On this day in OperaDuets Travel

January 30, 2010: Nabucco in Zurich

2012-01-30T07:00:00.000+01:00

2010-01-30 Nabucco (Verdi), Opernhaus Zurich

Nabucco = Juan Pons
Ismaele = Boiko Zvetanov
Zaccaria = Carlo Colombara
Abigaille = Maria Guleghina
Fenena = Stefania Kaluza
High Priest of Belo = Cheyne Davidson
Abdallo = Miroslav Christoff
Anna = Liuba Chuchrova

Nello Santi, conductor

NABUCCO by Giuseppe Verdi. Maria Guleghina was a fantastic Abigaille. Juan Pons was suddenly much thinner but still made a great Nabucco. Boiko Zvetanov was looking like a small Dennis O'Neill. But he was great as Ismaele. One could easily forget his heavy and small look and understand why two women were in love with him. Stefania Kaluza was singing Fenena, she was great in the ensembles, duets, etc. but strangely did not make such a great impression in her aria. Chorus was great. Nello Santi conducted.

Obviously Jonathan Miller had been thinking too much about history. Would really the women and men be separated when they were about to be executed.

Inszenierung
Jonathan Miller

Ausstattung
Isabella Bywater

Lichtgestaltung
Hans-Rudolf Kunz

Choreinstudierung
Jürg Hämmerli

Orchester der Oper Zürich

Chor der Oper Zürich

OD Travel + Photos

OD Travel - January: Nabucco and travel from 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

January 29, 2011: Andrea Chenier in Berlin

2012-01-29T07:00:00.000+01:00

2011-01-29 Andrea Chenier (Giordano), Deutsche Oper Berlin

Andrea Chenier = Salvatore Licitra
Carlo Gérard = Seng Hyoun Ko
Maddalena de Coigny = Maria Guleghina
Bersi = Diana Axentii
Comtessa de Coigny = Katarina Bradic
Madelon = Liane Keegan
Roucher = Ben Wager
Pietro Fléville = Krzysztof Szumanski
L'abbé = Peter Maus
Fouquier Tinville = Hyung-Wook Lee
Mathieu = Nathan De’Shon Myers
L'Incroyable = Burkhard Ulrich
Schmidt = Seth Carico
Majordomo = Sergio Vitale
Dumas = Sergio Vitale

James Allen Gähres, conductor

Inszenierung - John Dew
Spielleitung - Anja Nicklich
Bühne - Peter Sykora
Kostüme - Jose-Manuel Vazquez
Chöre - Thomas Richter
Choreographische Mitarbeit - Klaus Beelitz

Maria Guleghina sang a wonderful Maddalena di Coigny. It was brave to do so when suffering from bronchitis. But I really wish she would take better care of herself and not think too much about her fans. We do love her well enough to see her healthy and sound even if we must suffer not see her onstage but another soprano. Get well and sleep well!

I worried about Salvatore Licitra as Chenier and about the baritone who sang Gerard but they only got better and better. The tenor used his lyrical instrument to the fullest. He gave a really beautifully sung Andrea Chenier. The baritone did not seem to have the right powerful voice in act 1 but that soon changed. He gave a really thrilling Nemico della patria. It was a truly believable duet between Gerard and Maddalena.

I loved the Regie. It was traditional and naturalistic at the same time as it was innovating using the space to maximize the history at the same time as it was minimalistic.

After the opera I got the change to give Maria Guleghina my get well wishes. Sleep well, my favorite Diva! Take care!!!!

OD Travel + Photos

Original blog post

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

January 29, 2010: Elektra in Zurich

2012-01-29T06:30:00.000+01:00

2010-01-29 Elektra (R.Strauss), Opernhaus Zurich

Klytämnestra = Agnes Baltsa
Elektra = Eva Johansson
Chrysothemis = Emily Magee
Aegisth = Rudolf Schasching
Orest = Martin Gantner
Pfleger des Orest = Davide Fersini
Vertraute = Camille Butcher
Schleppträgerin = Stefanie C. Braun
junger Diener = Peter Sonn
alter Diener = Thomas Tatzl
Aufseherin = Margaret Chalker
1. Magd = Wiebke Lehmkuhl
2. Magd = Sabrina Kögel
3. Magd = Irène Friedli
4. Magd = Liuba Chuchrova
5. Magd = Sen Guo

Daniele Gatti, conductor

I went to Zurich to see ELEKTRA with Agnes Baltsa as Klytämnestra. This one act opera with 1hr 45 mins music is NOT my favorite opera. But this time it is Daniele Gatti who conducts the orchestra of Opernhaus Zurich and Richard Strauss' music streams out sounding just wonderful. For the first time all the music of Elektra sound like magic. First opera I ever wanted to hear without the singing. This does not mean that the chorus or the soloists were not good.

The production was not too bad but not something that I felt I was missing when my head-ache forced me to close my eyes. Often in closing my eyes I enjoyed the opera more. Eva Johansson was a good but not really in voice before Orest. After Orest came the real Elektra appeared. Emily Magee was a wonderful Chrysathemis, singing and acting was fabulous. But both lacked in German diction. Agnes Baltsa was in great voice and acting Klytämnestra with all her body. To my ears Baltsa's German was close to perfect.

The production put too much on the shocking things (sex....) going on in the house and too little on what happens outside with Elektra. Elektra is really outside the house and closed into her own head. Elektra was yellow (meaning?). Chrysathemis in white (pure virgin). Klytämnestra in red dress (blood, murder) with black cape? (death).

After the opera I congratulated Agnes Baltsa and conductor Daniele Gatti on this wonderful performance of ELEKTRA.

Inszenierung
Martin Kusej

Bühnenbild
Rolf Glittenberg

Kostüme
Heidi Hackl

Lichtgestaltung
Jürgen Hoffmann

Choreinstudierung
Ernst Raffelsberger

Orchester der Oper Zürich

Chor der Oper Zürich

OD Travel + Photos

OD Travel - January: Travel to Zurich and Elektra

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

January 28, 1984: Die Lustige Witwe in Drammen

2012-01-28T07:00:00.000+01:00

1984-01-28 Die Lustige Witwe (Lehar), Drammens Teater

Baron Mirko Zeta = Bjørn Lie-Hansen
Valencienne = Torhild Staahlen
Count Danilo Danilowitsch =
Tor Fagerland
Hanna Glawari = Kjersti Ekeberg
Njegus = Ronald Rørvik
Camille de Rosillion = Caj Ehstedt
Vicomte Cascada = Frode Birkeland
Raol de St. Brioche = Kjell Kipperberg

Terje Boye Hansen, conductor

I was in Drammen's old Theatre before it burnt down and before it was reconstructed. And it was Die Lustige Witwe by Franz Lehar. I really loved it. My mother was worried about our car during the whole performance.

OD Travel

January 25, 1990: Rosenkavalier in Oslo

2012-01-25T07:00:00.000+01:00

1990-01-25 Der Rosenkavalier (R.Strauss), Den Norske Opera (Oslo)

Fyrstinne Werdenberg = Frøydis Klausberger
Baron Ochs von Lerchernau = Oddbjørn Tennfjord
Octavian = Sylvia Lindenstrand
Herr von Faninal = Jan Sødal
Sophie = Toril Carlsen
En sanger = Kjell Magnus Sandve

Heinz Fricke, conductor

They were great. Especially the women.

OD Travel

January 23, 1989: La Boheme in Oslo

2012-01-23T07:00:00.000+01:00

1989-01-23 La Boheme (Puccini), Den Norske Opera (Oslo)

Mimi = Solveig Kringlebotn
Musetta = Ingjerd Oda Mantor
Rodolfo = José Antonio Sempere
Marcello = Trond Halstein Moe
Schaunard = Per Vollestad
Colline = Svein Carlsen
Benoit/Alcindoro = Bjørn Lie-Hansen
Parpignol = Ola S. Isene

Per Åke Andersson, conductor

Solveig Kringlebotn (or Kringelborn as she is knowm internationally) and José Antonio Sempere was great as Mimi and Rodolfo.

OD Travel

January 17, 2009: Turandot in London

2012-01-17T07:00:00.000+01:00

2009-01-17 Turandot (Puccini), Royal Opera House, London
Turandot = Iréne Theorin
Liu = Svetla Vassileva
Calaf = José Cura
Timur = Paata Burchuladze
Ping = Giorgio Caoduro
Pang = Ji-Min Park
Pong = Alasdair Elliott
Althoum = Robert Tear
Mandarin = Kostas Smoriginas

Nicola Luisotti, conductor

Turandot
Saturday, January 17 7:30 PM

Composer
Giacomo Puccini

Revival Director
Jeremy Sutcliffe

Designs
Sally Jacobs

Lighting
F. Mitchell Dana

Choreography
Kate Flatt
Performers

Original Production
Andrei Serban

Conductor
Nicola Luisotti

This production was from 1985. I must say that some of it really looked cheap, like the costumes of Ping, Pong and Pang. But it was really some wonderful ideas there. In a way it was a lot like a musical with all that dancing. Really this was China on the cheap. 1985 really is a long time ago. I missed the Verona Production I saw in 2003 and 2005. Jose Cura really was Calaf and I loved his portrayal here. Irene Theorin was wonderful as Turandot. Svetla Vassileva also great as Liu. Paata Burchuladze as Timur was wonderful when was warmed up (it took some minutes). Great Mandarin. Ping, Pong and Pang did their job well, I just didn't like how they were portrayed, but that was the director's fault. The Orchestra was often a bit too loud. But it was really good, the performance. The production, I am torn on this one. Good, or not too bad, almost Great.

Jose Cura, who was not well to sing on January 12/14, sang a wonderful Calaf. He showed very little of still being a bit sick. Unless this performance harmed him he will only be better. Naturally he left the opera house before we, his fans had the chance to say hallo to him. It was the only sensible thing to do. He sang, that is the most important fact. How well the other singers and chorus and orchestra did it, without Jose Cura it would have been little to applaud. The opera was on his shoulders.

OD Travel + Photos
2009: My first OperaDuets Travel, London's Turando...

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

January 15, 1993: La Traviata in Bergen

2012-01-15T07:00:00.000+01:00

1993-01-15 La Traviata (Verdi), Den Norske Opera in Bergen

Violetta Valéry =
Ingjerd Oda Mantor
Flora Bervoix = Torill Eriksen
Alfredo Germont =
Kjell Magnus Sandve
Annina = Eva Solheim
Georgio Germont =
Trond Halstein Moe
Gaston, Viscomte de Utorires = Mikael Fagerholm
Barone Duphol = Jens Olai Justvik
Marchese d'Obigny =
Bjørn Mørch Olsen
Dottore Grenvil = Bjørn Lie-Mansen
Giuseppe, servo di Violetta = Giuseppe Chiarello

Terje Boye Hansen, conductor

I lived in Bergen at this time. I guess it was an OK opera night
First I do not remember if it was January 13, 14, 15.

I was having my second job or was between jobs. Living close to the concert hall (Grieghallen) it was easy to get tickets.

I remember enjoying seeing this opera production again with other singers.

Den Norske Opera, Bergen Grieghallen
Conductor: Terje Boye Hansen
Regie: Jens Christian Ek
Scenography: Madla Bruza
Coreography: Frederic Konrad
Violetta Valéry: Elena Brilova 14/1,16/1
Ingjerd Oda Mantor 15/1
Flora Bervoix: Torill Eriksen
Alfredo Germont: Kjell Magnus Sandve
Annina: Eva Solheim
Georgio Germont: Jan SødaI14/1, 16/1
Trond Halstein Moe 15/1
Gaston, Viscomte de Utorires: Mikael Fagerholm
Barone Duphol: Jens Olai Justvik
Marchese d'Obigny: Bjørn Mørch Olsen
Dottore Grenvil: Bjørn Lie-Mansen
Giuseppe, servo di Violetta: Giuseppe Chiarello
Domestico di Flora: Birger Barring
Commissionario: Roald Nygard

Den Norske Operas Chorus
Bergen Filharmoniske Orkester

OD Travel

January 13, 2007: Tosca in Zurich

2012-01-13T07:00:00.001+01:00

2007-01-13 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Norma Fantini
Mario Cavaradossi = Marcelo Alvarez
Baron Scarpia = Ruggero Raimondi
Angelotti = Tomasz Slawinski
Mesner = Giuseppe Scorsin
Spoletta = Andreas Winkler
Sciarrone = Rolf Haunstein

Nello Santi, conductor

Tosca - Puccini
In italienischer Sprache

Deflo/Frigerio/Squarciapino/Hämmerli

Dirigent
Nello Santi

Inszenierung
Gilbert Deflo

Bühnenbild
Ezio Frigerio

Kostüme
Franca Squarciapino

Lichtgestaltung
Jürgen Hoffmann

Choreinstudierung
Jürg Hämmerli

PAUSE NACH DEM 1. AKT BEGINN: 19.30 UHR
ENDE:22.15 UHR

It was a wonderful opera evening. Ruggero Raimondi was a great Scarpia, Marcelo Alvarez was wonderful as Cavaradossi and so was Norma Fantini as Tosca.

The disappointment was the conductor Nello Santi who was almost killing the beautiful music, Tosca was mostly played painfully slow with sudden unreasoned faster parts. The Regie by Gilbert Deflo was not helping, as awkward moments in act 1. And deciding that Tosca would shoot herself rather that leaping from the Castello was really bad. Especially since both the shooting of Cavaradossi and later by Tosca was really too quiet. Not that one could not hear it but it didn't even hit our nerves. The scenography by Ezio Frigerio was probably one reason it was sometimes hard to hear the singers. The glass walls was just not reflecting the sound but it was giving reflects of the singers and the monitors which was a bit disturbing. And then there so not a huge or even big painting of Maria Magdalen, just some painters papers which really make the acting much more harder to do realistically.

After the opera, no Ruggero Raimondi in sight but delightful Marcelo Alvarez and the nicest soprano of all, Norma Fantini made the evening perfect. Marcelo Alvarez was most generous tenor meeting his fans and making everybody enjoy it deeply. And Norma Fantini was the warmest and nicest person you could meet. At the stage door a huge success for the fans. And I could go to the hotel with a big smile in my face. NORMA FANTINI, the power of nice!!!!

January 2007: Tosca in Zurich (2007-01-13)

OD Travel + Photos

January 13, 2002: Parsifal in Vienna

2012-01-13T07:00:00.000+01:00

2002-01-13 Parsifal (R. Wagner), Wiener Staatsoper

Amfortas = Bernd Weikl
Titurel = Peter Wimberger
Gurnemanz = Kurt Rydl
Parsifal = Placido Domingo
Klingsor = Wolfgang Bankl
Kundry = Violeta Urmana

Peter Schneider, conductor

Peter Schneider was the right conductor for Parsifal.
Kurt Rydl was great as Gurnemanz, but not as tall as Matti Salminen, and that was a pity. Because in Madrid where M. Salminen sang Gurnemanz, he was always the tallest onstage, and that is almost a requirement in this role. Bernd Weikl too was great, as Amfortas, but I think Madrid's Grundheber was better. As in Madrid: Wolfgang Bankl was Klingsor, and he was great, too.

And this Parsifal was great, but now we come to the center of the question, Parsifal and Kundry. Plácido Domingo and Violeta Urmana. It was the Placido Domingo who sang the best German, without a false word, the Spaniard was better than the German-speaking singers in the language test of Parsifal. Violeta Urmana, in her attempt to sing correct German, seem to loose out meaning in the search of pronounciation.

The Kundry of Violeta Urmana was unexciting, boring in both act1 and 3. Only in Act 2 did she manage to be any thing called exciting because of the beautiful dress she was wearing. Where Agnes Baltsa gave heart and soul into Kundry, only belcanto from Urmana.

Plácido Domingo, the final judgment: he is a great Parsifal. still young. Forever young.

13.JANUARY 2002 17:00

-----
Parsifal
Ein Bühnenweihfestspiel von Richard Wagner

DirigentPeter Schneider
Inszenierung August Everding
Ausstattung Jürgen Rose
Choreographie Ray Barra
Chorleitung Ernst Dunshirn
" ..

Kundry - Violeta Urmana*
Erster Knappe - Cornelia Salje*
Zweiter Knappe - Michelle Breedt
Dritter Knappe - Walter Pauritsch
Vierter Knappe - Michael Roider
Erster Gralsritter - Benedikt Kobel
Zweiter Gralsritter - Peter Köves
Blumenmädchen 1 Gruppe - lngrid Kaiserfeld
Judith Halász*
Stella Grigorian
2 Gruppe - Simina Ivan
Renate Pitscheider
Michelle Breedt
Stimme von oben - Michelle Breedt
* Rollendebüt an der Wiener Staatsoper

ODTravel

January 12, 2002: Nabucco in Vienna

2012-01-12T07:00:00.000+01:00

2002-01-12 Nabucco (G. Verdi), Wiener Staatsoper

Nabucco = Anthony Michaels-Moore
Ismaele = Miro Dvorsky
Zaccaria = Alastair Miles
Abigaille = Eliane Coelho
Fenena = Mihaela Ungureanu
Gran Sacerdote di Belo = Goran Simic
Abdallo = Walter Pauritsch
Anna = Renate Pitscheider

Anton Guadagno, conductor

Wiener Staatsoper
samstag, 12. jänner 2002
13. Aufführung in dieser Inszenierung

Nabucco
Oper in vier Teilen von Temistocle Solera
Musik von Giuseppe Verdi

Musikalische leitung / Anton Guadagno
Inszenierung / Günter Krämer
Bühne / Manfred Voss und
Petra Buchholz
licht / Manfred Voss
Kostüme / Falk Bauer
Choreinstudierung / Ernst Dunshirn
..

Orchester und Chor der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper
Eleven der Ballettschule der Wiener Staatsoper

New opera for me, so subtitling was good for me, and it fitted the opera very well.

The conductor Anton Guadagna was older and thinner, but a great conductor for Nabucco. I saw a orchestra-member smiling happily at the thought of playing Verdi's music. And really from the pit came wonderful music of Verdi, and that Nabucco is not played more was a mystery. Anthony Michaels-More was a great choice as Nabucco, even Leo Nucci could not do it better. I think that Michaels-Moore gave more pleasure in the role than Nucci, in his voice was enough italienitá, and he was immersed in the role. Here is the baritone for today and the future.

As Brogni in La Juive did not Alastair Miles impress me, as Zaccaria he did fit more into the role. But also here did he in some instances lack some vocal depth, but it didn't do any harm to this interpretation. I think that Miles had learned from Shicoff how to be a proud Jew.

In the role of Ismaele, as once was one of Carreras first opera roles, we saw and heard Miro Dvorsky, the younger brother of Peter Dvorsky. His voice resembled that of Neil Shicoff, but was more beautiful and soft. A likable fellow, Dvorsky (see picture above).

The two sisters and rivals, Fenena (Michaela Urungureanu) and Abigaille (Eliane Coelho), wonderful voices. Fenena, mezzo soprano with some higher notes almost soprano. Abigaille, soprano, but with some depth not possible for true sopranoes. Truly a wonderful and exciting new voice: Michaela Urungureanu !

Eliane Coelho, exciting soprano from Brazil, since long Prima Donna in the Wiener Staatsoper. I have seen her in other roles, but this must be her best. Nabucco without a great singer in this role would be a bore, but Eliane Coelho makes Nabucco a true Masterwork of Giuseppe Verdi.

NABUCCO
Often presented as a political drama, and it is that too, and a story of the conditions of the Jews under Nabucco in Babilonia. But here the emphasis was on the human side, and especially Nabucco relationship to Abigaille and Fenena, his daughters. On the side is the lovestory of Ismaele and Fenena, they not act and react to the things that happen around them. Only Nabucco and Abigaille is playing an active part in making the story happen.

Nabucco is too power-hungry to see what he is doing to his daughters. Abigaille lost her father's love, maybe she never had it. And she loves a man who loves her sister. Deprived of love in family or in a romantic way, her way became the way of destruction. When Nabucco finds out that he, in his madness has signed the death-warrant to not only the Jews but also of Fenena. When he pleas for his daughter's life to Abigaille he forgets and that Abigaille too was his daughter. So his plea can not be of any effect since he only ask the Queen, not the daughter, the human being of Abigaille for salvation.

OD Travel

January 7, 1989: Die Fledermaus in Oslo

2012-01-07T07:00:00.000+01:00

1989-01-07 Die Fledermaus (Johann Strauss), Den Norske Opera (Oslo)

Dr. Falke = Terje Stensvold
Alfred = Ragnar Ulfung
Adele = Solveig Kringlebotn
Rosalinde = Helena Döse
Eisenstein = Arild Helleland
Dr. Blind = Tor Gilje
Frank = Stein Arild Thorsen
Orlovski = Vesla Tveten
Ida = Gro Hundvin Eliassen
Frosch = Rolv Wesenlund

Zdenka Perharda, conductor

19 years after the performance, I say:

This operetta, The Bat (Die Fledermaus) is often played on New Years Eve or Day. Afterall it has a tune for Champagner as the King of Wine. This production was known for having Rolv Wesenlund, the famouse Norwegian comedian as Frosch. He is famous in Norway and Sweden. The old tenor master, Ragnar Ulfung sang Alfred and Swedish soprano Helena Döse was his wife. The new and now famous Norwegian soprano, Solveig Kringlebotn (or Solveig Kringelborn as she is called when she sings outside Scandinavia) was a wonderul Adele.

The operetta was upgraded to be set in the 1930's. Something that neither harmed it or enhanced it.

OD Travel

December 30, 2010: Tosca in Oslo

2011-12-30T07:00:00.000+01:00

2010-12-30 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

Almost New Year's Eve in the Opera. Tosca is one of my favorite operas, and Maria Guleghina is one of my favorite opera singers. I sat in 3rd Balcony almost in the middle. I could see the whole stage all the time.

Paul Curran had the Regie for this Tosca. It was a traditional production with much attention to the details. Puccini's music had already decided much of the timing and the action. Naturally it is hard to get all the details right in every performance. But for the first time I noticed that Puccini had put Angelotti's heavy breathing when he finally was in the church and could relax, when he composed it. It is unfortunately that many directors seem to overlook these clues in the music when they make their "regie". What we now often call Regie-Theater is neither Regie nor Theater, it is a director creating his own play while ignoring most of what would make the opera or theater a living breathing truth appearing before our eyes. So this Tosca production proves that a tradional setting of an opera, where one put it in context and in its own time need not be Old and Boring.

Attention to detail made Tosca real and interesting. From the beginning when Angelotti came in exhausted and till Tosca leapt to her death it was all believable and interesting. And the music was excellent, singers, orchestra was all together to make it opera-magic. Not one person on stage was un-real. But only in the movies could you make sure that everything would happen on the right Puccini note. This was real theater, no editing of false moves was possible. I think it must be absolutely impossible in a theater to close the door at the precise time at the cantata in act 2. Impossible! But it was so close that I would say that the impossible was achieved.

It is seldom one really feel that Cavaradossi and the Sagrestano is really preparing the colors when Cavaradossi sings "Recondita armonia" but of course here one knows it. Miroslav Dvorsky was a Cavaradossi who was really a painter, a revolutionary, a lover of Tosca, a smart man. The interaction of Cavaradossi with Angelotti was also interesting with Angelotti recognizing Cavaradossi and hugs him, but the painter does not recognized him and rejects him to the floor. So real... But then Cavaradossi understands that it is Angelotti who has escaped prison and promise to help him even it can mean his death, which in the end it does.

Mario Cavaradossi still has his head with him even if Angelotti looses his wits and his bags of women's cloths. He picks the bag up but misses the fan. Again something we seldom see so clearly as in this production. Tosca comes. Maria Guleghina is Tosca and one does fall for her spell. Paul Curran had made his choices in how to portray the relation of Cavaradossi and Tosca. I might disagree about making Tosca a little too fickle but when it works and really has foundation in the opera, then it can be true, too. This production is the first production I have seen where Tosca not only comes with flowers but also lays jewels at the Madonna. Attention to details is everywhere in this production. How happy I am to see a Tosca performance where the timing of when Tosca notices la Marchesa Attavanti is the Maddalena that Cavaradossi is painting, is correct.

It was a lovely love duet between Miroslav Dvorsky and Maria Guleghina.

The situation that Angelotti is in, is grave. It is serious business, and when Tosca has left and Angelotti and Cavaradossi meets again, Cavaradossi is taking care of things not like it is only theater but as a life and death situation. They leave. The Sagrestano comes in with a lot of people. And there is a Baccano in chiesa. As a lively scene play out with children, priests, nuns, men and women, the stage is prepared for the Te Deum with women taking the paper bits that Tosca teared up the Cavaradossi drawing of Attavanti, and priests takes away the painter's things. Everything that happens on the stage seem natural and organic... Then Scarpia and his minions appears. It is true as the opera says that this Scapia is feared by Rome's inhabitants. Even the children knows that this is a dangerous man. His minions is also recognized as unfriendly and to be feared. They are all relieved to be allowed to go. But the poor Sagrestano must stay. When Scarpia seem to forget him for a moment, he tries to escape, but the Scarpia's minion's punished the Sagrestano with violence in a corner of the church. Scarpia care not for him. Then Tosca comes in looking for Cavaradossi and the Sagrestano mocks her and is seized by Scarpia's men and pulled away. Scarpia stalks her, pretending to want to offer her Holy Water. Scarpia had planned this since he understood that Cavaradossi, Tosca's lover, was involved in the Angelotti affair. Tosca's jealousy was roused by Attavanti's fan that Scarpia supposedly found with the painter's things. When Tosca leaves Scarpia arrange for 3 spies and one vehicle to follow Tosca. The Te Deum is in progress, an impressive affair. This Scarpia leaves then by almost crashing the whole procession.

Act 2. The best Vissi d'arte ever.

Act 3. A wonderful E lucevan le stelle and a perfect Love Duet by Miroslav Dvorsky and Maria Guleghina.

What can I say? It was perfect.

