Saturday, April 29, 2017

April 29, 2006: Jenufa in Vienna

2006-04-29 Jenufa (Jánácek), Wiener Staatsoper

die alte Buryja = Janina Baechle
Laca Klemen = Jorma Silvasti
Stewa Buryja = John Dickie
Küsterin = Agnes Baltsa
Jenufa = Sinéad Mulhern
Altgesell = Alfred Šramek
Dorfrichter = Johannes Wiedecke
seine Frau = Margareta Hintermeier
Karolka = Bori Keszei
Schäferin = Stella Grigorian
Barena = Cornelia Salje
Jana = Olesya Golovneva
Tante = Maria Gusenleitner

Graeme Jenkins, conductor

29. April 2006

(18. Aufführung in dieser Inszenierung)

Dirigent: Graeme Jenkins
Inszenierung: David Pountney
Bühnenbild: Robert Israel
Kostüme: Marie-Jeanne Lecca
Licht: Mimi Jordan Sherin
Choreinstudierung: Ernst Dunshirn
Choreographie: Renato Zanella

(* Rollendebüt an der Wiener Staatsoper)

Beginn: 19.30

die alte Buryja: Janina Baechle*
Stewa Buryja: John Dickie*
Jenufa: Sinéad Mulhern*
Dorfrichter: Johannes Wiedecke*
Karolka: Bori Keszei*
Jana: Olesya Golovneva*

No cancellation nor sickness from Die Baltsa, but another Jenufa than Ricarda Merbeth the Irish soprano Sinéad Mulhern was singing. So it was not only her role debut in Vienna but her first time in Wiener Staatsoper. Not her first time singing Jenufa, naturally.

What a debut it was!! The Vienna audience loved her Jenufa. A wonderful voice and excellent actress. For me it was confusing in the beginning a new Alte Buryja (Janina Baechle) and John Dickie as Stewa Buryja. Torsten Kerl and Angela Denoke was singing Stewa and Jenufa last time I saw JENUFA. Both very blond and Torsten Kerl is a big man. JOHN DICKIE and SINEAD MULHERN were much darker. So in the beginning I did not even recognize the main players. Jorma Silvasti was singing Laca as before but he seemed to be bigger and more threatening this time. Janina Baechle was a more sympatic widow Buryja. This was the first JENUFA in this season.

I waited at the stage door to see Agnes Baltsa but I had also a train to catch. So I went home earlier than I would normally do.

OD Travel + Photos

Friday, April 28, 2017

April 28, 2013: Viva Verdi concert in Barcelona

2013-04-28 Viva Verdi, Teatre Tivoli (Barcelona)

Michelle-Marie Francis Cook, soprano
Sergi Giménez Carreras, tenor
Alberto Cazes Spinoglio, baritone

Miguel Ángel Martínez Montés, conductor
Coral Càrmina & Orquesta Sinfónica del Vallés

Wonderful Barcelona! Were I not Facebook friend of Sergi Gimenez Carreras then I would have stayed in Nice/Monte-Carlo because I would not have known about this wonderful Verdi concert. Sergi is a tenor just like his uncle, Josep Carreras. He has his own sound and just like Carreras when Sergi sings there is an emotional impact. Tears was in my eyes when he sang La mia letizia infondere from I Lombardi. Rolando Villazon had sung it well in Frankfurt (25/4) but Sergi won my heart and ears. It was the dramatic Verdi that was in the programme where I felt that my tenor was more lyric. Sergi was totally involved in all his arias, duets and tersetts.
Sergi Gimenez Carreras was flanked with the supreme soprano Michelle-Marie Cook and baritone Alberto Cazes Spignolo. The soprano was powerful in all appearances. She sang so wonderful that I have difficult to find words. Here we heard a soprano of world class, powerful voice, deep dramatic insight, simply a joy to hear and see. How I want to see her in full opera production of Ernani, La Forza del Destino, Un Ballo in Maschera, or in short any opera by Verdi that have a soprano part.

The baritone sang the famous Verdi baritone arias and did it well. Perhaps I am not a baritone person.

Bravi, tutti!! And come to Norway, please!

