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!! =)

Birthday Birthday Birthday!!!!

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!!! =) =)

Who's Excited For Boheme in HD???

Me! Me! I'm excited!!!!

My local movie theater is showing it today. It's the first one they've done, so I'm praying there's no glitches. I easily bought tickets this morning (hardly in advance...), so I hope that doesn't mean that there won't be a lot of people there. I know of quite a few opera enthusiasts in town. However, some might have gone to the bigger movie theater a couple of towns over. Oh well, I'm pumped.

Speaking of HD Broadcasts, I loved the Romeo et Juliette the other night on PBS. I remembered so much about it from seeing it in October. Of course, I saw Marcello Giordani and he was fabulous, but Alagna held his own. Anna was great, and when she passed the camera backstage she made a funny face which I thought was cute. Some of the camera angles were amazing, especially during curtain calls. I'm just upset they didn't show the intermission features.

Happy Listening!!! =)

Wagner Makes Me Bang My Head Against the Prompters Box

Well, not me, but Gary Lehman.

At the beginning of the third act of Tristan und Isolde Mr. Lehman was laying on a pallet. It slowly to quickly slide down the severely raked Met stage. His head slammed audibly onto the prompter's box. The audience "gasped, and some screamed," says SarahB who was there last night. Mr. Lehman's costars and some stage managers ran to his rescue and, after helping him stand, escorted him off stage. The curtain closed and after ten minutes an announcement was made that Gary Lehman was feeling better and wished to restart the scene. Needless to say, he got a large ovation at the end of the night. What a trooper!
Note: Deborah Voigt was the Isolde last night.







This is quite a bit worse than the incident at the Figaro this year. Simon Keenlyside (the Count) was throwing things off of the Countess's desk and one of the objects proceeded to roll right off the stage and bonk a cellist right in the head. She left at the end of the act and didn't return the rest of the performance. Ouch.





I want to see the HD transmission more than ever. Lord knows what will happen then!!!





Happy Listening!! =)

Sliced Bread No More!

The entire sliced bread thing went up in smoke today when the Metropolitan Opera announced that it will NOT be offering it's HD telecasts On-Demand 30 days after the live broadcast in movie theaters. Oh well, that's sad. Apparently the theater directors thought people wouldn't go to the movie theaters and just wait for the on-demand. All I have to say is, if that's the case, why are people still in the opera house when they can see the same opera for much cheaper in a movie theater? (Yes, thank you, we all know the answer.)


Happy Listening!! =)

"Amici Forever" on Met Opera Sirius Radio...

...just before Dietrich Fischer-Dieskau and just after Madama Butterfly.






World

Has

Officially

Come

To

An

End

=O

I'm Dreaming of an Onegin Christmas!!!

Word has reached my ears that the perfectly perfect "Eugene Onegin" telecast/moviecast from last season is going to be released on DVD just in time for Christmas!! It can be pre-ordered now on Amazon.com!! It's numero uno on my Christmas list!!!!

Happy Listening!!! =)

Lucia Di Lammermoor at the Met

Lucia- Annick Massis
Edgardo- Marcello Giordani
Lord Enrico Ashton- Mariusz Kweicien
Raimondo- John Relyea
Arturo- Stephen Costello
Alisa- Michaela Martens
Conductor- James Levine
Production- Mary Zimmerman