OD Travel + Photos
Original blog post

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

December 29, 1990: La Boheme in Oslo

2011-12-29T07:00:00.000+01:00

1990-12-29 La Boheme (Puccini), Den Norske Opera (Oslo)

Mimi = Katia Ricciarelli
Musetta = Ingjerd Oda Mantor
Rodolfo = Richard Greaer
Marcello = Trond Halstein Moe
Schaunard = Stein Arild Thorsen
Colline = Svein Carlsen
Benoit/Alcindor = Eivind Bøksle

Antonio Pappano, conductor

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December 28, 2010: Tosca in Oslo

2011-12-28T07:00:00.000+01:00

2010-12-28 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

Both Greer Grimsley (Scarpia) and Miroslav Dvorsky (Cavaradossi) seemed to have been affected by the cold weather but Maria Guleghina (Tosca) was as her usual self. I was sitting on 3rd balcony on the right side. I could see more of the stage than on December 19 when I sat on Parkett right. From the beginning I could hear that Miroslav Dvorsky was not in his best form but that did but that did not hinder him from singing a fine Recondita armonia and an exceptional E lucevan le stelle. Only in the last duet it happened he lost his voice painfully. Luckily at his side a great collegue, Maria Guleghina who grasped his hands and comforted the tenor with her presence and her big voice and as a miracle the tenor found his voice back and that made the last duet even more moving. Tenor and soprano make it part of the opera. It was a happy opera night for Maria Guleghina who sang one of he finest Vissi d'arte. Maria Guleghina's interpretation of Tosca is always something to admire. She put her heart and soul into every part she sings. At this moment it is her Tosca and her Abigaille that I most admire.

After the opera I found the stage entrance and I went in to wait for my idol. I was alone, people left the opera house and there she was, the Diva with her beautiful assistant. Maria Guleghina and I are friends on Facebook but I never thought the Diva would look at me and say "it is your birthday, isn't it?". And then she sang me Happy Birthday in a natural, un-operatic way. And her assistant took a photo of me with Maria on my Birthday. O lucky day!

OD Travel + Photos

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December 19, 2010: Tosca in Oslo

2011-12-19T07:00:00.001+01:00

2010-12-19 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

On December 19th, 2010 it was matinee at 1500. It was Maria Guleghina first time as Tosca at Norwegian National Opera, Oslo. It was the fourth time for me since I have earlier seen her as Tosca at Vienna State Opera, Deutsche Oper Berlin and Opernhaus Zurich.

I loved the production by regisseur Paul Curran. It was as historical as an opera can be. I sat on right so I could not seen the whole stage but that did not prevent me from enjoying this Tosca. Paul Curran used minor characters and statists to liven up things but never at the expense of the opera.

Maria Guleghina was the perfect Tosca even though she sometimes sang too quietly but I always felt she did it to be true to the person she acted. Miroslav Dvorsky sang and acted a fine Cavaradossi. It was sad that the conductor only stopped the music for applause for the aria in the first act and not for the 3rd act bacause his E lucevan le stelle was really great where Recondita armornia he was more like he was still warming up a bit. The audience really yearned to applaud so it applauded Maria Guleghina and Miroslav Dvorsky in the middle of their 3rd act duet.

The applause for Recondita armonia seemed to be an automatic response to the conductor pausing the orchestra. The act 1 duet applause came more from the heart of the audience. But the applause after Vissi d'arte had the feeling of the audience going wild for Maria Guleghina, and the applause after the opera was "endless".

Greer Grimsley was Baron Scarpia. Just perfect. Maybe too perfect. Or maybe I have seen too many Tosca performance. The chorus, orchestra, statists and the other singers were also wonderful. Paul Curran must be so proud. Maria Guleghina clearly loved the production and Paul Curran.

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December 19, 2006: Agnes Baltsa in Vienna

2011-12-19T07:00:00.000+01:00

2006-12-19 Opera Concert, Konzerthaus Wien

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

Agnes Baltsa Gala-Konzert
Dienstag, 19. Dezember 2006, 19:30 Uhr Großer Saal

Agnes Baltsa, Mezzosopran
Dirigent: Nikos Athinäos
Münchner Symphoniker

Veranstalter
Stimmen der Welt Konzerte GmbH.

1:
Verdi: Ouvertüre, „La forza del destino“

Verdi: La canzone del velo, „Don Carlo“

Massenet: Prelude1. Akt, „Werther“
Massenet: Va! Laisse couler mes larmes, „Werther“

Bizet: Entr'acte Akt 4, „Carmen“
Bizet: Carreau, pique... la mort!, „Carmen“

Berlioz: Ouvertüre, „Les Troyens“
Berlioz: Ah! Ah! Je vais mourir, „Les Troyens“

2:
Rossini: Ouvertüre, „Italiana in Algieri“
Rossini: Cruda sorte, „Italiana in Algieri“

Saint-Säens: Bacchanale, „Samson et Dalila“
Saint-Säens: Amour, vienne, „Samson et Dalila“

Mascagni: Intermezzo, „Cavalleria rusticana“
Mascagni: Voi lo sapete, o mamma, „Cavalleria rusticana“

extra:
Puccini: O mio babbino caro, "Gianni Schicchi"
Bizet: Habanera & Seguidilla, „Carmen“

Agnes Baltsa in her blue dress, famous from many great concerts.

Exactly the same concert as in Munich. But of course, no concert is really like, not completely. Another audience, both enthusiastic, but in Munich there were more "come more often to us". Vienna is simply a Baltsa city where she visit often. As Carmen, Herodiade, Küsterin, Isabella.

Baltsa seemed fresher in Munich, took more often applause. The Orchestra played better in Vienna, giving the music full opera treatment. A bit tired maybe or with a hint of cold, her Eboli aria (La canzone del velo) was a joy, even better than in Munich. Her Charlotte aria (Vas, laisse couler mes larmes) was also a earth-chattering experience. Always the great Carmen (Carreau, pique) was are there enough words to find the right praise. And Didon (Je vais mourir), even if I would have loved more happy tunes with Baltsa, I would not think about Baltsa and death in the same sentence, but the Berlioz aria was so heavenly beautiful.

Second part gave us Isabella (Cruda sorte), Dalila (Samson, recherchant ma présence - Amour! viens aider ma faiblesse!) and the Santuzza aria. And as she is the perfect Isabella, Dalila and Santuzza it was just simply the best arias. And this time she sang Dalila's aria so well that even Mon coeur s'ouvre a ta voix was not so missed.

And the extra number, long time since they were any surprise was a wonderful O mio babbino caro and Habanera and Seguedilla.

Conclusion: I would so like to see Baltsa onstage as Eboli in Don Carlo or Didon as Les Troyens, and as Charlotte in Werther or Dalila in Samson et Dalila. And Isabella in Italiana or Santuzza in Cavalleria Rusticana. Do I need to see Agnes Baltsa as Carmen for the 10th time, I believe that I do need that too, but Eboli and Dalila would mean more to me.

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December 18, 2006: Don Carlo in Vienna

2011-12-18T07:00:00.000+01:00

2006-12-18 Don Carlo (Giuseppe Verdi), Wiener Staatsoper

Philipp II. = Matti Salminen
Don Carlo = José Cura
Rodrigo = Simon Keenlyside
Elisabeth von Valois = Olga Guryakova
Prinzessin Eboli = Luciana D´Intino
Großinquisitor = Kurt Rydl
Mönch = Goran Simic
Tebaldo = Laura Tatulescu
Lerma = Vladimir Moroz
Herold = Vladimir Moroz
Stimme vom Himmel = Ileana Tonca

Marco Armiliato, conductor

Don Carlo (it.)

Dirigent Marco Armiliato

Deputierte aus Flandern:
Hannes Lichtenberger
Karl Nebenführ
Friedrich Springer
Hacik Bayvertian
Gerhard Panzenböck
Josef Stangl
Mario Steller
Hermann Thyringer

I liked this traditional production very well. And they are all singing and acting very well. That Jose Cura was booed on the first night (December 8th) was strange to hear. He certainly sang very well tonight. The trio was also wonderful. Cura does not always have the beautiful sound that Jose Carreras used in the Salzburg production (DVD), but he was still a very good Don Carlo in Vienna. Luciana d'Intino was herself as Eboli, wonderful, but no Baltsa. Olga Guryakova had a wonderful voice and was a good actress. Simon Keenlyside was a really good Posa, I just wish he could have his hands still for longer periods, they were really distracting. Matti Salminen was even better as Filip this time compared to Zurich 25.11.06.

But then there was a conductor, Marco Armiliato, who was slowing the tempi at the most curious times. But Olga Guryakova was such a strong singer she could sing this SLOW "non pianger, mia compagna", many sopranos would been out of breath for this one. Wonderful orchestra, of course, and really great those time the conductor was not slowing the tempi.

Great opera but Jose Cura was not at the stage door, he had just slipped away... But I still got; Luciana, Olga, Simon and Matti.

Rollendebüts
Marco Armiliato (Dirigent),
José Cura (Don Carlo),
Simon Keenlyside (Marquis von Posa),
Olga Guryakova (Elisabeth),
Luciana D´Intino (Eboli)
in Don Carlo
am 8. Dezember 2006

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December 17, 2009: Canciones Argentinas in Oslo

2011-12-17T07:00:00.001+01:00

2009-12-17 Recital - José Cura & Giulio Laguzzi, Den Norske Opera, Oslo

José Cura, tenor
Giulio Laguzzi, piano

Magic and reality hand in hand.

The Lights were Out. Then:

The recital started with a Norwegian actor reading one of Pablo Neruda's poem in Norwegian.

It was still dark when Jose Cura came out singing Hilda Herrera's Desde el fondo de ti.

And still in the dark when Giulio Laguzzi sat down to play the piano and Cura found his seat to sing Maria Elena Walsh' Postal de guerra. Then Jose Cura true to his personality asked for light to see the people. It was not the first time he has done that. Not new, but still endearing is his total willingness to show his gratitude to the multitude of people making this recital possible. So applause to the actor that we heard, the people behind the curtain. Naturally the pianist and later the the note-reader too. Cura was singing quietly, passionately and in full voice whatever the songs needed. He talked in the between quietly. In the second half he said in full voice he was sorry that some of the people had not been able to hear but still be was reserving his voice for singing.

I was most eager to hear him singing his self-composed sonetas by Pablo Neruda. For this part he wanted us to sit in the dark with lights on him and the pianist and the note-reader. I loved it.

Programme
Hilda Herrera:
Desde el fondo de ti
Maria Elena Walsh:
Postal de guerra
Serenata para la tierra de uno
Alberto Ginastera:
Arrorró
Canción del árbol del olvido
Pablo Neruda / José Cura:
Sonetos

II
Carlos Lopez Buchardo:
Canción del carretero
Carlos Guastavino:
La rosa y el sauce
Se equivocó la paloma
El único camino
Elegía para un gorrión
Campanilla
Soneto IV
Héctor Panizza:
Canción a la bandera

The extras was 3 Children's songs from Argentina, and Stille Nacht in French, English, German, Spanish and Norwegian. Jose Cura sang Stille Nacht (in the languages) with the audience, the Norwegian version (Glade jul, hellige jul) was sung by the Norwegian Audience without Cura. I think it the audience did a good job. Last extra: ANHELO. He explained the lyric to a light in day when nobody sees and it the night where it is seen by those in need. A beautiful sentiment that we should all follow...

And so did Jose Cura say Merry Christmas to us in the New Opera House of Oslo, Norway. Magic!! and MERRY CHRISTMAS, God jul!!!!!!!!!!!!!

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December 17, 1993: Josep Carreras in Oslo

2011-12-17T07:00:00.000+01:00

1993-12-17 Christmas Opera Galla, Oslo Spektrum

Josep Carreras, tenor
Karita Mattila, soprano
Norwegian Radio Orchestra
Enrique Ricci, conductor

Jose Carreras

in concert

CHRISTMAS OPERA GALA

with Norwegian Radio Orchestra

Conductor: Enrique Ricci

introducing

Karita Mattila

Soprano

Friday 17 December 1993

Oslo Spektrum

Newspapers
Aftenposten
Dato: 1993-12-17 Utgave: Aften
"Kong Carreras' ariekarriére"

Aftenposten
Dato: 1993-12-19 Utgave: Morgen
"Intim sangkunst i et stort rom"

Aftenposten
Dato: 1993-12-18 Utgave: Morgen
"Supertenor på podiet"

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December 16, 2006: Werther in Munich

2011-12-16T07:00:00.000+01:00

2006-12-16 Werther (Massenet), Bayerische Staatsoper, Munich

Werther = Marcelo Alvarez
Albert = Christopher Maltman
Le Bailli = Christoph Stephinger
Schmidt = Kevin Conners
Johann = Franz-Josef Kapellmann
Brühlmann = Marc Pujol
Charlotte = Sophie Koch
Sophie = Adriana Kucerova
Käthchen = Anaik Morel

Daniel Oren, conductor

Werther
Jules Massenet
Edouard Blau, Paul Milliet,
Georges Hartmann after Johann Wolfgang von Goethe

Conductor Daniel Oren
Production, Set, Lighting Concept
and Costumes Jürgen Rose
Production Staff Franziska Severin
Lighting Michael Bauer
Children Chorus Stellario Fagone
Dramaturgy Ingrid Zellner

Werther Marcelo Alvarez

The Bavarian State Orchestra

And then in the evening another Premiere with Marcelo Alvarez, in 2004 I was in Bayerische Staatsoper for the premiere of Romeo et Juliette... What can I say? Sophie Koch has a beautiful mezzo soprano voice and was wonderful as Charlotte. Marcelo Alvarez was a passionate Werther. The production that I had heard was wonderful, I did not like it. Luckily act 3 and 4 was great enough. Not that the production was bad, it was just not good enough, it made me yearn for the Vienna production which had better ideas. Sophie was in this production just a silly girl, I though we had evolved from that. Sophie is much better, more relevant if she is near Charlotte in age (almost said height) and light-hearted but not silly... The scenography, why update Werther, silly...

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December 15, 2006: Agnes Baltsa in Munich

2011-12-15T07:00:00.001+01:00

2006-12-15 Opera Concert, Munich Herkulessaal der Residenz

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

1:
Verdi: Ouvertüre zu „La forza del destino“
The concert started in a grand way with the ouverture from the opera La Forza del Destino by Giuseppe Verdi. Wonderfully played by the orchestra.

Verdi: La canzone del velo aus „Don Carlo“
Agnes Baltsa had the most thunderous applause from the audience even before a single note was sung. To start with the Veil Song from Don Carlo was a bold decision. What a coloratura!! Unfortunately the part of the aria that Eboli sings with Tebaldo was not so glorious sung but that is what sometime happen when an opera aria becomes a concert piece. If Baltsa had sung Tebaldos line it would
have sounded better, I think. Major applause for Agnes Baltsa. BRAVA!!!

Massenet: Vorspiel zum 1. Akt aus „Werther“
Massenet: Va! Laisse couler mes larmes aus „Werther“
The orchestra plays the Prelude very well. And when Baltsa sings Charlotte's aria, we just love it, it is Agnes Baltsa at her best. But we want more of Charlotte, The music stops too sudden, "Sudden death". It just takes us with total surprise. Please do a better work when opera arias are to be changed to concert pieces. BRAVA, Agnes!!!!

Bizet: Zwischenspiel zum letzten Akt aus „Carmen“
Bizet: Carreau, pique... la mort! aus „Carmen“
Too much "sudden death", Entr'acte to 4th act of Bizet's Carmen, would have loved to hear a bit A dos cuartos, too.
Agnes Baltsa sang a wonderful Carreau, pique! but it ends too abruptly why not a bit of the ending with Mercedes and Frasquita in the orchestra. BRAVA, Baltsa!!

Berlioz: Ouvertüre zu „Die Trojaner“
Berlioz: Ah! Ah! Je vais mourir aus „Die Trojaner“
For the first I hear the ouverture to Berlioz Les Troyens and quite frankly that made me want to hear the whole opera (on CD first, naturally). And finally a piece that stands on it own. Makes it the perfect ending for the first part of this concert. Again Agnes Baltsa is absolutely wonderful, again totally in role and of course the audience just can't have enough of her. BRAVA!!!!

2:
Rossini: Ouvertüre zu „Italiana in Algieri“
Rossini: Cruda sorte aus „Italiana in Algieri“
Another very well known ouverture as opening, this time it is L'Italiana in Algeri by Gioacchino Rossini. The orchestra is very good but it sound better in an opera house with an orchestra who really get into the part that this is a comic opera. As a concert piece they played it well. I wished I were at an opera house... Agnes Baltsa on the other hand was totally Isabella. There are other arias I would also have liked her to sing, but the singing was too glorious to have any complains like that. BRAVA, Bravissima!!

Saint-Säens: Bacchanale aus „Samson und Dalida“
Saint-Säens: Amour, vienne aus „Samson und Dalida“
Wonderful played and sung. A very good bacchanale from Samson et Dalila. Agnes Baltsa is super as Dalila but I don't think anyone will think badly of me for wishing she sang Mon coeur s'ouvre a ta voix. That said, she sang it with all her heart and passion. And we just loved her. BRAVA!!

Mascagni: Intermezzo aus „Cavalleria rusticana“
Mascagni: Voi lo sapete, o mamma aus „Cavalleria rusticana“
The Intermezzo was wonderful. And it was really one of the best Voi lo sapete, o mamma I had ever heard. Stupendous! Baltsa is the best Santuzza ever!!!

extra:
Puccini: O mio babbino caro aus "Gianni Schicchi"
Bizet: Habanera & Seguidilla aus „Carmen“
No shock this time that Die Baltsa would choose O mio babbino caro from Gianni Schicchi. I am not even surprised that she sings it better than most if not all sopranos. And as "always" Habanera and Sequidilla from Carmen as encores. And this time I really got it, why Agnes Baltsa would sing the Seguidilla as last encore. She just absolutely adores to sing it. Agnes Baltsa's happiness was just echoed in the house. How we applauded, wanting even more!! Myself was really wishing for O don fatale from Don Carlo... But even if that never happened it was just a remarkable opera evening with Agnes Baltsa!!!!!
BRAVA! Bravissima!!! more more more.

Münchner Symphoniker
Nikos Athinäos LEITUNG
Freitag, 15. Dezember 2006
20 Uhr, Herkulessaal Abo

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December 15, 2002: Samson et Dalila in London

2011-12-15T07:00:00.000+01:00

2002-12-15 Samson et Dalila (C. Saint-Saëns), Barbican (London)

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor
London Symphony Orchestra
Sir Colin Davis, conductor

Saint-Saëns Samson and Delilah

This was just the concert version of the opera. And the Barbican Hall is air-conditioned, something that I think contributed to the drier sound of the singers than on the dress-rehearsal Dec13th.

This time the hall was full and the chorus was onstage also on the second act, even though they had nothing to sing, but they probably just wanted to see José Cura, Marina Domashenko and Juha Uusitalo sing the wonderful act 2 of Samson et Dalila.

The soloists was all dressed in black except Marina Domashenko who was in a shimmering grey dress. Even more acting in this premiere-night than on the dress-rehearsal, especially as it concerns José Cura and Marina Domashenko. Both have sung their roles in opera houses, so they knew exactly what was happening.

It was a wonderful opera-night, even if only a concert. Unfortunately I got real sick when I came back to my hotel, I was nearly not well enough to get to Heathrow and to take my plane back to Norway. Then in Norway I found out that I naturally had gotten a cold, presumably in London.

So a wonderful concert turns into a blues, but not because of the soloists, the chorus, the orchestra and the conductor.

HAPPY NEW YEAR, all !

SAMSON = Jose Cura, tenor
DALILA = Marina Domashenko, mezzo-soprano
(replaces Carolyn Sebron, mezzo-soprano)
(replaces Olga Borodina)
The High Priest of Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
And Old Hebrew = Robert Lloyd, bass
London Symphony Chorus

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December 14, 2009: La Fanciulla del West in Oslo

2011-12-14T07:00:00.001+01:00

2009-12-14 La Fanciulla del West (Puccini), Den Norske Opera, Oslo

Minnie = Paoletta Marrocu
Dick Johnson (Ramirez) = José Cura
Jack Rance = Jason Stearns
Nick = Svein Erik Sagbråten
Ashby = Magne Fremmerlid
Jake Wallace = Njål Sparbo
Sonora = Ole Jørgen Kristiansen
Bello = Mads Wighus
Happy = Eirik Roland Egeberg-Jensen
Joe = David Fielder
Jim Larkens = Ketil Hugaas
Trin = Kjell Magnus Sandve
Harry = Henrik Engelsviken
Sid = Espen Langvik
José Castro = Carsten Stabell
Wowkle = Sigrid Ohlsson
Billy Jackrabbit = Bo Elley
Postiglione = Paul Kirkby

Joseph Colaneri, conductor

Monday I had a scare. I heard a woman exclaim "You will love it, I assure you, the Brazilian Helden-Tenor is singing. He is great!!!" Oh, no, I thought, it is not Cura who will sing. But it was the Argentine Tenor who sang.

He was great, Paoletta Marrocu was great. They were all great. I just had a tall man seating in front of me so my seat and view was not too great. But I enjoyed it. People was saying he was even better on Monday 14th than on Saturday 12th. But I had the wrong seat. Viva Argentina!!!!!!!!!!!!

Don't cry for me Argentina! for I will go to Oslo to be there when JC sings his Agentine songs. I am really looking forward to listen to his own songs. Pablo Neruda poems composed by Jose Cura, sung by the composer. And the other songs. Will it be extra songs. I hope for a full house for the Argentine songs with Jose Cura.

Magic will happen again on December 17th. Tomorrow!!!

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December 14, 2002: La Traviata in London

2011-12-14T07:00:00.000+01:00

2002-12-14 La Traviata (G. Verdi), Royal Opera House (London)

Violetta Valéry = Inva Mula
Flora Bervoix = Ekaterina Gubanova
Marquis d'Obigny = Graeme Danby
Baron Douphol = Darren Jeffery
Doctor Grenvil = Graeme Broadbent
Gastone de Letorières = Elliot Goldie
Alfredo Germont = Edgaras Montvidas
Annina = Gillian Knight
Giuseppe = Neil Gillespie
Giorgio Germont = Paolo Gavanelli
Messenger = Thomas Barnard
Servant = Jonathan Coad

Paolo Carignani, conductor

Worth hearing for Gavanelli, Carignani and Montvidas
17 Dec 2002 Guardian Unlimited
Youth is wasted on the old
16 Dec 2002 The Times

The Times critized the production, which I truly liked.
Edgaras Montevidas was cited as "one of the best things about the evening" I also found him good, maybe even better in the role than The Times Reviewer Robert Thicknesse, but the criticism on Inva Mula, the Violetta of the evening, who I found nothing less than perfect as singer and actress. He also say that the chorus did not follow the beat of the conductor, I did not hear that, nor that the chorus turned "the two parties into funerals". Truly the parties was like parties, high spirit. (The Times gave 3 stars out of 5)

The Guardian and I agreed on the tenor Edgaras Montvidas:
"His voice, reedy and elegant, is on the small side, though he sings with an instinctive feel for the inner pulse of Verdi's music. He is a convincing actor, too, first approaching Violetta with a combination of gauche desire and the stiff-backed wariness of someone tentatively breaking away from the legacy of a morally rigid upbringing. When he publicly denounces her, he is ambivalent and wretched rather than blind with rage. "
But on Inva Mula, the Albanian soprano I disagree.
"In fact, he is better than Violetta, the Albanian soprano Inva Mula. She can sing and act, though not always at the same time: she delivers the bulk of her vocal utterances straight to the audience, then follows them up with the requisite dramatic gesture aimed at whichever character she is with on stage. She abandons this habit when she gets to the final scenes, by which time one's sympathy is wearing thin. Her voice has a dramatic tang, though she is over-fond of hanging on to high notes, slowing the score whenever she does so. "

About Paolo Gavanelli as Giorgio Germont, I will just say that he is more mellow in tone than Renato Bruson, but this Germont père was not symphatic enough, not even in the last act. His remorse seemed superficial.

BRAVA, Inva Mula!!!

(would have been an absolutely perfect evening, if the people had not coughed so much, I think it must have been 10 or 12 people coughing) Violetta almost didn't have a change against that.

THE ROYAL OPERA

COVENT GARDEN

Music Director Antonio Pappano

Director of Opera Elaine Padmore

presents

LA TRAVIATA

Opera in three acts

Music Giuseppe Verdi

Libretto Francesco Maria Piave

after Alexandre Dumas fils's play La Dame aux camélias

Conductor Paolo Carignani

Original Production Richard Eyre Directed by Daniel Dooner Designs Bob Crowley Director 0f Movement J ane Gibson Lighting Jean KaIman

The Royal Opera Chorus Chorus Director Terry Edwards

The Orchestra of the Royal Opera House Concert Master Peter Manning

Saturday 14 December 2002 The 384th performance at the Royal Opera Hause

Sponsored (1994) by The Jean Sainsbury Royal Opera House Fund

LA TRAVIATA

Ladies and gentlemen, friends 0/ Violetta and Flora,

guests, servants

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December 13, 2002: Samson et Dalila in London

2011-12-13T07:00:00.000+01:00

2002-12-13 Samson et Dalila (C. Saint-Saëns), Barbican London

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor

London Symphony Orchestra
Sir Colin Davis, conductor

Samson = Jose Cura, tenor
Dalila = Marina Domashenko, mezzo-soprano
Grand Pretre de Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
Un Vielliard Hebreu = Robert Lloyd, bass
Mark Stone, baritone
London Symphony Chorus

Saint-Saens Samson and Delilah

Dress Rehearsal, Barbican Hall in the Barbican Centre

It started at 1900 (London Time), I was on Norwegian Time 2000.
Concert version of the opera. They were all in casual wear, nobody more so than José Cura. It was an orchestra and chorus in great form, conducted by Sir Colin Davis, who also conducted Cura's recording of Samson et Dalila on Erato. Marina Domashenko replaced Olga Borodina, who had partnered Cura on the CD. Her voice was rich and she was in role all the time. José Cura sang Samson in a way that showed that this role was also his onstage in an opera house. Of the deep voices Robert Lloyd, the old Hebrew was the most impressive on, but the Great Priest (Juha Uusitalo) and Abimelech was also very good. The sound of the chorus was crystal-clear. On only really missed the stage when the Danse of the Priestesses, or the Bacchanal was played. Or, should I say, that was the time on REALLY missed it.

