!!!!!!!!!!! Part II

I'll try to make it a little simpler this time...

So as if the SAT II's weren't enough, tomorrow through Thursday I have the New York State Regents. To take a break from studying I decided to keep you all on your toes and shoot out a few more opera related questions. I demand a seven paragraph DBQ essay for each question. Got that? I need sources, too, don't forget. Oh yes, and do it all in three hours.

1) With whom did Maria Callas make a concert tour in 1973 and 1974, the last public appearances of her career?

2) Name Rodolfo's three roommates in Puccini's La Boheme?

3) The first nationwide broadcast from the Metropolitan Opera took place on December 25, 1931. Name the opera. (Hint: It's on the Met Calendar if you have one...or maybe I'm the only one...)

4) What is the name of the title character in Bellini's La Sonnambula?

5) To whom does Leporello read his catalogue of Don Giovanni's conquests?

Okay, were those easy enough? So get back to me with your [seven paragraph] answers. Maybe next time they'll be a little harder. =)

Happy Listening!! =)

The Opera Exam: Dellaaaa Triviata (Answers to Part I)

2008-06-13T21:51:00.003-04:00

As today concludes the first week of finals (for me at least) I will give the answers to the rather difficult Part One of The Opera Exam.

1) Scott Joplin was the composer of A Guest of Honor.

2) Gluck, Mozart, Verdi, Wagner, Gounod, and Beethoven were the six composers whose names appeared above the stage of the Old Met.

3) Gounod's Faust was the opera Richard Wagner refused to listen to.

4) Armand Castelmary was the first person (of a surprising number) to die on the stage of the Met. He died during a performance of Martha in 1897.

5) Alessandro Stradella was a 17th century composer who was also the title character of an opera by Friedrich von Flotow.

Those were tough, I'll give you that. I'll try not to be so hard next time. I'll get questions up either tomorrow or Sunday.
Until then...

Happy Listening!! =)

Gustavo Dudamel: Classical Music's Hair God

2008-06-12T13:34:00.005-04:00

[In collaboration with Olivia of Orchestra Ring]

Here is a tribute to the wonderful, fabulous, intense, and dancing (??) conductor prodigy with hair that rocks the house down!!!!! Like Olivia says, he looks like a hair commercial.

He has such an intense conducting style. I've really never seen anything like it. You would think by the way he moves on the podium that the music is FORTISSIMO the entire time. It really shows how into the music he is, which I think is fabulous. He really becomes a part of the music and after seeing him you can't question the importance of the role of the conductor. (Trust me, some people are convinced orchestras don't need one. Psh.)

(Can't you just see it? "Garnier Fructis....")

He has this special way of communicating with an orchestra. He never says "Do it this way", but says "Let's do this." In other words, it's not HIS way, it's OUR (the orchestras and his) way. The work as a team, or as a family. He refers to the orchestra as "my best friends, my brothers and sisters." Aw!

Gutavo Dudamel is currently the principal conductor for Sweden's Gothenburg Symphony, as well as the music director of the Simon Bolivar Youth Orchestra of Venezuela. In 2009 he will become the music director of the Los Angeles Philharmonic. Dudamel performed for the pope in honor of His Holiness's 80th birthday in April. He was seen this season at the Metropolitan Opera conducting "Hansel and Gretel" and I really hope he comes back soon. Note to self: Opera glasses on Dudamel at all times.

I happily await a Loreal, Garnier Fructis, or Pantene commercial featuring Maestro Dudamel. Wouldn't he be perfect? *sigh* He IS perfect. Hmm, is someone developing a crush? Well, sorry everybody he's married *shrugs* to the beautiful Eloísa Maturén, who he married in 2006. (Ooohhh so close!) Why is it that I always have to mention people's personal lives...

Thus concludes my joyous tribute to the mastery of Gustavo Dudamel. May his conducting majesty reign over us for many years to come.

Happy Listening!! =)

(Thanks, Olivia!!!!!!!!!!!!)

From Empress to Countess, Egypt to Don Juan: My Favorite German Composer, Strauss!!!!!

2008-06-11T11:41:00.004-04:00

Today is the birthday of the all-powerful Richard Strauss. I celebrated by watching Der Rosenkavalier (with Kiri te Kanawa, Anne Howells, and Barbara Bonney) and it reminded me of how much I absolutely adore the final trio. From the moment the Marschallin says "I promised myself that I would bear this calmly" (loose translation, I don't speak German) I had tears coming down my cheeks. It's heart wrenching!
Oh and how about that "Presentation of the Rose"???? Talk about some of the most beautiful music written in the stratosphere of the soprano/mezzo soprano range! It's tough to sing along to, let me tell you... But, oh, is it beautiful!!!!
"Di Rigori Armato" is also a gorrrrgeous tenor aria from the first act of Rosenkavalier. I love it most, of course, when the great Pavarotti sings it. =)

Another marvelous Strauss opera is Capriccio. A "one act wonder" that some people steer away from because, seemingly, it has no plot. Indeed, it has a plot and a very profound one! Music or words, which is more important? The best part of it is.... you never really find out. =) Tricky, tricky, Strauss!!!! Undoubtedly the most miraculous part of this opera is the final scene.

Some other Strauss wonders are Die Agyptische Helena, Don Juan, The Four Last Songs, and so many other things you must discover for yourself. Strauss is a force of nature!

Happy Birthday, Richard Strauss!!!

Happy Listening!! =)

The Opera Exam: Dellaaaa TRIVIATA

2008-06-08T16:38:00.004-04:00

OPERA TRIVIA!!!!!!!!!!!!!!!!!!!!!!!!!!

(Part ONE, of many)

As final exams are approaching at lightning speed I took a little time out of my studying (which was probably not a good idea) to find out what a final exam in an opera class would be like. I'm not talking "Introduction to Opera" in colleges or anything like that, I'm talking "I Go to the Opera At Least Three Times a Season and I Know Every Singer in The 'Golden Age'" opera exam.

Questions Courtesy of "Triviata: The Opera Trivia Game" (I'm not kidding)

1) Name the composer of the opera A Guest of Honor, which premiered in New York in 1903.

