Saturday, March 31, 2018

March 31, 2015: Les Contes d'Hoffmann in Munich

2015-03-31 Les Contes d'Hoffmann (Jacques Offenbach), Bayerische Staatsoper (Munich)

Olympia = Jane Archibald
Giulietta = Brenda Rae
Antonia = Serena Farnocchia
Cochenille, Pitichinaccio, Frantz = Kevin Conners Lindorf, Coppélius, Dapertutto, Miracle =
Christian Van Horn
Nicklausse/Muse = Angela Brower
Stimme aus dem Grab = Qiu Lin Zhang
Hoffmann = Rolando Villazón
Spalanzani = Ulrich Reß
Nathanaël = Dean Power
Hermann = Andrea Borghini
Schlémil = Christian Rieger
Wilhelm = Petr Nekoranec
Crespel = Peter Lobert
Luther = Peter Lobert

Constantin Trinks, conductor
Chor der Bayerischen Staatsoper Orchester Bayerisches Staatsorchester

Inszenierung - Richard Jones
Bühne - Giles Cadle
Kostüme- Buki Shiff
Choreographie - Lucy Burge
Licht - Mimi Jordan Sherin
Dramaturgie - Rainer Karlitschek

Chor - Sören Eckhoff


Having seen this opera before with Placido Domingo and Agnes Baltsa as Hoffmann and Giulietta, the video recording from Royal Opera House Covent Garden, I was not overly optimistic. The only part I could really enjoy was the Giulietta act and even Domingo could not make me enjoy the whole opera. The parts with Placido was always the best and with Agnes Baltsa too, it became magic.


Rolando Villazon was the best actor for this role and a good tenor, too. His voice is not as it used to be, they say. In this performance I saw a promise to come back to greatness with some care. Villazon was a great Hoffmann and by his side the true wonder of the evening Angela Brower as Nicklausse. The 3 sopranos was great. Jane Archibald was the most amazing Olympia. Serena Farnocchia was the most wonderful Olympia. Brenda Rae was Giulietta. This time I did not love the Giulietta act more the rest. It was just the most perfect production.

OD Travel & Photos
Original blog post

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Friday, March 30, 2018

March 30, 2010: Simon Boccanegra in Berlin

2010-03-30 Simon Boccanegra (Verdi), Staatsoper (Berlin)

Simon Boccanegra = Andrzéj Dobber
Maria Boccanegra (Amelia) = Ailyn Perez
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Aquiles Machado
Paolo Albiani = Massimo Cavalletti
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

Daniel Barenboim, conductor



Director - Federico Tiezzi


Set Designer - Maurizio Balò


Costume Designer - Giovanna Buzzi


Light Designer - A. J. Weissbard


Chorus master - Eberhard Friedrich


Dramaturgy - Francis Hüsers
Barbara Weigel




This time my seat is on the 2nd balcony in the middle of the 2nd row. My view is excellent. Of course you see more in the seats of the parkette but here one can see the whole stage at once and even the subtitling at on glance. The Prologue and Act 1 is the same as on March 27, the only other is that I now know what and where is people coming and that I find Ailyn Perez even better. Her Come in quest-ora bruna was superb. During the performance one understood that Achiles Machado is at his limit in Gabriele Adorno but not in the degree that one cannot enjoy his voice throughout the opera.

In act 2 came the great tenor aria "Sento avvampar nell'anima" with Aquiles Machado.

O inferno! Amelia qui! L'ama il vegliardo!...
E il furor che m'accende
M'è conteso sfogar!... Tu m'uccidesti
Il padre... tu m'involi il mio tesoro...
Trema, iniquo... già troppa era un'offesa,
Doppia vendetta hai sul tuo capo accesa.
Sento avvampar nell'anima
Furente gelosia;
Tutto il suo sangue spegnerne
L'incendio non potria;
S'ei mille vite avesse,
Se mieterle potesse
D'un colpo il mio furor,
Non sarei sazio ancor.
Che parlo!... Ohimè!...
Piango!... pietà, gran Dio, del mio martiro!...
Pietoso cielo, rendilà,
Rendila a questo core,
Pura siccome l'angelo
Che veglia al suo pudore;
Ma se una nube impura
Tanto candor m'oscura,
Priva di sue virtù,
Ch'io non la vegga più.