Okay, the sets weren't bad. I particularly enjoyed the mad scene staircase and the wedding ceremony. Both were very beautiful. The rest of the sets were a little "eh." It's better than some other Lucia's I've seen come from the Met (=O). The stage direction is what really got to me. Every minute Enrico puts his hand on another singers shoulder and after a while I wanted to yell "just stand in place!" There was some unnecessary movement during arias. It looked too forced, the acting was fine, but the direction looked like they didn't know what else to do. When Edgardo crashes the wedding he goes around kicking down all the chairs. For a minute it looks like he's just doing it for fun. Don't get me wrong, Marcello Giordani was ferocious in that scene. WOOF was he ferocious.
I really did like Annick Massis, although I think that some people's reviews of her were too praising. She was very good and her high notes were ringing and shining brightly and her coloratura is like nothing else, but it just lacked some special quality that, say, Beverly Sills or Joan Sutherland had. Her chest voice was booming and delicious, but like I said it lacked a "je ne sais quoi" that I like so much in particular singers. Her mad scene was amazing and the glass armonica was totally creepy. Her high notes and coloratura were, like I said, amazing and really gleamed in the mad scene. Marcello Giordani was brilliant as usual. He sounded so much better last night than he had in the opening night broadcast. He was just beautiful, acting and singing. Mariusz Kweicien and John Relyea were vocally outstanding and played their parts well. Kweicien as malicious as his character needed and Relyea as compassionate.
Two minor roles that really stole the show were Arturo and Alisa. Stephen Costello's 5 second part was stunning. He opened his mouth and we all leaned forward in our seats. It was incredible, I've never heard anything like it! I'm happy he is Edgardo for part of the run because he deserves it! Another stunning performance was Michaela Martens as Alisa. She's another one where she opened her mouth and we shot awake. Okay, that first scene is not exactly the most exciting, but when she came in the second scene her mezzo voice filled the house. During the sextet and the finale of the wedding scene she was the only female voice you could hear. I kept watching Annick Massis's mouth and then realized that it wasn't Lucia who was pounding out those gorgeous notes, it was her maid!
James Levine's conducting was flawless as can be expected. It took him a little while to make his entrance, which caused some nervous shuffling and giggles. Once he was out there he had total control, and he was workin it!!!!! Go Levine, go Levine, it's your birthday, it's your birthday. =)
My advice to Mary Zimmerman: You are very energetic, next time don't direct (let's be frank) an opera with only two exciting scenes. This opera doesn't require much movement, don't force it and next time maybe do something like Le Nozze di Figaro which is non-stop action!!

Happy Listening! =)

Giordani-miester strikes again!!!!!!

The WONDERFUL and OVERWORKED Marcello Giordani again covered a role he wasn't supposed to be singing this season. Peter Gelb was booed last night when he came out to announce that Roberto Alagna would not be singing Pinkerton in Madama Butterfly. Thankfully Marcello Giordani was ready in the wings!!!! Twice in one month, oh my goodness! Bravo, Marcello!!!!! Not only is he one of my favorite tenors of today, but he's one of the most reliable tenors.

Marcello Giordani: He will play your role, too!
=)

A Tenor Earns His Brownie Points and an Audience Member Converts!

Romeo and Juliette
by Charles Gounod
The Metropolitan Opera

Romeo- Joseph Kaiser ********
Juliette- Anna Netrebko
Mercutio- Stephane Degout
Gertrude (nurse)- Jane Bunnell
Tybalt- Marc Heller
Stephano (page)- Isabel Leonard


Let's start with the convert. I have officially converted to the other side of the Anna Netrebko train tracks. Sure, she had that train wreck "Casta Diva", but you all have to see this woman live! Yes she trashed herself around in her skimpy costumes on stage, but her voice was absolutely beautiful! Those recordings you hear and the videos you watch of her really don't mean anything! The real voice is heard in the house! Some singers sound better on recordings, but Anna sounds better in person. MUCH better in person. Go buy tickets! You won't be disappointed! Sure, she will never have my favorite voice and she will never be my favorite singer, but suddenly she has really proved herself. Brava, Anna!


********So, last night the lights go down and we see the ominous spotlight go to the left side of the stage. A man in a suit comes out and the tension builds. We know that man...
"Hello, I'm Peter Gelb, general manager of the Metropolitan Opera." *applause* (I'm thinking "O God, who cancelled?? ANNA?????")
"Anna Netrebko is FINE."
*laughs from the audience*
"In fact, every member of our cast is fine," ("Oh my God, Domingo?!?!?") "except for our tenor, Joseph Kaiser." *groans and chattering*
"He woke up with a cold this morning, so we got the fantastic tenor, MARCELLO GIORDANI!!" *cheers and applause*

Wow, does Peter Gelb loooooove Giordani now! My question is, where was Alagna? He sang this role a few nights ago and he's still in New York for Butterfly!! Oh well, I'm glad we got Giordani, I don't like Alagna. Marcello Giordani sounded absolutely gorgeous last night. He sounded much better than he did in the opening night broadcast. His high notes were mind blowing and even though he only had a few hours to learn the staging, he didn't seem that uncomfortable. The prompter was heard at least twice before the first intermission, but he hasn't performed this role in years, so it's understandable. Bravo, Marcello! I'm so glad he stepped in. (PS. His high C's were louder than Anna's. No other Romeo so far has accomplished that!)
Anna Netrebko sounded so fantastic. I realized why I didn't like her voice. Some of her vowels sound funny sometimes, but I didn't notice half the time. Especially during the balcony scene (in my opinion) she sang so wonderfully that my fellow audience members sank into the background and all it was was her and Romeo on stage. It was so cool! Her acting is also incredible. I don't even have to go on about that, everyone already knows she's a stage animal. =)