The "staging" of the concert. Chorus and orchestra all dressed formally in black. The chorus was behind the orchestra, soloists was standing next to the conductor, but closer to the audience than the conductor. In the beginning of "Dieu d'Israel", the chorus is sitting (since this opera starts with almost a whisper), and then they stand of (all at the same time) when the music reaches a higher level of anger/despair. Cura walks casually in, and starts singing "Arretez, o mes freres" while walking and not looking at his score. Then he turns towards the chorus and quietly put his glasses on. They are very discreet , but one can see the reflection from them. Then Abimelech comes in, put his score on the stand and sings, and go out after singing his part (as a dead man, since Samson has just killed him). One needs one's phantasy when the opera is a concert..

Then The Great Priest of Dagon arrived with the 1 Philistine (Alasdair Elliot, tenor) and the 2. Philistine (Mark Stone, baritone) and the Messager (Peter Auty, tenor). Great singing. In the "Hymne de joie", the lower male voices of the chorus stood up, with Robert Lloyd as the old Hebrew. Wow, can that man sing!!! Then it was the female singers turn for "Voici le printemps", marvelously sung. And then Dalila came, at last, Marina Domashenko, "Je viens celebrer la victoire". Dalila came from the left door, Cura & Lloyd from the right. Wonderfully sung, all. Cura & Lloyd left for the Danse of the priestesses, Samson seemed to want to stay on. Dalila, Marina Domashenko, stood there, in role, seeming to almost wanting to danse with all her allure on. Then Dalila sang "Printemps qui commence" and the Old Hebrew tried to dissuade Samson from listening, since it was a concert Cura was not there.
INTERVAL
2nd act, my favorite.
The Chorus does not sing in act 2, so they were not there. But Dalila and Great Priest and then José Cura, Samson they all sung and conquered us. Not only singing, but they also acting their part as far as it was possible in a concert, and the limited space. When Dalila exclaims "I hate you", she walks off, Samson is distraught, but the he is off. The orchestra is in fervor. Marina Domashenko walking out the door " A moi, philistines!!", José Cura: "TRAHISON!"
INTERVAL
3rd act.
José Cura and the chorus in emotional "Vois ma misere, helas!" Both orchestra and chorus did well in all their parts, and I must say that this chorus really sang so that one heard the words. Great Priest of Dagon and Dalila came onto stage, it was really touching what Cura did with his tormented Samson, soft-voiced in his reproaches to himself, passionate in his defense for God.

BRAVISSIMI!!!!

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December 12, 2009: La Fanciulla del West in Oslo

2011-12-12T07:00:00.000+01:00

2009-12-12 La Fanciulla del West (Puccini), Den Norske Opera & Ballet, Oslo

Minnie = Paoletta Marrocu
Dick Johnson (Ramirez) = José Cura
Jack Rance = Jason Stearns
Nick = Svein Erik Sagbråten
Ashby = Magne Fremmerlid
Jake Wallace = Njål Sparbo
Sonora = Ole Jørgen Kristiansen
Bello = Mads Wighus
Happy = Eirik Roland Egeberg-Jensen
Joe = David Fielder
Jim Larkens = Ketil Hugaas
Trin = Kjell Magnus Sandve
Harry = Henrik Engelsviken
Sid = Espen Langvik
José Castro = Carsten Stabell
Wowkle = Sigrid Ohlsson
Billy Jackrabbit = Bo Elley
Postiglione = Paul Kirkby

Joseph Colaneri, conductor

This is a production from Vlaamse Opera Belgium.

Music: Giacomo Puccini
Libretto: Guelfo Civinini og Carlo Zangarini

Director: Robert Carsen
Set design/ costumes: Paul Steinberg
Lighting design: Robert Carsen and Peter van Praet
The Norwegian Opera Chorus

The Norwegian Opera Orchestra

Sung in Italian, Norwegian and English subtitles
Duration: App. 3 hours
It was the first time for me in the new Opera House in Oslo. And it was the first time for Jose Cura in Oslo. He sang Dick Johnson in Puccini's La Fanciulla del West. It is almost one of his calling cards. Among many people also a quite a number of Cura fans. Jose Cura Connexion was well represented there. Old and new friends together.

It was to be a magic night. But at the beginning of the opera I really thought that it would be a boring opera night. I was so totally wrong about that. I have never seen this opera without having moments of boredom but not in Oslo. The Robert Carson production from Vlamse Opera held me in its grip. It was first time I saw this production so I cannot say how much influence the presence of Jose Cura did have to the ensemble of Den Norske Opera. It was no doubt that this was one of Jose Cura finest Dick Johnson. The singing and everything was simply the best Dick Johnson that I have seen Cura do. Paoletta Marrocu was a wonderful actress as Minnie, her voice could be unruly but in sum it was a wonderful Minnie. Jason Stearns as Sheriff Jack Rance was all that one could wish for in this role. Fanciulla del West is not the kind of opera where it is enough to have a great soprano, tenor and baritone. This opera is like Wolf-Ferrari's SLY an opera that needs a great ensemble that can act all it different characters.

Conductor: Joseph Colaneri
Director: Robert Carsen
Set design/ costumes: Paul Steinberg
Lighting design: Robert Carsen and Peter van Praet

This production of La Fanciulla del West, The Girl of the Golden West, started with the men sitting in a cinema seeing a Western film. As the prelude ended in the orchestra the men found there western hats and started to act as they were in a saloon drinking with empty hands and then was shooting with empty hands. I thought that it must be hard to remember all that you must when you don't have the props. But it was just the beginning. When Ashby (Magne Fremmerlid) came then it was really something to drink sat on the table. And when Minnie came, she had real gun. And by then it had started to look as a saloon. And she gave all "real theater" whiskey. By the time the bandit Jose Castro came all had real pistols.

So this production was acted like a fantasy but with each new person coming in a new layer of reality was put in. In the end of the opera it is a dream, the miners go into the cinema to see the western film The Girl of the Golden West after Minnie is now dressed like a movie star and so is Dick Johnson, he came out with a sigarett in his mouth very macho and glamorous.

Nex time. Fanciulla 2009-12-14 and Canciones Argentinas 2009-12-17 in Den Norske Opera & Ballett: www.operaen.no

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December 9, 1988: The Magic Flute in Oslo

2011-12-09T07:00:00.000+01:00

1988-12-09 Die Zauberflöte (Mozart), Den Norske Opera (Oslo)

Tamino = Ulf Øien
Nattens Dronning = Benedicte Adrian
Papageno = Per Vollestad
Monostatos = Tor Gilje
Pamina = Itziar Martinez Galdos
Sarastro = Svein Carlsen

Per Åke Andersson, conductor

Benedicte Adrian, the other part of pop-duo Dollie (de Luxe), soprano, pop star, composer is singing Queen of the Night in the Norwegian Opera. And she does quite good. But although success at the opera she decides that opera is too "operatic" and goes to pop, composing with Ingrid Bjørnov (the other part of Dollie de Luxe) an rock-opera called Which Witch about the witch-hunt in Norway where (Norwegian baritone) Knut Skram also sang in a few staged concerts.

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December 3, 2005: Lohengrin in Vienna

2011-12-03T07:00:00.000+01:00

2005-12-03 Lohengrin (Wagner), Wiener Staatsoper

Heinrich der Vogler = Kwangchul Youn
Lohengrin = Johan Botha
Elsa von Brabant = Soile Isokoski
Friedrich von Telramund =
Falk Struckmann
Ortrud = Janina Baechle
Heerrufer = Adrian Eröd

Semyon Bychkov, conductor

LOHENGRIN

Dirigent: Semyon Bychkov
Inszenierung: Barrie Kosky
Bühnenbild: Klaus Grünberg
Kostüme: Alfred Mayerhofer
Choreinstudierung: Ernst Dunshirn

I did not realize it until the day after that this was the uncut version of Lohengrin. That notion explained things up for me. I thought I had forgot parts, and the love duet did not quite play up the romanticism that I heard in Plácido Domingo and Jessye Norman in the Decca recording of Lohengrin. And the end, something was amiss in the end, I thought the reason was that it was some time ago that I listened to my recording, maybe years even. The conductor was brilliant and orchestra played wonderfully, but still... it was boring. The complete Lohengrin I am sorry to say is not such a great opera. I wonder if that would have been my notion if I had just heard it on the radio. Webcast Radio.Orf.at. ?

I had hoped to see Agnes Baltsa as Ortrud, that was my primary and indeed only reason to go to Vienna. But she walked out for health reason and Janina Baechle sang instead. But for me it was obviously that the replacement mezzo was singing an Ortrud that was really created for Agnes Baltsa. The voice of Janina Baechle do not have a personality as Baltsa, it was a blank voice, and her acting was too extreme, she over-acted. Agnes Baltsa as Ortrud would have been really the center of the opera, eye-catching, and her voice willing to be ugly for the drama, and Ortrud needs to have an actress willing to the extremes. The undoing of Janina Baechle was to try to not be Ortrud but to be Baltsa's Ortrud.

It was a rather colorless Lohengrin, beautiful sung but lacking in personality. Falck Struckmann as Graf von Telramund, Johan Botha as Lohengrin, Soile Isokoski as Elsa von Brabant; was good singers but still their voices was colorless. Kwangchul Youn was a good Könich Heinrich, Adrian Eröd as Heerrufer was very good.

This production made Elsa von Brabant into a Blind Woman which made nonsense of the libretto. The director maintains that he plays the score on the piano before defining the opera, so why didn't he read the libretto, too. Soile Isokoski is totally believable as a Elsa even as a blind woman. And this is not a performance making Elsa into a sorry handicapped person, no, Elsa is blind but that is not hindering her a bit. This is a great performance of Soile Isokoski, but to my ears she still does not have the vocal resources for this Wagner role. But still, BRAVA!!

Johan Botha is singing Lohengrin, Parsifal, Radames, Calaf, etc in Wiener Staatsoper, why ? His voice is not really heavy enough for Lohengrin. He is just a fat tenor.... He doesn't sing like a Lohengrin, he doesn't look like Lohengrin. Why not give him a suit that makes him look more like Grail Knight. Long white hair apart, thumb down. I have really no idea if this man can act, I put most of the blame at the feet of the director and team.

The production was really, really.... I don't know, irrelevant... Stupid.

Lacking in personality was this Lohengrin production. With Agnes Baltsa there would have been at least one personality....

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November 30, 1989: Faust in Oslo

2011-11-30T07:00:00.000+01:00

1989-11-30 Faust (Gounod), Den Norske Opera (Oslo)

Marguerite = Solveig Kringlebotn
Faust = Kåre Bjørkøy
Valentin = Jan Sødal
Mefisto = Oddbjørn Tennfjord
Siebel = Irma Urrila
Marte = Vessa Hanssen
Wagner = Jens Olai Justvik

Dag Nilssen, conductor

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November 29, 2002: Jose Cura in Vienna

2011-11-29T07:00:00.000+01:00

2002-11-29 Opera Arias & Symphonic Concert, Konzerthaus Wien

José Cura, tenor & conductor
Sinfonia Varsovia
Pietro Veneri, conductor

José Cura in Concert, Konzerthaus Wien
Sinfonia Varsovia
José Cura, tenor and conductor
Pietro Veneri, conductor
Composers: Ponchielli, Verdi, Boito, Giordano,
Meyerbeer, Panizza, Rachmaninow

P R O G R A M M E
Part 1
Amilcare Ponchielli
Cielo e mar, scena & aria ( Enzo from «La Gioconda») (1876)

Giuseppe Verdi
O figli, o figli mei ... Ah, la paterna mano, scena & aria
(Macduff from «Macbeth») (1847)

Ouverture «Les vêpres siciliennes» (1855) Cura conducts

Ah si. ben dite .... Tutto parea sorridere (Corrado from «Il Corsaro»)

Arrigo Boito
Giunto sul passo estremo (Faust from «Mefistofele») (1868)

Umberto Giordano
Prelude 2. Act from the opera «Siberia» Cura conducts

Giacomo Meyerbeer
Mi batte il cor ... O paradiso (Vasco from «L'Africana») (1865)

Panizza
La Cancion a la Bandera (Mariano from «Aurora»)

------------------- Pause ------------------- Part 2

Sergei Rachmaninov
Second Symphony in E minor opus 27 (1906-1907) Cura conducts

Extra-numbers:

Ouverture, Guglielmo Tell (Rossini)

Nessun dorma

How can one compare a studio recording to a live concert? It is impossible for me, it was live, it was wonderful to look at José Cura conducting his Sinfonia Varsovia. And in the end, he just started the orchestra to get into a joyous musical moment, unfortunate I don't know which music that played, only that Cura started the orchestra and then he left. But luckily he came back to give us an extra number, Nessun Dorma.

And naturally did the Konzerthaus Wien give us opportunity to buy his Aurora CD and the Rachmaniov CD, and then we could stand in line for his autograph and maybe a photo of the great maestro.
-------------------------------------------------------------------------
José Cura 29.11.2002
COMPARISON: CD and November 29th, 2002 (Part 1):

Aurora, opera arias

1- Canción a la Bandera / Aurora, (Hector Panizza)
2- Svanir le voci! ... Meco all' altar di Venere... Me protegge, me difende / Norma (Vincenzo Bellini)
3- Ah si, ben dite... Tutto parea sorridere / Il Corsaro (Giuseppe Verdi)
4- Oh! fede negar potessi .... Quando le sere al placido / Luisa Miller (Giuseppe Verdi)
5- Mi batte il cor ... O Paradis / L'Africana (Giacomo Meyerbeer)
6- Giunto sul passo estremo / Mefistofele (Arrigo Boito)
7- Sia gloria ai canti dei naviganti! ... Cielo e mar / La Gioconda (Amilcare Ponchielli)
8- Ed anche Beppe amó / L'amico Fritz (Pietro Mascagni)
9- Preludio. Atto II / Siberia (Umberto Giordano)
10- Orride steppe / Siberia (Umberto Giordano)
11- Intermezzo Epico / Aurora (Hector Panizza)

As one can see from the list of the CD and 1rst part of this concerts, they are very similar, which makes it easier to make a comparison. On the CD Cura conducts it all. In the concert it was Veneri who conducted the arias. And here is the biggest difference, I find José Cura's reading of the score's more romantic, well, I liked his conducting better than Veneri's. Not that I found Veneri lacking in the concert, but when listening to the CD I know what I like best. Naturally I would have liked very much to hear and see Cura in the flesh singing the arias from Norma, Luisa Miller. L'Amico Fritz and the aria from Siberia. But I guess that Cura had to spare himself after all he was to conduct the 2nd symphony of Rachmaniov after the interval. In the aria concert I found Cura singing from Macbeth and Mefistofele as the two most beautiful vocal moments. And I enjoyed Cura conducting the Ouverture from I Vespri Siciliani and the Prelude from Siberia.

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November 28, 1989: Otello in Oslo

2011-11-28T07:00:00.000+01:00

1989-11-28 Otello (Verdi), Den Norske Opera (Oslo)

Otello = Osvaldo di Pianduni
Desdemona = Frøydis Klausberger
Iago = Knut Skram
Emilia = Torhild Staahlen
Cassio = Arild Helleland
Rodrigo = Stein Erik Sagbråten
Lodovico = Bjørn Mørch-Olsen
Montano = Jens Olai Justvik

Martin Turnovsky, conductor

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November 27, 2010: Manon Lescaut in Vienna

2011-11-27T07:00:00.000+01:00

20 10-11-27 Manon Lescaut (Puccini),Wiener Staatsoper

Manon Lescaut = Olga Guryakova
Des Grieux = José Cura
Lescaut = Eijiro Kai
Geronte de Ravoir = Sorin Coliban
Edmondo = Ho-yoon Chung
Host = Marcus Pelz
Sergeant = Dan Paul Dumitrescu
Madrigale SIngers = Gabriella Bessenyei, Krisztina Exner, Maria Gusenleiter, Barbara Reiter

Philippe Auguin, conductor

Regie - Robert Carsen
Ausstattung - Antony McDonald
Dramaturgie - Ian Burton
Choreographie - Philippe Giraudeau

This Manon Lescaut was updated to our times. The director, Robert Carson is a clever man that respects opera, but the production is too clever for its own good. This was the 29th performance of this production but the first with José Cura as Des Grieux, Olga Guryakova as Manon, Sorin Coliban as Geronte de Ravoir and Ho-yoon Chung as Edmondo. So it was the night of 4 role debuts at the opera.

José Cura was the real event here. He was the one that made sense of it all. And he was in glorious voice, too. Olga Guryakova was a good Manon Lescaut but then it was the production. The production seemed be more about the society that is vain and cruel than about the love story between Manon and Des Grieux. Edmondo's role has been expanded. I am sure every Edmondo would love to be more onstage and sing more, and that opera houses are happy to employ one person and not 3.

Act 1. In Amiens. A *****Hotel, an avenue with glass windows of model dolls wearing expensive women's dress. Students with beer bottles. Both men and women. Edmondo is photographing the students. Then they all dance the typical MTV type dance. (gosh, that is so stupid, I am getting embarrassed as I sit and see). JOSE CURA, good-looking in black. Finally a human being. This Des Grieux is a bit naive, but can bite back, in good humor, with "Tra voi, belle, brune, bionde". Edmondo acts almost like he is Des Grieux' friend but during the performance we see that this Edmondo is no one's friend.

Then the stage coach arrives in Amiens. In this updated version it must be a train and what else people dressed up and with mobile phones. It is getting old this theme of using mobile phones to say it is our century. Old, not edgy. Manon is dressed as a young girl. Too young to be "Donna non vidi mai". Lescaut her brother (Ejiro Kai) dressed as a soldier, obviously much older than Manon. Then it was Geronte de Ravoir and his handlers. So here he is the "old man" but he does not look old. That does not make good sense. Actually we see no old people in this production. It is a new world, of course, only young people may apply. Naturally the horses in the opera has become cars. A Lexus drives the young couple to Paris. Edmondo, naturally, informs Geronte of this. In a traditional production he does it because he is a clever students who loves pranks but here Edmondo is a more sinister person. The opera is updated but the action of people is not. Would it really be possible that Geronte, the very rich man would have no other car or no other means to get a car? No.

Act 2. Paris. Geronte's penthouse apartment. Manon has many dresses and many people to help her get dressed. She is drinking champagne. Lescaut is still drinking from beer cans. Then Madrigal singers appears with naturally the videographer, sound mixer etc. Manon is making a MTV video of "Sulla vetta tu del monte". Naturally in this world of today any rich man would not only want Manon as his mistress but also to become a star. Manon is the lead singer here with the madrigalists and her back choir. It works in this production. Then Edmondo appears (the traditional Manon Lescaut's dance master is replaced with Edmondo, the photographer). Geronte has decided Manon is to be a star. So he and his friends is there to see Manon having her publicity photos shot. Good! Then they all leave and Des Grieux arrives. Wonderful duet!!! Then Geronte arrives (Edmondo took photos in secret of Manon & Des Grieux). He exists after promising to come back soon. Then Lescaut alerts them of Geronte's plan. Naturally Manon cannot leave without all her stuff. Her servant rush out with several suitcases and try to fill them with all the jewelery and dresses. Then Geronte and the "police" sergeant come. Des Grieux is detained by some of Geronte's men and Geronte sardonic with Manon. And what new opera production does not have a little rape or sexualt assault. The female servants of Manon is assaulted by "the police". O crudel mondo = showing not really necessary violence (especially towards women). No like for that!

Act 3 Le Havre. Geronte's apartment is suddenly a prison, or is it. Des Grieux and Lescaut is plotting Manon's release. Edmondo, the photographer, is singing the night watch song ("O, Kate ripose al re"). He is with Geronte. Manon and Des Grieux cannot hide from Edmondo who photographs them and so the attempt of getting Manon free is foiled. Geronte talks to the man that Lescaut has bribed and then shoots him in the back. This happens just behind the back of Des Grieux and Lescaut so it makes no sense that they have no idea what happens. Stupid production. At the role call for women exiled to America a crowd is gathering, it is Geronte's friends and some photographers. Then they come Rosetta, etc. The exiled women is dressed as models, walk like models but are handcuffed. Geronte's friends who are there for the entertainment and the photographer are taking photos of the model/prisoners. Then Manon is there, and are we really to believe that Geronte's friends does not know her and could have pity for her and believe that Des Grieux is her husband. NO. There is no sign of a harbour in this production and no ship. And the sergeant is now is captain, or. Geronte is in this production singing some of the captains lines, or so it seemed to me. Naturally Des Grieux and Manon is threatened with death by Geronte's gun. Then Manon's handcuff is off and Des Grieux can follow Manon to America....

Act 4. Near New Orleans. But in this production we are back to another avenues. They are alone except the window with model dolls is expensive dresses. Manon dies after great singing of José Cura and Olga Guryakova.

Olga Guryakova sang and acted well. "In quelle trine morbide" and "Sola, perduta, abbandonata" were very good. But the gold goes to José Cura who made it all worth while.

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November 25, 2006: Don Carlo in Zurich

2011-11-25T07:00:00.000+01:00

2006-11-25 Don Carlo (G. Verdi), Opernhaus Zurich

Elisabeth de Valois = Joanna Kozlowska
Eboli = Luciana d Intino
Tebaldo = Martina Welschenbach
Stimme von Oben = Eva Liebau
Don Carlo = José Cura
Posa = Leo Nucci
Filippo II = Matti Salminen
Grossinquisitor = Pavel Daniluk
Frate = Tomasz Slawinski
Lerma = Miroslav Christoff

Carlo Rizzi, conductor

Dirigent
Carlo Rizzi

Inszenierung
Werner Düggelin

Bühnenbild
Raimund Bauer

Kostüme
Sue Willmington

Lichtgestaltung
Jürgen Hoffmann

Choreinstudierung
Ernst Raffelsberger

Same production as in 2003. First I am a little bit thinking, why this opera again, or this production. Carlo Rizzi's fault I think or the orchestra, the Prelude doesn't sound quite right, I am not happy. The chorus and the Frate (Tomasz Slawinski) is too weak to make any impact. Jose Cura as Don Carlo is already there prostrate at the monastery. This time he is not twitching as much as Don Carlo, he is almost a normal man. "I'ho perduta" is sung but not with his beautiful voice, he is too throaty, at least in the beginning. Leo Nucci comes in as Rodrigo di Posa. They are usually wonderful together, but I still finds flaws. So things are not starting as well as I wish, but maybe it is not Jose's or Leo Nucci's fault, it is the weak bass of the the Frate and the other monks. They are not setting the mood right. Yeah, that's it.

Next scene. The Queen's Garden. Finally the women is singing wonderful setting the right mood. And then she comes, Luciana d'Intino as Eboli. And finally perfect singing. Much better than in 2003. I still find her voice a bit too low or dark. I miss the lightness of Baltsa. BRAVA, Luciana! Joanna Kozlowska comes in next as the queen, Elisabeth de Valois. She is wonderful as the demure queen. The Grande of Spagna, Rodrigo di Posa, Leo Nucci is announced, he carries a letter from the queen mother, but also a note from Carlo. The trio is wonderful, at least Leo Nucci and Luciana d'Intino can sing and act at the same time. Nucci is very playful. Then Elisabeth and Carlo will meet alone, not the thing done in the Spanish court: Jose Cura and Joanna Kozlowska. Beautiful to it staged in a strange way. The King Matti Salminen come and sees his queen all alone... But her wonderful aria "Non pianger, mia compagna" is however beautiful sung not really sung or acted with any understanding of the moment, her best / only friend is being banished from the court, when the king finds the queen alone, humiliating his queen in public. First the aria starts with a quick walked to the other side of the stage with the Countess of Aremburg, but this is nonsensical, and while her friend is crying, this queen looks at the ceiling, it is very awkward. After having insulted his wife, this King Filip II Matti Salminen wants to talk to his Grande de Spagna, Rodrigo de Posa, Leo Nucci. Great duet, but this Posa is really crazy talking like that to his king, difficult to understand why Filip is so understanding. But the singing and acting was superb.

Act 2. Scene 1. A perfect wonderful scene, with Don Carlo Jose Cura believing Eboli Luciana d Intino is Elisabeth. Then Eboli find out, rages, and Rodrigo Leo Nucci tries to save Don Carlo. Absolutely gorgeous singing and acting.

Act 2 Scene 2 Auto-da-fe scene. Wonderful singing acting but really already worn out since 2003, no real shock here for the audience, so somebody is going to be burnt alive, nope, no feeling there. Don Carlo is threatening his father, no nothing there either. They even forgets to arrest Don Carlo, who almost killed his father. No, no, maybe it is our war of terror that are making an auto-da-fe just the everyday thing.

Intermission

Act 3. The great Matti Salminen as Filip II, what could be better. Unfortunately he is getting old and his voice is not really heavy enough any more. Not saying he sang "Ella giammai m'amo" perfectly and acted very well. The when the Grand Inquisitor Pavel Daniluk came, it really never was a doubt who would win this duel / duet. Daniluk had the bigger voice, and Salminen had no chance. Then when Elisabeth Joanna Kozlowska came in and there was another duet. Good, but not great as in 2003 with Colombara and Prokina. Then Elisabeth faints and in burst Posa and Eboli. The duet between Elisabeth and Eboli is wonderful singing. But there is too little acting from Kozkowska and too much from d'Intino. But when Luciana d Intino is left solo, there is another triumph for her, "O don fatale" is a smash hit.

Act 3 Scene 2. Don Carlo is in prison and Rodrigo comes to visit. Rodrigo's death. Filip II come to let Carlo out of prison, and finds out that the wrong man has been executed. The people rebels, want the Infante, Don Carlo free from prison. Inquisitor and Filip quells the rebellion and all is prostrate. Don Carlo Jose Cura, Posa Leo Nucci, Filippo II Matti Salminen, Grossinquisitor Pavel Daniluk are all doing great in this scene.

Act 4. Finally Joanna Kozlowska is redeeming herself and making some wonderful singing and acting. The duet with Jose Cura is wonderful. And they both somehow "survive" (monastery) when Filip and Gran Inquisitore want's a double sacrifice.