2) Name the six composers whose names appeared above the stage of the Old Met after the remodeling in 1903.

3) What major opera did Richard Wagner refuse to listen to?

4) Who was the first singer to die on the stage of the Met? During what performance?

5) What 17th century Italian composer is the title character of an opera by Friedrich von Flotow?

Answers will come in the next "Opera Exam" post. These posts will last (at least) until the end of finals.
Good luck!!!

Coming Soon: A Tribute to Dudamel. (get excited)

Happy Listening!!! =)

Tomorrow: The SAT II's, The Next Day: The World

2008-06-06T16:18:00.003-04:00

Tomorrow are the SAT II's (aka every students nightmare) which are some of the hardest tests I/we will ever take in my/our life/lives. I've decided (psh) to take the Global History and the Chemistry exams...The chem was probably a mistake, but we'll see what happens!!!!!!
I'm about to go study for a billion hours, so I'm not allowed to post anything super significant until they are done and I've recovered (give it a day or two).
I promise I'll be back with some great things ie. Dudamel Tribute, Opera Exam, etc. (I mentioned those before, I think.)

Until then...
Happy Listening!!! =)

PS. Wish me luck!!!!!

Jan Peerce, Cecilia Bartoli, and Robert Merrill

2008-06-04T17:10:00.004-04:00

These three super spectacular (and beastly famous) singers celebrate their birthdays this week!!!!!! Cecilia and Robert Merrill have their birthdays today, and Jan Peerce had his yesterday.

So, I go to look for Jan Peerce on youtube, and all I seem to find are songs I've never heard of. I see "If Ever I Should Leave You" and songs of that sort, but hardly any operatic arias. (Don't get me wrong, that "If Ever" is gorgeous!!!!) I come across a certain, obscure aria called *cough* "Vesti La Giubba." I also saw "Salut! Demeure chaste e pure", "Scenes from La Traviata", and the "Rigoletto Quartet". I was reminded of what a rare and wonderful voice Jan Peerce possessed. What a guy, what a guy.
To make a nice transition.... Here's a clip of Jan Peerce and Robert Merrill together!!!
Robert Merrill... How to begin to describe this unbelievable singer? Well he's funny, touching, lovable, heartbreaking, and so many other things. I have to say, I have the Traviata with him (and Joan Sutherland) and I must say I don't think I've ever heard such a beautiful baritone. You just sit there and marvel at the greatness of this one man. I can't get over it! He's just amazing.

Cecilia Bartoli- Owner of the famous "Cecilia faces." Isn't that why we love her? Well... that's not the only reason! Maybe because she is a fierce singer who can throw off coloratura like nobody's business. Her lovely mezzo has everything we look for in our "COOLEST MEZZO'S EVER." (Cecilia is, needless to say, on that list.) I grew up with her "Se Tu M'ami" album. I've heard "Caro Mio Ben" no one knows how many times. Am I complaining? No.

Happy Birthday to our birthday singers!!!!

Happy Listening!!! =)

Coming Soon:
A Tribute to Gustavo Dudamel (you know... the guy with the hair)
The Opera Exam (part one of many)

Flicka!!!!!!!!! (with some "Tristan" notes)

2008-06-01T16:57:00.003-04:00

First off: Happy first day of June! One step closer to summer!

Second: Happy Birthday, Frederica von Stade, an original member of my "Coolest Mezzo's Ever" list.
Flicka (her loving nickname) is one of the most adorable Cherubinos, Octavians, Hansels, (to get out of the pants roles) Angelinas, Rosinas, Rusalkas (?), or mezzos ever! I look up to her so much and she's just a delightful singer! She's funny, gorgeous, and has a voice like gold. Did I mention that she's gorgeous? I love her! She's a fabulous actress also, and she's adorable!

Third: How many saw the Tristan und Isolde on PBS?? *searches crowd for hands*
Cool! Well, I watched it too! Although you all know that Wagner is not my fach, I really enjoyed the telecast! Deborah Voigt is the best, she was just amazing. The tenor was really great as well, considering the "last minute" circumstances of the performance. I have no complaints about any of the singers...
But what was with the split screen?!?!?!?!?! I didn't get it. The screen got smaller and I sometimes couldn't see what was happening! I won't go on about it...
Susan Graham was a delightful host, although I found her a little stiff (nerves?). She was very cute, even when Jimmy Levine was stroking her neck ("vocal cords"). That got a little weird. But he's a genius (they're both geniuses), what can you do?
Amazing telecast!!!!!! Go Debbie Voigt!

Happy Birthday, Flicka!

Happy Listening!

Birthday Week!

2008-05-29T17:39:00.003-04:00

Guess whose been lazy this week? Me!!!!!!! Finals coming up (not fun) so I decided to just do all of this week's birthdays in one post.

5/26- Theresa Stratas. Such an amazing artist. Two of my favorite operas on video have her in them: La Traviata with Placido Domingo and La Boheme, of course, with Jose Carreras. She's such a fantastic actress, too. Just look at those videos! Proof of her extraordinary talents!
5/27- Dietrich Fischer-Dieskau. Besides being one of the best lieder singers ever, DFD is one of my favorite Conte Almavivas ever! His voice is so smooth and creamy and just delicious!
5/29- Erich Korngold. Some of the most beautiful arias I have ever heard. Marietta's Lied from Die Tote Stadt has become sort of an anthem for me. I always turn to it, happy or sad, angry or caring I always love listening to it. It either makes me cry or makes me smile until my cheeks hurt. Let's not forget two of his other GLORIOUS ARIAS that I simply CAN'T GET OVER. I love this composer.
5/30- George London. Enough said. So amazing.
5/31- Shirley Verrett. I love this woman. She is amazing.

And now I'm off to watch Tristan und Isolde on PBS.

Happy Birthday to our birthday singers!

Happy Listening!! =)

Johan Botha "Too Fat" for the Vienna State Opera

2008-05-27T17:43:00.004-04:00

Ouch.

More at Mostly Opera...
More at The Opera Tattler

Happy Listening????

Sillsiana: Happy Birthday, Bubbles.

