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!!!!! =) =) =)

Chi Mi Frena In Tal Momento?

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?

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or Robert J. Oppenheimer.

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




Happy Listening!!! =)

End of the Season Awards!!!!!!

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!