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November 24, 2007: Elektra in Budapest

2011-11-24T07:00:00.000+01:00

2007-11-24 Elektra (R.Strauss), Magyar Állami Operaház

Klytämnestra = Agnes Baltsa
Elektra = Nadine Secunde
Chrysothemis = Bátori Éva
Aegisthos = Gulyás Dénes
Orestes = Perencz Béla
Orestes nevelője - Cser Krisztián
Klytemneistra bizalmasa - Balogh Tímea
Uszályhordozónő - Polyák Valéria
Fiatal szolga - Megyesi Zoltán
Öreg szolga - Szegedi Csaba
A felügyelőnő - Kukely Júlia
1. szolgáló - Balatoni Éva
2. szolgáló - Érsek Dóra
3. szolgáló - Mester Viktória
4. szolgáló - Fodor Beatrix
5. szolgáló - Wierdl Eszter

Kovács János, conductor

Magyar nyelvű feliratok / Hungarian textMesterházi Máté
Rendező / DirectorKovalik Balázs
Díszlettervező / stage designer Antal Csaba
Jelmeztervező / costume designerBenedek Mari
Karigazgató / Chorus MasterSzabó Sipos Máté

It is Premiere of Elektra and the opera house is wrapped in red on this occasion. Only two things bothered me: that my seat got very uncomfortable after 70 min's plus of Opera, real pain in my ..., and the end where Orest kills both his sisters with a machine gun, so totally unnecessary.

Nadine Secunde was great as Elektra (no surprise there), Eva Batori was wonderful as Chrysothemis. Agnes Baltsa was magnetic as Klytämnestra.

The production: Modern and set in a bath. It started startlingly with the opera house completely dark and then suddenly some light and the thunder of Straussian music. And unlike the Vienna production we could see the people and different types and real human being. The very self-assured über-type of woman, from the more submissive one. But to be onstage without shoes, naked but for some bathrobe or just a towel wrap round the bodies, I would guess they look forward to get dressed again. Some nakedness occurred, only male, and for a short time. Elektra had a black dress (dressed as widow), Chrysothemis in white (dressed as a bride). Klytämnestra also had black dress and a white fur robe. Orest dressed very formally but with sunglasses. Aigist had only a white bathrobe which made him very self-conscious when taking the bow at the end.

The changing of color lighting the stage was very well done. So naturally it got to be very red during some parts of the Elektra/Klytämnestra scene. The symbolism when Klytämnestra was killed was perfectly. No such symbolism for Aigist.

In the end after the murders:Chrysothemis was first greeted by Orestes people as Princess and goes out to dress herself as a new Klytämnestra. Elektra also changes out with the old puff, and a white robe is over the old black. But Elektra is not ready for the happiness, she struggles with the Agamemnon tree to Klytämnestra's bed, the power lies in the bed. She is clearly exhausted. But instead of having her die in the bed of mental exhaustion Orest has her killed with a machine gun. Two shots is heard, so when Orest is supposed to kill Chrysothemis with his second bullet, all Eva Batori can do is to drop dead with no sound.

The end ruined it, when Orest kills his sisters that does not make it a Real Greek Tragedy, but if his two sisters died just of exhausted minds when Orest should celebrate his triumph. THAT WOULD BE Greek Tragedy.

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November 23, 2007: Tosca in Vienna

2011-11-23T07:00:00.000+01:00

2007-11-23 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Amarilli Nizza
Baron Scarpia = Marco Vratogna
Cesare Angelotti = Boaz Daniel
Der Mesner = Lars Woldt
Spoletta = Benedikt Kobel
Sciarrone = Clemens Unterreiner
Ein Schließer = Goran Simic

Paolo Carignani, conductor

Tosca with José Cura as Mario Cavaradossi.

Tosca no 517:
Inszenierung Margarethe Wallmann
Bühnenbild und Kostüme: Nicola Benois

I missed a great Scarpia, Ruggero Raimondi is always great as Scarpia. Amarilli Nizza was Ok as Tosca. Liked her Vissi d'arte. José Cura and the conductor was not always in agreement. Cura wanted to be faster. He was also acting in a way inconsistent with the times, Neapolitan time. This was a very traditional Tosca with beautiful settings. It was a beautiful E lucevan le stelle. The end duet Tosca/Cavaradossi was great (good). But Nizza could not help herself when she leaped from the castle one might have thought this was one of the first Tosca's in this production, very old fashioned (at least from the -50s). One arm raised....

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November 22, 2008: Juanjo Cura in Berlin

2011-11-22T07:00:00.000+01:00

2008-11-22 Juanjo Cura, Kammermusiksaal Philharmonie (Berlin)

Juanjo Cura, tenor
Javier Tucat Moreno, piano
Malys Im, double bass
Guillermo Destaillats, bandoneon
??, percussion

First impressions of Juanjo Cura in Berlin

It was cold in Berlin. And it was even a bit cold in Kammermusiksaal Philharmonie Berlin. It is a special concert room with a small plattform in the middle, just the right size for a small group of people with instruments. For 5 people, it was perfect.

Juanjo Cura seems to have more than just Argentinians on his side as fans of him and of tango, it was quite a lot of Germans there too. The concert hall was not full but it seemed to be more more than half full. I sat in the front row, in the best seat of the room. I bought my 3rd Juanjo Cura CD there, Pasional. He talked in German during the concert and we had no program, all our information was from Juanjo himself in his German. Since I am not German myself but understand German and speak a little myself I still had a little problem since his German was good but it was an Argentinian speaking German... But it was still very impressive to do that.

My other disadvantage is my not knowing too much about Argentinian Tango. For so many there they knew the music already and loved it already. I am more of the classical person. Juanjo Cura is more approaching the music like a Jazz singer would, being very free with the notes. But Juanjo Cura's voice is a true tenor voice. Personally I will always regret that he did not choose the more classical path but Juanjo seem to enjoy more the explosive passion of the tango. And he really acts it out. Nobody can say that he just sings because he doesn't just sing he is every tango and song he sings. But sadly it reminds me of why I "hate" Jazz and LOVE Classical music. I will always love more the correct attack to the notes that are the Classical way and dislike most of the loose attack that is Jazz. But I don't regret using my money to go to Berlin just for this concert. I don't regret that at all. I loved his singing "Dein ist mein ganzes Herz" from Lehar's Das Land des Lächelns. His singing My Way in German. And some of the tangos/boleros/songs that he sang as nicely as he does on his CD's.

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November 21, 1988: Madama Butterfly in Oslo

2011-11-21T07:00:00.000+01:00

1988-11-21 Madama Butterfly (Puccini), Den Norske Opera (Oslo)

Cio-Cio-San = Keiko Kamegawa
Suzuki = Marit Osnes Aambø
Kate Pinkerton = Gro Hundvin
B.F. Pinkerton = Caj Ehrstedt
Sharpless = Jan Sødal
Goro = Rorald Rørvik
Prince Yamadori = Knut Gullerud
Uncle Bonzo = Svein Carlsen

Per Åke Andersson, conductor

How irritating it is to hear/see this heart-wrenching opera and to have people sitting there finding it ludicrous the marriage contract for 999 years. But poor Butterfly she is going to die because she takes it seriously love, marriage but Pinkerton see every thing Japanese as a joke as this custom of leasing houses for 999 years. The clash West/East.

That bloody Pinkerton. Even the American consul who is normally quite cold-blooded tries to warn Pinkerton.

This is a great opera!

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November 20, 2004: Jose Cura interview in Vienna

2011-11-20T07:00:00.001+01:00

Many members of JCx (José Cura Connexion) were in Vienna for Stiffelio already and so when Marlene told us about the public interview in Theater Akzent we got our tickets.

First the technical problems. And José had to take a photo of that:

And then on the left we see the translator, José Cura, and on the right the interviewer.
In the end it needed a technichian.

It was interesting to hear Cura explain his views about this and that in opera. And a point in the interview he got visibly red after too many compliments.

That was cute.

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November 20, 2010: La Fanciulla del West in Zurich

2011-11-20T07:00:00.000+01:00

2010-11-20 La Fanciulla del West (G. Puccini),Opernhaus Zurich

Dick Johnson (Ramirez) = José Cura
Minnie = Emily Magee
Jack Rance = Ruggero Raimondi
Harry = Shinya Kitajma
Jake Wallace = Davide Fersini
Nick = Martin Zysset
Ashby = Daniel Henriks
Sonora = Cheyne Davidson
Sid = Tomasz Slawinsky
Trin = Pablo Ricardo Bemsch
Bello = Kresimir Strazanac
Joe = Boguslaw Bidzinski
Happy = Thomas Tatzl
José Castro = Valeriy Murga
Larkens = Aaron Agulay
Billy Jackrabbit = Thomas Forde
Wowkle = Bettina Schneebeli
Un Postilione = Simon Wallfisch

Massimo Zanetti, conductor

Inszeniering - David Poutney
Spielleitung - Aglaja Nicolet
Bühnenbild - Stefanos Lazaridis
Kostüme - Sue Wilmington
Lichtgestaltung - Jürgen Hoffmann

This David Pountney production of La Fanciulla del West by Giacomo Puccini is growing old and is no longer inspiring. Once upon a time the use of movie was innovating like in 2004 when I first saw this production I found it pure genius. But the times has changed and it is after all my 10th Fanciulla.

It is nothing new here. The Girl of the Golden West (LA FANCIULLA DEL WEST) is the Spaghetti Western as opera. Was it necessary to make the stage so steep and did the screen really have to be hung in a slope. It just seemed so sloppy. Every time the movie was playing or the backdrop was changed to another photo reminding us about the time of gold digging in California it was like the director took the audience as utter fools. It is the usual story of opera directors not daring to let the opera speak for it self.

When I compare to the other Fanciulla productions that I have seen at Royal Opera House (London), Deutsche Oper Berlin, Den Norske Opera (Oslo) then Opernhaus Zürich production seem to be the oldest and dullest one.

The cast was incredible. Still I was bored and not really tuned into the action. I just know that Emily Magee was the perfect Minnie and José Cura was perfect as Dick Johnson. Ruggero Raimondi was also great. But the production let this opera down.

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November 19, 2004: Stiffelio in Vienna

2011-11-19T07:00:00.001+01:00

2004-11-19 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Renato Bruson
Raffaele = Cosmin Ifrim
Jorg = Johannes Wiedecke
Federico = Peter Jelosits
Dorotea = Ǻsa Elmgren

Marco Armiliato, conductor

Breakfast. Free time in Berlin. Afternoon-flight to Vienna. Just an hour before the opera started was I in the Staatsoper, naturally I had skipped visiting my hotel first. So all my luggage in Staatsoper. Relaxing and meeting friends before the opera started. I had bought the Viennese newspapers on the airport Schwechat and
looked through it on the train to Vienna City. I usually am quite drowsy when I get into the opera houses after my traveling, not this time. Unfortunately it didn't get that much interesting on the stage.

The ouverture was well played with the orchestra conducted by Marco Armiliato. And the young bass as Jorg was quite good. But he was a young man playing an older man, not utterly convincing. I was ready to admire the soprano Hui He as Lina first I was a bit put off by the painting of her face as too white, reminded me of Chinese opera, it was a visual disturbance that I would have learned to live with. But this very beautiful large voice was simply too weak in the piano. You need the hear the voice even it should sound piano.

Cosmin Ifrim as Raffaele was charming. And Hui He and Cosmin Ifrim was a nice couple of singers. Renato Bruson (Stankar) was not, in my opinion, in great form. Even though Jose Cura acted the role very well, I felt that even he was not in such a great form. The Moshinsky production is wonderful but without a great Stiffelio,
Lina & Stankar it could not stand on it own. How I longed for Leo Nucci as Stankar and Emily Magee as Lina, they sang so well in Zurich I wished they came to Vienna too. Really, the test for this opera is the ending of it. "Allor Gesu..." and PERDONATA!!, the adulteress is forgiven in the Bible and in Opera, and I felt
nothing. Big applause to Hui He and Renato Bruson from the house but not from me. I really wished that I could feel that Jose Cura did another great performance. ´Maybe it was the weather?

Anyway, after the performance, applause and backstage, I found my hotel pension Haydn and had another good nights sleep.

PS. I feel like I disagree with myself now 4 years later. That Jose Cura sang well, and that Hui He was a great Lina. But I still let it say this. It was what I felt that time.DS

Stiffelio
(32. Aufführung in dieser Inszenierung)

Dirigent: Marco Armiliato
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Ernst Dunshirn

Stiffelio: José Cura
Lina: Hui He

Beginn: 20.00

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November 19, 2001: Italiana in Algeri, Vienna

2011-11-19T07:00:00.000+01:00

2001-11-19 L'Italiana in Algeri (G. Rossini), Wiener Staatsoper

Mustafà = Simone Alaimo
Elvira = Milagros Poblador
Zulma = Stella Grigoriau
Haly = István Gáti
Lindoro = Robert Nagy
Isabella = Agnes Baltsa
Taddeo = Alfred Sramek

Frédéric Chaslin, conductor

On November 19th, I saw Agnes Baltsa when she came to the Vienna State Opera, and when she went from the State Opera. And naturally I was there when she sang Isabella in Italiana in Algeri.

To wait for Agnes Baltsa just inside the Operahouse in the room before the Portier at the stage entrance. It was freezing outside. Meeting people who are equally admirers of Agnes Baltsa and talking to them while waiting. Other people was outside with flowers and waiting and freezing. At last she came. Her arms became soon full with flowers and goodwishes, I tried to give her the Gift for the fanclub (the list of good wishes for her birthday), she had to take the flowers inside, but she promised to come out after the performance in the same room.

Italiana in Algeri. Nobody does Isabella better than her. I think she was not completely recovered form the bronchitis that prevented her from singing at the Aidsgala in Berlin earlier this month. But still she communicated enjoyment and it was wonderful. Maybe the others get a more vocally competent Agnes Baltsa, but to be there when She is singing her favorite role on her Birthday was soo special that I wont regret it no matter what.

AND in the end of the performance the Chorus sang HAPPY BIRTHDAY to Agnes Baltsa, and the house almost fell down.

Then I waited for her after the event, and she was sitting in the portiers signing and I could at last give her the GIFT. And I must say Agnes Baltsa looked wonderful. I wish I could have stayed to see the rest of her Italianas.

A GREAT DAY! HAPPY BIRTHDAY to the Diva!

Wiener Staatsoper
montag, 19. november 2001
49. Aufführung in dieser Inszenierung

L' I taliana in AIgeri
Drama giocoso per musica in zwei Akten von Angelo Anelli
Musik von Gioachino Rossini

Musikalische Leitung Frédéric Chaslin
Nach einer Inszenierung
und in der Ausstattung von Jean-Pierre Ponnelle
Chorleitung Ernst Dunshirn

Lindoro, ein junger Italiener,
Lieblingssklave des Mustafà Robert Nagy*

Ort der Handlung Algerien
Orchester und Chor der Wiener Staatsoper

Die Aufführung basiert auf Azio Corghis kritischer Ausgabe
der Fondazione Rossini Pesaro in Zusammenarbeit mit G Ricordi, SPA Milano

* Rollendebüt i1n der Wiener Staatsoper

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November 18, 2001: Gianni Schicchi in Vienna

2011-11-18T07:00:00.002+01:00

2001-11-18 Gianni Schicchi (G. Puccini), Wiener Staatsoper

Gianni Schicchi = Alberto Rinaldi
Lauretta = Tatiana Lisnic
Zita = Nelly Boschkowa
Rinuccio = John Nuzzo
Gherardo = Cosmin Ifrim
Nella = Ingrid Kaiserfeid
Betto = Janusz Monarcha
Simone = Walter Fink
Marco = István Gáti
La Ciesca = Stella Grigorian
Gherardino = Wiener Sängerknabe
Spinelloccio = Alfred Sramek
Amantio = Wolfgang Bankl
Pinellino = Hiroyuki ljichi
Guccio = Michael Kuchar

Michael Boder, conductor

Double-bill: Boring, depressing opera (Jakobsleiter) before a Comic Opera (Gianni Schicchi)

New in the Staatsoper, now they have VILAR subtitling system, unfortunately it is still better to be prepared and not use the subtitles. Opera is more enjoyable that way.

But Schönbergs Jakobsleiter is not possible to enjoy. We all needed the fun from the Comic opera by Puccini in order to go happily home. The staircase on the stage for Jakobsleiter was used in Gianni Schicchi. It was really a comic relief. Wonderful production.

15. Aufführung in dieser Inszenierung
Gianni Schicchi
Oper in einem Akt von Giovacchino Forzano Musik von Giacomo Puccini

Musikalische Leitung Michael Boder
Inszenierung u Bühnenbild Marco Arturo Marelli
Kostüme Dagmar Niefind-Marelli

Lauretta, seine TochterTatiana Lisnic*

Orchester der Wiener Staatsoper
Bühnenrechte Universal Edition AG, Wien, für BMG Ricordi Milano
* Rollendebüt an der Wiener Staatsoper

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November 18, 2001: Jakobsleiter in Vienna

2011-11-18T07:00:00.001+01:00

2001-11-18 Der Jakobsleiter (Schönberg), Wiener Staatsoper

Gabriel = Franz Hawlata
Ein Berufener = Torsten Kerl
Ein Aufrührerischer = Michael Roider
Ein Ringender = Wolfgang Bankl
Der Auserwählte = Peter Weber
Der Mönch = Heinz Zednik
Der Sterbende = Kirsten Dene
Die Seelen = Milagros Poblador, Ileana Tonca

Michael Boder, conductor

Double-bill: Boring, depressing opera (Jakobsleiter) before a Comic Opera (Gianni Schicchi)

New in the Staatsoper, now they have VILAR subtitling system, unfortunately it is still better to be prepared and not use the subtitles. Opera is more enjoyable that way.

But Schönbergs Jakobsleiter is not possible to enjoy. We all needed the fun from the Comic opera by Puccini in order to go happily home. The staircase on the stage for Jakobsleiter was used in Gianni Schicchi. It was really a comic relief. Wonderful production.

Wiener Staatsoper
sonntag, 18. november 2001
12. Aufführung in dieser Inszenierung

Die Jakobsleiter
Oratorienfragment von
Arnold Schönberg
Fassung von Wilfried Zillig

Musikalische Leitung Michael Boder
Inszenierung u. Bühnenbild MarcoArturo Marelli
Kostüme Dagmar Niefind-Marelli
Choreinstudierung Ernst Dunshirn
..,

Eleve der Ballettschule der Wiener Staatsoper
Orchester und Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper
Bühnenrechte Universal Edition AG, Wien

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November 18, 1983: Animalen i Oslo

2011-11-18T07:00:00.000+01:00

1983-11-18 Animalen (Werle), Den Norske Opera (Oslo)

Benson Sisters = Gro Hundvin Eliassen, Elisabeth Mangen Narvesen,
Anne Felberg
General Nelson = Caj Ehrstedt
Herold = Bernhard Skjeldal
Giraff = Holstad og
Bjørn Mørch-Olsen
Anette = Gro Hundvin Eliassen
Roulette = Elisabeth Mangen Narvesen
Pipette = Anne Felberg
Kontratenor = Knut Gullerud
Pingvin = Anne Nyborg
Løve = Oddbjørn Tennfjord
Ape = Stein Arild Thorsen
Tiger = Torhild Staahlen
Påfugl = Vessa Hanssen
Bjørn = Svein Carlsen
Fru Bjørn = Eva Solheim
Ugle = Frøydis Klausberger
Oter = Arild Erlksen
Gordon = Tor Fagerland
Smirnoff = Paul Berner Kjønnø
Smith = Knut Jørgen Moe
Wesson = Yngvar Krogh
Olga = Irma Urrila
Tamara = Vesla Tveten
Billy Benson = Jan Sødal
Ludmilla = Torill Eriksen

Zdenko Peharda, conductor

Oslo, Norway 1983-11-18
DEN NORSKE OPERA 1930-2215
Friday 18. november 1983

'ANIMALEN
Fabel-opera in 2 acys
Music: Lars Johan Werle .
Libretto: Tage Danielsson .
Translation: Axel Emil Helgeland
Conductor: Zdenko Peharda
Regie: Runar Borge
Scenography: Christian Tom-Petersen

this fable-opera or musical, ANIMALEN was something for the children or child-like. But at least a lot of Norwegian operasingers were onstage.

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November 16, 1984: Aida in Oslo

2011-11-16T07:00:00.000+01:00

1984-11-16 Aida (Verdi), Den Norske Opera (Oslo)

Re d'Egitto = Carsten Harboe Stabell
Amneris = Mirjana Dancuo
Aida = Hilde Nora Veidahl
Radames = Maurice Stern
Ramfis = Svein Carlsen
Amonasro = Knut Skram

Per Åke Andersson, conductor

My mother didn't like this production, I did. I guess she found it too dark and not Egyptian enough. But I really believed in it all. I loved it...

DEN NORSKE OPERA
Friday 1984-11-16

AIDA
Opera in 4 acts by Giuseppe Verdi
Libretto: Antonio Ghislanzoni
Conductor: Per Ake Andersson
Regie: Giancarlo del Monaco
Decor: Dominik Hartmann
Costumes: Bernd-Dieter Muller
Choreography: Lise Eger

19.00 - ca. k1. 22.15

OD Travel

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November 13, 1999: Le Prophete in Vienna

2011-11-13T07:00:00.000+01:00

1999-11-13 Le Prophète (G. Meyerbeer), Wiener Staatsoper

Fidès = Agnes Baltsa
Jean de Leyde = Janez Lotric
Berthe = Simina lvan
Le Comte d'Oberthal = lstvan Gati
Zacharie = Peter Köves
Mathisen = David Cale Johnson
Jonas = Torsten Kerl

Marcello Viotti, conductor

Le Prophete. The Anabaptist revolt, because of the unfair conditions that the country people live under. Their Overlord is harsh and unfriendly. The sect of the Anabaptist, is against the Church. Unfortunately the violence remains. In this situation we find Berthe, an orphan, and Count of Oberthal decides instead of accepting that Berthe can marry Jean, he wants her himself. The mother of Jean, Fides, who has come to fetch Berthe, is also seized. Jean finds out about Berthe, in his hatred he becomes the Prophet...
This was the second time I saw Le Prophete, and Hans Neuenfels ideas about this opera, irritated me even more. Agnes Baltsa was great. Janez Lotric was brave to sing this role after Plácido Domingo. Simina Ivan was a good Berthe. The three Anabaptist were weaker than before.
But Giacomo Meyerbeer's music is still GREAT no matter what the director does.
Only one thing I want to tell the opera directors, let opera unfold to tell the story. Just open it up, new and fresh. (like one did with La Juive)

Wiener Staatsoper
samstag, 13. november 1999
15. Aufführung in dieser Inszenierung

Le Prophète
Oper in fünf Akten von Eugène Scribe Musik von Giacomo Meyerbeer

Musikalische LeitungMarcello Viotti
InszenierungHans Neuenfels
Bühnenbild und
Kostüme Reinhard
von der Thannen
ChoreinstudierungErnst Dunshirn
Einstudierung der TänzeRenato Zanella
., .

OffizierAlexander Pinderak
Bürger Johannes Gisser
Anabaptist Martin Thyringer
BallerinaPatricia Sollak
., .
Orchester der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper Wiener Staatsopernballett Eleven der Ballettschule der Wiener Staatsoper Amadeus Knabenchor Bewegungschor

OD Travel

For more reviews from my travels, see www.operaduetstravel.com
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November 12, 1999: La Juive in Vienna

2011-11-12T07:00:00.000+01:00

1999-11-12 La Juive (L. Halèvy), Wiener Staatsoper

Eléazar = Neil Shicoff
Rachel = Soile Isokoski
Prinzessin Eudoxie = Regina Schörg
Kardinal Brogni = Alastair Miles
Léopold = Zoran Todorovich
Ruggiero = István Gáti
Albert = Janusz Monarcha

Simone Young, conductor

Neil Shicoff in the role of his life as Eleazar.
La Juive, Christians and Juive separated in one city. The production shows the segregation with colors, White for Christians, Black for Jews. The colors are not saying that the Christians are innocent in the hatred and violence. The stage is also segregated. It is beautiful music and a production that make you think.

Only one thing I want to tell the opera directors, let opera unfold to tell the story. Just open it up, new and fresh. (like one did with La Juive)

Wiener Staatsoper
freitag, 12. november 1999
6. Aufführung in dieser Inszenierung

La Juive
Oper in fünf Akten Textbuch von Eugène S'cribe
In französischer Sprache mit deutschen Übertiteln
Musik von Promental Halévy

Musikalische Leitung, Simone Young
Inszenierung Günter Krämer
Bühnenbild und
Kostüme Gottfried Pilz und
Isabel Ines Glathar
Choreinstudierung Ernst Dunshirn

1 Bürger Hacik Bayvertian
2 Bürger Martin Thyringer
OffizierMartin Müller
-
Orchester und Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper Eleven der Ballettschule der Wiener Staatsoper

OD Travel

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November 9, 2002: Jose Cura in Aalborg

2011-11-09T07:00:00.000+01:00

2002-11-09 Opera Concert, Aalborg Kongress & Kultur Center

José Cura, tenor & conductor
Giuseppina Trotta, mezzo
Aalborg Symphony Orchestra
Fernando Alvarez, conductor

CONCERT WITH THE TENOR JOSÉ CURA
with AALBORG SYMPHONY ORCHESTRA under the baton of Fernando Alvarez. Guest soloist: mezzosoprano GUISEPPINA TROTTA in Aalborghallen, Aalborg Kongres & Kultur Center, at 20hrs.

PROGRAM
Giuseppe Verdi
LA FORZA DEL DESTINO - Ouverture, Cura conducts
He still thinks conducting is about the exact notes. So this ouverture is not alive, his excact movements, makes it fuzzy.
Il CORSARO - Ah si, ben dite - Tutto parea sorridere Cura sings
He sings wonderfully, but he does have a cold. He moves too much, what was cute in the DVD Passion for Verdi is not cute in Aalborg.
IL TROVATORE - Madre, non dormi Duett: Cura/Trotta
The mezzo is to young to give Azucena the drive she needs, but she tries to be real even if this is a concert. Cura is his usual Manrico

Pietro Mascagni
CAVALLERIA RUSTICANA- Voi lo sapete, o Mamma Trotta
This aria is like exam for the mezzo, does Trotta pass the Santuzza test. Well, there is a great promise in her rendition.