Here cooooooomes the new kid in town! Isabel Leonard as the page knocked my socks off! She's a graduate of the Juilliard School and this role is her Met debut. She received a huge ovation at the curtain calls and she totally deserved it! This hotsy-totsy new mezzo might just be the new big star, so watch out for her. That's I-S-A-B-E-L-L-E-O-N-A-R-D who grew up right here in New York. Brava, girlfriend!
Now for Maestro Domingo's conducting. I think I passed out for a moment when he first came out into the orchestra pit. I started shaking I was so overwhelmed. Think about it, I was just 100 feet from one of the greatest tenors on the face of the earth. =0 Boggles my mind. His conducting was good. I just felt that he separated the orchestra from the singers. He kind of made a pillow for the singers so they could sing on top of the orchestra. There was no blending of strings and voice, you either noticed only the singing or only the orchestra. Which was okay at some points, because some of those musical interludes are so amazing (Go Gounod!) and some of those vocal lines are outstanding!

Finally, the technical glitch. GASP! A technical glitch at the Met? Is that possible? Well, let's just say that by the end of the performance some poor schmo was cleaning out his desk. During the balcony scene the backdrop is the night sky with a galaxy (or something that looks like a galaxy...) in the center. Apparently the galaxy was supposed to change into another pretty space picture... but instead we got a blank white light, distracting us from the singers for a moment, and then the new space picture. My mom and I looked at each other saying "Are we seeing a slide show? Oops, Peter Gelb just fired someone!"

Happy Listening! =)

Angela Gheorghiu Gets FIRED and more other news

Let's do the "other news first."
It has been announced that, to many people's dismay, Isabel Bayrakdarian has taken (ahem) a 9 month hiatus. Her replacement will be soprano Lisette Oropesa who will sing Susanna at the premiere of Le Nozze di Figaro and at least one other performance. Ms. Oropesa is a member of the Met's Lindemann Young Artist Development Program. Very impressive. Maybe I'll see her then? If I'm not seeing her, then I might be seeing Ekaterina Siurina or our lovable TBA in the role of Susanna.

ANGELA GHEORGIU HAS BEEN FIRED FROM THE CHICAO LYRIC OPERA. Ms. Gheorghiu was fired from the production of La Boheme because she "missed 6 out of 10 rehearsals, including a piano dress rehearsal and both staging rehearsals with the orchestra." She apparently also missed a critical stage-orchestra rehearsal. Ms. Gheorghiu also violated her contract when she left unanounced to go to New York. Oh, and one more thing, La Gheorghiu was spotted at the premiere of Gounod's Romeo et Jiuliette at the Met. And who was staring as the leading man that night? None other than her husband, Roberto Alagna. Coincidence? I would think not. =O Scandaloussssss

WELCOME TO THE MET!

Happy 2007-2008 season!!!!!!! I'm listening to the opening night Lucia courtesy of the Met website. I'm now listening to Margaret Juntwait (my faaaaavorite announcer!!!!) interview Blythe Danner about opera and acting in opera. What a star studded event, eh? We also heard from tenor Marcello Giordani.

I'm not going to say anything about the singing because I want to wait until at least the mad scene/sextet is done.

****Quickie update: Remember that tenor Stephen Costello I told you all about who is taking over one of the Edgardos? Well, he just had a cameo in Lucia as Arturo and oh my gaaaawwwwd this kid is amazing!

***Another update: Sextett just started!!!! I'm absolutely in love with this part of the opera... Too bad it's only a meager attempt =O. oops. The highlight of the sextet HAS to be Levine's conducting. Marcello Giordani, I really hate saying it, has sounded like he's been struggling the whole opera. Dessay isn't delivering as I expected either. WOAH Dessay interpolated a little high note just now at the end. Have to say, the sextet was a let down. Too bad, it's one of the greatest sections in all of opera.

Relyea is sounding better than he usually does on these UP CLOSE AND PERSONAL live webcasts. I'm glad because no one else is deliveringggg! Where's the fabulous Dessay I keep hearing about? Where's my lovely Giordani? Maybe I'll like Dessay better in the house? We'll see.

The finale of this act is so fastttt! bravo Levine! It's so exciting this way! Faster faster faster faster!!!! Crash those symbols! Woah, Dessay is going for every high note she can! I give the girl props. Giordani could barely keep up with the tempo, but whatever.