The concert had no pause and I sat in the front seat. The best seat. But although it had the shortest distance to the singers, voices are often heard better further back in the theater. So my dear Sergi when I listen to the videos from this concert you sound much stronger, much better. BRAVO, Sergi!!

Miguel Ángel Martínez Montés, conductor
Coral Càrmina & Orquesta Sinfónica del Vallés

Obertura (La forza del Destino)

“La mia letizia infondere” (I Lombardi) - Sergi Giménez Carreras

“Ernani involami” (Ernani) – Michelle-Marie Francis Cook

“O Carlo, ascolta” (Don Carlo) – Alberto Cazes Spinoglio

“Patria opressa”(Macbeth) - Coro

“O fede negar potessi - Quando le sere al placido” (Luisa Miller) - Sergi Giménez Carreras

"Tu se Ernani" (Ernani) - Michelle-Marie Francis Cook, Sergi Giménez Carreras y Alberto Cazes Spinoglio

“Va pensiero” (Nabucco) – Coro

“Dio, che nell’alma infondere” (Don Carlo) - Sergi Giménez Carreras & Alberto Cazes Spinoglio

Coro de Gitanas y toreros (La traviata) – Coro

“Pace, pace mio Dio” (La forza del Destino) - Michelle-Marie Francis Cook

“Eri tu” (Un ballo in maschera) - Alberto Cazes Spinoglio

“Vedi! le fosche notturne” (Il trovatore) – Coro

“Tace la notte!” (Il trovatore) - Michelle-Marie Francis Cook, Sergi Giménez Carreras y Alberto Cazes Spinoglio

Brindisi LA TRAVIATA Cook, Gimenez, Cazes
Va, pensiero NABUCCO Cook, Gimenz, Cazes

Dirección Mtro. Miguel Ángel Martínez Montés | Producción Barmont Productions SC | Solistas Michelle-Marie Francis Cook (soprano), Sergi Giménez Carreras (tenor), Alberto Cazes Spinoglio (barítono)

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Original blog post 1 & 2

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Thursday, April 27, 2017

April 27, 1989: Der Fliegende Hollender in Oslo

Den Norske Opera
General Rehearsal of
by Wagner

Senta = Frøydis Klausberger

I used to be a Opera Friend of Den Norske Opera in my study years. Lots of opera possibilities as General Rehearsal. All I remember is that Frøydis Klausberger, our Norwegian soprano was a great Senta. And that I only enjoyed her aria at the spinning wheel. And then I had the program but no list of cast...

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Wednesday, April 26, 2017

April 26, 2013: Stiffelio in Monte-Carlo

2013-04-26 Stiffelio (Verdi), Opera de Monte-Carlo

Stiffelio = José Cura
Lina = Virginia Tola
Stankar = Nicola Alaimo
Raffaele = Bruno Ribeiro
Jorg = Jose Antonio Garcia
Federico = Maurizio Pace
Dorotea = Diana Axentii

Maurizio Benini, conductor
Producer: Guy Montavon
Sets, Costumes - Francesco Calcagnini
Lighting - Guy Montavon
Chorus master - Stefano Visconti

New coproduction with Teatro Regio, Parma

The regie was ok except that it ignored sometimes what the libretto said. That makes it less authentic. And poor Raffaele all dressed in colors in this black/white world. Why was he there still with all that rejection. That showed in my opinion an amateurish regie consept. No doubt others will tell me that that was pure genious. Sorry, I disagree. Friends?

The singing was wonderful. Jose Cura did one of his best Stiffelios. Virginia Tola sang Lina. Nicola Alaimo was Stankar. Bruno Ribeiro was Raffaele. Jose Antonio Garcia was Jorg. Maurizio Pace was Federico and Diana Axentii was Dorotea. Conductor was Maurizio Benini.

OD Travel & Photos
Original blog post

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Tuesday, April 25, 2017

April 25, 2013: Verdi Concert with Rolando Villazon in Frankfurt

2013-04-25 Verdi concert, Alte Oper Frankfurt

Rolando Villazon, tenor

Guerassim Voronkov, conductor
Czech National Symphony Orchestra

Rolando Villazon was his usual animated self. Acting every ounce of the arias.


