So As Not To Confuse The Allens...

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 Message From Peter Gelb, And A Message To Peter Gelb

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!!! =)

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

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

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...

Be Jealous. Because I Am!!! And Other News

Hearing about anything exciting that happens at the Met makes me want to drop out of school and just live in the Met. Not a bad life. I'll make friend with the Grand Tier Restaurant people, get great food. I'll steal an usher outfit and show everyone how well I know my way around. Plus, you get paid to watch the opera! Usher!!!!!!!!!!! (Dream college job.)
If anyone would like to support me in my new life style feel free to let me know. If you knows someone who knows someone who can get me a little space where I can live in the Met, that's cool. If a friend of a friend can arrange to get me free tickets every night that would be pretty great also.

What prompted this ramble? Well, hearing about the fabulous tribute to Franco Zefferelli is one thing. The 347th performance of Boheme is another. Oh wait, they're the same thing. A star studded event that cut right in the middle of the performance, after the famous and illustrious Act II. Some of the guests were (just to name a few) Rosalind Elias, Richard Stilwell, Lucine Amara, Eva Marton, Leona Mitchell and Justino Diaz. Nice. I was there in spirit of course, but it's not the same. Oh yeah, I heard the actual performance was good, too. Just if you were wondering.

In totally unrelated and random news:
So I have two major crushes in the opera world. It's bad, because they're both married. There's also the age thing. Whatever. Brad Pitt is old(er), too. =P So anyway, my two major crushes are:

Juan Diego Florez. You don't even know. No, you really don't know. Julia Trappe is lucky she got there first. So, JDF is staring in Rigoletto in Peru right now. I'm temporarily moving my home from the Met to Peru. Opera Chic has a couple of videos showing the ever amazing Juan Diego in the ever amazing role of the Duke of Mantua. *sigh* Dear Peter Gelb, give this man a Rigoletto. I seem to be ordering Peter Gelb around a lot lately. Still, Juan Diego deserves it.

Dmitri Hvorostovsky. Married before I got there. Oh, well. It started with the Onegin last season where my friend and I dubbed him "white haired guy." For a while that's all we talked about and our other friends thought we were nuts. Well, she got over him. Umm... me? Not so much. He's still one of the best barihunks in the business and the NY Times knows how to tell it to you straight. He's just fabulous. Really, really fabulous. (P.S. In the first video of him I really wish they didn't make him wear a wig... oh well)


Quick Recap:
I'm dropping out of school and living at the Met (it's a secret of course). I'm then taking a vacation to Peru and seeing JDF in Rigoletto. I'm stealing some one's job as an usher at the Met. Oh, and I also told you me two secret (not really, it was quite obvious) operatic crushes.
Get it?
Got it?
Good.



Happy Listening!! =)

March 1st: A Play-by-Play PART II

LET BE KNOWN FROM THIS MOMENT FORTH THAT OLGA BORODINA IS OFFICIALLY ADDED TO MY LIST OF "THE COOLEST MEZZO'S EVER." That list also includes Frederica von Stade, Stephanie Blythe, Marilyn Horne, Joyce DiDonato, and a few others.

Olga was also my first mezzo ever. She was Laura in "La Gioconda" last season, which happened to be my first opera. (I didn't have the blog then, sorry.) I thought she was cool then, but I wasn't exactly rooting for her so I didn't notice her all that much.

Her Carmen made me laugh a lot. I didn't remember Carmen being this funny. Her singing was so amazing. The "Habanera" was, well, the Habanera! The Seguidilla and her little dance for Don Jose were fantastic. This is one of the first times I've had a strong urge to sing along. Don't worry, I controlled myself! There are so many sing-able tunes in Carmen. What a masterpiece. She was very believable and her emotions were so real. Just before Act III a man came in front of the curtain to many groans and grumbles. "I'm not making a casting change," he assured us, "But Ms. Borodina is suffering from some allergies and she hopes you understand." Okay. So, she didn't sound any different than the other two acts. She still sounded amazing, so I wasn't sure what the point of it was. Anyway, Olga Borodina rules.

Marcelo Alvarez was great vocally, but his sudden falling in love with Carmen looked completely out of the blue. His rage and hatred looked great, though. The "Flower Song" was lovely and he sounded very clear and crisp.

One of the biggest ovations of the night went rightfully to Krassimira Stoyanova. I usually dislike Micaela a lot, but I realized how beautiful her music was. What a marvelous soprano she is! It's a wonder I haven't heard more of her. Her big aria was so beautiful and she got a huge ovation after the aria and at curtain calls.

Lucio Gallo is not my first choice for Escamillo. His "Votre Toast" was mostly drowned out by the orchestra and the high notes sounded pushed and loud. It got better as the night went on, but he doesn't have that much to sing after that.

I forgot to mention this in "Otello", but the chorus sounded great yesterday. During both performances they were stunning. The orchestra, too! Sublime, as usual. Of course, what else do you expect from the Met?

So yes, me and my uncle were waiting for a while in the lobby before Carmen started. They kicked us out of Fiorello's (just kidding, they said we needed to be out by a certain time because they had reservations) at around 6:15, so we stood around the lobby for a while. I'm starting to get bored when a familiar looking man comes from the house into the lobby. It hits me "Oh my gosh, that's Peter Gelb!" I whisper to my uncle. I couldn't move I was so shocked, I just stood there and galked. My uncle nudged me "Go talk to him!" Too late, he walked out, watching me stare stupidly at him. He strolled across the plaza and out into the street. He didn't come back. I knew then that there were no casting changes. I felt really special seeing him. He runs the place! He's pretty important!

Happy Listening!!! =)

Scotto, Handel, and Other Ramblings

I was too distracted yesterday (unpacking and all that) to remember that it was Handel's birthday! So here's a late birthday greeting (I'm too tired to be creative):

Hallelujah Chorus from the Messiah
One of my favorite parts of the Messiah: "There were Shepherd's..." I like Kiri singing this better, but youtube doesn't have it so, sorry!
The ever delicious "Ombra mai fu" arguably the most beautiful piece of music written for the human voice. And here are some other wonderful renditions.
Beverly Sills singing "Da tempeste" from Guilio Cesare.
Of course, Handel wrote so many operas its impossible to do them all justice here, and we must move on!

Today is the birthday of legendary soprano Renata Scotto!!!!
The final scene from Suor Angelica
"O Mio Babbino Caro"
The Lucia duet with Carlo Bergonzi
The famous yell during Luisa Miller
"Addio del Passato"

Other News:
While flipping through the NY Times Arts Section I saw an AD for a Kathleen Battle recital at Carnegie Hall. I was rather taken aback, not having heard from her in a while. Then I remembered "Oh, Carnegie Hall does not count as Lincoln Center." So she is fully permitted to step on that soil. She looks great in the picture, might I add, and I'm very curious to find out how it goes. Hm...


Happy Listening!!! =)