****Placido Domingo is being interviewed!!! I'm smiling just listening to him. His accent is AMAZING. He's conducting tomorrow, by the way, Gounod's Romeo et Juiliette. It's one of his favorite operas apparently (???? really?). He likes french operas and he likes the challenge of conducting an opera. I love this guy. He's amazing. <3's>

I mean, I love Marilyn Horne, but how long is this intermission??? Unbearableeeeee

*quickie note: This bartione, Kwiecien, is getting on my nerves a little bit. The two lead men (Enrico and Edgardo) are just not happening tonight! What's happening? The ending of that duet was bleck. No gusto, no high notes (not that I wanted either of them to even attempt one!), no nothing! Oh well... I hope this gets better.

***pre-mad scene notes: Relyea sounds fantastic. That little ensemble bit also sounded excellent. I'm putting too many notes here, but a full review is a good review!

*****MAD SCENE NOTES:

Dessay appears at the stop of the stairs in a blood-stained wedding gown. She comes down the stairs. OH MY GAWWWWD THAT GLASS HARMONICA IS SCARY! So cool, but scary. That instrument could make anyone go crazy. She's lying on the steps ON HER BACK. She's going Anna on us!!! Ah! (i can see the stimulcast on the Times Square screen here) Now she's swaying like a loonie bin. Oh wait, she IS a loonie.

So far I give Dessay an A+. Brava! Her singing is clean and is ringing. Her laugh is totally scary, though.

This glass harmonica will not let me sleep tonight, I swear. It's totally scary.

LA DESSAY IS NOT LYING ON THE PROMPTERS BOX! Is anyone else getting the impression that Mary Zimmerman is a weirdo? A Lucia set in the 1920's? The prompter's box?

Now Lucia is hallucinating and Dessay is going over to Raimondo like "Oh hey, you're my lover right? No? Well that's okay, I'll just pretend you are." FLAWLESS COLORATURA. If I may say so myself.

Holy gosh. Dessay just screamed at the top of her lungs. I seriously got chills. That was totally mad-scene-alicious!

SPARGI D'AMARO PIANTO: sitting on the staircase, great ornamentation on the second verse! Chest voice dominationnnn on one of the notes. She's such a great singer, that Dessay! =O lying on the ground AGAIN. These sopranos like this for mad scenes.

HERE COMES THE BIG FINISH TO THE MAD SCENE. high note omggggggggg! What a screamer!!!

Audience....going....MAD for Dessay. (i personally prefer Dame Joan, but who doesn't?) WHAT A GREAT MAD SCENE! It makes up for everything that came before.

Well, since the rest of the opera really doesn't matter (lol), I'm going to bed.

This is probably a terrible post to read, but I had fun! I always do!

Happy listening!

TBAs at the Met

After lots of joking around about the many many TBA casting this season, we finaly hear who they are!!!!!

As Edgardo in Lucia di Lammermoor on October 25th is Stephen Costello.
The Lady Macbeths will be both Maria Guleghina and Andrea Gruber. La Guleghina, however, will be getting the bulk of the Macbeth's and even the moviecast!! =O

Lucia di Lammermoor opens this Monday, September 24th. (so excited!)
Macbeth opens on October 22nd. (way to cut it close, guys, good job.)

See the Met website for more details.

Replacements, lacking the surprise factor

A press release from the Met says that there have been quite a few cast changes for the 2007-2008 season! Some of them don't come to a surprise to any of us.

Pay attention, this may be confusing:

Angela B. Brown will replace Maria Guleghina in Aida on September 29, October 4 an 16. Ms. Brown will sing, as scheduled, on November 2, 5, and 8. Micaela Carosi will replace Ms. Brown on October 30.
Maija Kovalevska will replace Krassimira Stoyonova as Micaela in Carmen on February 9, 8, 13. Ms. Stoyonova will sing all other performances. Lucio Gallo will sing (role debut) Escamillo in all performances next season.
Matthew Polenzani will sing Romeo in Romeo et Jiuliette opposite Anna Netrebko on the December 27 and 31 performances. Rolando Villazon will sing all other performances.
Neil Shicoff will not be singing in Peter Grimes at all this season. Since I'm guessing he backed out, Anthony Dean Griffey, will sing the entire run.
Isabel Bayrakdarian will be replaced by Ekaterina Siurina in the role of Susanna in Le Nozze di Figaro on November 10, 14, 17, 21, 24, 28, and December 1. Ms. Bayrakdarian still holds her performances on October 2, 6, 10, and 13.
Maria Guleghina is replacing Andrea Gruber as Lady Macbeth on October 22, 26, 31, and November 3. Andrea Gruber is still scheduled for May 9, 13, and 17.
Maria Guleghina is not singing in the November 12, 16, 19, and 23 performances of Norma. Instead, Hasmik Papian will sing the Bellini opera. Ms. Guleghina is still scheduled for November 26, 30, December 4, and 7.
As Lady Macbeth we anxiously await the wonderful return of the lovely TBA, on January 5, 9, 12, and 15.