Amilcare Ponchielli
LA GIOCONDA Cielo e mar Cura sings
A wonderful rendition of Cielo e mar.

Giacomo Puccini
MANON LESCAUT Intermezzo Cura conducts
He starts the intermezzo by nodding to the cellist, and slowly he builds up this intermezzo, and what a wonderful building it is. BRAVO Cura and Aalbirg Symphony Orchestra

Giacomo Meyerbeer
L'AFRICAINE O, paradiso Cura sings
This time Cura sings it better, but still the prononciation could and must be improved
Cura speaks.Oh new world you belong to me Cura (Vasco da Gama) sang in L'Africaine, and in Aurora, the new world have got it freedom.
Hector Panizza
AURORA Cancion de la Bandera Cura sings
Spendid rendition of this Argentine aria

Intermission

Camille Saint-Saëns
SAMSON ET DALILA Bacchanale Cura conducts
Cura conducts a wonderful bacchanele
Mon coeur s'ouvre à ta voix Trotta / Cura
When Cura comes and sings the Samson lines, it is perfect

LE CID O souverain, o juge, o père Cura sings
Wonderful aria sung perfectly

Georges Bizet
CARMEN Prelude Cura conducts
Wonderful prelude by Cura and Aalborg, going directly to the Habanera. Trotta is going onto the stage during the predude
Habanera Trotta, Cura conducts
Cura conducts Trotta, and Trotta sings Carmen. She is not a full-borne Carmen, yet.
La fleur que tu m'avais jetée Cura sings
A magical Flower-song by Jose Cura
Entr'acte, act 4
Alvarez conducts the Entr'acte, wonderful
C'est toi, c'est moi Trotta / Cura
Wonderful and dramatic Carmen Duet.

EXTRA
Addio, fiorito asil (MADAMA BUTTERFLY) Cura
Seguedilla (CARMEN) Trotta / Cura
Nessun dorma (TURANDOT) Cura

When Cura errs in Nessun dorma it only makes
this opera night more magical.

OD Travel

For more reviews from my travels, see www.operaduetstravel.com
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November 7, 1992: Carmen in Bergen

2011-11-07T07:00:00.000+01:00

1992-11-07 Carmen (Bizet), Opera Bergen

Carmen = Petra Malakova
Micaela = Lynda Russell
Don Jose = Mario Carrara
Escamillo = Anooshah Golesorkhi
Zuniga = Knut Jørgen Moe
Frasquita = Kirsten Landmark Mæland
Mercedes = Tone Kvam Thorsen
Remendado = Svein Erik Sagbråten
Dancaire = Oddbjørn Hanto
Morales = John Magnusson

Vladimir Giaurov, conductor

OD Travel

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November 6, 2005: Le Villi in Vienna

2011-11-06T07:00:00.002+01:00

2005-11-06 Le Villi (Puccini), Wiener Staatsoper

Roberto = José Cura
Anna = Krassimira Stoyanova
Guglielmo Wulf = Franz Grundheber

Simone Young, conductor

Le villi
(6. Aufführung in dieser Inszenierung)

Dirigentin: Simone Young
Inszenierung: Karoline Gruber
Ausstattung: Johan Engels
Licht: Patrick Woodroffe
Bewegungsregie: Beate Vollack
Choreinstudierung: Ernst Dunshirn

Karoline Gruber makes this opera into a kitchy Tirolean story. Very much about women doing the housework and men drinking beer. Luckily it is not totally ruined thanks to Cura, Stoyanova and Grundheber. One good idea the use of the Villis is very effective. Puccini's music is much better than this so-called inszenierung makes it.

OD Travel + Photos

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November 6, 2005: Osud in Vienna

2011-11-06T07:00:00.001+01:00

2005-11-06 Osud (Janacek), Wiener Staatsoper

Zivný = Jorma Silvasti
Míla Válková = Cornelia Salje
Mílas Mutter = Anja Silja
Poet/Dr. Suda/Ingenieur = John Dickie
Lhotský/Verva = Adrian Eröd
Konecný = Georg Tichy
Fräulein Stuhlá = Ǻsa Elmgren
Frau Major = Regina Knauer
Ein Student = Robert Maszl
Eine alte Slowakin =
Waltraud Winsauer
Frau Rat = Janina Baechle
Eine junge Witwe = Eliza Zurmann
Erster junger Mann = Jeong-Ho Kim
Zweiter junger Mann = Ion Tibrea
Doubek als Student = Terry Wey
1. Dame/Pacovská/
Fanca/Soucková =
Ileana Tonca
2. Dame/Kosinská = Simina Ivan
1. Gast = Dritan Luca
2. Gast = Michael Wilder
Ein Ober = Wolfram Derntl
Hrazda = Cosmin Ifrim
Zán = David Prochazka
Nána = Michaela Marhold
Pianistin = Raluca Stirbat

Simone Young, conductor

6. November 2005

OSUD
(6. Aufführung in dieser Inszenierung)

Dirigentin: Simone Young
Inszenierung: David Pountney
Bühne: Stefanos Lazaridis
Kostüme: Johan Engels
Licht: Rudolf Fischer
Regieassistenz: Nicola Raab
Chorleitung: Ernst Dunshirn

AN OPERA about a composer writing a opera. A sort of opera in a opera. Or is this ... Without Jorma Silvasti as the composer this opera would no doubt fail.

Pountney has some point in his regie, it took some time grabbing it, but then I understood the opera better.

Thanks to Agnes Baltsa I have heard Jánácek music before in the opera Jenufa (Wiener Staatsoper 2002). That naturally meant that I had an easier time dealing with the music than I would have had without. But where Jenufa is a more straight forward kind of opera, it is more linear story and you get to know the persons more in a straight way. Osud, Destiny, is a peculiar opera, more operatic than most operas, starts with a chorus containing more of just feelings of sunniness than of sun.

Anja Silja as the mother of Mila. Die Silja is of course famous for her many roles, and is especially known for her Jánácek roles. So here was an expectation that she would as important as Emily Marty in the Macropolous Case or as the Küsterin in Jenufa, two roles that are really her own. But there is not such a big role for her. Of course Anja Silja did it well but I couldn't help to think that Agnes Baltsa would in this role spring much more excitement and be more of a "can't take one's eye of her". Some magnetism was lost. But this was not Anja Silja's opera.

The role of Mila was much more as long as it lasted. And Cornelia Salje was great in this opera. From the moment she appeared it was her show. All other singers faded except Jorma Silvasti as her lover Dr Zisny. Cornelia Salje sang and acted her role as no other could have created this dysfunctional woman, was it the experience with Zisny that have made her such or was it her mother's fault , or...

OSUD is an opera that stands or fails with the tenor singing Dr Zisny. Jorma Silvasti was certainly the chief motor in holding it all together. Where as the role of Laca Klemen in Jenufa never allowed him to show the full extent of his voice and acting ability. The longer one get into the opera one realizes that it is not being realistic is Dr Zisny's opera in the making that we see. Everything is maybe in the composers head. The opera is about the torment of a composer making an opera out of his own experiences. David Poutney makes it possible to see this opera for what is probably is, the working process of an opera seen from the composers view.

One important person in the opera is Doubek, the son of Mila & Zisny. He is in many ways the reason why it all happened. Zisny wants his small son and finds his old love of Mila being as it was new. They live together unhappily with Mila's mother who is demented. When an unfortunate accident kills both Mila and her mother, Zisny is finally able to write an new act. Then Doubek grows up. Zisny decides that the opera is going to be on a stage finished except that 3rd act is missing. When he tells the students about the opera/his life is is almost finished up thinking to hear Mila's voice and a sort of forgiveness/cleaning up the mess happens, and when Doubek helps his father up, Zisny take a bow to the audience, and is like that before our eyes we have seen the 3rd act take shape. It is an opera inside this opera.

OD Travel + Photos

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November 6, 2004: La Forza del Destino in London

2011-11-06T07:00:00.000+01:00

2004-11-06 La Forza del Destino (Verdi), Royal Opera House London

Don Alvaro = Salvatore Licitra
Leonora = Violeta Urmana
Don Carlo di Vargas = Ambrogio Maestri
Padre Guardiano = Ferruccio Furlanetto
Preziosilla = Marie-Ange Todorovitch
Fra Melitone = Roberto de Candia
Marchese di Calatrava = Brindley Sherratt
Mastro Trabuco = Peter Bronder
Curra = Liora Grodnikaite
Alcalde = Jonathan May

Antonio Pappano, conductor

The Royal Opera 2004 - 2005
La forza del destino
Giuseppe Verdi

NEW PRODUCTION

16 October at 6pm
18 | 26 | 29 October at 6.30pm
1 | 3 November at 6.30pm
6 November at 6pm

Sung in Italian with English surtitles
Running time: 3 hours 45 minutes

Supported (2004) by The Jean Sainsbury Royal Opera House
Fund

La forza del destino reappears in the Royal Opera repertory after nearly 30 years. When Leonora's elopement with her lover Don Alvaro is interrupted by her father, the result is death and a curse: and so begins a fate-driven story of unknown identities, accidental reunions and dark confrontations.

This grand and traditional production is presented at Covent Garden with an exciting cast of singers both familiar with and new to this staging. Salvatore Licitra makes his House debut as the ill-fated Alvaro, the most difficult of tenor roles, opposite Violetta Urmana as the tragically cursed Leonora. Ambrogio Maestri makes his House debut as Don Carlo di Vargas, Leonora's brother who unwittingly rescues Don Alvaro, the man he has sworn to kill. With the returns of Ferruccio Furlanetto (Padre Guardiano), Marie-Ange Todorovitch (Preziosilla) and the Company debut of Roberto de Candia (Fra Melitone), Verdi's high melodrama is once more set to thrill.

Conductor:
Antonio Pappano

Staging:
Patrizia Frini

Lighting:
John B Read

Based on a production from
La Scala, Milan

WOW, the ouverture of Forza was extremely well played and conducted by the ROH Orchestra and Antonio Pappano. Unfortunately the high quality was not continuing the whole opera. Just simply to operatic, this opening of the curtain and the Marquis of Calatrava in freeze position until the opera singing started. Wrong, this opera starts
with us seeing what in a middle of a scene of a father and daughter together talking. The opera starts when the father is going from his daughters room. (not a BIG fault, you know, but irritating). Violeta Urmana is singing and at time also acting Leonora wonderfully, but she look too solid and not young enough as I see Leonora. The father
looked younger than his daughter. Luckily Salvatore Licitra as Don Alvaro saves act 1 from being a complete bore. Heavy-built Licitra with his energy and this man can also run so you can believe that he can be a brave soldier and handsome seducer. Wonderful tenor voice, sometimes it seems strained. Salvatore Licitra seem to be a very good-natured man, as Don Alvaro a man destiny hates, it seems strange mix.

I think it was totally wrong to use ballet dancers into Forza. All those posing, making the dancing and musicality of the chorus moments into strange things put into the opera and they did not seem to belong there. With less obvious choreography and more real people like chorus members etc singing and dancing and not those skinny
ballet dancers and it would have been more a natural integrated part of the opera, the dancing in the tavern, in the open... This Preziosilla, Marie-Ange Todorovich, acted and sang wonderfully, but the voice looses against the orchestra and I don't hear a true mezzo/alto voice as I longed for. Knowing that Ambrogio Maestri is singing Don Carlo means that you know that the student is Don Carlo, he is just so big and tall. He is not a bad Don Carlo but he is not a great Don Carlo, you can easily forget him, only a big man, the physical shape of Maestri remains.

But Ferruccio Furlanetto as Padre Guardiano was wonderful. Wonderful sonorous voice, commanding presence. Fra Melitone was too much, to much bass, too little humor.

This production from La Scala, or based on it, yes it was a traditional production but as it seem to be asking for realism, it forgot to be truthful to realism, that need real people doing thing thing to real reasons. It was too operatic, stupid even. Why was Fra Melitone so heavy-handed in humor, if Melitone had been considered as a
real human being and not a caricature, the humor would have come through much more efficiently, I think.

I think the radio viewers was much more lucky than us, even though Roberto Alagna and his wife Angela Gheorghiu was there. BBC radio 3 was lucky they could he a wonderfully sung Forza and see the perfect performance in their imagination. In stead of La Scala production with its promises never to be met.

Loved Salvatore & Ferruccio, not La Scala's Forza....

OD Travel + Photos

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November 3, 1995: Carreras/Caballe in Oslo

2011-11-03T07:00:00.000+01:00

1995-11-03 Opera Gala, Oslo Spektrum

Josep Carreras, tenor
Montserrat Caballé, soprano
Norwegian Radio Orchestra
David Giménez, conductor

01. IL BARBIERE IN SIVIGLIA - Ouverture / Kringkastingsorkesteret, David Gimenez
02. TOSTI: Apri / José Carreras
03. Vieni sul mal / José Carreras
04. HERODIADE - Il est doux, il est bon / Montserrat Caballé
05. L'AFRICANA - Mi batte il cor / José Carreras
06. CIRO IN BABILONIA - Vorrei veder lo sposo / Montserrat Caballé
07. LA FORZA DEL DESTINO - Ouverture / Kringkastingsorkesteret, David Gimenez
08. LA TRAVIATA - Brindisi / Montserrat Caballé, José Carreras
09. CAVALLERIA RUSTICANA - Intermezzo / Kringkastingsorkesteret, David Gimenez
10. ADRIANA LECOUVREUR - Io son l'umile ancella / Montserrat Caballé
11. Coren'grato / José Carreras
12. Musica Proibita / José Carreras
13. Me llaman la primarosa / Montserrat Caballé
14. EL ULTIMO ROMANTICO - Bella enamorada / José Carreras
15. LA BODA DE LUIS ALONSO / Kringkastingsorkesteret, David Gimenez
16. EL DUO DE LA AFRICANA / Montserrat Caballé, José Carreras
17. Granada / José Carreras
18. GIANNI SCHICCHI - O mio babbino caro / Montserrat Caballé
19. O sole mio / José Carreras
20. La Paloma / Montserrat Caballé
21. DIE LUSTIGE WITWE - Lippen schweigen / Montserrat Caballé, José Carreras

5 extras

Radio NRK P2
Carreras/Caballe first concert together in Scandinavia.
It was wonderful to see them dancing a bit to Lippen Schweigen.

OD Travel

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October 30, 2010: Samson et Dalila in Karlsruhe

2011-10-30T07:00:00.000+01:00

2010-10-30 Samson et Dalila (C. Saint-Saëns),Badisches Staatstheater Karlsruhe

Samson = José Cura
Dalila = Julia Gertseva
Abimelech = Lukas Schmid
High Priest = Walter Donati
Ancient Hebrew = Walter Shreyek (statist) / Luiz Molz (voice)
First Philistine = Sebastian Haake
Second Philistine = Alexander de Paula
Messenger = Andreas Heideker
Young Hebrew = Sebastian Shaible

Jochem Hochstenbach, conductor

Inszenierung - José Cura
Ausstattung - José Cura
Einstudierung der Chöre - Ulrich Wagner
Dramaturgie - Annabelle Köhler
Regieassistenz - Eva Schuch

I would love to say that I really loved this production of Samson et Dalila since this was with REGIE UND AUSTATTUNG José Cura. What is great about this production is that the concept works, it makes sense and it does not go against the music or the words in the opera. I think that Regie and Konzept is often made against the story and music and very often just to shock, that is the cheap way to work. Here you have the opposite someone really doing the REGIE as the handiwork it should be. And so here it works. Without earlier knowledge of the opera and story the production works even better. Then there are some errors that directors should try to avoid. One should never have to read the concept of director in order to understand it and it should be obvious who is who. It was not obvious that the children dressed in red was Philistine children. Had the Philistine been dressed in red and not in a formal dark wear (Abimelech, Grand Prêtre) it would have been clear that children in red are Philistine, other children are Hebrew. With some of the important ideas of José Cura is the children, the innocent ones, trying save each other, not caring who is the enemy. Without clarity here much understanding is already lost in act 1.

My other complaints are much more my personal view. In my view it was too much violence showing here. Compared to other "shows" it is not too much violence. But it is José Curas choice to show how violent the regime the Hebrew are under. This does undermine the other idea that José Cura has that Samson is nothing more than a suicide bomber using religion as a pretext for violence. With violence so great must not revolt come and therefore is not Samson forced to become the leader. That is just my view. So Samson is a hero in this production even if Cura is trying to show us that this revolt was not without Hebrew casualties.

In this concept the Old Hebrew is killed by the High Priest in front of the children and women. The children dressed in red then saves more lives from the murderous High Priest. But if you have not read in the program that this means Philistines are saving Hebrews, children saves children, then one important point is lost. Because the Old Hebrew is killed before the "Hymne de joie, hymne de délivrance" sung by the Old Hebrews and other elders this become a sombre song offstage as we see the dead Hebrews are carried into the stage. Still it does not really make sense that the High Priest should shoot the Old Hebrew as he sings "Maudit soit le sein de la femme qui lui donna le jour!". Why shoot a man when he could strangle the woman who might just be Samson's mother or wife? It would have been really chilling. But then the concept would not work, or what...

Here there are no doubt about Dalila. She never loved Samson. This Dalila is a woman that is callous and uses her allures to trap men and to be powerful and rich. I can accept that but I would have loved her to have many layers to her. I find it harder to just accept the sexualization of Dagons priestesses. But then they are just Dalila's tools. It is as if we are to believe that Dalila and her "sisters" hate men because they love women. I find it cheap. And I find it strange that all the priestesses are inside Dalila's hut the Soreck valley.

When the High Priest visits Dalila he is shown as big shadow behind the tall veil. Unfortunately this High Priest as he is singing hiw big shadow makes any tremulus in the hands very visual and that goes against his portrayal as a strong man.

José Cura showed himself as a man capable to create a Samson et Dalila that is really modern and true to the music. The rave reviews was not completely unjustified. And then there is the voice and acting of José Cura. He is the complete Samson. Wonderful singing and acting. Julia Gertseva was Dalila. She is a promising Dalila, her voice is sometimes just short of really opening up and then she could be a Dalila for the ages. Other than that, she is spotless. The other singers was not up to the highest standard where Cura and Gertseva reigned. The chorus was exceptional. The statists did a good job. The children was wonderful.

In the end I will mention the teenager, an invention of José Cura. A long-haired teen-ager that I thought would be like a Samson double. It is an operatic trend of using doubles in opera. But in this production he is just the ardent follower of Samson who idolizes Samson. He is disappointed by Samson when he falls for Dalila, but when he himself is used by Dalila, he understands and forgives and saves the children from the destruction of Samson on Samson's command.

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October 26, 2001: I Capuleti ed i Montecchi in Oslo

2011-10-26T07:00:00.000+02:00

2001-10-26 I Capuleti ed i Montecchi (Bellini), Oslo Konserthus

Giuletta = Patrizia Biccirè
Romeo = Ingebjørg Kosmo
Capellio = Carsten Stabell
Tebaldo = Salvatore Fisichella
Lorenzo = Magne Fremmerlid

Elizabeth Norberg-Schulz (Norway), sick (child)***
Replaced by Patrizia Biccirè, Italian Soprano

a wonderful replacement, wonderful Giulietta. Passionate singing, making Giulietta come forward as a person. Ingebjørg Kosmo, a wonderful mezzo, her voice was velvety, sometimes she was lacking in strength, but Bellini is demanding for the voice. Magne Fremmerlid was a big-voiced Lorenzo. I just couldn't believe he was Norwegian. Carsten Stabell as Capellio was a disappointment, weak voice and little presenza. SALVATORE FISISCHELLA was a magnificent Tebaldo.

Romeo's big scene in the end of the opera, was a HIGHLIGHT, and so touching when Giulietta wakes up. I almost cried. Kosmo and Biccire was top class!!

***Luckily as far as I know her child is now well after fighting Leukemia***

OD Travel

October 25, 1998: Fedora in Zurich

2011-10-25T07:00:00.000+02:00

1998-10-25 Fedora (Giordano), Opernhaus Zurich

Fedora Romazoff = Agnes Baltsa
Loris Ipanoff = Josep Carreras
De Siriex = Philippe Duminy
Olga Sukareff = Sona Ghazarian
Boleslao Lazinski = Thomas Grabowski
Dr. Boroff = Rolf Haunstein
Baron Rouvel = Emilio Ruggiero
Grech = Giuseppe Scorsin
Cirillo = Rudolf A. Hartmann
Désiré = Miroslav Christoff
Nicolas = Arno Weinländer
Sergio = Peter Kálmán
Dimitri = Judith Schmid
Dr. Lorek = Damon Nestor Ploumis

David Gimenez, conductor

1.act : A room in Vladimir's house in St. Petersburg. The servants drinking, and playing cards. Then the great Fedora (Baltsa) come in. This was so special, that I got tears in my eyes. Never experience something quite like this. Great acting-singing everyone. Great Cirillo.

2. act : Fedora's house in Paris. Ballroom. A great ballroom, nice dresses. When Carreras came into the stage, my heart almost stopped. So good-looking, in god form. Singing like a god. Baltsa was great, but she was overwhelmed by Carreras. Amor ti vieta, was a dream. The high-charge duets, was gorgeous.

3. act : Love-nest in Switzerland. A great act, with overwhelming duets.
Never was Fedora's death so moving.

Musikalische LeitungDAVID GIMÉNEZ
InszenierungGRISCHA ASAGAROFF
BühnenbildANDRZEJ MAJEWSKI
KostümeJAN SKALlCKV
BeleuchtungJAKOB SCHLOSSSTEIN
ChorJÜRG HÄMMERLl

Bedienstete, Ballgäste
und PolizeiagentenANNA-MARIA JOURVELIN*O,
JENNIFER M. CHUNG*o, KARIN FRIDH*o,
CHRISTA RATZENBÖCK*o,
.,FRANCISCA BEAUMONT*o, SIMON JAUNIN*o,
DANIEL DIMITROV*o, ANDREW COSTELLO*o,
KENNETH ROBERSON*o, ARNO WEINLÄNDER*o
STATISTENVEREIN AM OPERNHAUS ZÜRICH
Ein SavoyardeJUDITH SCHMID*
Chor der BäuerinnenZUSATZCHOR OPERNHAUS ZÜRICH
* Rollendebüt
0 Mitglied des Internationalen Opernstudios
ORCHESTER DER OPER ZÜRICH
,Sonntag, 25. Oktober 1998Wiederaufnahme, Freier Verkauf
Pausen nach dem 1. und 2. Akt
Beginn: 20.00 Uhr

And after a fantastic evening at the opera.
Signierstunde in the Opera Foyer.

OD Travel + Photos

October 24, 1998: Tosca in Zurich

2011-10-24T07:00:00.000+02:00

1998-10-24 Tosca (Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessì
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Jacob Will
Il Sagrestano = Martin Zysset
Sciarrone = Rolf Haunstein
Un carceriere = Peter Kalman

Marcello Viotti, conductor

Daniela Dessi was a superb Tosca, everything, her acting, her voice was great.I was really swept away with this great actress-singer. Neil Shicoff was Cavaradossi, he too was good. Ruggero Raimondi was a great Scarpia.

Musikalische Leitung MARCELLO VIOTTI
Inszenierung ULRICH PETER
Ausstattung HUBERT MONLOUP
Lichtgestaltung JAKOB SCHLOSSSTEIN
Chor JÜRG HÄMMERLI

Hirt NATALIE ZAGODA, REBECCA RÜEGGER
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH KINDERCHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Violoncello-SoloCLAUDIUS HERRMANN

Ort und Zeit der Handlung: Rom, Juni 1800

Musikalische Assistenz
und Einstudierung KELLY THOMAS, HERVE MAHE,
LODOVICO ZOCCHE Abendspielleitung und
Regieassistenz ULRICH SENN
Organisation und
Betreuung der llinder SUSY SIEGRIST
Inspizienz RUDOLF BUDAV ARY
Souffleur ADRIANO
Technische Leitung WERNER HUBER
Beleuchtung JÜRGEN HOFFMANN
Leiter des Ausstattungswesens BRUNO STUCKI

Samstag, 24. Oktober 1998Samstag-Abo
Pausen nach dem 1. und dem 2. Akt Beginn: 19.30 Uhr
Ende: ca. 22.15 Uhr

OD Travel

October 23, 2005: Rigoletto in Nordfjordeid

2011-10-23T07:00:00.000+02:00

2005-10-23 Rigoletto (Verdi), Opera Nordfjord

Monterone = Knut Skram
Rigoletto = Thorbjørn Lindhjem
Gilda = Trude Helen Binderø
The Duke = Gardar Thor Cortes
Maddalena = Anna Einarsson
Sparafucile = Trond Gudevold
Borsa = Gunnar Domstein
Marullo = Morten Kvaal
Count Ceprano = Bjørn Gisle Seter
Countess Ceprano / The Page =
Ann Magritt Bjørnsen
Giovanna = Solfrid Bjørkum

Michael Pavelich, conductor

First time as opera director, famous Norwegian actor Toralv Maurstad is making his debut with the tragic opera Rigoletto by Verdi in Opera Nordfjord. In my opinion this must be one of the most successful productions of this opera. With two veteran baritones Thorbjørn Lindhjem as Rigoletto and Knut Skram as Monterone, no wonder it works out well. This Monterone is truly impressive, and this Rigoletto is very dramatic and real. Soprano Trude Helen Binderø as Gilda is more than just a beautiful voice. Duke of Mantua is sung by tenor Gardar Thor Cortes from Iceland, a great promise with not only beautiful voice but perfect diction, and a great actor, too. The Swedish mezzo-soprano Anna Einarsson sang Maddalena and what a great mezzo voice it was, very impressive. Trond Gudevold as hired murderer Sparafucile was another great find. How wonderful to find people who can act in such a natural way, that is sometimes missing in the Sparafuciles of the world. Also Gunnar Domstein as Borsa impressed me much, imagine that he is not a professional opera singer. Marullo sung by baritone Morten Kvaal did not impress me in the same degree but then Marullo is not often marked upon when you see this opera. Bjørn Gisle Seter as Count Ceprano was vocally underpowered and not always quite there as an actor. Ann Magritt Bjørnsen who sang both Countess Ceprano and the Page did a good job though I did not quite agree on the interpretation of Countess Ceprano but that must be the director's fault, or maybe it is just my impression.