Nabucco - Ouverture

I Lombardi - La mia letizia infondere (I would have loved it even more if he had sung Don Carlo - Io l'ho perduta as previously announce)

I Masnadieri - Preludio

Il Corsaro - Eccomi prigioniero

The romance Il Mistero orchestrated by Luciano Berio (I would have liked it more if he had sung the original even though Berio can be fun)

Luisa Miller - Ouverture

Luisa Miller - Quando le sere al placido


Otello - Preludio ( interesting piece but Verdi did not write a prelude to Otello, did he?)

Oberto - Ciel che feci! .... Ciel pietoso

Macbeth - Balletti

Macbeth - O figli .... Ah, la paterna mano

I vespri Siciliano - Ouverture

Romance (Berio) Deh pietoso, oh addolorata


3 extras: romance Non t´accostare all´urna, Il poveretto, Brindisi

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Original blog post

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April 25, 2009: Tosca in Vienna

2009-04-25 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Maria Guleghina
Baron Scarpia = Carlos Almaguer
Cesare Angelotti = Marcus Pelz
Der Mesner = Alfred Sramek
Spoletta = Benedikt Kobel
Sciarrone = Zoltan Nagy
Ein Schließer = Alexandru Moisiuc

Pier Giorgio Morandi, conductor

Maria Guleghina and José Cura had great rapport towards each other. Maria Guleghina was amazing as Floria Tosca. They both acted and sang extremely well, alone and were magic when both was together. And then one can add the third, Carlos Almaguer as Scarpia, this was his deservedly triumphant debut at the Wiener Staatsoper. A menacing and deep voice and he did just everything right to be a super Scarpia.

There were some minor fault. But they were really minor. In the 2nd act and had mostly with windows and doors. In the beginning one opens the window to hear the music outside the palace. But the music was already there when one opens the window. And again when closing the window the music stopped before the windows was closed. Thus shattering the illusion of a window. And again when when Scarpia asks Spoletta to shut the door so that his secret orders will not be heard by others, the orders of shooting Cavaradossi, just like with Palmiere... a simulated shooting. But the door opens by itself, but this being an opera one can't stop the action, the music, to shut the door. Luckily this audience was willing let minor fault be.

Not everybody applauded Maria Guleghina's Vissi d'arte, I did. Although she was not singing it all correctly, for me the most important thing was that she was in character and I thought it also was very beautifully sung. To hear a fault here you really needed to know your TOSCA.

But if I start with the 1st act. Pier Giorgio Morandi was a wonderful conductor in this opera. We had an uncommonly short and thin Angelotti, but he had an imposing voice. I though they had really made Angelotti (Marcus Pelz) look that he had been in jail and suffers so much, getting skinny, so that it was not strange that Cavaradossi did not recognize him. The Sagrestano was Alfred Sramek who would have been perfect had he not so often "talked" to the audience. It was like very old school opera. But otherwise this was a more real Sagrestano and no comic figure. José Cura's Cavaradossi was much improved since last I saw him. He acted Cavaradossi who was a serious painter. Cavalier Cavaradossi is an aristocrat and Sagrestano is not, so in the time of the opera, Cavaradossi is not arrogant just aristocrat when he commands the Sagrestano "Dammi colori". A wonderful Recondita armonia followed. Then Cavaradossi and Angelotti met. It is so real that one understands Cavaradossi's reaction. Then finally, Maria Guleghina as Floria Tosca. Grand Duet, and it is truly magic In the end also Scarpia appears. Carlos Almaguer, imposing although not tall like Maria Guleghina or José Cura. This Scarpia is a power-house. Then when Tosca appears again, there is so much tension and wonderful acted (soft) confrontation between Scarpia and Tosca. Maria Guleghina is not only a great singer but a wonderful actress. A great Tosca. It was so lucky to finally have a Scarpia that was so right for the role.Carlos Almaguer, I have seen him before as Alfio in Arena di Verona, but this was really HIS role. BRAVISSIMI!!!!