2008-05-25T18:08:00.014-04:00

I've tried over and over in vain to explain to people the unbreakable bond between an opera lover and opera singers. After Beverly Sills died, I was depressed and could not listen to anyone else. I couldn't talk about anything else for weeks! They were so mad at me... "YOU DIDN'T EVEN KNOW HER!" was what they kept saying. Of course I didn't know her! My heart would have stopped if I had gone anywhere near her! Anyway, as soon as they said that I would shake my finger and try to explain to them the mutual affection and the chains that link together a listener and a singer. It's so hard to explain once you try. It's like, you do know the singer, but you don't. You feel this connection that is so powerful because they have given you so much! They have given their miraculous gift to us all and we share in the emotional experience that is opera. It's so incredible! Of course, who understands that but those who experience it? I was that way with Beverly Sills, and I suppose I still am. There will always be a bond between us two, not to mention all of her other dedicated fans!

We're gathered here today to remember the birthday of the immortal and utterly fantabulous Beverly Sills. Although this brilliant lady has left this world, her work will never be forgotten. We pay homage to her today, on the day of her birth. I have compiled for you some of her best performances and some of her funniest moments (in opera or otherwise). We love you, Bubbles.

The mad scene from Lucia di Lammermoor
The final scene from Roberto Devereux
"Pigoletto" from the Muppet Show
"Follie...Sempre Libera" from La Traviata
"Una voce poco fa" from Il Barbiere di Siviglia
"The Thunder of Battle" from The Daughter of the Regiment
"Sillsiana" at Hunter College. This gets my laughing (crying?) every time!!
"O luce di quest'anima" from Linda di Chamounix
"Je marche sur tous les chemins" from Manon
"Adieu, notre petite table" from Manon
Zerbinetta's aria from Ariadne auf Naxos
"Chacun le sait" from La Fille du Regiment
"Je suis Titania" from Mignon
"Da tempeste" from Guilio Cesare
The Queen of the Night aria from The Magic Flute
In an opera parody with Danny Kaye. "I come from a very classy part of Brooklyn."
The Willow Song from The Ballad of Baby Doe

and finally...
Beverly Sill's Final Performance. It never fails to bring on the waterworks. I always end up crying like a baby. It's pretty pathetic, but listen to her. Just listen to her! Listen to that marvelous voice! It's like an angel. She's simply an angel...

Happy Birthday, dear Bubbles!!

Happy Listening, from a very sentimental CaroNome... =)

3 New Desert Island CD's.

2008-05-24T14:40:00.012-04:00

If you asked me "If you were stranded on a desert island and you could only choose a few CDs to bring with you, what would they be?" I would take a ridiculously long time to figure it out. Two that would immediately come to mind are the Solti Le Nozze di Figaro and one Renee Fleming disc (not sure which one...) I'd want to take all of mine of course, but only a few... Hmm...

Recently I was told that I needed to branch out more, listen to different things. Here I am thinking I've got a pretty diverse "repertoire." From Russian opera to German opera to Italian opera and some other obscure languages in between. Apparently I was mistaken. While the comment was intended to push me in a more contemporary direction, I took it in the exact opposite direction. (I'm a firm believer in going back before going forward.) In an attempt to push my boundaries into the past, I purchased Patricia Petibon's "French Baroq ue Arias" and Diana Damrau's "Arie di Bravura." I made a pact with myself that I wouldn't rush to the songs I knew, but listen to the entire disc.

What a revelation! I'm listening nonstop to these two fabulous artists in arias that I have never heard before, but now can't live without! Consider these added to my Desert Island Collection.
Diana Damrau's stunning voice flowed through these arias with ease and precision. Having only heard two songs from this CD (both Queen of the Night arias) I was a little nervous about my pact. I put on the CD and at the first song I was hooked! Diana Damrau is fabulous!
I first discovered Patricia Petibon from Sarah Noble's "Tubular Belles" and I am sooooooo thankful for it. Not only is this glorious soprano out of her mind, she sings like an angel and has introduced me to wonderful new (well...old) baroque arias! Her Doll Song from Hoffmann that is on youtube had me falling out of my seat. Let's just say, you've never seen a doll break down like this before. Some people find it vulgar, or something, but I think it's wonderful!

Another disc that I recently acquired is Rolando Villazon's "Cielo e Mar". I feel like I'm branching out with this disc also, although it's still in my "comfort zone" which is more in the Romantic style.
Having obviously heard "Cielo e Mar" before, but nothing else on the disc I made the same pact that I had with the above CD's. I had avoided Villazon's recordings before because (I'm going to be brutally honest) most were with Anna Netrebko and I do not like how her voice sounds IN RECORDINGS. (keys words there) I bought this after hearing from various sources how wonderful it was and I'm happy I took their advice. Rolando Villazon is truly one of the great voices of our generation. Two of my favorite arias from this CD (besides "Cielo e mar") are the Mercadente aria from Il Giuramento and the aria from Adriana Lecouvreur, but I love them all!
Another addition to my Desert Island Collection!

I advice a speedy purchase of these three wonderful albums. You won't regret it, I promise!

Happy Listening!!! =)

Wagner: Opera's Biggest Cult

2008-05-22T18:21:00.004-04:00

Let's face it: Opera is a cult. Not the crazy, torch-bearing kind, but a cult all the same. Within this cult is a series of smaller cults. Indisputably the biggest opera cult is the Wagner cult.
And while Wagner is not really my "thing" (and yes, I've tried it. It was fantastic, don't get me wrong. Again, just not my thing) I understand Wagner's cult and completely respect him as a composer and musical genius.
Here's a small (youtube) tribute to Wagner on his birthday:

The Ride of the Valkyries (oh man, stereotype?)
The Liebsetod from Tristan und Isolde performed by Birgit Nilsson
Wotan's final scene in Die Walkure performed by James Morris (probably my favorite part of any Wagner opera)
The prelude from Lohengrin
Siegfried's Funeral March
Act III from Der Meistersinger von Nurnberg featuring James Morris, Karita Mattila, and Ben Heppner. I seriously remember years and years ago sitting in my grandmother's kitchen watching this on PBS. I remember trying to translate the title (rather unsuccessfully), asking my mom why the soprano made funny faces (hee hee. love you, Karita!!), and trying to make sense of it. I watched it all the way until dinner time and was disappointed when after it was already over. Then a few months ago I remembered watching it and said "Oh my gosh, I can name most of the singers in that now just from remembering what they look like. That's scary!" It was fate!