Run, everyone, and check your subscriptions! If you don't have a subscription, make sure that if you buy tickets you know which cast you're getting. It could be a very confusing process.

I, personally, was not at all surprised that they gave away at least some of Andrea Gruber's Lady Macbeth. Excuse me, but her vocal decline is painfully obvious. Come, come, we all heard that Turandot broadcast! I will be perfectly happy to see Maria Guleghina as Lady Macbeth. Most people don't seem surprised at Neil Shicoff either backing out or getting pushed out. Something to do with assuming in advance that he would not show up for rehearsals? What ever the case, the Met decides who stays and who goes.

Oh My God, Met in the Parks!!!!

Well, I have to say I am extremely impressed. Blown away and utterly speechless!! Met in the Parks is the most brilliant idea ever! I know it's been going on for many many years now, but it's like a revelation for me.

Last night was Gounod's Faust, and let me tell you this is no light opera. With seemingly inclement weather everyone waited anxiously to see if the sun (or stars) might make an appearance. Oh well, no stars (only clouds) but the stars on the stage were just as bright!!
The cast was as follows:

Faust- David Pomperoy
Marguerite- Katie Van Kooten
Mephistopheles- James Morris
Valentin- Hung Yun
Siebel- Kate Lindsey
Marthe- Jane Bunnell
Wagner- Keith Miller

Like the absolute brilliant person that I happen to be, I either forgot or was too lazy to prepare myself for seeing this opera. I never read the synopsis, got a CD, or read a libretto at all! However, before we left I cleverly printed out a translated libretto from aria-database.com and used it the whole way through. It was very helpful. We only made it to the end of the second act, though, because my brothers complained of the cold. I said "If those singers can stand up there and sing in this cold, then we can sit hear and listen to them in it!" We still ended up leaving. I brought a friend along to her first opera ever! She was so excited because I, obviously, tell her all about it. She was not disappointed in the least. She had the most wonderful time, I was so happy!

Now comes the tricky part... The actual performance...
Well, let's see. It was truly magnificent. All the singers sounded wonderful. James Morris especially, but he's one of my favorites so I'm kind of biased. I never heard any of the other singers in my life, but I love them! Katie Van Kooten was extraordinary as was David Pomperoy. Why aren't they singing more during the actual season? And if they are, why haven't I heard about/seen them!!! In any event, they were all charmingly beautiful. The entire experience was wonderful.
We did have a little help from the weather with dramatic effect. It seemed that every time Mephistopheles appeared there was a big flash of lightning (although it wasn't raining and we heard no thunder). There was drama in the scene, out came the lightning. It made it even more special!
I plan to go every year from now on, and I advise everyone else to go as well! You will not regret this, I promise!!

Change of Schedule!

There's been a change in plans for the Metropolitan Opera's 2007-2008 season.
Instead of doing Les Contes d'Hoffmann the Met will show Bizet's Carmen.

Well, why the change?

Funny story about that...
The tenor Marcelo Alvarez decided to retire Hoffmann from his repertoire.

"We want to ensure that the world’s greatest singers are performing at the Met in roles that suit them best,” said General Manager Peter Gelb. “While this change affects previously announced plans, we are delighted that Met audiences will get to hear Marcelo Álvarez sing Don José for the first time and that Olga Borodina will perform one of her signature roles.” *

Couldn't have Mr. Alvarez waited another year? Okay, guess not. However, we will have the pleasure to see the great Zeffirelli production of Carmen with the absolutely stunning mezzo-soprano Olga Borodina.

The the cast includes:
Carmen: Olga Borodina/ Nancy Fabiola Herrera (one performance)
Don Jose: Marcelo Alvarez
Micaëla: Krassimira Stoyanova
Escamillo: TBA
Conductor: Emmanuel Villaume


Too bad Hoffmann wasn't on my subscription! I'd be seeing Carmen! =)

End of the Season Awards!

The end of the Metropolitan Opera season is not official until the fat lady sings... I mean, until we give out the awards. =) We give the awards to the good and the bad, the monstrosities and the muses, any one who did something special this season.