Act 2: He is the perfect Scarpia still in this act. And that Maria Guleghina and José Cura would be wonderful also in this act was no surprise. The surprise was Sciarrone, Zoltan Nagy. Not so usual that one remembers him. But he really acted this person, a sinister police agent. When he stood in the door to the torture chamber he was like a statue, never reacting to Maria Guleghina's desperate Tosca, but only listening to Scarpia. So in this acting by Zoltan Nagy the story in act 2 was even more sinister and menacing. Tosca's predicament became even more desperate when turned to a human who had no soft spot like Zoltan Nagy's Sciarrone. I found Maria Guleghina's portrait as Floria Tosca to be the most real and her singing and acting was the closest to perfect I have ever seen. Of course, she was helped by having the perfect Scarpia, Mario Cavaradossi and Sciarrone. It always helps when one have the best colleagues.

Act 3: Alexandru Moisiuc, was the prison guard. He did well. José Cura sang E Luceven Le Stelle, wonderfully. Then Maria Guleghina came and it was a Grandissimo Duet. This TOSCA performance was so perfect that really moved me to tears many times.

BRAVA, Maria Guleghina!!!
BRAVO, José Cura!!!!
And to Carlos Almaguer, BRAVO!!!!!!!!!!

The Verdict: The closest to perfection that I have ever seen.

Of course I waited by the stage door and I was lucky, I saw José Cura and Maria Guleghina and could take a photo of them, not together, alone.

OD Travel + Photos
Original blog post: Best Tosca ever (April 25th, 2009)

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April 25, 2003: Opera Gala in Sogndal

2003-04-25 Operagalla, Sogndal Kulturhus

Cecilia Lindwall, soprano
Trine Øien, mezzo
Jørgen Talle, tenor

Michael Pavelich, conductor

Opera Nordfjord in Sogndal, Norway
OPERA NORDFJORD ON TOUR (Sogn og Fjordane, Norway)
Sogndal Kulturhus (25.04)
Flora Samfunnshus (26.04)
Hotell Alexandra in Loen (27.04)
Opera Nordfjord tour-ensemble, orchestra & three soloists.

Cecilia Lindwall, soprano, was Adina in Elskovsdrikken (L'Elsir d'amore) in 2001, she now lives in Berlin.

Trine Øien, is one of our (Norway) best new mezzo-sopranoes, lives in Oslo. Freelance

Jørgen Talle, tenor, at the opera in Hannover since 2000.

Orkestra ca. 35 musicians: mainly District musicians, music teachers and music students from Sogn og Fjordane, with some few hired freelance musicians. Conductor: Michael Pavelich.


M.Glinka: Ruslan et Ludmila -Ouverture
G.Bizet: Carmen -Habanera (Øien)
G.Puccini: Tosca -Vissi d'arte (Lindwall)
G.Verdi: Macbeth -Ah, la paterna mano (Talle)
C.Saint-Saëns: Samson et Dalila -Mon coeur s'ouvre à ta voix (Øien)
G.Puccini: La Bohème -Quando me'n vo (Øien)
C.Gounod: Faust -Salut! demeure chaste et pure (Talle)
E.Humpeldinck: Hänsel und Gretel -Evening prayer (Lindwall & Øien) & Dream-ballett

Pause (20 mins.)

G.Rossini: La Gazza Ladra -Ouverture
R.Leoncavallo: I Pagliacci -Vesti la giubba (Talle)
G.Puccini: Gianni Schicchi -O mio babbino caro (Lindwall)
G.Verdi: Il trovatore -Stride la vampa (Øien)
G.Puccini: Madama Butterfly -Bimba dagli occhi (Talle, Lindwall)

J.Strauss II: Fledermaus -Champagner (Øien, Talle, Lindwall)

If this were a contest I would have pronounced the soprano as the absolute winner, the mezzo as a smashing good second place, and the tenor as a dubious third. Since this my review I have to tell why.

And I begin with the orchestra which was very good with the inspirational conductor Michael Pavelich, who also introduced the music and the soloist in a humorous way, yet informative way. The both overtures was brilliantly done. First soloist was the mezzo Trine Øien. A great mezzo voice who sang Carmen, Dalila, Azucena and little Hänsel wonderfully. Yet only in Azucena's aria did she make use of her hands. Which made her Carmen and Dalila a little less seductive than the full use of body language. The singing was excellent. A competitor to Agnes Baltsa

The second soloist was Cecilie Lindwall, the Swedish soprano. Two years ago I heard her as Adina, now she was even better. Her Tosca, Musetta, Gretel, Lauretta and Cio-cio-san, was a marvel to see and hear. The wonderful voice, now matured to more dramatic, but still essential lyric soprano voice, and with her acting skills, and a great sense of humor and dramatic poignancy. A miracle of a soprano.