And then the duet with Amelia (Ailyn Perez). Bravi!

I think I must cut short my review of this performance. It was just too good to describe. Andrej Dobber as Simon Boccanegra. Ferruccio Furlanetto as Fiesco, Ailyn Perez as Amelia, Aquiles Machado as Gabriele Adorno. BRAVI!! And honorary mention to the rest of the cast:
Paolo Albiani = Alexander Vinogradov
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

OD Travel + Photos

Original blog post: The end of OD Travel in March: Berlin, Boccanegra and home.

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Wednesday, March 28, 2018

March 28, 2015: Carmen in Milano

2015-03-28 Carmen (G. Bizet), Teatro alla Scala (Milano)

Carmen = Elīna Garanča
Don José = José Cura
Escamillo = Vito Priante
Micaëla = Elena Mosuc
Zuniga = Gabriele Sagona
Moralès = Alessandro Luongo
Dancairo = Michal Partyka
Remendado = Fabrizio Paesano
Frasquita = Sofia Mchedlishvili
Mercédès = Hanna Hipp
Lillas Pastia = Rémi Boissy
Un guide = Carmine Maringola

Massimo Zanetti, conductor

Staging - Emma Dante
Sets - Richard Peduzzi
Costumes - Emma Dante
Lights - Dominique Bruguière

Choreographic movements - Manuela Lo Sicco


The staging and regie was in a way showing us a real Sevilla with a lot of reality but then Emma Dante had to add more to the stage. The adding to the opera and taking away some of the reality to put supernaturality into the stage, it was a hit and miss. Choreographic movements by Manuela Lo Sicco did not help. In the whole it was a miss, it was distraction and it was not needed. Lovely as some of the ideas was, especially with Micaela, it was superfluous and most fatally it threatened to make the opera less.

The orchestra was good but even the maestro Massimo Zanetti could not prevent it to sound shrill at times. The singers was wonderful, their acting superb and so it was a Carmen to enjoy. I had what I would usually call the misfortune to have a tall man sitting in front of me. This time it was a blessing I could miss some of the most unfortuned addition and enjoy the opera. So long I could view the principal singers I was in for a treat.

Emma Dante did find ways to put children everywhere and some extra dancing movements here and there. That could have been lovely but it was destroying the reality of Sevilla, the reality of Carmen and Don Jose. And I wanted it to be real. Was it really necessary to make so many references to the Catholic church? Not in my mind it was. It was a nice touch to dress Micaela in black only to show her in white by just not holding up the black fabric and voila Micaela is in white during the duet with Jose. Church boys giving her a white veil and now she looks like a bride. But no kiss, not from Micaela to Jose or from Jose to Micaela. So it is no surprise that Micaela is followed by a priest to the smugglers nest. The whole black to white changes again and now Micael has graying hair, why, to resemble the mother of Jose and they cleverly make it seem she i laying in bed being his mother praying for him. Two nice touches that worked but the rest was just nothing to go bravo about.

Elina Garanca and Jose Cura was wonderful together and alone. Elena Mosuc was an amazing Micaela and the baritone Escamillo was not bad. The singers saved the day!! Jose Cura was in top form and I enjoyed Elina Garanca.

OD Travel & Photos
Original blog post

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

March 28, 2010: La Boheme in Zurich

2010-03-28 La Boheme (Puccini), Opernhaus Zurich

Rodolfo = José Cura
Mimì = Barbara Frittoli
Marcello = Gabriel Bermudez
Musetta = Christiane Kohl
Schaunard = Cheyne Davidson
Colline = Andreas Hörl
Benoit = Davide Fersini
Alcindoro = Valeriy Murga
Parpignol = Carl Hieger
A customs official = Matthew Leigh
Sergeant = Falvio Matthias