Happy Birthday, Wagner!

Happy Listening!! =)

Anthony Tommasini's "End of the Season Awards" (And Comments on the Met's Financial Situation)

2008-05-21T18:40:00.005-04:00

After I held my illustrious (hardly...) End of the Season Awards, Anthony Tommasini followed suit (haha. funny.) After giving us some statistics and dollar signs concerning the Met's supposed "financial woes" Tommasini got to the good stuff and told us what (or who) he liked about this season at the Met.

But as I think back, it is individual performances by singers that stay with me, none more so than the tenor Anthony Dean Griffey’s portrayal of the title role in the Met’s new production of Britten's "Peter Grimes.” Singing with exemplary artistry and raw emotion, Mr. Griffey found his own way into the daunting role of Grimes, fully conveying that reclusive fisherman’s instability and violent streak while revealing the wounded child within. This was an overdue personal triumph for a selfless artist who rose through the ranks of the Met and had been underused until now...

He goes on to mention Natalie Dessay, Susan Graham, Renee Fleming, the cursed "Tristan und Isolde", Juan Diego Florez, and Philip Glass.

He wasn't as mean as me. He didn't talk about "the worst of" the season, like I did. I think that was a smart move, Mr. Tommasini. =)

Happy Listening!! =)

End of the Season Awards!!!!!!

2008-05-18T12:50:00.004-04:00

Since yesterday marked the end of the Met's 2007-2008 season, I've decided to give out the awards today! I've had to mentally prepare myself for the end of the season. My summers are so bland without any live performances or Sirius Live Broadcasts!
The Bad, The Good, The Sad, The Funny and anything special that happened. Mostly based on what I heard/saw, but I'll put a few others in, too.
We'll start with The Bad:

Worst Acting:
Johan Botha in Otello (*puts head on wall to symbolize extreme sorrow*)

Worst Singing:
(Since this season was so spectacular I will do something I don't usually do and that is take what I heard from other people. I'm sorry for it.)
John MacMaster in Tristan und Isolde (first man to be booed in how many years?)

Worst HD Broadcast:
(for its bad split screen thing, otherwise it was lovely!)
Tristan und Isolde

Most Cursed Production:
Tristan und Isolde

On to The Good:

Best New Production (production only):
La Fille du Regiment
Satyagraha

Best Revival:
Madame Butterfly
Manon Lescaut
Le Nozze di Figaro

Best singing by a male artist:
Juan Diego Florez in La Fille du Regiment
Salvatore Licitra and Dmitri Hvorostovsky in Un Ballo in Maschera
Ramon Vargas in La Boheme
(look I can't just say "everyone.")

Best singing by a female artist (biased):
Renee Fleming in Otello
Anna Netrebko in Romeo et Juliette and Angela Gheorhiu in La Boheme (shocked, aren't you?)
Olga Borodina in Carmen
Natalie Dessay in everything she sang

The Sad:

Most touching performance by a male artist:
Ramon Vargas in La Boheme
Marcello Giordani in Lucia di Lammermoor

Most touching performance by a female artist:
Angela Gheorghiu in La Boheme
Renee Fleming in Otello
Patricia Racette in Madame Butterfly

The Funny:

Funniest moment in an opera:
When the jewelry box fell off the stage during Nozze and hit the celloist on the head
The music lesson, the tank, and pretty much the entire Fille production

The most acrobatic performance:
Marcello Giordani almost falling off the bed during Romeo et Juliette
Anna Netrebko in Romeo and Natalie Dessay in Fille and Lucia
Karita Mattila doing a split in Manon Lescaut

The unexpected:
Marcello Giordani covering for Joseph Kaiser (last minute!) in Romeo (the night I was there!!)
Seeing Peter Gelb in the lobby before Carmen

Other Special Things:

Productions I'm sorry I missed:
Satyagraha
Abduction from the Seraglio
La Traviata
Manon Lescaut

Productions I'm so happy I didn't miss:
La Fille du Regiment
Romeo et Juliette
Madama Butterfly
Lucia di Lammermoor

Highlights of the season:
La Fille du Regiment
Dmitri Hvorostovsky, Salvatore Licitra, and Stephanie Blythe in Ballo
Renee Fleming in Otello
Anna Netrebko in Romeo et Juliette
La Boheme in HD
Diana Damrau. Period.

Oh, the list goes on and on. It's hard enough restricting myself to this many awards. I should have just said "Best Everything: The Met." Really sums it up quite nicely.
I'm sorry I wasted your time with my nonsense, but it feels good to get it off my chest. I good summary of the season, I think. It's too bad I didn't see everything. (I plan to next season. Saving up for Standing Room!!)

This is a hard season to say goodbye to (aren't they all?) because so many wonderful things happened. "There's always next season," I know, but I get so attached! SEE YOU NEXT SEASON!!!

Happy Listening!!! =)
PS. That doesn't mean I won't be posting during the summer!

4 Birthdays and a Camelot

2008-05-17T12:31:00.004-04:00

The past two days have seen the birthdays of four of the world's greatest opera stars to ever grace the stages of the world's greatest opera houses. These four are:

Richard Tucker (whose birthday was yesterday): Possibly (and probably) the greatest American tenor in history. His creamy voice made him the tenor to beat throughout the opera world from the beginning of his career to the end.
Zinka Milanov: A goddess to opera connoisseurs everywhere. From Charlie Handelman (of Handelmania) and beyond Zinka is worshipped for her glorious pianissimo ("Enzo adorato, come t'amo!") and other astounding triumphs.
Birgit Nilsson: I can't say anything that hasn't already been said. An incredibly gracious lady, with the clearest Wagnerian voice I've ever heard. Not that she was just a Wagnerian, no no no! She has me biased against all other Turandots, Toscas, Amelias, and other roles.
Gabriel Bacquier: This might sound strange, but I can't listen to anyone else's Catalogue Aria. All the others bow to his. Besides this, Bacquier is one of my favorite Almavivas, Don Giovannis, among many others. His voice is just so beautiful and his acting so believable.