Then the tenor, Jørgen Talle, when he sang Macduff's aria from Macbeth, I was deeply disappointed, I seemed to be the only one to feel that way. As the evening progressed, he was being better and better, also in my ears. Maybe my ears was wrong. Or maybe he was nervous, or simply not yet a Verdi tenor, he IS young, and he did use to be a baritone. But when I say he was a baritone, it does not mean that his tenor voice had a baritonal sound, not at all. His very bright, light tenor voice was ideally suited to Faust by Gounod, and he sang Pinkerton very well. In Pinkerton he showed that he not only can sing, he can act. He did the Pagliacci aria very well, but I don't think that Canio Is a role that he should sing, not yet, he is still young.

OD Travel

Sunday, April 23, 2017

April 23, 2011: La Boheme in Zurich

2011-04-23 La Boheme (Puccini),Opernhaus Zurich

Rodolfo = José Cura
Mimì = Barbara Frittoli
Marcello = Massimo Cavalletti
Musetta = Eva Liebau
Schaunard = Cheyne Davidson
Colline = Andreas Hörl
Benoit = Davide Fersini
Alcindoro = Morgan Moody
Parpignol = Christopher Hux
A customs official = Arjen Veenhuizen
Sergeant = Flavio Mathias

Carlo Rizzi, conductor

Producer/production Philippe Sireuil
Set design Vincent Lemaire
Costumes Jorge Jara
Lighting Hans-Rudolf Kunz
Choir rehearsal Ernst Raffelsberger

La Bohème Puccini
In Italian with German and English surtitles

Opera in four scenes
by Giacomo Puccini (1858–1924)
Libretto by Giuseppe Giacosa and Luigi Illica
after “Scènes de la vie de Bohème” (1845–49)
by Henri Murger and the drama “La Vie de Bohème” (1849) by Murger and Théodore Barrière
Première: 1 February 1896, Teatro Regio, Turin

April 23, 2011 at 20hrs LA BOHEME in Opernhaus Zurich. It was a wonderful performance with Jose Cura and Barbara Frittoli as Rodolfo and Mimi. All singers were excellent. And tears when Mimi dies, the hallmark of a great La Boheme performance. Loved it. And I meet severals JCx members after the performance. Some of us got together for a drink at the restaurant to Hotel Europe. At midnight it was time to retire to bed. Happy to bed I went.

Conclusion of Easter - La Boheme in Zurich (original blog post)
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Wednesday, April 19, 2017

April 19, 2008: Jose Cura in Dusseldorf

"Grosse OpernGala mit José Cura" -
Deutsche Oper am Rhein (

Opernhaus Düsseldorf
Samstag, 19. April 2008, 19.00 Uhr
Der Freundeskreis der Deutschen Oper am Rhein e.V.
Präsentiert die
José Cura (Tenor)
Therese Waldner (Sopran)
Laura Nykänen (Alt)
Boris Statsenko (bariton)

Chor der Deutschen Oper am Rhein

Leitung: gerhard Michalski

Es spielen die Düsseldorfer Symphoniker

Musikalische Leitung: Alexander Joel

When I first read the program I just saw a fault. Nabucco's aria "Ah torna Israello" would just be too short (1,5 minutes is not an aria).

One of the overtures to constantly pop up in concerts, gala is Verdi's Nabucco, the overture from La Forza del Destino is even more used. I love NABUCCO and it was an OK overture from Orchestra and conductor.

And then came NABUCCO's aria with Boris Statsenko as Nabucco. Statsenko looked really not like his 2002 self. But he did well in this killer aria. It was the full scene and aria with Nabucco, Abdallo and chorus.