Massimo Zanetti, conductor




Inszenierung - Philippe Sireuil

Bühnenbild - Vincent Lemaire

Kostüme - Jorge Jara

Lichtgestaltung - Hans-Rudolf Kunz

Choreinstudierung - Ernst Raffelsberger


LA BOHEME by Giacomo Puccini. Opernhaus Zurich 1400-1630


It was the better performance. Since it was my second time of this La Boheme nothing came as a surprise. Barbara Frittoli had it all, voice and acting, just like our José. 4 times I have seen them as Otello and Desdemona and now once as La Boheme. Verdi and Puccini singers De Luxe. It not only had the best Mimi but the conductor seemed be better too. Jose Cura sang even better, he sang a superb "Che gelida manina"and of course since now we had Frittoli it was a great singing of "Si. Mi chiamano Mimi" and in ended in a marvellous "O soave fanciulla". Act 2 started before the audience was finished applauding act 1. Even Musetta's aria was better now. After the interval it was act 3 where the only imperfection was that the dress Mimi was wearing was unflattering for the singer. But when Barbara Frittoli started to sing all such ideas was forgotten. It was another superb act with Jose Cura and Barbara Frittoli in great voices and the acting was great. Act 4 was really emotional and for once tears started to roll when this Rodolfo understands that his Mimi was dead. Even hardened opera fans would be brought to tears by this ending. The applause from the audience was by every act and aria more intense especially for Cura and Frittoli.

OD Travel + Photos

Original blog post: OD Travel in March: Once more to La Boheme in Zurich

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Tuesday, March 27, 2018

March 27, 2010: Simon Boccanegra in Berlin

2010-03-27 Simon Boccanegra (Verdi), Staatsoper (Berlin)

Simon Boccanegra = Andrzéj Dobber
Maria Boccanegra (Amelia) = Ailyn Perez
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Aquiles Machado
Paolo Albiani = Massimo Cavalletti
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

Daniel Barenboim, conductor



Director - Federico Tiezzi


Set Designer - Maurizio Balò


Costume Designer - Giovanna Buzzi


Light Designer - A. J. Weissbard


Chorus master - Eberhard Friedrich


Dramaturgy - Francis Hüsers
Barbara Weigel



Opera about the first Doge of Genoa (Genova). Of course the opera is not completely historical correct. 1900 the opera starts. Daniel Barenboim conducts. A great conductor of opera did he show himself to be. The orchestra shone The Scenography by Maurizio Balo, and the beautiful costumes was by Giovanna Buzzi.

Inszenierung / Federico Tiezzi, Dramaturgie / Francis Hüsers, Barbara Weigel.

Prologue: Paolo (Massimo Cavalletti) and Pietro (Alexander Vinogradov) decides that Simon Boccanegra shall be the new Doge and not Lorenzino. Then Paolo has to convince Boccanegra (Andrej Dobber) to be Doge and accept to let Paolo have a part of the power. Simon only wants his Maria so in order to win Maria as his wife he accepts to be Doge. They leaves as a crowd of men appears. Pietro and Paolo tells the crowd that Lorenzino is paid by Fiesco, the patrician. So they want another, a man of the people, Simon Boccanegra, the corsair. Paolo moves the crowd with a song about the palace of Fiesco where the beautiful and pious Maria is prisoner and where a ghost haunts the house (says Paolo). Fiesco (Ferruccio Furlanetto) appears from the opera. He is mourning Maria who has just died. He curses Boccanegra. Simon Boccanegra appears as Fiesco disappear, all lips will call my name, he sings. Then Boccanegra will be Doge and Maria's husband. Fiesco and Boccanegra meets, Fiesco is proud and fierce, Boccanegra is asking of forgiveness. Simon still believes Maria to be alive and begs of forgiveness. Never is the answer from Fiesco unless you give me the child from their unmarried relationship. But the child was taken care of by an old woman far from Boccanegra. The woman died, the child cried 3 days and then she disappeared. Fiesco is unplacated by the story. He leaves, only to look as Simon Boccanegra tries to find his Maria the house. And he finds her dead, the coffin is leaving the house. Fiesco rejoices only to hear Boccanegra proclaimed as the new doge.