I've been so lazy lately (it might be that all of my school projects are due in the same week), but this morning I got around to finally watching the Live from Lincoln Center "Camelot" that I recorded. I was debating whether to bother recording it or not, but thanks to Nathan Gunn I did. (Slight crush on that barihunk.) To go along with his sumptuous voice comes impeccable acting and perfect comic timing. The "C'est moi" was so adorable, you positively must watch it. His "If Ever I Would Leave You" (with Marin Mazzie) had me, figuratively, drooling over him. If Guinevere doesn't fall for that, then there is something wrong with her.

The rest of the cast is, needless to say, fantastic. Gabriel Byrne, Marin Mazzie, Fran Drescher, Christopher Lloyd, and Stacy Keach starred in the production with the NY Philharmonic conducted by Paul Gemignani. It would take me too long to say what I want to say about each cast member. Go to youtube look for videos from the telecast, you won't regret it!!!! =)

Happy Listening!!! =)

When I Was a Lad...

2008-05-13T22:03:00.002-04:00

Sir Arthur Sullivan (of Gilbert and Sullivan) is someone whose music I grew up with. My dad always played the "Ultimate Gilbert and Sullivan" CD in the car. Occasionally I love to dig it up (now it's on my iPod, which makes it easier) and listen to it. (and so would my sisters and my cousins and my aunts)

Here are some highlights from G&S classics:

"I Am the Very Model of a Modern Major General"
"When I Was a Lad"
"Three Little Maids from School are We"
"The Sun Whose Rays (The Moon and I)" (my favorite)
"A More Humane Mikado"
"Lord High Executioner"
"I've Got a Little List"

You may notice that most of there are from "The Mikado." The only reason for that (except me LOVING "The Mikado") is that I can't find videos on youtube that due the other shows justice. It's sad. I wanted clips of "Nevermind the Why and Wherefore", "Give Three Cheers", "A Cat Like Tread", and others, but I couldn't find any that I really liked. I'm biased. It's that darned fabulous D'Oyly Carte Opera Company (mentioned above) recording. It's just too good. I would advice you to invest in it directly. =)

Happy Birthday, Sir Arthur Sullivan!

Happy Listening!!! =)

Massenet: Bow in His Presence

2008-05-12T22:51:00.003-04:00

Ohhhhhhhh French opera. Good stuff. Try it sometimes, it'll do you good.

Especially if the orchestral interludes sound like this and the sopranos sing like this.
In the mood for fun? Try a gavotte...
Want heartbreak? Try singing to a table...
Feel like writing a letter? Well...why not?

As you can see, all problems can be solved with a little Massenet. I mean, there's so much to choose from, I'm not sure in which gorgeous direction I should turn next!

Manon... for everyone!!!
Act I- fun-loving types
Act II- people who thrive from heartbreaks
Act III- Scene One- those teenage girls (like moi) who think they're princesses (aren't we?)
Scene Two- people desperate for a love duet
Act IV- the gamblers
Act V- tragedy lovers

Happy Birthday, Massenet!!!!

Happy Listening!! =)

Leyla Gencer (1928-2008)

2008-05-10T19:43:00.005-04:00

I'm sad to announce the death of the legendary soprano, Leyla Gencer, aka "La Regina." She died in Milan at the age of 79. So many opera fans adored her. She was known as "The Queen of the Pirates" because she never made commercial recordings of operas. She was also known as "La Diva Turca" and, well, you can guess why.
She was most known for her extreme emotional involvement in the opera. (Do yourself a favor and see her "Figlia impura di Bolena")The way she threw herself into a role was incredible. Her diverse repertory, from Gilda to Leonora, made her one of the greatest sopranos of her day. Perhaps any day.

La Scala has a small tribute. La Cieca, Philly Opera Fanatic, and Opera Chic both have tributes to the great diva.

RIP. Leyla Gencer. Addio.

Ja vas lyublyu: A Tribute to Tchaikovsky on His Birthday

2008-05-07T17:17:00.003-04:00

Ja vas lyublyu!
Thank you, Tchaikovsky, for teaching me how to say "I love you" in Russian. It comes in handy when I'm trying to impress people with my linguistic skills. =)

But, more than that, Tchaikovsky has shaped most of my appreciation for music. Since "The Nutcracker" takes up more than half of my time during the months of September, October, November, and December, it's safe to say that Tchaikovsky's music is one of the most important in my life. As a ballet student I've seen (and heard) "Swan Lake" countless times. Not that that's a problem at all, my gosh of course not! My favorite (to dance)... the four little swans.

Let's not forget his amazing operas!!!!
My gateway into the Russian opera world: Eugene Onegin. One of my favorite bookhttp://youtube.com/watch?v=ZhQr7w055-Ys, containing one of my favorite heroines is also an opera (not like you didn't know!) that takes everything to the dramatic extreme! Oh, how glorious.
I will not fail to mention his other operas, Iolanta and The Queen of Spades. Let's linger on The Queen of Spades (Pique Dame) for a moment. That baritone aria, OH THAT BARITONE ARIA. It's like heaven wrapped in chocolate...especially when Mr. Hvorostovsky is singing it!

Oh, that Tchaikovsky. Never fails to amaze.

Happy Listening!!!! =)

Rataplan! Rataplan! Rataplan!

2008-05-03T13:05:00.004-04:00

La Fille du Regiment
Gaetano Donizetti
May 2nd, 2008

My dad said that it was the single best opera performance he had ever been to in his life. In his entire life. I had to think for a minute when he said this, but after a while I nodded and said, "I might have to agree with you."