Parte quarta
L'idolo infranto
Bel è confuso: i suoi idoli sono rotti in pezzi
Geremia XLVIII [sic] Note 1
Appartamento nella reggia, come nella Parte seconda
12. Scena ed Aria Nabucco
Scena Prima
Son pur queste mie membra
Dio di Giuda!
O prodi miei, seguitemi,

Then it was José Cura singing from Il CORSARO Chorus, Scene and aria from act 1. So we heard a wonderful "Tutto parea sorridere" and José really enjoyed himself with the orchestra and chorus. We LOVED it.

Therese Waldner, the Polish soprano sang a wonderful "Ecco l'orrido campo" from UN BALLO IN MASCHERA. She was Amelia in the horrible place where so many criminals had been executed. Love for the King, best friend of the husband, and here she was to pick an herb that could cure her from this unwanted love.

The Chorus was wonderful in OTELLO's Fuoco di gioia (act 1)

And then part 1 ends from the love duet from OTELLO with Therese Waldner and José Cura both singing and acting their hearts out.

In part 2 Giacomo Puccini (TOSCA), Umberto Giordano (ANDREA CHENIER) and again Giuseppe Verdi (LA FORZA DEL DESTINO, DON CARLO)

Normally there would be applause after E lucevan le stelle but not in Dusseldorf here the aria continued directly in the duet (Franchigia a Floria Tosca). And this time we were treated with the full orchestra introduction to E lucevan le stelle. A treat both Act 3 scene 2 and 3 together. Magic from José Cura and Therese Waldner.

Umberto Giordano's ANDREA CHENIER, Boris Statsenko with "Nemico della patria" and Therese Waldner with "La mamma morta". WONDERFUL.

Laura Nykänen and Chorus sang Rataplan from Verdi's LA FORZA DEL DESTINO. Why? I would have loved to hear Don Alvaro's aria sung by Cura or one of the tenors great arias from ANDREA CHENIER.

But at last the duet from DON CARLO the whole scene naturally "E lui, desso, L'Infante - Dio, che nell'alma infondere" sung by José Cura and Boris Statsenko. Wonderful!!!

AND Extra numbers: 2 times Nessun dorma with José Cura and chorus.

Giuseppe Verdi (1831-1901)

NABUCCO - ouverture

NABUCCO - Dio di Giuda (Boris Statsenko, chorus)

IL CORSARO - Ah! Si ben dite… Si: de’ corsari il fulmine (José Cura, chorus)

UN BALLO IN MASCHERA - Ecco l’orrido campo (Therese Waldner)

OTELLO - Fuoco di gioia (chorus)

OTELLO - Gia della notte densa (Therese Waldner, José Cura)


Giacomo Puccini (1858-1924)

TOSCA - E lucevan le stelle - Franchigia a Floria Tosca (José Cura, Therese Waldner)

Umberto Giordano (1867-1948)

ANDREA CHENIER - Nemico della patria (Boris Statsenko)

ANDREA CHENIER - La mamma morta (Therese Waldner)

Giuseppe Verdi (1813-1901)

LA FORZA DEL DESTINO - Rataplan, della gloria (Laura Nykänen, chorus)

DON CARLO - E lui! Desso! L’infante! … Dio, che nell’alma infondere… (José Cura, Boris Statsenko)

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April 19, 1990: Josep Carreras in Oslo

1990-04-19 Recital Jose Carreras, Oslo Konserthus

Josep Carreras, tenor
Lorenzo Bavaj, piano

I sat in the last row of the Concert hall with the wall at my back. Jose Carreras was as small as a thumb to my eyes. He sang songs by Domenico Scarlatti, Alessandro Stradella, Giuseppe Verdi, Alberto Ginastera and Giacomo Puccini. 2 extra numbers Granada and something else. (Photo from the poster of this concert). A baroque aria recital.

Dato: 1990-01-25 Utgave: Morgen
"Carreras til Oslo i april"

Dato: 1990-02-15 Utgave: Morgen
"Friskmeldt romatiker"

Dato: 1990-04-09 Utgave: Morgen
"Carreras i Norden"

Dato: 1990-04-20 Utgave: Morgen
"Stjernemøte med Carreras"

Dato: 1990-04-20 Utgave: Aften
"Sky superstjerne i bifallsbrus"

Dato: 1990-04-21 Utgave: Morgen
"Carreras ga seg selv"

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