25 years later
Act 1: Amelia GrimaldiAdorno to appear. Achiles Machado is Gabriele Adorno. She is worried because he is involved in plans against the powers in Genoa, the Doge. Amelia fears that the Doge who wants to visit is planning a marriage between her and Paolo. Gabriele must see Adrea (Fiesco in disguise) to arrange marriage so that she would not have to marry Adorno. As Amelia leaves, Fiesco appears and Gabriele Adorno is told that Amelia Grimaldi is not a Grimaldi but a poor orphan that was raised up in Pisa with the nuns there in the cell that was Amelia Grimaldi's cell before. Gabriele still wants to marry Amelia. Andrea/Fiesco blesses Gabriele Adorno. They leave as the Doge appear. "Amelia Grimaldi's" work is done as the Doge Simon Boccanegra gives her the paper of the forgiveness of Amelia's brothers. She tells the Doge the she loves another man and do not want to marry a man who is only after the Grimaldi gold. Boccanegra is so understanding that she confesses not to be a Grimaldi. As she tells her story and Boccanegra asks if the old woman's name was Giovanna and the portrait of her unknown mother is it not the same as he has. Amelia Grimaldi is Maria, Maria Fiesco's daughter with Simon Boccanegra. As she goes, Paolo appears only to hear that he have to give up to marry Amelia Grimaldi. When the Doge leaves, he and Pietro agrees to abduct Amelia Grimaldi to Lorenzino's house.

In the Doge's Palace. The Doge and Senators. Between talks of peace or war with Venice a noise is heard from outside the palace. A fight between large groups of people. Gabriele Adorno is captured. At the sound of cries of death to the Doge. The Doge tells the herald to tell the people that the Doge will open the doors to hear the people. The trumpets, and after the herald, cries that hails the Doge. Then the people arrive. The fractions in Genoa are against each other, no trust. The Doge questions Adorno who has killed Lorenzino for abducting Amelia Grimaldi but before he died Lorenzino told that a powerful man was behind. Adorno hints that it might me the Doge and almost attacks the Doge. Then Amelia appears and on the Doge's request tells who she was captured and how did she get free. She tells it but omits that she knows it is Paolo who is behind it. Since nobody knows who the man is it soon gets violent until the Doge calls it

Fratricidi!!!


Plebe! Patrizi! Popolo
Dalla feroce storia!
Erede sol dell'odio
Dei Spinola e dei D'Oria,
Mentre v'invita estatico
Il regno ampio dei mari,
Voi nei fraterni lari
Vi lacerate il cuor.
Piango su voi, sul placido
Raggio del vostro clivo
Là dove invan germoglia
Il ramo dell'ulivo.
Piango sulla mendace
Festa dei vostri fior,
E vo gridando: pace!
E vo gridando: amor!


Then the acts ends with the Doge Simon Boccanegra making Paolo curse himself.

After act1 it was an interval in which I left to take the train to Zurich.

Andrej Dobber was a great Simon Boccanegra, Ferruccio Furlanetto sang a fierce Fiesco. It was disappointing that Paolo (Massimo Cavalletti) seemed so weak against the great bass of Alexander Vinogradov as Pietro. The young couple was sung by Ailyn Perez and Aquiles Machado. After "Come inquest'ora bruna" I got used to Ailyn Perez' voice and found her to be a wonderful Amelia. Aquiles Machado was also a delight as Gabriele Adorno.

OD Travel + Photos

Original blog post: ODT Travel in March to Berlin's Boccanegra

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

March 27, 1993: Samson et Dalila in Bergen

1993-03-27 Samson et Dalila (Saint-Saëns), Opera Bergen

Dalila = Gail Gilmore
Samson = George Gray
Gran Pretre = Anooshah Golesorkhi
Abimelech = Boris Agayev

Anne Randine Øverby, conductor




The Venue: Grieghallen, Bergen (Norway)
I know I was there but unfortunately I do not remember much from it. But I think I would have remembered if it had only been a concert version. I do think that I was impressed with Gail Gilmore's Dalila and by Anooshah Golesorkhi as Grand Pretre.