Worst acting:
Winner: Richard Margison

Worst singing:
Winner: Andrea Gruber in both Tosca and Turandot
Runner Up: women of the Met Chorus in some of the broadcasts
Third Place: Richard Margison

Best acting:
Winner: Renee Fleming in Eugene Onegin
Runner Up: Dmitri Hvorostovsky in Eugene Onegin
Third Place: Anna Netrebko in I Puritani

Opera with the best singing:
Winner: Il Barbiere di Siviglia
Runner Up: Eugene Onegin
Thrid Place: Die Zauberflote

Best singing by a male artist:
Winners: Rene Pape (sarastro) and Juan Diego Florez (almaviva)
Runners up: Dmitri Hvorostovsky (onegin) and David Daniels (cesare)

Most touching performance by a female artist:
Winner: Barbara Frittoli in Sour Angelica
Runner Up: Elene Evseeva in Boheme
Third Place: Liping Zhang as Liu in Turandot

Most touching performance by a male artist:
Winner: Ramon Vargas as Lenski in Onegin
Runner up: Marcello Giordani in Boheme
Third Place: Florez in Barbiere

Best Saturday Matinee Broadcast:
Winner: Eugene Onegin
Runner Up: I Puritani
Thrid Place: Il Barbiere di Siviglia
Fourth Place: Die Agyptische Helena

Worst Saturday Matinee Broadcast
Winners: Turandot (with Margison and Gruber) and La Boheme (everyone must have been sick)

Broadcast I would most like to hear again:
Winner: Jenufa with Karita Mattila
Runner up: Don Carlo
Third Place: Il Trittico

Best new production
Winner: Il Barbiere di Siviglia (singing and staging you could die for)
Runners Up: Madama Butterfly and Il Trittico

Opera I'm most sorry I missed:
Winner: La Traviata
Runners Up: Andrea Chenier, CR/Pagliacci

Operas I'm glad I went to:
Winner: Die Zauberflote
Runners up: Turandot (Sunnegardh) and Tosca (they're taking down that production soon!)

Highlights of the Year:
Rene Pape's Sarastro
James Morris's Scarpia
Juan Diego in Barbiere
Joyce DiDonato in Barbiere
Hvorostovsky and Fleming in Onegin
Anna Netrebko in Puritani
Domingo in First Emperor (even if the opera did pretty much stink)
La Gioconda (who knows when well see that again!)


Overall this season was fantastic. I'm going to miss this season so much! This was my first season at the Met Opera and I'm really happy it was. Bravi Tutti!

Turandot

Conductor: Marco Armiliato
Turandot: Erika Sunnegardh
Liu: Liping Zhang
Calaf: Richard Margison
Timur: Hao Jiang Tian
Emperor Altoum: Bernard Fitch
Ping: Hung Yun
Pang: John McVeigh
Pong: Charles Reid
Mandarin: Patrick Carfizzi

Turandot: The opera (and final scene) that changed my life. Turandot: My favorite opera. Turandot: The largest Met production ever (until Trittico). Turandot: The opera I saw last night.

I'm still in a daze. I'm not sure I'm thinking all that straight. I went into the house last night with low expectations. Whether it was because it from what I heard during the Turandot broadcast, or other peoples reviews, I didn't want to get my hopes up. Turandot being my favorite opera, I didn't want a major disappointed. Now I ask myself... What in the world was I worried about??
Erika Sunnegardh was better than I could have ever imagined! Her voice rang through the house like a church bell. Clean and clear as glass and as powerful as a lion. Her acting was great. She glided across the stage as she sang, and when she went down the short stairs it seemed like she was floating.
Speaking of the stage... The sets... THE SETS! They were immense and spectacular. That's what the whole evening was, a spectacle. So wonderfully glorious that I couldn't believe what I was seeing (and in most cases, hearing). Zefferelli was a genius. Incredible.
Richard Margison was our Calaf last night. After what I had heard in the Saturday Broadcast I was not expecting much from this tenor. It's good to not be disappointed, even if that means lowering your expectations. His voice was fine (except for the big famous high notes, had a little trouble), but his acting was not fine. Even my dad agreed that he was "a stiff." Sort of "I will kneel down because the director said so. I will walk over here because the director says so." and so on. His voice was also not expressive, very little emotion, but at some points he had good phrasing.
Liping Zhang was very well received by the audience, and rightfully so. Her Liu was heartbreaking and her voice sounded lovely. All of her singing had tons of feeling and emotion. Overall she was wonderful.
Hao Jiang Tian sounded fantastic as Timur. His voice was deep and sonorous as could be. It's not easy being a blind man on stage!!
The three ministers (or the "three p's" as I call them), Ping, Pang, and Pong, are one of my favorite parts of this opera! Their comic relief is so welcome, especially in an opera such as this! I was waiting anxiously during the first act for their entrance and almost squealed with delight when they appeared! The first scene of the second act was fantastic as can be expected!
Basically, my only problem with this production was the tenor's acting!! "Nessun Dorma" didn't blow me away, but what could I expect?