It might not have been as emotionally or operatically draining as the day I saw Otello and Carmen within a few hours of each other. It might not have been as... Actually... You know, I think maybe it was. There are no exceptions to this rule (so far). Juan Diego Florez and Natalie Dessay (along with the rest of the cast) blew the roof off of the Met like I have never seen before. Every aria, duet, trio, or ensemble was greeted with ovations that were twice as long, or more, as one would usual hear. I have never heard an audience react like that. Not only to "Ah mes amis" (for which there was no encore, but the ovation went on for longer than at the HD!) but for all of Natalie's arias, JDF's second act aria, and everything else.
Speaking of Juan Diego Florez's second act aria... that Db was out of this world. It's still ringing in my ears. What. A. Voice. He played his character as a country bumpkin. Sort of nerdy, but it worked. When he was running on stage for the first act duet, he tripped on the clothes line and slid down the stage. A little unprepared humor. Natalie Dessay acted the daylights out of that role! She sang so masterfully! The most glorious sounds came out of her mouth while she was a) lying on her back b) peeling potatoes c) folding laundry, and d) being carried around the stage. I've never seen anything like it. Her mumbling to the audience in the first act was really funny. I could hardly hear her, but I'm not sure you're supposed to.
Felicity Palmer, Alessandro Corbelli, Marian Seldes, what more is there to say? Palmer and Corbelli sounded just as wonderful as in the broadcast. No disappointments there. Madame Seldes's humor seemed less over the top in the house. However, the "bobsled team" was funny only once. Her French might not have improved, but she was so funny and what a presence! (Note: I think she was miked. I'm not sure, I could be wrong.)
Notable Notables: Donald Maxwell as Hortensuis. While I think the HD suited him better, he brought a lot to his character and made it so funny. The french horn player, who has a solo in the overture. I love the french horn and when it sounds like that it really takes you to a different place. I loved it.
One of my favorite parts was the trio "Tous les trois reunis" not only because the music is so fabulous, but the staging for it was funny and clever. Natalie had to correct the audience with a shake of her finger when they (some, not all) applauded at the wrong times. I'm a sucker for this kind of thing, but when Sulpice (aka Corbelli) sings "Ecoutez moi!" and the others start singing while he holds it you could have knocked me down with a feather. I love when composers do that. It's so fulfilling!
The chorus and orchestra were once again phenomenal. Marco Armiliato really knows his stuff. He always seems like he's having a great time.

I had to mentally prepare myself during intermission to enter the Belmont Room. We had two passes, but I was so nervous! My dad says I'm impressed too easily, but all of those knowledgeable people in there are quite frightening. It turns out they're not that bad, but they did stare at me a great deal, being the youngest person there by far. It's such a lovely room and it looked like there were original manuscripts of something, but I couldn't get close enough to see.
We usually drive to and from the Met, but this time we took the train. In the subway there was a flute player playing "Ah, mes amis." I've heard stories about the flute player, but I'd never seen him. I gave him a big salute and enjoyed the music for the rest of the wait.

If only all performances could be that amazing. After a performance like that you feel like you've really accomplished something. Even though you were not in the show, the audience is a part of it. THE most important part of it. Usually I'm very jumpy and giggly after an opera, but this time I was very calm. I thought to myself "Wow, I've really seen something great. I've accomplished something." It's a good feeling.

Happy Listening!!! =)

"Abduction"'s Endless Sparkling and Wagner Retires

2008-04-29T18:06:00.003-04:00

The New York Times review of "Abduction from Seraglio" in three sentences:
Diana Damrau's singing, acting, and person in general was sparkling. The rest of the cast sparkled brilliantly also. They lit up the city with said sparkling.

In case you want to read the actual review, here it is. Mine is better though. Nah nah.

Wolfgang Wagner has resigned from his position as head of the Bayreuth opera festival. He was head for at least 57 years, to my understanding. It is not clear who is taking over the festival, Katharina or Eva. After Katharina's disaster a few months ago, I'm sort of voting in the other direction. Having said that, I don't know what kind of person Eva is, so I won't judge. I'll leave it open for the Wagnerites to shed blood over. Not being a Wagnerite, I will stay out of it.

Happy Listening!!! =)

Quel Jour de Fete! (en HD)

2008-04-26T16:54:00.009-04:00

Tonio- Juan Diego Florez

Marie- Natalie Dessay

Marquise of Berkenfield- Felicity Palmer

Sulpice- Alessandro Corbelli

Duchess of Krankenthorp- Marian Seldes

Hortensius- Donald Maxwell

Conductor- Marco Armiliato

A sigh and a groan went up in the Metropolitan Opera House when, after minutes of applause and a few mid-opera bows, Juan Diego Florez did not begin an encore. *sigh* Everyone in the movie theater just went "Aw, man." Life went on. Ohhhh, but the JDF fun doesn't stop there! He was simply glorious the whole show! His acting was (in my opinion) even better than at the Barber's last season. His voice was, as usual, amazing and the D flat at the end of his second act aria blew me away! It's still ringing in my ears. I've never heard something like that before, it was beautiful! Well, he's beautiful so it works.

It was wrong of me to say that Natalie Dessay was "sadly neglected" because she received enormous ovations for her numerous arias and final curtain call. I had always thought well of her, and liked her Lucia earlier this season, but this performance sealed the deal! I have officially hitched onto the Natalie Dessay bandwagon!!! Her singing is amazing and her acting is impeccable. Her coloratura is fast and furious, her high notes are sharp, and her personality is as big as the Met stage. Brava.

Felicity Palmer and Alessandro Corbelli were fabulous as the Marquise and Sulpice. Last season Corbelli was dee-heelightful as Gianni Schicci and I'm so glad he's back doing another comic role! Felicity Palmer is no stranger to opera fans and she sounded so wonderful! It made me so happy to hear her. They were so funny together, they worked off of each other and the other cast members so well. They obviously love what they are doing and it was so enjoyable to watch them.

The illustrious (strait-laced, anyone?) Duchess of Krankenthorp was played by the famous Marian Seldes. While this is only a speaking role, it is quite easy for the Duchess to steal the show. Although she had a commanding presence and a knack for all things comic, Madame Seldes might not have a strong hold on the French language. It's tough stuff (I would know, I'm studying it now), so we won't hold it against her! I think that maybe some of her scripted comedy and bursts of English were a little over the top, she was hysterically funny and it's easy to say that she left a lasting impression on the Met audience.