The known scenography and costume designer John Kristian Alsaker was responsible in making this RIGOLETTO such a great success.

And conductor Michael Pavelich lead this Rigoletto to a successful end. Strangely this time the orchestra was not together all the time as yesterday. But that is just blue-berries.

www.operanordfjord.no

***On an earlier post about Rigoletto someone tried to tell me that I wrong about feeling that either Morten Kvaal or Bjørn Gisle Seter was not great (which was my impression) or that I was wrong in state that one of them was even singing. Well, what can I say, I only have the role list from Opera Nordfjord and no one told me about a change in casting.***

Of course, I am interested in knowing who really sang what, but to just say I am wrong or even rude when I personally find such or such singer underpowering, that is a bit too much, isn't it?

OD Travel + Photos

October 22, 2005: Rigoletto in Nordfjordeid

2011-10-22T07:00:00.000+02:00

2005-10-22 Rigoletto (Verdi), Opera Nordfjord

Monterone = Knut Skram
Rigoletto = Thorbjørn Lindhjem
Gilda = Trude Helen Binderø
The Duke = Gardar Thor Cortes
Maddalena = Anna Einarsson
Sparafucile = Trond Gudevold
Borsa = Gunnar Domstein
Marullo = Morten Kvaal
Count Ceprano = Bjørn Gisle Seter
Countess Ceprano / The Page =
Ann Magritt Bjørnsen
Giovanna = Solfrid Bjørkum

Michael Pavelich, conductor

On my OperaDuetsPhotos site I wrote (earlier) that I traveled to Nordfjordeid to see Knut Skram as Monterone.

When Knut Skram came into the stage it was a truly operatic occasion. A thunder, unbelievable wonderful moment that almost in itself foretold that this Rigoletto production was a well-crafted and sure in detail. Was it the director Toralf Maurstad or was it the world famous Norwegian baritone Knut Skram that made the crucial impact. (Probably both...)

Maybe better start from the beginning. On this next to last opera performance for the season, the house was full with people. The scenography it self told of a wonderful opera performance to expect (and the newspapers had had raves for reviews). The Opera intendant Kari Standal Pavelich welcomed us the Rigoletto, one interval after act 1. Then the conductor Michael Pavelich came. And for me I noticed immediately that the responds conductor and orchestra was well-tuned. I did not like the updating and silly dancing in the beginning of act 1, and having a Icelandic tenor singing Questa o quella in Norwegian seemed like a gamble. But to sing the Duke is never easy, and Norwegian would have been hard even for a Norwegian-speaking tenor. He did well, Thor Gardar Cortes, fought bravely with our Norwegian vowels, and even managed to act as the Duke. I think that that all managed very well to sing in Norwegian, having a theatre man as director must have helped a lot. Having Thorbjørn Lindhjelm's Rigoletto meant that bel canto lines were few, mostly a few with Gilda, but opera is not just about singing it is about DRAMA, and here was it high drama, true acting. Having quite a few limitation in his voice and voice production meant that every ounce of opera experience was drawn out to make this Rigoletto stand out as a real human being. When Monterone came in the sonorous voice of Knut Skram, one almost though they should have swapped role, but then the high drama would have suffered. Having a true force of nature as Monterone is so right, and why should poor Rigoletto with his such a life to live in this kind of society sing beautifully, there is no delight in Rigoletto's life than Gilda....

Another wonderful thing in this production is really how the scenography is just working perfectly, so that when Rigoletto is going home and meet the hired assassin Sparafucile it is totally believable. And the one have Trond Gudevold's Sparafucile. Great wonderful acting by both men. A bass that is absolutely perfect and wonderful acting. And then finally Gilda, Trude Helen Binderø, what a warm wonderful soprano voice. It is so seldom that Gilda is sung with such a warmth in color. Those perfectly rounded tones. I think maybe it is because of her special quality of voice that it was often difficult to hear the Norwegian words she sang. There I think the cold and often hard tone of voice of many sopranos that sings Gilda would be more easily to hear the diction. Again our Rigoletto is heroically using his registers to make the father/ daughter duet a beautiful duet. Lindhjem knows how to manipulate his voice in the dramatic right way. The acting is as it was all night perfect. Solfrid Bjørkumas Giovanna was also in every inch the role, very good interaction with Rigoletto, Gilda and the Duke. I did not need to worry about the duet Gilda and the Duke. I am still amazed that it worked so well with the Norwegian lyric. After such love duet, no surprise that Caro Nome was excellently sung by Trude Helen Binderø. And that when the noblemen came to rob Gilda from Rigoletto there was no surprise that the chorus with Marullo, Borsa and Count Ceprano did very well as they did all the evening. It is a joy to have such a believable scene being so well acted and sung.

In the interval I had the pleasure to talk a bit Kari and Michael Pavelich. It is some of nicest features of Opera Nordfjord, you get so close the action and people. It is like a local mega-event.

Act 2 Thor Gardar Cortes sang a wonderful Ella mi fu rapita-Parma veder le lagrime. Something funny must have happened on the stage when the chorus was coming in telling the Duke about Gilda's abduction. There was laughter, and I have no idea what really happened. Anyway, Possente Amor mi chiama was potently sung. And the another "highlight" Rigoletto's Cortigiani...where I longed for more beautiful singing but the drama was there and that is more important. Then it was the duet father/daughter. What can I say, more than fantastic.

Act 3 could it be better, yes. What a quartet, La donna e mobile. And I loved the Swedish mezzo as Maddalena, Anna Einarsson. And the Death scene so moving......

BRAVO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

From fingers and baton of Michael Pavelich and every single person a Thank You and 3 Cheers!!!

OD Travel + Photos

October 21, 2001: L'Elisir d'Amore in Nordfjordeid

2011-10-21T07:00:00.001+02:00

2001-10-21 L'Elisir d'Amore (Donizetti), Opera Nordfjord

Nemorino = Nils Harald Sødahl
Adina = Cecilia Lindwall
Dulcamara = Anders Vangen
Belcore = Espen Langvik
Giannetta = Synnøve Nordvik

Michael Pavelich, conductor

I was at the last performance!
First time in Nordfjordeid, I stayed at the Hotel Nordfjord, where they had opera buffé. I came late the evening before, and I choose to have my dinner (opera buffé) since I was hungry, I had to wait until the guests came from their overa experience. Absolutely fabulous!

Because of the timetables in Sogn og Fjordane, it was not possible for me to come in time for Saturday's performance, and that was completely sold out by the time I remembered Opera Nordfjord, but I was in time to get some of the few tickets that was left on Friday. Thursday I had suddenly seen a page on the net about this opera, I thought about it, found out I had time, last performance Sunday, came home after work, and phoned the hotel to find out about the opera-package, was it available, did they have room. They had only 2 rooms, so I booked it right-away, didn't ask for the prize. And in my lunch-pause at work, I went to the post office to get ticket. Got it! Saturday, bus ride to Nordfjord. Found my hotel, I was rainy and cold in the evening. Nice atmosphere, many pictures from opera performances on the wall. NICE!!

Sunday, started with breakfast (obvious I woke up first, got dressed....). I have two pictures from my last opera travel, one picture of Carreras and one of Bavaj in Stavanger 22.9.2001, so I had to finish my film. My new location was Nordfjordeid, some great photos, some Ok and some relatively bad photos from my walk in the center of Nordfjordeid.

Then came the time, 1400, I took a taxi from the hotel 1330. And it was really crowded in Fjordane folkehøgskule. CROWDED. I met my college from work and her husband. Many people from Western Norway, many from Bergen, or so it seemed. Luckily I got a better seat than I had bought with the help of the nicest person in the hotel, or most opera mad. (Somebody had chosen to stay home?!). They sang Donizetti's music in Norwegian, luckily I know the Italian text well from the CD-libretto. "Venti scudi" became "fire tusen" (4000 NOK). A well known revue/cabaret artist from Norway had done the Norwegian text, it was a nice job. But, however, it will always be hard to hear the words when the top notes are sung, so knowing the original well was an advantage. Professional singers and orchestra, an amateur chorus. I liked the production. I liked the conducting, very vibrant. The tenor was best and the baritones were very good too. Maybe the aula was not given the right acoustic to the sopranos. The Swedish Adina sang well, and was very good in Norwegian. Only when I talked to her after the performance, was it obvious that she was from Sweden. The Norwegian Giannetta seemed vocally weak and she need to stand out from the other voices.

Back to the hotel, I found out that orchestra and soloists all lived in my hotel. Just before I went to take the bus home, I got the chance to talk to Cecilia Lindwall and get her autograph.

I think I will make this an annual tour.

OD Travel

October 21, 1998: Carmen in Zurich

2011-10-21T07:00:00.000+02:00

1998-10-21 Carmen (Georges Bizet), Opernhaus Zurich

Carmen = Sylvie Brunet
Don Jose = Francisco Araiza
Micaëla = Margaret Chalker
Escamillo = Cheyne Davidson
Frasquita = Elena Mosuc
Mercedes = Irene Friedli
Zuniga = Jozsef Dene
Remendado = Volker Vogel
Dancairo = Martin Zysset
Moralès = Peter Kalman
Lillas Pastia = Adriano

Rafael Frühbeck de Burgos, conductor

Carmen without Baltsa, but with Sylvie Brunet

This was a very good production. Jean Pierre Ponnelle's scenography and original production. But first someone from the management, told us that Agnes Baltsa had recently come from Vienna, she was having bronchitis, and that Sylvie Brunet had used much of the day to prepare herself for singing today, as well as on Friday. I don't like her myself, but she is a good Carmen. I found her a little too vulgar. Francisco Araiza was a totally convincing Don Jose, This was a more violent Jose, than I was used to. Violent from the start. First highlight was the duet Michaela/Don Jose, the soprano was superb. Araiza coughed during the duet, so I guessed he had a bit of cold. Margaret Chalker was the Michaela. Second highlight was her aria in the third act, another highlight was the duet Don Jose/Escamillo. The Escamillo was good in the Toreador-song, but I wanted a more substantial Escamillo, like Raimondi.

In the Second act, it was obvious for me, that she can't dance, her rhythmic was lacking. But the Smugglers quintet was real good. Good Remendado/Dancairo/Frasquita/Mercedes. The Frasquita (Elena Mosuc, soprano) was indeed excellent. The Scene Don Jose/Carmen, was so sexy, almost too much. Her dancing (again), and she sang "Tra-dla-dla" where it should be "Tra-la-la-la...", and that does make a difference, vulgarity versus elegance.

Third act, was a highlight in the entity, Ensemble singing, acting, all, perfect.

Fourth act, always a pleasure. The great ensemble, singing.acting. The duettino Escamillo/Carmen gave none impression, as I think it ought to do. In the ensemble, Don Jose with Michaela, almost unseen got into the crowd. Carmen waited for Escamillo, her friend notice Don Jose, watching them singing the duettino, warns her, Escamillo prays on stage to the Madonna, Escamillo goes into the corrida. Carmen waits for Don Jose, It is a great duet. Everything in the duet is true, at last Don Jose, after begging her one last time, , stabs her. When he sings "Vous pouvez m'arreter", Michaela looks out of the windows, and her shoulders move in weeping...

Great Opera in Zurich October 21, 1998

Musikalische LeitungRAFAEL FRÜHBECK DE BURGOS
Inszenierung/BühnenbildJEAN-PIERRE PONNEllE
SpielleitungGRISCHA ASAGAROFF
KostümeWERNER JUHRKE
LiehtgestaltungJAKOB SCHlOSSSTEIN
Chor ERNSTRAFFElSBERGER
CARMEN

BergführerLAURENT TCHANG
1. LeutnantMANUEL ADARVE
2. LeutnantTHOMAS PÜTZ
ManuelitaRENATE BLUM
" Rollendebüt
CHOR DES OPERNHf\USES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH KINDERCHOR DES OPERNHAUSES STATISTENVEREIN AM OPERNHAUS ZÜRICH

ORCHESTER DER OPER ZÜRICH
Verlag: AIIkor-Edition Kassel
Kritische Neuausgabe nach den Quellen von Fritz Oeser

Mittwoch, 21- Oktober1998Wiederaufnahme
Freier Verkauf
Lichtpausen nach dem 1. und 3. Akt Pause nach dem 2. Akt
Beginn: 19.00 Uhr
Ende:22.30 Uhr

OD Travel

October 20, 2006: Samson et Dalila in Bergen

2011-10-20T07:00:00.000+02:00

2006-10-20 Samson et Dalila (Saint-Saëns), Vest Norges Opera (Bergen)

Samson = Jorge Perdigon
Dalila = Graciela Araya
Grand Pretre de Dagon = Anooshah Golesorkhi
Abimelech = Theodore Coresi

Anne Randine Øverby, conductor

C.Saint-Saëns (1835-1921)
SAMSON & DALILA
20., 22. & 28. oktober kl.19.30.
ARENUM, Solheimsviken

REGI - Bruno Berger Gorski
SCENOGRAFI - Dirk Hofacker
KOSTYME - Opera Bergen
LYSDESIGN - Jens Lange

VNOs orkester

Bergen Operakor

CONDUCTOR - Anne Randine Øverby

It was more special than I had thought, this was the premiere, and it was even Graciela Araya first attempt to sing Dalila. And the mezzo/contralto from Chile sang Dalila's aria "Mon coeur s'ouvre a ta voix" exquisitely. Of course, the second act was the best part of the opera, as it almost always is. Here Graciela Araya (Dalila), Jorge Perdigon (Samson) and Anooshah Golesorkhi (Grand Pretre) was at their best. Some minor missteps, due possible that the conductor was not in front but at the side.:Araya was a bit unlucky 2 times with Anooshah Golesorkhi. Other times I would say that the best musical and acting came when Graciela Araya sang together. Acting was superb. What can one say about Anooshah Golesorkhi, the Grand Pretre of Dagon, than he was perfection, first time any one in that role blew me away, what a voice and actor. Great !!!! And to say more about Graciela Araya, our Dalila, after just 5 days of rehearsing she was amazing. Her voice was much deeper than I was used to in that role, and I am truly sorry that I will not see and hear her on Sunday 22 and Saturday 28, too, because I am sure she will be even more sensational with more practice. Most of all I wish I would be in Bergen on October 28th, that I am sure will be the best performance, since it usually that some time to settle in. Then it is Jorge Perdigon, our Samson, weak in the beginning of the opera, but that made sense. Great acting, his best act was act 2, but also wonderful in act 3. But not quite the voice that Samson needs. I have heard Carreras as Samson in 1996 Zurich, and Jorge is not yet at that niveau, he not near Jose Cura. But how can I know until I have heard him in a true opera house. But still I am sure he sound like a little voice against the two big voices of Dalila & Grand Pretre.

The production was OK. Costumes: White for the Jews, Black for the Philistine. Green for Samson, and with DIEU on his jacket. And DIEU was writing on the blocks when God was present.

Not to forget. I was lucky enough to speak to Graciela Araya after the opera, and got my photo taken with her. And wow, she looks good in black, not to mention the dress she had in the opera, very classy.

Then I had some problems finding where to go to get to my bus to the city center, and then it was an easy walk to my hotel.

OD Travel

October 19, 2007: Elektra in Vienna

2011-10-19T07:00:00.002+02:00

2007-10-19 Elektra (R.Strauss), Wiener Staatsoper

Klytämnestra = Agnes Baltsa
Elektra = Deborah Polaski
Chrysothemis = Silvana Dussmann
Aegisth = Michael Roider
Orest = Ain Anger
Pfleger des Orest = Wolfgang Bankl*
Vertraute = Zsuzsanna Szabó
Schleppträgerin = Daniela Denschlag*
junger Diener = Herwig Pecoraro
alter Diener = Marcus Pelz
Aufseherin = Waltraud Winsauer
1. Magd = Janina Baechle*
2. Magd = Zoryana Kushpler*
3. Magd = Sophie Marilley*
4. Magd = Ǻsa Elmgren
5. Magd = Caroline Wenborne

Michael Boder, conductor

Only Agnes Baltsa could make me see this opera and only AGNES BALTSA made it worth the time

Boring, boring, boring.... But Agnes Baltsa is GREAT. This opera needs so much, it is dark and so much monologue, beautiful music. Elektra is sung by Deborah Polaski, her voice is sometime too weak, the orchestra is heavy, and then where is the excitement the intense feeling, I did not feel it. Her sister is sung by Silvana Dussmann, and her we have a singer and actress who can transmit feelings. But it is Elektra who is supposed to outshine everybody else. Even the brother Orest sung by Ain Anger is more exciting and Aigist too (Michael Roider).

Agnes Baltsa as Klytämnestra is in a league of her own. She owns the stage, she is interesting, you see how this woman is totally crazy in her misunderstanding of it all.

But a great Elektra performance needs an Elektra who is shaking your world, here I did not find that. That Chrysothemis would outshine Elektra, what a concept...

But Klytämnestra is QUEEN!!!!!!! Hail, Agnes Baltsa! The Greek mezzo... DIVA

19. Oktober 2007

ELEKTRA
(51. Aufführung in dieser Inszenierung)

Musikalische Leitung: Michael Boder
nach einer Inszenierung von: Harry Kupfer
Bühnenbild: Hans Schavernoch
Kostüme: Reinhard Heinrich
Chorleitung: Janko Kastelic

(* Rollendebüt an der Wiener Staatsoper)

Beginn: 20.00

OD Travel + Photos
My original blog post

October 19, 1998: Fedora in Vienna

2011-10-19T07:00:00.001+02:00

1998-10-19 Fedora (Giordano), Wiener Staatsoper

Fedora Romazoff = Agnes Baltsa
Loris Ipanoff = José Cura
Olga Sukarew = Ildiko Raimondi
De Siriex = Georg Tichy
Dimitri/Savoyarde = Svetlana Serdar
Baron Rouvel = Peter Jelosits
Cirillo = Aik Martirosyan
Dr. Boroff = Yu Chen
Grech = Rudolf Mazzola
Dr. Lorek = Marcus Pelz
Nicola = Peter Tuff
Sergio = Hakki Özpinar
Michele = Josef Stangl
Boleslao Lazinski = Paul Harris
Ivan = Nicholaas van Huyssteen

Anton Guadagno, conductor

Fedora in Vienna

A good Choice: Taking the night to Vienna, having bought ticket already. I could get right to the opera.

This time, the best seat in the house, ATS 2000 so 9.33 my train left from Zurich, and 18.45 I was in Vienna.
19.05 in the Vienna State Opera.
Got my splendid ticket, and bought a program, sat down in my seat after having to wait a long time at the stairs.
What kind of Fedora did I get:
The opera started at 2000, and lasted till 2230.
At 23.30 my train left from Vienna.

The Tenor (Jose Cura) was much improved, my favorite Mezzo (Agnes Baltsa) was divine.
His Amor ti vieta, and Vedi io piango was great.
The 3rd act, fantastic.(Better than in 1997)
Very sexy: Baltsa & Cura.

AND I COULD SEE EVERYTHING

Montag, 19. Oktober 1998 STAATSOPER.
30. Aufführung in dieser Inszenierung
Koproduktion mit den Bregenzer Festspielen

Fedora
Oper in 3 Akten nach Victorien Sardou
von Arturo Colautti
Musik Umberto Giordano

Dirigent Anton Guadagno
Inszenierung Jonathan Miller
Ausstattung Tobias Hoheisel
Lichtgestaltung Paul Pyant
Choreinstudierung Ernst Dunshirn

Bühnenorchester der
Österreich ischen Bundestheater

OD Travel + Photos

" Stipendiat des
Herbert von Karajan Centrums

October 19, 1990: The Phantom of the Opera in Oslo

2011-10-19T07:00:00.000+02:00

1990-10-19 Phantom of the Opera (Ken Hill), Det Norske Teatret (Oslo)

Christine Daeé = Solveig Kringlebotn
The Phantom of the Opera = Paul Åge Johannessen
Raoul = Yngve Gåsøy
La Carlotta = Anita Rummelhoff

Oslo 19/10-1990
DET NORSKE TEATRET
OPERAFANTOMET, by Ken Hill
Music from operas by Donizetti, Gounod, Mozart, Offenbach, Tsjaikovsky, Verdi and Weber.

This was not the famous musical by Andrew Lloyd Webber, but rather theater with music from great operas with new text. Of course the story of the same from the same novel Lloyd Webber founded his musical on.

Our Norwegian Soprano Solveig Kringlebotn is more known as SOLVEIG KRINGELBORN

OD Travel

October 18, 1998: Attila in Zurich

2011-10-18T07:30:00.000+02:00

1998-10-18 Attila (Verdi), Opernhaus Zurich

Attila = Ruggero Raimondi
Ezio = Leo Nucci
Odabella = Mara Zampieri
Foresto = Boiko Zvetanov
Uldino = Miroslav Christoff
Leone, alter Römer
[Papst Leo I.] = Guido Götzen

Vladimir Fedoseyev, conductor

Attila at 20.00, during and after Andrea Chenier I had a bit of a head-ache, but to my amazement, I found out that a GREAT opera performance can cure that.

Ruggero Raimondi, was a great Attila, but Nesterenko was better in the video from Verona, I think. Mara Zampieri has the most beautiful voice, and sang the difficult and vocally demanding role of Odabella, in the most exquisite way. Leo Nucci was much better than I would have thought possible for him. Boiko Zwetlanov was as good as anyone singing Forest.

Inszenierung
und Bühnenbild ERWIN PIPLlTS
Kostüme ULRIKE KAUFMANN
Lichtgestaltung JÜRGEN HOFFMANN
Chor ERNST RAFFELSBERGER

CHOR DES OPERNHAUSES ZÜRICH STATISTENVEREIN AM OPERNHAUS ZÜRICH
ORCHESTER DER OPER ZÜRICH
Mit Unterstützung der Schweizer Rück als Hauptsponsor
sowie der Marion Mathys-Stiftung
Musikalische Einstudierung
und Assistenz LODOVICO ZOCCHE, KELLY THOMAS
Abendspielleitung
und Regieassistenz CLAUDIA BLERSCH
Regieassistenz LORENZ AGGERMANN
Regiehospitanz SUSANNE SCHMIDT
Kostümassistenz EBERHARD VON KNOBLOCH
Inspizienz PAUL SUTER
Souffleuse URSULA MORI
Sonntag, 18. Oktober 1998Sonntagabend-Abo A
Pause nach dem 1. Akt
Beginn: 20.00 Uhr Ende: ca. 22.10 Uhr

OD Travel

October 18, 1998: Andrea Chenier in Zurich

2011-10-18T07:00:00.000+02:00

1998-10-18 Andrea Chenier (Giordano), Opernhaus Zurich

Andrea Chénier = Giuseppe Giacomoni
Maddalena di Coigny = Gabriele Lechner
Carlo Gérard = Giorgio Zancanaro
Bersi = Margaret Chalker
La Contessa di Coigny = Renate Lenhart
Madelon = Judith Schmid
Roucher = Cheyne Davidson
Pietro Fléville = Rudolf A. Hartmann
Fouquier Tinville = Rolf Haunstein
Mathieu = Giusppe Scorsin
Incroyable = Martin Zysset
Abate = Miroslav Christoff
Schmidt = Werner Gröschel
Der Haushofmeister = Andrew Costello
Dumas = Simon Jaunin
Flando Fiorinelli = Ann Bechman
Gérards Vater = Victor Sandhofer

Manfred Honeck, conductor

Sunday at 1400 the opera was Andrea Chenier, a revelation of a soprano Gabriele lechner, a beautifully sung Maddalena, the Andrea Chenier of the day was Giuseppe Giacomini, was a disappointment, but the "old guy" Giorgio Zancanaro was a much better Gerard than in the video from Covent Garden with Plácido. The regie was genial, the "lights" told a sweet love-story before the Improvviso and during Fleville's romanza.

Great choreography and acting, all the singers and chorus.

Musikalische Leitung MANFRED HONECK
;Inszenierung HANS HOLLMANN
Spielleitung ULRICH SENN
Bühnenbild HANS HOFFER
Kostüme DIRK VON BODISCO
Lichtgestaltung JÜRGEN HOFFMANN
Chor JÜRG HÄMMERLI
Choreographe RUDOLF BUDAVÁRY

Der Haushofmeister ANDREW COSTELLO°
Dumas, Präsident
des Wohlfahrtsauschusses SIMON JAUNIN°
Flando Fiorinelli, ein Musiker ANN BECKMAN
Gérards Vater VICTOR SANDHOFER
Idia Legray,
eine junge Aristokratin ANDREA SARHAN
Orazio Coclite,
Mathieus Begleiter RICO TREVISAN
0 Mitglied des Internationau,n Opernstudios
CHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN,
BALLETTSCHULE FÜR DAS OPERNHAUS, KINDER
ORCHESTER DER OPER ZÜRICH

Beginn: 14:00 Uhr
Ende: ca 16.45 UHR

OD Travel

October 17, 2007: Andrea Chenier in Barcelona

2011-10-17T07:00:00.000+02:00

2007-10-17 Andrea Chenier (Giordano),
Gran Teatre del Liceu, Barcelona

Andrea Chenier = José Cura
Carlo Gérard = Carlos Álvarez
Maddalena de Coigny = Deborah Voigt
Bersi = Marina Rodríguez Cusí
Comtessa de Coigny = Viorica Cortez
Madelon = Irina Mishura
Roucher = Miguel Ángel Zapater
Pietro Fléville = Enric Serra
Fouquier Tinville = Enric Serra
Mathieu = Philip Cutlip
L'Increïble = Francisco Vas
El mossèn = Josep Ruiz
Schmidt = Vicenç Esteve Corbacho
Un Majordom = Vicenç Esteve Corbacho
Dumas = Manel Esteve Madrid

Pinchas Steinberg, conductor

Direcció d'escena / Dirección de escena / Stage Director Philippe Arlaud
Escenografia / Escenografía /Set Design Philippe Arlaud
Vestuari / Vestuario / Costume design Andrea Uhmann
Il·luminació / Iluminación / Light Design Philippe Arlaud
Coreografia / Coreógrafo / Choreography Keith Morino
Producció: The New National
Theatre Foundation -Tokio

"Questo azzurro sofà là collochiam."
In this production the Majordomo said blanco (white) instead of azzurro (blue) because in this production almost all were dressed in white, and then some tricolor. In this production Madame la Guillotine was omnipresent and the director heavy-handedly gave us the message of the revolution is eating its own, all acts ended with people onstage being murdered. In this Andrea Chenier there was no doubt that Chenier and Maddalena died along with a lot of people that we had seen alive in other acts, Roucher, Bersi etc. Only children was alive to show the flag and be revolutionary.

