Vergogna? For Scarpia, Yes, This is a Shame

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

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!!!!!!!

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

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

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

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"

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!)

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

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

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

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

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!!!!

(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.

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?

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

(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

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

"To My Biggest Fan" Part II

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

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!!! =)