Some may not love this new production my Laurent Pelly, but I thought it was marvelous! His vision of Marie was very different from some other productions (i.e. Sutherland at Covent Garden), but I think it went perfectly with the role. Instead of having Marie be dressed up, Pelly had Dessay in a tank top and overalls, doing all the dirty work and getting messy. She was a true tomboy, and I loved it! The production as a whole was beautiful. Very modern, but not obnoxious or Eurotrash-y. Alessandro Corbelli said in the intermission interview that it was "fresh" and that he loved it. He's absolutely right!

What is there to say about the chorus and orchestra? Marco Armiliato kept the tempo up and made the orchestra sound its best. The best it sounded was during the orchestra and the entr'acte, but it sounded wonderful throughout. The chorus sounded superb and it was a delight to watch them commit to all the physical demands this production calls for.

I'm also seeing this on Friday, so I will have more details then. GO SEE THE ENCORE TOMORROW IN MOVIE THEATERS!!!!!!

Happy Listening!! =)

Mr. Gelb, I'm Ready For My Bis..

2008-04-25T20:17:00.004-04:00

Alternate Titles:

To Bis or Not To Bis. That is the Question.

Bis in Our Time.

(both conveniently taken by La Cieca, but that's okay because I like this title, too.)

I tend to buy my HD tickets a little late. I might have to stop doing that since word is getting around that my town movie theater is doing the transmissions. Anyway, I bought mine earlier and can't wait!!!! Juan Diego Florez = <3

Big Question: Will he bis?

I hope so. What a piece of history!

Happy Listening!!!!! =)

Met in the Park Gone (After My First Season!) And My Summer Plans Are in Sudden Disaray!

2008-04-24T19:21:00.003-04:00

So after last summer's performance I vowed to go every year to the Met in the Parks concerts. Now that I planned my whole summer around going (not really... hyperbole is my specialty!) Mr. Gelb is cancelling them (for good?), but have no fear! The Alagnas are here! They're doing a concert (not a full length opera) in Prospect Park.

This is a big scale down (even though Mr. Gelb would have us supposed otherwise) and according to some it's due to the "financial troubles" (total Rumor Patrol) that the Met has been having. If that's the case then scale it down! We'll just miss all the history and tradition that goes along with the park concerts. =(

NOTE: This is not a reproach on Mr. Gelb. He has done so many great things for the Met. The Sirius Radio, the HD movie transmissions, the press... The list goes on! We can't expect these things to pop out of thin air and not cost a significant amount of money. I still support Peter Gelb. We can't turn on him (I'm not saying anyone has, I'm just warning) because of this. He knew that it would take some time to pay all of this off. Yes. Of course! I just hope that he can continue with the great things he has planned for our glorious temple of opera.
Viva Peter Gelb!
Viva!

Happy Listening!!! =)

Ban, What Ban? Matthew Polenzani, THAT Matthew Polenzani? (Plus a "Who's Suing Who")

2008-04-23T18:46:00.003-04:00

JDF and Peter Gelb admitted that the bis on Monday was not completely spontaneous. In fact, Peter Gelb had asked our dear Juan Diego weeks ago if he would be willing to do an encore. The rest (while also being history...) is explained in the article. We at Score Desk would also like to note that although the NY Times article says, "Before Monday night the only such occasion had been Luciano Pavarotti's repeating the second-act tenor aria in “Tosca” in 1994, Met officials said." We were not aware that Puccini had made "Vissi D'arte" an alternate for the tenor. Saying otherwise would be supposing that, in fact, the tenor aria they were referring to was in the THIRD act and therefore inferring that they got it wrong. Of course, we would never do anything of the sort.
There's also a video accompanying that article! Have fun watching it over and over!
Bernard Holland (who actually decided to attend the event he was reviewing) wrote this review about Monday's performance. While only briefly touching on the bis, he goes on to talk about tuning, the "drab" production, and Natalie Dessay's gorgeous singing. Ms. Dessay has been sadly neglected in this whole fiasco, so let's give her one unanimous pat on the back for taking it so well. No diva tantrums for this opera star!!!!!

Even after the tragic and heartbreaking death of Beverly Sills, the Beverly Sills Award is alive and well. This years recipient is the ultratalented and award-worthy Matthew Polenzani. After blowing me away in last years "Magic Flute", he captured my heart during a Sirius broadcast during which he was asked what opera character he was most like. To this question he replied, "I am most like Romeo because I have loved like that. Every day my love for my wife grows stronger." Or something to that effect, and he went on for a few minutes in that fashion. Margaret Juntwait hit the nail on the head when she said, "Every woman listening just went 'aaaahh.'" Congratulations to Matthew Polenzani! You deserve every award you get!

Who's Suing Who? (And For What?)
The Rosenblatt Recital Series is suing Erwin Schrott of Schrebko (aka. Anna's baby's daddy) because of his breach of contract for the second year in a row. He cancelled his recital (scheduled for June 11th) for unknown reasons, to the fury of Mr. Rosenblatt. He had this to say to the barihunk Schrott:

"For our audience to be treated with such gross unprofessionalism and disrespect
by Mr Schrott, on two occasions, is something that shouldn’t be
tolerated.
“This is a regrettable situation, but for the reputation of my
Series I cannot allow artists, with no lawful excuse, to renege on their
contractual commitments.
"In the seven years I’ve been running our recital
series I have been impressed time and again by the dedication of singers to
their art and their public. Singers such as Mr Schrott give opera a bad name and
a reputation for not caring for the people that pay to hear them sing.
“I am
disgusted by Mr Schrott’s callous disregard to his contractual obligations. His
behaviour is cowardly and I can only wonder if he has the guts to appear on a
London concert platform as this is the second time he’s backed out of appearing
here.”

Ouch.... I'd be angry too, but this is a full on RANT! Hey, that's my job!!!

Happy Listening!!! =)

(Official) HD List in Met Press Release

2008-04-22T17:47:00.003-04:00

It's even more exciting than we thought! Considering the fact that my local movie theater (which is within easy walking distance) has adopted the Met in HD, I am happy to announce that there will not be just 10 HD transmissions like Renee said during La Boheme, but there will be ELEVEN.
I'll save the best for last and give you these 10 first (straight from the Met website)...