Wonderful José Cura as Andrea Chenier! Anna Shafajinskaia had been called to the Opera house to maybe step in for a sick Deb Voigt. That would have been very interesting!! But La Voigt did not feel that ill. I can understand that to sing in Liceu, it would be hard to say another must sing for me today. Deborah Voigt is not my ideal as Maddalena di Coigny. She is acting very well, although I find her portrayal to girlish, (loved Maria Guleghina in the DVD from Bologna), and I find it hard to war up to her voice.

Carlos Alvarez was wonderful as Gerard. Very youthful, and this Gerard was really like
Contessa said:
Quel Gérard! L'ha rovinato il leggere!

This Carlo Gerard was destroyed by the reading of books.

I did not take any photos inside the Liceu. I was too nervous, but the good thing with that is that I could concentrate on applauding. BRAVO!!!!!!!!!!!!!!!!!!!!!!

At the stage door: conductor, Roucher, Voigt, .... No José Cura and I waited a LONG time. But Carlos Alvarez came, but I did not take his photo, I did not take any photos at all in Barcelona. I talked to him. Told him how great I found him in this production and even mentioned how much I liked his Macbeth in the DVD with Maria Guleghina. WOW, Carlos Alvarez!!!!! I talked...
.. but no photos.

OD Travel
My original blog post

October 13, 1997: Fedora in Vienna

2011-10-13T07:00:00.000+02:00

1997-10-13 Fedora (Umberto Giordano, Wiener Staatsoper

Fedora Romazoff = Agnes Baltsa
Loris Ipanoff = José Cura
Olga Sukarew = Anat Efraty
De Siriex = Davide Damiani
Dimitri/Ein kleiner Savoyarde =
Dana Liliana Ciuca
Desire = Helmut Wildhaber
Baron Rouvel = Franz Kasemann
Cirillo = Peter Köves
Dr. Boroff = Marian Pop
Grech = Rudolf Mazzola
Dr. Lorek = David Cale Johnson
Nicola = Friedrich Springer
Sergio = Johann Reinprecht
Michele = Martin Thyringer
Boleslao Lazinski = Paul Harris
Ivan = Nicholaas van Huyssteen

Anton Guadagno, conductor

I chose a cheap ticket that made the opera look like this:

Act 1 Vladimir's Palace
I saw Agnes Baltsa in a beautiful red dress 3 times.
Nothing else. Luckily I knew the opera, so I knew what was going on. Wonderful singing. But my question was: "How was the acting. And the room?"

Act 2 Fedora's Palace in Paris
This time I saw more. I could see 1/3 of the stage. And luckily I could most of Agnes Baltsa & Jose Cura when they were together. I had to lean out to see them. GREAT singing!
But Cura was sobbing in "Vedi, io piango" ruined the moment.

Act 3 LoveNest in Switzerland
I could see everything. GREAT.

Inszenierung
Jonathan Miller

Ausstattung
Tobias Hoheisel

Lichtgestaltung
Paul Pyant

Choreinstudierung
Johannes Meister

OD Travel

October 10, 2009: Carmen in Munich

2011-10-10T07:00:00.000+02:00

2009-10-10 Carmen (G. Bizet),
Bayerische Staatsoper (Munich)

Carmen = Julia Gertseva
Don José = José Cura
Escamillo = Teddy Tahu Rhodes
Micaëla = Maija Kovalevska
Zuniga = Christian Van Horn
Moralès = Nikolay Borchev
Dancairo = Christian Rieger
Remendado = Kevin Conners
Frasquita = Lana Kos
Mercédès = Heike Grötzinger
Lillas Pastia = Manfred Ultsch

Karel Mark Chichon, conductor

CARMEN: This time, like all other times with Carmen, the conductor is too fast in the Prelude. I think the rest of the world disagree with me, but that is my opinion. What can I say about the production? Well, it was YELLOW. Is that a code for Seville... It was in my opinion a fairly traditional Carmen. There was some really good ideas there and sometimes the execution of ideas was wonderful. Julia Gertseva was a wonderful Carmen. I had not expected to love her as Carmen, but Carmen is really her role. Brilliant. José Cura was an excellent Don José. Vocally and acting brilliantly. The only thing is that here is French dialog. And that is hard stuff. I really think Julia Gertseva was the best in dialog, very clear, easy to hear, unfortunately I doubt it was the best French diction. Micaela was sung and acted superbly by Maija Kovalevska. It must have been the best Micaela I have seen. Zuniga and Morales seemed to young. Nikolay Borchev (Morales) seem to be the old type opera singer who sings to the audience. Christian Van Horn (Zuniga) right voice but too young for Zuniga. The smugglers Dancairo (Christian Rieger), Remendado (Kevin Conners) was alright, but Frasquita and Mercedes was another species of singers. Lana Kos was nothing short of wonderful as Frasquita. She makes you want more. Beautiful woman, voice and a sure actress. Heike Grötzinger as Mercedes was also a luxury Besetzung. This time one felt that Frasquita could easily become Micaela, and Mercedes could be Carmen.

Act 2 a gipsy camp with tents. I don't like it. And then the Fat Lady as Fat Gypsy Lady. OK, no not OK. A little too much of EXOTISM made of Gypsies, especially Gypsy Women, Zigeunerinnen. Problematic, the ROM people has been marginalized a long time when not looked as Exotic. OK, so it is CARMEN. But a little more respect. A big program but nothing about how the Roma people was treated in Spain in the time of Carmen or about how it is now or why not in the European History. But essays, essays about other things. Our chance of insight wasted. Insight of women's situation in Spain would be appreciated instead of just Carmen and who was she, what kind of love... boring stuff.

I almost forgot Teddy Tahu Rhodes as Escamillo. Doesn't that say it all. Almost forgot. Yes, young and beautiful (handsome, I mean), but it the end easy to forget. The last duet with Carmen (Julia Gertseva) and Don José (José Cura) was absolutely the best. Ever...

OD Travel + Photos
My 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

October 10, 2004: Verdi Gala in Parma

2011-10-10T06:30:00.000+02:00

2004-10-10 Buon Compleanno Maestro Verdi, Teatro Regio Parma

Sopranos:
Elena Borin, Adriana Damato, Tiziana Fabbricini, Alessandra Rezza,
Mezzo: Alessandra Canettieri
Tenors:
Valter Borin, Luca Casalin, José Cura, Zvetan Michailov
Baritones:
Leo Nucci, Vladimir Stoyanov
Basses:
Franco De Grandis, Federico Sacchi, Riccardo Zanellato

Renato Palumbo, conductor

10 October 2004

Parma - Teatro Regio, 10 October 2004, at 20.30
excerpts from Giovanna d'Arco, Alzira, Attila, Macbeth,
I Masnadieri, Il Corsaro

Orchestra e Coro del Teatro Regio di Parma

Conductor Renato Palumbo
Regie Lorenzo Arruga

Actors Olga Gherardi, Giancarlo Giannini
Chorus Master Martino Faggiani
Audiovideo Dynamic s.r.l. DVD
Supported by Banca Popolare dell'Emilia Romagna

GIOVANNA D’ARCO
Tragic opera with a prologue and three acts on a libretto by Temistocle Solera, from Die Jungfrau von Orléans by Friedrich Schiller.
Première:
Milan, Scala Theatre, February 15th, 1845.

Sinfonia (ca. 7 minutes)

2 minutes: Olga Gherardi, Giancarlo Giannini

Prologo, Scena IV (6,5 minutes)
Oh ben s'addice questo... Sempre all’alba ed alla sera…
Giovanna - Adriana Damato, soprano
Adriana Damato sang this difficult opera aria with great passion. Her dark-hued voice has a very special appeal. She obviously knew this aria, she didn't need to use the notes. This aria is one that is hard to love at first hearing but then it is almost addictive. The passion, the early Verdi sound and this soprano voice was a perfect match.

1 minute: Olga Gherardi

Atto I, Scene III, IV (7,5 minutes)
Ho risolto… Dunque, o cruda, e gloria e trono... È puro l'aere - limpido il cielo
Giovanna - Adriana Damato, soprano
Carlo - Jose Cura, tenor
chorus
A tenor and soprano both with a dark hue in their voices. Passionate duet. Perfect together. The only thing that I missed during the whole concert was more acting and interacting, not just standing there and singing gloriously. Not a fault of Jose Cura. I simply loved È puro l'aere - limpido il cielo.

2,5 minutes: Olga Gherardi, Giancarlo Giannini

ALZIRA
opera with a prologue and two acts on a libretto by Salvatore Cammarano, from Alzire ou les Américains by Voltaire
Première: Naples, San Carlo Theatre, August 12th, 1845.

Atto I, Scena VIII (5 minutes)
Nella polve genuflesso…
Gusmano - Vladimir Stoyanov, baritone
Alvaro - Franco De Grandis, bass
Alzira - Tiziana Fabbricini, soprano
Zamoro - Valter Borin, tenor
Ataliba - Federico Sacchi, bass
Zuma - Alessandra Canettieri, mezzo
chorus
Great voices. Franco de Grandis fabulous, Vladimir Stoyanov glorious, Valter Borin wonderful beautiful tenor voice. And the ALZIRA, Tiziana Fabbricini very special soprano voice; the sound of her voice is edgy but it is warm when you come into center of the voice. She shines though this wonderful scene.

Atto I, Scena VIX (5 minutes)
Qual suon?...Che avvenne?... Trema, trema... a ritorti fra l'armi
Gusmano - Vladimir Stoyanov, baritone
Alvaro - Franco De Grandis, bass
Alzira - Tiziana Fabbricini, soprano
Zamoro - Valter Borin, tenor
Ataliba - Federico Sacchi, bass
Zuma - Alessandra Canettieri, mezzo
Ovando - Luca Casalin, tenor
chorus
The same great voices with Luca Casalin in the comprimario role of Ovando.

Atto II, Scena III (8 minutes)
Per chi? - Per me. S' ei muore, io moro...Il pianto, l’ambascia…
Atto II, Scena IV: Di pira non più, ma d'ara, e talamo
Alzira - Tiziana Fabbricini, soprano
Gusmano - Vladimir Stoyanov, baritone
Ovando - Luca Casalin, tenor
Wonderful duet, I think it is Tiziana making it so divine, wonderful. But of course, the baritone is good too. Her sound is just right for Alzira, especially in this duet

Atto II, Scena VI (7,5 minutes)
Miserandi avanzi… Irne lungi ancor dovrei... Non di codarde lagrime
Zamoro - Zvetan Michailov, tenor
Otumbo - Luca Casalin, tenor
chorus
Another tenor as Zamoro. Zvetan Michailov's tenor is darker than Borin's, more muscular. Irne lungi ancor dovrei... is a wonderful aria. After these excerpts I think that ALZIRA must be a wonderful opera, at least that the music is great.

2,5 minutes: Olga Gherardi, Giancarlo Giannini

ATTILA
Opera with a prologue and three acts on a libretto by Temistocle Solera, taken from Attila re degli Unni by Zacharias Werner.
Première: Venice, La Fenice Theatre, March 17th, 1846

Prologo, scena III (7,5 minutes)
Di vergini straniere…Allor che i forti corrono...Da te questo or m'é concesso
Odabella - Alessandra Rezza, soprano
Attila - Riccardo Zanellato, bass
Aldino - Luca Casalin, tenor
chorus
The great aria of Odabella is wonderfully sung by Alessandra Rezza. Allor che i forti corrono.... Great applause and BRAVA!!!

Prologo, scena III (8,5 minutes)
Uldino, a me dinanzi...
Prologo, scena IV: Attila!-Oh, il nobil messo!
Prologo, scena V
La destra porgimi. . . Tardo per gli anni, e tremulo…
Attila - Riccardo Zanellato, bass
Ezio - Leo Nucci, baritone
One of great joys of ATTILA is these wonderful duets. Riccardo Zanellato is great as Attila but it is Leo Nucci who is the man. Tardo per gli anni, e tremulo… is wonderfully sung. (Avrai tu l'universo, Resti l'Italia a me.)

Prologo, Scena VII (5 minutes)
Quai voci! Oh, tutto... Qui, qui sostiamo!… Ella in poter del Barbaro!
Foresto - Jose Cura, tenor
chorus
One of the highlights of the concert. Jose Cura is just marvelous as Foresto.
Ella in poter del Barbaro is just wonderful, never knew it was such a wonderful aria before I heard Jose Cura sing it!!!! BRAVO!!

Prologo, Scena VII (4 minutes)
Cessato alfine il turbine... Cara patria, già madre e reina
Foresto - Jose Cura, tenor
chorus
Jose Cura sang Cara patria, già madre e reina with his dark passion.

Atto II scena I (5 minutes)
Tregua è con gli Unni…Dagli Immortali vertici
Ezio - Leo Nucci, baritone
The other great man in this concert was Leo Nucci who was simply the greatest as Ezio. I saw Leo Nucci as Ezio in Zurich in 1998. He was wonderful. But in 2004 he is better than in 1998. BRAVO!!!!

Atto II scena II (5,5 minutes)
Chi vien?... Salute ad Ezio
Atto II scena III: Che brami tu?
Atto II scena IV: È gettata la mia sorte
Ezio - Leo Nucci, baritone
Foresto - Valter Borin, tenor
chorus
Another Foresto, good, but no Jose Cura. Leo Nucci È gettata la mia sorte. Grandissimo!!!

PAUSE ( 25 minutes)

2 minutes: Olga Gherardi, Giancarlo Giannini

MACBETH
Opera in four acts on a libretto by Francesco Maria Piave, from William Shakespeare's tragedy of the same name.
Première: Florence, Pergola Theatre, March 14th, 1847.

Atto I, Scena V (9,5 minutes)
Nel dì della vittoria…
Atto I, Scena VI: Al cader della sera il Re qui giunge
Atto I, Scena VII: Duncano sarà qui?...qui? qui la notte?...Vieni T’affretta!...
Lady Macbeth - Alessandra Rezza, soprano
un servo - Federico Sacchi, bass
Wonderful soprano voice. Passionate rendition of the aria, but I miss the ugly, dangerous sound when she sings "Duncano sarà qui?...qui? qui la notte?". It is too beautiful sung, that is true Lady Macbeth singing.

1 minute: Giancarlo Giannini

Atto I, scena XVI (8 minutes)
Di destarlo per tempo il Re m'impose
Atto I, scena XVII: Oh, qual orrenda notte!
Atto I, scena XVIII: Orrore! orrore! orrore!
Atto I, scena XIX: Schiudi, Inferno, …
Macbeth - Leo Nucci, baritone
Lady - Tiziana Fabbricini, soprano
Banquo - Riccardo Zanellato, bass
McDuff - Valter Borin, tenor
una dama - Elena Borin, soprano
First Macduff, then a short Banquo scene (beautiful singing by Riccardo Zanellato), then Macduff has found the old king dead, killed. Wonderful singing by the ensemble. Beautiful a-capella parts. Tiziana is a wonderful Lady with her Macbeth (Leo Nucci). Leo Nucci and Tiziana Fabbricini really enjoyed being the couple Macbeth.

0,5 minute: Olga Gherardi

Atto IV Scena V (6,5 minutes)
Perfidi…! Pietà rispetto, amore,…
Macbeth - Leo Nucci, baryon
Leo Nucci is fabulous in all scenes and arias. Only one small thing he sings "honore" when it is "amore", Pieta, rispetto, amore. Otherwise it is just stupendous.

Atto IV Scena VI: (8,5 minutes)
E' morta la Regina!
Atto IV Scena VII: Sire! ah, Sire!
Atto IV Scena VIII: Via le fronde, e mano all'armi!
Atto IV Scena IX: Carnefice de' figli miei, t'ho giunto.
Atto IV Scena X: Infausto giorno!
Atto IV Scena XI: Ove s'è fitto l'usurpator?... Salve, o re!
Macbeth - Leo Nucci, baryon
Malcolm - Luca Casalin, tenor
McDuff - Valter Borin, tenor
una dama - Elena Borin, soprano
chorus
Leo Nucci shines, great chorus. Unfortunately the orchestra has trouble in being together in Act IV scene IX, the announcement of Macduff coming is fuzzy, disorderly, embarrassing. But it comes together in the end.

3,5 minutes: Olga Gherardi, Giancarlo Giannini

I MASNADIERI
Opera in four acts on a libretto by Andrea Maffei, from the tragedy Die Räuber by Friedrich Schiller.
Première: London, Her Majesty's Theatre, July 22nd, 1847.

Parte I, scena III (10,5 minutes)
Vecchio! Spiccai da te… La sua lampada vitale…
Parte I, scena IV: Signor, che volete?
Parte I, scena V: Fra poco, Francesco, sarai qui signore!
Franceso - Leo Nucci, baritone
Armino - Luca Casalin, tenor
What can anyone say about Leo Nucci, he is a miracle...

Parte II, scena VI (6 minutes)
Come splendido e grande… Di ladroni attornato…
Parte II, scena VII: Capitano! noi siamo cerchiati. . .
Carlo - Zvetan Michailov, tenor
Rolla - Luca Casalin, tenor
chorus
Zvetan Michailov sings this aria wonderfully.

Parte III, scena II (7 minutes)
Qual mare, qual terra da me t'ha diviso?
Amalia - Adriana Damato, soprano
Carlo - Valter Borin, tenor
Wonderful duet, Valter Borin and Adriana Damato is just perfect together.

1,5 minutes: Olga Gherardi, Giancarlo Giannini

IL CORSARO
Tragic opera in three acts, on a libretto by Francesco Maria Piave, taken from The Corsair by George Byron.
Première: Trieste, Teatro Grande, October 25th, 1848.

Atto I scena II (6,5 minutes)
Tutto parea sorridere…
Atto I scena III: Della brezza col favore...
Corrado - Jose Cura, tenor
Giovanni - Federico Sacchi, bass
chorus
I have heard Jose Cura sing the aria "Tutto parea sorridere" before even more beautiful than here in Parma but is was wonderful with the chorus and Federico Sacchi as Giovanni, Corrado's second in command on his pirate ship.

Atto I scena IV (6 minutes)
Egli non riede ancora!...Non so le tetre immagini…
Medora - Adriana Damato, soprano
Adriana Damato sang this aria .... que possa dire... I loved it. Only one regret, how I would have loved to hear the Corrado/Medora duet from act 1 with Cura and Damato, or the Corrado/Gulnara duet from act 2 with Jose Cura and Adriana Damato. That would have been something to die for...

2,5 minutes: Olga Gherardi, Giancarlo Giannini

Atto II, scena X (14 minutes)
Si risparmi quell'uom
Corrado - Jose Cura, tenor
Gulnara - Alessandra Rezza, soprano
Seid - Vladimir Stoyanov, baritone
Giovanni - Federico Sacchi, bass
Selimo - Luca Casalin, tenor
How is it possible to be disappointed with this great wonderfully sung scene from Il Corsaro. It just so happens that I know that there is even more beautiful scenes in this opera that I would rather hear;
like

ATTO PRIMO
SCENA V

Medora e Corrado.

CORRADO
È pur mesto, o Medora, il canto tuo

ATTO TERZO
SCENA ULTIMA

Medora, Corrado e Gulnara con alcuni Corsari.

CORRADO E MEDORA:
Ah quest'amplesso è balsamo

But all is not lost I will see/hear the whole opera in Barcelona, February 2005

Happy Birthday, Maestro Verdi!!!
Most wonderful Verdi concert!!
Magic in Parma!!!!!!!!!!!!!

OD Travel + Photos

October 7, 2004: Stiffelio in Zurich

2011-10-07T07:00:00.000+02:00

2004-10-07 Stiffelio (Verdi), Opernhaus Zurich

Stiffelio = José Cura
Lina = Emily Magee
Stankar = Leo Nucci
Raffaele = Reinaldo Macias
Jorg = Günther Groissböck
Federico di Frengel = Martin Zysset
Dorotea = Margaret Chalker

Stefano Ranzani, conductor

Since I saw this opera production at the premiere on Sept 26th I didn't expect to be surprised. The most important first, this time I did not get the feeling that Stiffelio forgave his wife. It was only the priest, the man did not forgive anything. The women's sin was not the kind that were forgiven, but that a brother would forgive a brother was expected as natural. Indulgira... But Honor was more important than Lina's soul and her happiness was counted for nothing. This time that was very evident.

Stiffelio (Jose Cura) was from the very beginning of the opera he wants his wife to love him to touch him but he is not willing to love her, touch her himself. All the, Non ha per me un accento non un sguardo, but it was he who was not talking to her, looking to her. She was all his. His very unchristian "only a heart that is not
hurt can forgive", where as the Christian sentiment is the forgive another that have hurt you, that is in a way the essence of Christianity. Jose Cura's Stiffelio is very dual, he brings love to the world. but not to his wife. His anger is dangerous even the lethal kind. But he is known as generosity himself, of course again not including his wife. Suspicious to his wife all from the beginning of the opera, he never did understand her love. And when Lina is about to confess he is never interested in how did Lina get involved in Raffaele de Leuthold, it is just enough that she says he
was seduced and he jumps at the possibility to kill Raffaele in a duel. Not a thought of Lina and her predicament.

Stankar (Leo Nucci) the same honor-driven madness and little love and caring for Lina, his daughter. The same selv-pity, Lina pensai che angelo. He thought Lina was only there to make him proud, and make him important.

Lina (Emily Magee) the adulterous wife of a priest. Always searching forgiveness, and always Stiffelio, Stankar and Raffaelle getting in the way for forgiveness and happiness. Her hands always searching for Stiffelio's hand for support and love. And in the end God's forgiveness is pronounced in public with Stiffelio as Priest reading
from the Gospels about "the one without sin can throw the first stone".

It was wonderful sung and acted and I do love this opera but I still like the Moshinsky production best as I saw it on video with Jose Carreras from Royal Opera House, Covent Garden.

But this is a great role for Jose Cura.

I took some marvelous photos from Zurich. Unfortunately I tried my luck at one of Zurich's internet-cafe, and a whole memory card of 128 MB was then not usable again of the many photos 26 of what I think was my best Stiffelio photos. Luckily for me I had bought a new one, and my last 4 photos was on my new memory-card.

OD Travel + Photos

October 2, 2004: Werther in London

2011-10-02T07:00:00.000+02:00

2004-10-02 Werther (Massenet), Royal Opera House London

Werther = Marcelo Alvarez
Charlotte = Ruxandra Donose
Albert = Ludovic Tézier
Sophie = Sally Matthews
Le Bailli = Jonathan Veira
Schmidt = Gilles Ragon
Johann = Darren Jefffery

Antonio Pappano, conductor

One week after my travel to Berlin/Zurich, which came out very differently because of trouble with airplane and then trouble with Norwegian air-space. This time I went to London by Ryanair, so this was also from Sandefjord Torp, both ways... I felt more familiar this time. And everything went smoothly. The London Airport was Stansted,
and I took the Stansted-express both ways.

And in London I decided never to go somewhere (esp. London) without a hotel reservation. I was first looking around Paddington station, either it was full or the room was I felt not safe enough. Then I went to King's Cross where I was lucky to get a room that was OK, 50 pounds, but as I later discover the breakfast was not up to par. English breakfast but I think the English would object to that.

As I went out of the tube at Covent Garden it had started raining, I believed it was a flood from the Heavens. Quite wet was I when I walked into the Opera House, standing in a line to get my ticket, then browsing in the Opera store there. And then the rain stopped. I went out of the building believing to have forgotten my memory card
for my camera, I started looking around. Having some hours before the opera it wasn't that stressful... But when the doors opened in Royal Opera House I found that I had my memory cards with me. Relieved I went inside and left my jacket and my umbrella at the wardrobe. I went to the bar and had something to eat. Then it was opera-time.

Massenet's opera Werther is one of my favorite operas but not one I have had the pleasure of seeing often, first time was actually in Zurich in 2000 with Francisco Araiza and Carmen Opriseanu. This was the full Werther with all the small characters in Schmidt & Johann, Brühlman & Käthchen. And Marcelo Alvarez was an ideal Werther, and Ruxandra Donose was great as Charlotte. Reading the critics saying about this production made you believe things that were not true. One critize the age of the children, the same age he thought. Not so where I sitting but that Sophie and Charlotte was some years older than the younger siblings and why not, having children with a minimal time in-between was not unusual at the time of Goethe / Werther.
Charlotte having the same dress all the time, not so. That Sophie was a boring character, not in this production. That the background on the stage did not change during the whole opera, not so.

So how was it. Brilliant... From the prelude to Werther's death. Wonderful sung and acted from the whole company. A classic. The light setting, the setting. I think this production can live on for many years. But you need a great Werther, vocally who can act too and the same for Charlotte. And if a Werther should be really great you need
a Sophie who can make you understand that there is depth in this characters who is often reduced to just happy girlish girl. But she is smart, caring for her father, her sister and her other siblings, and she is truly in love with Werther, so this is a tragedy for her too. But Sophie has decided to see the good and happy thing in all. This Sophie had depth. And of course we were lucky to have Ludovic Tezier who made Albert an almost interesting and sympatric character.

After the opera I was at the stage door, and Marcelo Alvarez and Donose and Tezier all came out and talked and photographs being taken. "Sophie" was there too probably but no one recognized her.

And then back to my hotel. And when I came to Liverpool street (in th morning), the Stansted express was replaced by buses. I don't know why. When in Norway, Sandefjord Airport Torp I could get an earlier bus to Oslo. Probably because of a bunch of Italian students who were going to Oslo. Anyway that only meant more hours to wait in Oslo for my night bus home.