My dad and I noticed something interesting about the conductor... He didn't have the score there. Umm... Could he have memorized the orchestration??? That's pretty darn impressive! It was also impressive when the trumpet players went up to the lighting booth at the top of the house and BLASTED the imperial theme into our ears. THAT was cool.
The orchestra was glorious as usual. Kudos to the horn and percussionists. That's a tough show to do. Blastin' away the whole time. haha! The chorus has less of the "old lady syndrome" when you're in the house, I noticed. As long as you don't hear it in the house, I will turn the other cheek during the broadcasts!

This Turandot was absolutely magnificent. I'm so happy this was my first live Turandot, I was pleasantly surprised by the singers. I tip my hat to all and "TUTTI BRAVI!!!"

Interesting side note: There was a couple in one of the boxes with a BABY. I mean, one-year-old or younger type of baby. I was so afraid that the baby would start crying or something! I said to my dad "If that kid starts crying during Nessun Dorma, him and his parents are getting bumped to Orchestra level using the quickest way down, courtesy of me!!!" We joked about it for a while, but once the act started the baby didn't make a peep, to our relief.

Diecimilla anni al nostro Imperatore! =)

The Ruth Ann Swenson Mess

I've tried to avoid this, but I really can't for much longer. Let me just say that I have extreme respect for some one to go out on stage at all, at any time in their lives. But to go out on stage in front of scrutinizing and thoroughly terrifying opera buffs (because as much as we want to deny it, we're too hard on some people) only weeks after finishing chemotherapy for breast cancer, or any other kind of cancer!
People first complained about her article in the New York Times Arts section which stated:

"...“It’s hurtful,” Ms. Swenson said. “I’m a New Yorker. I’ve sung here for many, many years."..."I’ve never let them down.” She added: “It’s so stressful to get up onstage and realize that the top guy doesn’t like you, and there’s nothing I can do about it..."

"...Mr. Gelb acknowledged some dissatisfaction with her past performances. But he disputed that her career at the Met was over..."

"...“I think I’m not skinny enough for him,” Ms. Swenson said. “Excuse me, I’m not some giant person.”..."

"...Ms. Swenson said she was aware that her words could burn bridges with Mr. Gelb. “He doesn’t like me anyway,” she said, “so what do I have to lose?”..."

People were saying that Ms. Swenson was trying to get pity and was just plain being a cry baby. I think that these allegations are unfair and untrue! I think that Ms. Swenson was trying to show how some opera companies are trying to make it more about drama and (let's be frank) sex appeal than about musical abilities. Whether this is true or not remains to be seen. Obviously, there are people who think that this is so. Between Deborah Voigt's public weight "issues" and the increase in skinnier singers, it may not be unlikely. There are full-figured opera singers to be sure, more than half of the men are a little more than "full" and some women, Ms. Sweson included, are not super-model thin. Opera has remained for a long time an art that does not care what you look like, just how you sing! I am hoping that it stays this way; we can't be pushing singers on a scale at every audition, it would be unheard of! And cruel!

Last week the NY Times printed a review for the Met's production of Handel's "Guilio Cesare" with David Daniels and Ruth Ann Swenson as Cleopatra. The critic had nothing but good things to say about Ms. Swenson! She, as we hear, received a little more than enthusiastic applause during the curtain calls, and an every-praising review. So... What do people have against her?
People say that she is not much of an actress. Well, neither was Cornell Macneil! Pavarotti was sometimes a "stand there and sing" type of guy, too! At some points opera was a "stand and sing" art form, whether it was intentional or not. There is that story about Corelli and Tebaldi in Boheme where each stood on an opposite side of the stage and sang to their fans on other sides of the house, not caring whether Mimi and Rodolfo were supposed to touch hands.
People also say that her vocal quality has not been as good as past years. Well, there are a few factors that could contribute to this... One, is age. Everyone gets old. We can handle a few wrinkles, can't we?? I mean, Domingo hasn't even retired yet, so I think we can handle it! Two...People, people people people! Did you miss the part where Ruth Ann Swenson had breast cancer? Cancer and chemo can do things to you! You don't get off scot free! It's ridiculous that someone thinks that she will come back unaffected!