Saturday, October 11, 2008 SALOME (1:00 p.m. EDT / 12:00 p.m. CDT / 11:00 a.m. MDT / 10:00 a.m. PDT/ 17:00 p.m. UTC / 18:00 p.m. BST / 19:00 CEST) – Soprano Karita Mattila reprises her acclaimed interpretation of the title character of Strauss’s Salome, with baritone Juha Uusitalo as Jochanaan. Mikko Franck conducts.

Saturday, November 8, 2008 DOCTOR ATOMIC (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC / 19:00 p.m. CET) – Penny Woolcock directs the Metropolitan Opera premiere of John Adams’s Doctor Atomic, starring Gerald Finley as Dr. J. Robert Oppenheimer and Sasha Cooke as his wife, Kitty, with Eric Owens and Richard Paul Fink. Alan Gilbert conducts. NEW PRODUCTION

Saturday, November 22, 2008 LA DAMNATION DE FAUST (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC; 19:00 p.m. CET) – Robert Lepage directs Berlioz’s La Damnation de Faust, starring Marcello Giordani in the title role, with Susan Graham as Marguerite and John Relyea as Méphistophélès. James Levine conducts. (A new production reconceived in collaboration with Ex Machina for the Met, based on a co-production of the Saito Kinen Festival and Opéra National de Paris.) NEW PRODUCTION

Saturday, December 20, 2008 THAÏS (12:00 p.m. EST / 11:00 a.m. CST / 10:00 a.m. MST / 9:00 a.m. PST/ 17:00 p.m. UTC; 18:00 p.m. CET) – Renée Fleming stars in the title role of Massenet’s Thaïs, with Thomas Hampson as the monk Athanaël in John Cox’s production, which originated at Lyric Opera of Chicago. Jesús López-Cobos conducts. NEW PRODUCTION

Saturday, January 10, 2009 LA RONDINE (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC; 19:00 p.m. CET) – Nicolas Joël directs Puccini’s La Rondine, starring Angela Gheorghiu and Roberto Alagna in a production originally mounted by the Théâtre du Capitole, Toulouse, and the Royal Opera House, Covent Garden. Marco Armiliato conducts. (Co-production with the Théâtre du Capitole, Toulouse, and the Royal Opera House, Covent Garden.) NEW PRODUCTION

Saturday, January 24, 2009 ORFEO ED EURIDICE (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC; 19:00 p.m. CET) – Stephanie Blythe and Danielle de Niese star in Mark Morris’s production of Gluck’s Orfeo ed Euridice. James Levine conducts.

Saturday, February 7, 2009 LUCIA DI LAMMERMOOR (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC; 19:00 p.m. CET) – Dynamic opera duo Anna Netrebko and Rolando Villazón star in Mary Zimmerman’s acclaimed production of Donizetti’s Lucia di Lammermoor. Marco Armiliato conducts.

Saturday, March 7, 2009 MADAMA BUTTERFLY (1:00 p.m. EST / 12:00 p.m. CST / 11:00 a.m. MST / 10:00 a.m. PST/ 18:00 p.m. UTC; 19:00 p.m. CET) – Cristina Gallardo-Domâs sings the title role of Puccini’s Madama Butterfly in Anthony Minghella’s stunning production. Marcello Giordani stars as Pinkerton. Patrick Summers conducts.

Saturday, March 21, 2009 LA SONNAMBULA (1:00 p.m. EDT / 12:00 p.m. CDT / 11:00 a.m. MDT / 10:00 a.m. PDT/ 17:00 p.m. UTC; 18:00 p.m. CET) – Natalie Dessay and Juan Diego Flórez star in Mary Zimmerman’s new production of Bellini’s La Sonnambula, conducted by Evelino Pidò. NEW PRODUCTION

Saturday, May 9, 2009 LA CENERENTOLA (1:00 p.m. EDT / 12:00 p.m. CDT / 11:00 a.m. MDT / 10:00 a.m. PDT/ 17:00 p.m. UTC; 18:00 BST; 19:00 p.m. CEST) – Elīna Garanča stars in Rossini’s bel canto Cinderella story, La Cenerentola. Lawrence Brownlee stars as her Prince Charming, Don Ramiro. Maurizio Benini conducts.

AND MOST EXCITING OF ALL... IN NORTH AMERICA ONLY (sorry)...

Monday, September 22, 2008 OPENING NIGHT GALA (6:30 p.m. EDT / 5:30 p.m. CDT / tape delayed to 8:00 p.m. MDT / 7:00 p.m. PDT) – Opening Night Gala starring Renée Fleming in fully staged performances of scenes from three different operas: Verdi’s La Traviata (Act II), Massenet’s Manon (Act III), and the final scene from Richard Strauss’s Capriccio. Tenor Ramón Vargas and baritones Thomas Hampson and Dwayne Croft co-star. Met Music Director James Levine and Marco Armiliato conduct.

Woooooooooaaaaaaaaaahhhhhhhh... So just in case I can't get tickets to the actual opening night, I can either sit in the plaza/Times Square in the cold and watch it or I can sit in a nice warm movie theater. There is always the possibility that La Fleming will take a bow on the Grand Tier balcony a la Dessay this season, but we might have to take that chance.

Did I mention lately that Peter Gelb is my hero?

Happy Listening!!! =)

JDF BREAKS ANOTHER ENCORE RULE AND WE LOVE HIM ALL THE MORE FOR IT!

2008-04-21T21:14:00.002-04:00

THAT'S RIGHT!!!!! YOU HEARD IT HERE FIRST!!!!! JUAN DIEGO FLOREZ DID, JUST MOMENTS AGO, AN ENCORE OF "POUR MON AME" DURING LA FILLE DU REGIMENT AT THE METROPOLITAN OPERA!!!!!

FIRST LA SCALA, NOW HERE!!!!! WHAT A GUY!!!

GO JDF, GOOOOOOOOOOOO!!!!!!!!!!!!!!!!

WE LOVE YOU

Happy Listening!! =)