OD Travel

Monday, March 26, 2018

March 26, 2016: Pagliacci in Berlin

2016-03-26 Pagliacci (Leoncavallo), Deutsche Oper Berlin

Canio = José Cura
Nedda = Carmen Giannattasio
Tonio = Mark Delavan
Beppo = Álvaro Zambrano
Silvio = John Chest

John Fiore, conductor
Chor der Deutschen Oper Berlin
Kinderchor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - David Pountney
Stage design, Costume design - Robert Innes Hopkins
Choreographer - Silke Sense
Chorus Master - William Spaulding

Childrens Chorus - Christian Lindhorst



Just like in 2005 Jose Cura was Canio. In 2016 Jose Cura was even better. The singing was beautiful. Jose Cura may look older but he sings younger. The acting was great. He is truly a great Canio, I do long his Turriddu but this time JC could give everything to Canio because Jorge de Leon was Turriddu, Álvaro Zambrano as Beppe is just marvellous, he got everything the voice, acting and looks. Mark Delavan was Tonio. Great acting, weak voice compared to the others. But Pagliacci is all about acting.

Carmen Giannattasio was Nedda and since I don't care for Nedda I can only say she was good (she probably was amazing, but I don't like Nedda so,..). John Chest was Silvio. In another production I would probably say Bravo but here Silvio is a pathetic nerd, he is probably a Nedda stalker. And so the whole theater in theater gets another theatric layer and that it the whole Bajazzo thing is just a snare so that Canio can kill Silvio and just pretend to kill Nedda. La commedia e finita, but David Poutney ruins it when Canio can go away with Nedda. It nullifies it all.

Why should Pagliacci start with the dummy being cast down from the overhead to the road below and Mamma Lucia running to mourn her son. Hanno mazzato compare Turriddu! and the Prologue with Tonio. Why! The Funeral wagon with Mamma Lucia dragging it cross the stage during the Intermezzo. No! Why connect the opera together and then changes the whole stage into a theater stage. Stupid!


BUT Jose Cura was amazing!!!!!! BRAVO!!!!!

OD Travel & Photos
Original blog post

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

March 26, 2016; Cavalleria Rusticana in Berlin

2016-03-26 Cavalleria Rusticana (Mascagni), Deutsche Oper Berlin 

Santuzza = Elena Zhidkova
Turiddu = Jorge de León
Lucia = Ronnita Miller
Alfio = Mark Delavan
Lola = Stephanie Lauricella
Zwei Bauern = Robert Klöpper, Tomasz Rakocz


John Fiore, conductor
Chor der Deutschen Oper Berlin
Kinderchor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - David Pountney
Stage design, Costume design - Robert Innes Hopkins
Choreographer - Silke Sense
Chorus Master - William Spaulding

Childrens Chorus - Christian Lindhorst


It was almost 11 years ago that I saw this production for the first time (2005-05-01) and I do not like it much. The singing was superb on this occacion. Jorge de Leon (Turriddu) and Elena Zhidkova (Santuzza) have the most amazing voices, strong, vibrant voices and the acting was also superb. Ronnita Miller who looked like a Mama from another show was the definitive Mamma Lucia. I found the whole opera Cavalleria Rusticana much more to my liking with this Mamma Lucia. She was so real, so touching and yes, totally believable. Lola was also very good. Mark Delavan was Alfio. His acting was all there but the voice was not up to the high power of rest of the cast which was a shame.

The production has its wonderful moments like the Mass with all the icons and the Hymn. The Lord is risen. The chorus was amazing and Elena Zhidkova was the high light and supported by the wonderful Mamma Lucia, Ronnita Miller. It was an OK production with an incredible cast. Or I should say the cast was very credible and real.


Worst moment was when Turridu is murdered and a doll was sent flying down and Reality just flew away. It was unbelievable, stupid and a crude moment.