I'm not sure what to think about this problem as a whole. Even though I just put my two cents in, and you probably think I have a strong opinion about it. I'm inclined to like Ruth Ann Swenson a lot, and I am hoping to see her next season in 'La Traviata.' I understand that Peter Gelb wants to make opera more popular, but he can't push out talented singers.

This has been prying on my mind for a long time, and I want everyone to know that this entry took me days to write. =) I didn't know whether to set up a riot on Peter Gelb or to sit back and see what happens. I would really like to see his reaction and/or comeback to all of this!!!

Quick Thought about Turandot on Sirius

Thought I would share these quick comments about the cast...
(Erika Sunnegårdh replaced Andrea Gruber, because she was ill. Thank goodness, because I don't like Andrea Gruber at all.)

Conductor: Fabio Luisi
Turandot: Erika Sunnegårdh
Liù: Hei-Kyung Hong
Calaf: Richard Margison
Timur: Oren Gradus

• Turandot- "In Questa Reggia" was unbelievable! What power! What force! (I do prefer Eva Marton and she sang it a lot, but I can have my favorites =]) Act II was electrifying! What a glorious top voice this woman has! Marvelous! I can't wait to see her live. what a spectacle... Riddle Scene was bone chilling! I'm shivering!
• Mandarin- wobble wobble wobble. otherwise, alright =) in Act II he got off the rhythm a little and had to rush to get back in place.
• Liu- vocally, very solid. Act I was very very good! "Signore Ascolta" had lots of feeling (i could even hear her sobbing softly at the end!) and was stable, even on top (had a nice *ring*).
• Timur- dark and rich voice. very deep and sonorous. some wobbling. Act I was sung extremely well. i like the tone of his voice a lot.
• Calaf- okay, not Domingo's Calaf, but what are you gonna do? pushing a little bit, but not bad... not bad at all! he doesn't show a lot of feeling through his voice, though, which is sort of disappointing. Act I was alright, except for the three "Turandot! Turandot! Turandooootttt!"... something weird happened with that, it just felt funny. Act II was alright... again, not Domingo, but still okay. From Mel Brooke's "History of the World Part I": Nice...not thrilling, but nice.
• Ping- Act I was really good. He sounded relaxed, confident and like he was having fun, which he should in such a role!! Act II was good. his tone, i noticed, is rather gravely which is okay as long as it doesn't get out of hand.
• Pang- Act I was very good. I love the two tenor roles, Ping and Pang. they make such a good pair! haha! Act II was even better than the first!
• Pong- Act I was increasingly getting better. wonderfully enjoyable! Act II was just as good if not better than the first act!
• Ping, Pang and Pong together- charming as usual. they always make me smile!! =)=) "Addio amore, Addio razza, Addio stirpe divina!!!!!" i love these guys!
• Emperor- No wobbles, though it did sound a little unstable. He is supposed to sound extremely old, so I guess it fits.
• Chorus- menacing and great as usual. there is a new symptom of "old lady" syndrome in the higher notes. hopefully they can fix that? however, when they screamed "SANGUE! SANGUE!" i got goose-bumps. agh, it's terrifying.
• Children's Chorus- so cute! lovely voices, too. "La, sui monti dell'Est" was great. good work, kids!
• Orchestra- loud and lovely. =) you can't say many bad things about this orchestra
• Conductor- kept things together, as the conductor should. sometimes it felt rushed or too fast, but overall it was very, very nice work. he also goes a little too slow at times, there must be no happy medium! haha, bravo Maestro Luisi.

I was too tired to listen to the final act, although my favorite aria is in it! (Correction: mom made me go to bed =])

Although I'm not sure this is Puccini's absolute best work ever (there is Tosca, La Boheme, Manon Lescaut etc. etc.), it remains to be my favorite opera nonetheless. Turandot surely contains some of Puccini's most haunting music! Caution: Turandot's music may cause nightmares or recurring dreams of decapitated princes and/or cause extreme emotion including sobbing like a baby, yelling "sangue" in public places, and smiling like a fool!!!

I'm so incredibly excited to be seeing this production later this month! I'll give a more in-depth review after I see it.


Diecimila anni al nostro Imperatore!!! Gloria a te!!