OD Travel & Photos
Original blog post

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

March 26, 2006: Stiffelio in Zurich

2006-03-26 Stiffelio (Verdi), Opernhaus Zurich

Lina = Adriana Damato
Stiffelio = José Cura
Stankar = Renato Bruson
Raffaele = Reinaldo Macias
Jorg = Federico Sacchi
Federico = Martin Zysset
Dorotea = Margaret Chalker

Stefano Ranzani, conductor



Stiffelio - Verdi (Wiederaufnahme)
In italienischer Sprache
Dirigent Stefano Ranzani
Inszenierung Cesare Lievi
Bühnenbild Csaba Antal
Kostüme Marina Luxardo
Lichtgestaltung Jürgen Hoffmann
Choreinstudierung Ernst Raffelsberger




Werkbeschreibung In «Stiffelio» gibt es hinreissende Musik. Überraschende musikalische Einfälle, zielsichere Effekte, weit ausschwingende Melodiebögen und harmonisch betörende Ensembles, das ist Verdi vom Besten. Hinzu kommt das exotische Ambiente einer protestantischen Sekte – Anlass zu mancherlei romantischen Gebets- und schauerlichen Friedhofsszenen und zum grossen Theatercoup am Schluss, als Stiffelio von der Kanzel herab eine gesungene Predigt hält.

This was expected to be the perfect performance of Stiffelio. On March 24th there were many missteps but now those fault would not be repeated. And yes, no mistakes. Jose Cura is wonderful as Stiffelio, Adriana Damato is a wonderful Lina. Renato Bruson is a rather coarse Stankar. Reinaldo Macias is perfect as Raffaele. Federico Sacchi is too young to be Stankar (vocally). Martin Zysset is invisible as Federico. Margaret Chalker is beautiful as Dorotea.

Revelations: Stiffelio is Christ-like with "stigmata" in his hands after handling the sword, except the forgiveness. No "forgiveness them, Father, for they do not know what they are doing", rather "la perfida, sia dannata" (Perdon! Giammai! La perfida . . .Sia maledetta!)

OD Travel + Photos

Saturday, March 24, 2018

March 24, 2006: Stiffelio in Zurich

2006-03-24 Stiffelio (Verdi), Opernhaus Zurich

Lina = Adriana Damato
Stiffelio = José Cura
Stankar = Renato Bruson
Raffaele = Reinaldo Macias
Jorg = Federico Sacchi
Federico = Martin Zysset
Dorotea = Margaret Chalker

Stefano Ranzani, conductor



Stiffelio - Verdi (Wiederaufnahme)
In italienischer Sprache
Dirigent Stefano Ranzani
Inszenierung Cesare Lievi
Bühnenbild Csaba Antal
Kostüme Marina Luxardo
Lichtgestaltung Jürgen Hoffmann
Choreinstudierung Ernst Raffelsberger


My favorite opera is Stiffelio. My favorite tenor is Jose Cura. The Soprano Adriana Damato who I had seen and heard in Parma in the Verdi Concert 2004 she sang then Giovanna d'Arco, I Masnadieri and Il Corsaro and did a very favorable impression. I know that she have sung Mina in Aroldo, Stiffelio's twin opera, so I was very eager to see this Zurich production of Stiffelio with Cura and Adriana Damato. Her voice seem sometimes not big enough but her charisma was very strong. Unescapable when onstage. Very much what I dreamed.

On March 24th it was very much a live performance. Small missteps here and there. Some ensembles did not start right, when one person stumbles it makes any septet difficult to come right. Stefano Ranzani might be a wonderful conductor but the orchestra sometimes drowned the singers and is not the conductor responsible in saving it when the singers go a bit wrong. So it was an almost perfect performance. Though a bit disconnected at times.

Renato Bruson who has sung Stankar many times and was very much applauded in Zurich seem to me a bit too heavy in voice in this Zurich production. I guess Leo Nucci in 2004 made an impression not to be forgotten. He became the ideal Stankar for me.

Jose Cura was wonderful as Stiffelio and together with Damato, it was simply stunning. Federico Sacchi as Jorg seemed to be a too light a bass. Martin Zysset and Margaret Chalker did well, but was both better in 2004.

But in 2004 there was a premiere of Stiffelio and more performances in the season, now there were only 2. Can one expect miracles when rehearsal time is probably more scarce?

Reinaldo Macias was as always wonderful as Raffaele.

OD Travel + Photos