Director:
Benoit Jacquot

Set Designs:
Charles Edwards

Costume Designs:
Christian Gasc

Lighting:
Charles Edwards

Co-production
with Opéra de
Monte Carlo

OD Travel + Photos

September 30, 2002: Roberto Devereux in Vienna

2011-09-30T01:00:00.000+02:00

2002-09-30 Roberto Devereux (Donizetti), Wiener Staatsoper

Elisabetta = Edita Gruberova
Nottingham = Renato Bruson
Sara = Enkelejda Shkosa
Roberto Devereux = Josep Bros
Lord Cecil = Cosmin Ifrim
Sir Gualtiero Raleigh = In-Sung Sim

Frédéric Chaslin, conductor

Where you there?
You should have been there...

Lucky me to be in Vienna and have a ticket to this performance, a perfect seat, and as it progressed it was the perfect opera evening.

Loved it from the beginning when then conductor (Frederic Chaslin) came and a wonderful ouverture was played. First the chorus and then Sara (Enkelejda Shkosa) sang her aria. How wonderful it was, difficult to top that, one could think, but when the Queen came, Elisabeth I (Edita Gruberova), one knew, it was going to be splendid. "Die Gruberova" sang with heart, head, soul and making this belcanto opera so real, everything she put in her voice was be more a real person. My hands and shoulders started to ache after the first burst of applauds. Divine, this Queen of Opera!

José Bros, the Catalan tenor (Josep Bros), had a real beautiful voice and appearance, and he did well in the different duets. As he played Roberto Devereux, the title role, he was really a man that one could understand all the fuss the women was making about him. The Duke of Nottingham (Renato Bruson) was naturally a great man for this role. This cast was really perfect.

In the end, it was so much applause, and naturally, Brava!, we were all going "slightly mad" over Gruberova et al.

Wiener Staatsoper
montag, 30. september 2002
21. Aufführung in dieser Inszenierung

Roberto Devereux
Tragedia lirica in drei Akten von Salvatore Cammarano
Musik von Gaetano Donizetti

DirigentFrédéric Chaslin
Inszenierung Silviu Purcarete
Bühnenbild und
Kostüme Helmut Stürmer
Choreinstudierung Ernst Dunshirn
--

Ein Vertrauter Nottinghams Hiro Ijichi
Ein Page Hacik Bayvertian
..
Chor und Orchester der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Diese Produktion wurde ermöglicht mit Unterstützung von
~ LEXUS

OD Travel + Photos

September 29, 2008: La Fanciulla del West, London

2011-09-29T01:00:00.002+02:00

2008-09-29 La Fanciulla del West (Puccini), Royal Opera House, London

Minnie = Eva-Maria Westbroek
Dick Johnson (Ramirez) = José Cura
Jack Rance = Silvano Carroli
Nick = Bonaventura Bottone
Ashby = Erik Halfvarson
Jake Wallace = Vuyani Mlinde
Sonora = Daniel Sutin
Bello = Kostas Smorginas
Happy = Quentin Hayes
Joe = Harry Nicoll
Larkens = Andrew Foster-Williams
Trin = Hubert Francis
Harry = Robert Murray
Sid = Adrian Clarke
José Castro = Jeremy White
Wowkle = Clare Shearer
Billy Jackrabbit = Graeme Danby

Antonio Pappano, conductor

Conductor: Antonio Pappano
Director: Piero Faggioni
Set Designs: Kenneth Adam
Costume Designs: Piero Faggioni
Lighting: Piero Faggioni

Another Fanciulla on Monday 2008-09-29. This performance also started at 19. And as ususal I started with a Pizza (Funghi) at Piazza Cafe, but this time I was inside the cafe and not sitting outside. Another great Pizza Funghi. Lovely.

And then it was opera time. This time I was careful to arrive in good time before the opera starts. Fewer JCx members this time. I got to see the whole opera in my wonderful seat in the orchestra stalls. The only time we get to applaud the conductor Antonio Pappano before the opera starts is before act 3. SO both act 1 and act 2 starts suddenly from blackness to lights and music.

The only difference from Friday 26 to Monday 29 is the singer that is Sheriff Jack Rance, Silvano Carroli, the original Rance from 1977. So 31 years after this production was first played he is back, he also sang in the same production in 1978, so this was also 30 years celebration. And in 1982 it was taped on video with Placido Domingo as Dick Johnson, Carol Neblett as Minnie and Silvano Carroli as Rance, conducted by Nello Santi.

So how was he compared with himself almost 3o years ago or compared to our other Rance, Claudio Sgura. He was much older and somewhat lacking in force especially in act 1, in act 2+3 he was better. Anyway the opera changes a bit when Jack Rance is young and dashing (Claudio Sgura) or if he is more of an old rogue (Silvano Carroli 2008). Comparing 1982 performance with 2008 is almost impossible, it is to compare younger, domineering to older, domineering.

Many said this was the best performance of Silvano Carroli and the cast. It was certainly musically good. After a long wait at the stage door we finally met Jose Cura and his family and Eva-Maria Westbroek. I did not see Silvano Carroli. José Cura was still there talking when I left for my hotel. After all I was going home the next day.

Original blog post
OD Travel + Photos

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

September 29, 2002: Carmen in Vienna

2011-09-29T01:00:00.001+02:00

2002-09-29 Carmen (Bizet), Wiener Staatsoper

Carmen = Agnes Baltsa
Don José = Fabio Armiliato
Escamillo = Tom Fox
Micaëla = Ildiko Raimondi
Frasquita = Simina Ivan
Mercédès = Songmi Yang
Zuniga = Janosz Monarcha
Moralès = Yu Chen
Remendado = Helmut Wildhaber
Dancairo = Markus Nieminen
Lillas Pastia = Hacik Bayvertian

Vjekoslav Sutej, conductor

3 months ago I was on my first Carmen in Vienna with Agnes Baltsa as Carmen, I saw two in June (23 & 26), so I knew what to expect in a way. But I must say this was a much better show yesterday. For one thing, the conductor was great, and the orchestra played with an unusual warmth. The Chorus was also moving and acting better, especially the men had improved, the woman did need much improving, so they were great this time too.

Sutej, the conductor did not move much in, but he was always very clear about what he wanted from the orchestra. He know that the Wiener Philharmoniker is a great orchestra, so he knew when to let go, and when to be obvious to the musicians what he wanted, at which beat they should play. This time the trumpeter at the stage for the change of the guard, did no false notes. But there was some small incidents of unclear playing from one of two instruments, but I was not able to hear which one it was, but I think it was a wind-instrument.

The singers: Agnes Baltsa singing her CARMEN, her voice is no longer always perfect in the arias, especially was the Habanera showing that she had some difficulties. But Carmen is not about belcanto it is about a woman who can make men to her toys. She was beguiling and splendid, fascinating and a mystery. I do not regret coming to Vienna for another of her Carmen's. DON JOSE Fabio Armiliato was wonderful in singing and acting. Very truthful, and obviously he was a Don Jose that this Carmen liked, what a chemistry, he was under the Baltsa spell. MICAELA Ildiko Raimondi has a sweet and warm soprano voice, she was perfect as Micaela, maybe a traditional Micaela, but I liked her. ESCAMILLO Tom Fox, I could almost see in Baltsa's face a torment of listening to him singing the Toreador Song, well, it certainly was a torment for me. Baltsa is a professional, and did not go out of her role, but she really preferred Fabio to Tom. And then I must mention Frasquita and Mercedes, Simina Ivan and a stipendiate from Karajan Center, and it was the new Mercedes that impressed me very much, beautiful voice and perfect onstage. Yu Chen was a splendid Morales.

Wiener Staatsoper
sonntag, 29. september 2002
109.Aufführung in dieser Inszenierung

Carmen
Oper in vier Akten von Henri Meilhac und Ludovic Halévy nach einer Novelle von Prosper Mérimée
Musik von Georges Bizet

Dirigent Vjekoslav Sutej
Inszenierung und
Bühnenbild Franco Zeffirelli
KostümeLeo Bei
Choreographie Rafael de Cordova
Chorleitung Ernst Dunshirn
" .
Carmen Agnes Baltsa
Don JoséFabio Armiliato
Escamillo, ToreadorTom Fox*
Micaëla Ildiko Raimondi

Zigeunerinnen
Frasquita Simina Ivan
Mercédès Songmi Yang*A

Zuniga, Leutnant Janosz Monarcha
Moralès, Sergeant Yu Chen

Schmuggler
Remendado Helmut Wildhaber
Dancairo Markus Nieminen

Lillas Pastia Hacik Bayvertian
Tänze Rita Kommentisch
Rudolf Wächter
Christoph Wenzel
und das Corps de ballet

* Rollendebüt an der Wiener Staatsoper
A Stipendiatin des Herbert von Karajan Centrums

OD Travel + Photos

September 29, 1988: L'Elisir d'Amore, Oslo

2011-09-29T01:00:00.000+02:00

1988-09-29 L'Elisir d'Amore (Donizetti), Den Norske Opera (Oslo)

Adina = Ingjerd Oda Mantor
Nemorino = Kjell Magnus Sandve
Belcore = Terje Stensvold
Dulcamara = Svein Carlsen
Gianetta = Inger-Lise Walseth

Antonio Pappano, conductor

It was a very enjoyable evening with Kjell Magnus Sandve as Nemorino, and Ingjerd Oda Mantor as Adina. Wonderful!

OD Travel

September 28, 1989: Barbiere in Siviglia, Oslo

2011-09-28T01:00:00.000+02:00

1989-09-20
General Rehearsal

Tuesday, September 28
DEN NORSKE OPERA
BARBEREN I SEVILLA (Il Barbiere in Siviglia)
by GIOACCHINO ROSSINI

1989-09-28 Il Barbiere in Siviglia (Rossini), Den Norske Opera (Oslo)

Rosina = Itziar Martinez Galdos
Almaviva = Neill Archer
Figaro = Trond Halstein Moe
Bartolo = Enzo Florimo
Basilio = Johann Tilli
Berta = Torill Carlsen
Fiorillo = Ulf Øien

Carlo Felice Cillario, conductor

Loved Itziar Marinez Galdos and Torill Carlsen as Rosina and Berta

OD Travel

September 26, 2008: La Fanciulla del West, London

2011-09-26T01:00:00.001+02:00

2008-09-26 La Fanciulla del West (Puccini), Royal Opera House, London

Minnie = Eva-Maria Westbroek
Dick Johnson (Ramirez) = José Cura
Jack Rance = Claudio Sgura
Nick = Bonaventura Bottone
Ashby = Erik Halfvarson
Jake Wallace = Vuyani Mlinde
Sonora = Daniel Sutin
Bello = Kostas Smorginas
Happy = Quentin Hayes
Joe = Harry Nicoll
Larkens = Andrew Foster-Williams
Trin = Hubert Francis
Harry = Robert Murray
Sid = Adrian Clarke
José Castro = Jeremy White
Wowkle = Clare Shearer
Billy Jackrabbit = Graeme Danby

Antonio Pappano, conductor

Conductor: Antonio Pappano
Director: Piero Faggioni
Set Designs: Kenneth Adam
Costume Designs: Piero Faggioni
Lighting: Piero Faggioni

I went to Covent Garden with the tube, and I ate the most wonderful Pizza Funghi at the Piazza Cafe. But then it had taken forever to get the pizza and even though I had had a quick look at my opera ticket I never saw that it was 19 pm and not 1930 as I had convinced my self. Pizza was still good but it cost me 15 minutes of the beginning of the opera, it is not that bad, Minnie and Dick Johnson had not arrived at the stage yet. I was lucky, the staff in ROH let me in and decided that I could see the opera live from a balcony box. Not that lucky was that is was on wrong side of much of the Johnson/Minnie action. Looking at a TV relay would have been better. But Act 1 was really special, balcony box. But too many people had their head far out of the boxes and I was naturally in the second row but I could enjoy the chair and the music and singing.

ACT 1

Lost 15 minutes. But it was OK I had after all seen this production in 2005.

Jack Rance = Claudio Sgura. New Sheriff in town. Loved him even if he seemed a little too young, but he was like a young and attractive Silvano Carroli. He really reminded me of SC of ROH video/DVD.

Ashby = Erik Halfvarson. So unlike Robert Lloyd's more elegant Mr Ashby. This was a man who was drinking from his bottle all the time.

Minnie = Eva-Maria Westbroek. This is her favorite opera and her dream role but I find her too ... over-acting. She made me miss Andrea Gruber as Minnie. And wondering what would have happened if Sylvie Valayre had been ROH's Minnie. SV was a wonderful Minnie in Zurich 2004 and Berlin 2006.

Dick Johnson = José Cura. WOW, even better actor and absolutely wonderful.

Jake Wallace = Vuyani Mlinde. THANK YOU, ROH: no black-face-painted as AL JOLSON, just a black man in his own skin. BUT, I never saw him in the line-up at the front for the applause in the end of the opera. WHY: Jake Wallace is a short role but really important to be able to show our appreciation for his art. He was not just a part of chorus or ensemble. As important as Trin or some of the other miners (all white persons, by the way) that got their own line-up. He should have been up there with Cura, Westbroek, Sgura, Bonaventura Bottone, Erik Halfvarson.

(I just hope somebody will say I am wrong, he was there, I must just have missed him. And for the record I don't believe this is necessary racism, but it might just be a blind spot at the ROH.)

ACT 2

I am so GLAD that Wowkle (Clare Shearer), Billy Jackrabbit (Graeme Danby) managed to made some of their UGH into something less offensive (ah, eh, oh). That made this act better for me. Westbroek and Cura was really good together. And Sgura was just perfect.

What was wrong? The roof of the cabin, if you lived with kind of roof you would have snow inside. Another snowy issue. All the opening of the door, Wowkle exclaiming "it is snowing" (a blizzard, you know) and then Johnson also IT IS SNOWING. BUT no snow was seen from the opened door, it should have been snowing inside so that we understood why Johnson needed to stay in Minnie's cabin, you know, because of the blizzard. And how heartless it was that earlier Wowkle with her little baby on her back was made to go out by Minnie and later Johnson kicking her out when she hesitated because of the SNOW. The snow that never was...

ACT 3

GREAT. Great aria: Ch'ella mi creda. Minnie was really good.

AND of course I met a lot of friends from the Jose Cura connexion. We waited at the stage door. Cura, Westbroek, Sgura came, and probably others that I did not know.

0030 Norwegian time in my hotel---

Original blog post
OD Travel + Photos

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

September 26, 2004: Stiffelio in Zurich

2011-09-26T01:00:00.000+02:00

2004-09-26 Stiffelio (Verdi), Opernhaus Zurich

Stiffelio = José Cura
Lina = Emily Magee
Stankar = Leo Nucci
Raffaele = Reinaldo Macias
Jorg = Günther Groissböck
Federico di Frengel = Martin Zysset
Dorotea = Margaret Chalker

Stefano Ranzani, conductor

Sunday, 26. September 2004
For the first time in Opernhaus Zürich
Sung in Italian with German surtitles
Stiffelio
Dramma lirico in 3 Acts by Giuseppe Verdi (1813-1901)
Libretto by Francesco Maria Piave after the Drama
«Le Pasteur ou L'Evangile et le foyer» (1849) by
Emile Souvestre and Eugène Bourgeois
First performance:
Trieste, Teatro Grande, 16 November 1850

Conductor Stefano Ranzani
Regie Cesare Lievi
Scenography Csaba Antal
Costumes Marina Luxardo
Chorus Ernst Raffelsberger

First time I saw Stiffelio was in 1997 when Brazilian tenor Antonio Lotti sang instead of Carreras.

ACT 1

Track 1: Stiffelio : Overture (ca. 09:57)
The conductor Stefano Ranzani conducted the Overture/Sinfonia in an OK way. This is one of Giuseppe Verdi's best opera-opening-pieces.

Track 2: Stiffelio : "Oh santo libro" (02:30)
Günter Groissböck (Jorg) sat at the table with a big book. For me it was obvious that it is the Holy Bible as he sang (santo libro = holy book). Jorg was alone, then Jose Cura (Stiffelio) came with Lina, his wife and his followers behind him. Stiffelio seemed to be immersed in himself, hand-shaking with his friends or sect members not in a way of man who cares and have longed for his friends. (He has been on missionary trip). His meeting with Lina (Emily Magee) is awkward, they don't seem to be able to touch each-other of be close, they want to but they can't. Dorotea, Lina cousin (Margaret Chalker) a bit gossipy, tells of a man who wanted to speak to Stiffelio. It is Walter, a boatman who has recently seen something strange.

Track 3: Stiffelio : "Di qua varcando"/"Son quanti giorni?" (02:13)
8 days ago Walter saw a young man and a young woman, they were in distress. In the end the young man jumped into the water, but he lost some papers. It was Raffaele, the young nobleman (Reinaldo Macias) who lost Lina's love letters. It is quite typical that Stiffelio thinks he has the right to tell this people what Walter has seen, since Walter did not forbid it. But I would think that the priest should know that Walter is not the one who is at stake here it is the young couple. Jose Cura and the orchestra is not entirely together here, when the aria becomes an ensemble it gets together again quite beautifully.

Track 4: Stiffelio : "Colla cenere disperso" (02:25)
The priest Stiffelio decide that the papers is to be burnt. It is open fire on the stage.
Colla cenere disperso
Sia quel nome e quel delitto;
Dio lo disse, Dio l'ha scritto:
Al fratel s'indulger.
The relief is great, and the admiration of the priest's godliness. Lina expresses her will to never sin again. But Raffaele want to meet Lina again, she doesn't want that

Track 5: Stiffelio : "Viva Stiffelio!" (03:22)
The sect members come in to celebrate Stiffelio. Stiffelio wants them only to sing praises of God. Lina is tormented by her sin, and the celebration of Stiffelio status as the great pastor.

Track 6: Stiffelio : "Non ha per me un accento" (01:56)
Stiffelio and Lina is alone. He longs for her to talk to him. But this Stiffelio is not very accommodating, I think. Lina sings of how they met and that she still has trouble calling him Stiffelio. He was called Rodolfo Müller when they met. He used a pseudonym.

Track 7: Stiffelio : "Vidi dovunque gemere" (04:04)
Stiffelio was alone and unhappy when he was away, and everywhere he went he saw the sins of people. Especially that women, who was breaking the holy matrimony.
STIFFELIO:
Le ingenue
Custodi del pudore,
Le donne, rotto il vincolo
Del coniugale amore . . .

Lina believes that Stiffelio has a great heart and would forgive, but no... He says it is not possible... (and they are just discussing the idea of forgiveness at this point)
LINA:
È grande la vost'anima,
Avrebbe perdonato.
(Lina si confonde)

STIFFELIO:
Ah no, il perdono facile
Al core non ferito;
Ma occulto sta nell'anime
Tesoro indefinito,
Che nulla mano infrangere
Impunemente può.

This makes Lina unhappy. The husband tries to comfort her. It is the anniversary. But the ring is missing....

Track 8: Stiffelio : "Ah! v'appare in fronte scritto" (02:17)
Jose Cura as Stiffelio is furious. In a very threatening position he hangs over Lina. Then Stankar comes in, Stiffelio is wanted elsewhere. In a threatening voice, "Soon I will be back!!!"

Track 9: Stiffelio : "Tosto ei disse!" (03:47)
Emily Magee's voice is simply a dream listening too. She is really Lina. In this aria. She tries to decide what to do, to say, to write. Yes, she starts writing a letter to Stiffelio ("Stiffelio, I am no longer worthy of your love")

Track 10: Stiffelio : "Verrà! Dovrò risponder!" (01:32)
Then Stankar, her father comes in. Stankar (Leo Nucci) has been spying on his daughter. He suspect that she writing to Leuthold (Raffaele), but even worse from his side, she is trying to confess to Stiffelio. Where Lina wants forgiveness, Stankar want that the stain on his honor should be unnoticed by the outside world. He forces Lina to give into his plan of never letting Stiffelio know of this.
Track 11: Stiffelio : "Dite che il fallo a tergere" (01:10)
Track 12: Stiffelio : "Ed io pure in faccia agli uomini" (03:07)
STANKAR:
Ed io pure in faccia agli uomini
Dovrò l'ira soffocare,
La vergogna dovrò vincere,
Voi mia figlia ancor nomare;
Voi, l'indegna che disprezzo,
Voi, del padre disonore.

Track 13: Stiffelio : "Or meco venite" (03:10)

Track 14: Stiffelio : "M'evitan" (00:52)
The same book that Jorg was reading in and called "santo libro" is now Klopstock Messiah. Raffaele has just written a note to Lina and locked the book when Federico di Frengel comes in and wants the book. And then a backdrop, drops down. Was it is mishap, or was it supposed to happen.

Track 15: Stiffelio : "Plaudiam" (03:18)
It does strike me as strange that Stiffelio should be sitting a desk looking at a miniature of the church this sect is going to build, looking at architect plans, and that that the chorus is on the galleries. He is mentally not there. Jorg came in, he is not for this kind of parties, but neither can Stiffelio be... Sitting down, I don't get this... Jorg is interested, however in telling Stiffelio about a note in a book, some intrigue, something sinful, no doubt. But since Federico now has the book, he is thought to be the guilty one.

Track 16: Stiffelio : "Cugino, pensaste al sermone?" (02:06)
Dorotea is asking Stiffelio (or Federico),are you thinking about the sermon, Federico answers, that they will all be there and ask Stiffelio what will be the subject. Judas, the traitor.
STIFFELIO:
Non solo all'iniquo ch'ha il Maestro venduto,
Ma a quanti tradiscon m'udrete imprecare
A lui che s'insinua, che simula astuto,
Che insidia, che macchia il domestico lare;
Che stende la mano all'uomo ingannato,
E infame poi vanta l'onore involato! . . .
A lui per anatema fia sol ch'io ripeta
Il carme ispirato del grande poeta . . .

He is so furious, Stiffelio, that all is taken aback, especially Federico who doesn't know why he is singled out.

Track 17: Stiffelio : "Oh qual m'invade ed agita" (03:02)
Stiffelio takes the book from Federico. Of course it was Dorotea who told that Lina has the key to this book. And suddenly, Stiffelio is getting very insecure about what is going to happen.

Track 18: Stiffelio : "Nol volete" (02:49)
Stiffelio opens the book with his bare hands. The letter flies out. Stankar almost leaps to get the note. Stiffelio is beside himself of fury. Stankar and Raffaele is going to meet at the church yard.

ACT 2

Track 1: Stiffelio : "Oh cielo! dove son io" (03:40)
Suddenly Lina sees her mother grave, she is devastated.

Track 2: Stiffelio : "Ah, dagli scanni eterei" (03:43)
Lina sings that her mother must intercede, so that she can be forgiven. This is one of the most beautiful soprano arias that Verdi wrote, and Emily Magee sings it wonderfully....

Track 3: Stiffelio : "Perder dunque voi volete" (02:40)
Then there is a duet with Raffaele. Somehow in this production I do not get so a confused Lina as Malfitano in the Moshinsky production. Here Lina's feeling is that she is definetely through with Raffaele. All she want him to do is to give back her letters, the ring and other incriminating thing. And that he would not destroy her life, her marriage. He doesn't want to back out.

Track 4: Stiffelio : "Io resto"/"Qual rumore" (03:07)
Lina's father is there, she must go. Finally after many insults, Stankar gets Raffaele in the dueling mode. Then Stiffelio comes.

Track 5: Stiffelio : "Santo è il loco" (02:21)
Stiffelio reminds them that they are on holy ground.
Santo il loco che sì profanate . . .
I sepolcri col piede premete,
Sopra il capo la croce vi sta!

It is the minister talking. They are not willing to stop now. Then Stiffelio asks Raffaele as the younger to give up the sword. They shake hands, Stankar is outraged, taking the hand of the man you have deceived. And now Lina comes.
Grazia! Grazia! Rodolfo!

It was Lina & Raffaele.

Track 6: Stiffelio : "Ah no, è impossibile" (03:09)
Jose Cura, in the photos in the program we see him hold the sword egg with his bare hand, but there is some rag in between. on the premiere, nothing protects his hands... And I am not sure he noticed it because we was so much Stiffelio.

Track 7: Stiffelio : "Dessa non è" (05:05)
Stankar reminds Stiffelio that she is not the only guilty one, now the priest is an outraged husband who want to duel with the seducer. Raffaele seem to have a change of mind, is willing to take his penalty but not to fight his minister. Jorg comes out. Reminds Stiffelio that he is a priest after all, and there is a sermon...

STIFFELIO:(come in delirio)
Me disperato abbruciano
Ira, infernal furore,
Tranquilli la man gelida
Voi mi gravate al core . . .
Ah fate prima ch'ardermi
Le vene cessi il sangue,
E la virtù che langue
Sar più forte in me! . . .
Lasciatemi, lasciatemi . . .
Tutto il mio cor perdé.
...
JORG:(sale sui gradini)
Da questa croce agli uomini
Ha Cristo perdonato . . .

Stiffelio faints with his hands round the cross, his bloody hand makes mark on the tree. It almost look like STIGMATA.

ACT 3
Track 8: Stiffelio : "Ei Fugge" (02:45)
This is Leo Nucci's great scene. And the only truly thunderous applause of the day is for Leo Nucci. He is simply stunning as Stankar. Stankar has decided for suicide since Raffaele has runaway. Death for Stankar. He is really sorry for himself.

Track 9: Stiffelio : "Lina, pensai che un angelo"/"Ah, si finisca" (03:47)
But the Jorg tells that Raffaele is back. What a joy....

Track 10: Stiffelio : "In questo tetto uno di noi morrà" (02:15)
A change to kill Raffaele, and sort of redeem his honour. (nonsense)
Great applaud for Leo Nucci

Track 11: Stiffelio : "Dite ai fratei che al tempio"/"Inevitabil fu questo colloquio" (02:43)
Raffaele who expect revenge is simply asked what would you do if Lina was free. But Lina is told that this marriage is breakable since Stiffelio called himself Rodolfo at that time.

Track 12: Stiffelio : "Opposto è il calle" (04:55)
I guess Stiffelio think he is generous, a divorce, Lina can marry Raffaele, the man he thinks she loves. She is not given any chance to tell what happen, or why, nor is he reflecting FORGIVENESS.

Track 13: Stiffelio : "Non allo sposo volgomi"/"Egli un patto proponeva" (04:03)
LINA:
Il vo'!
Non allo sposo volgomi,
Ma all'uom del Vangelo.
Ei fino dal patibolo
A' rei dischiude il cielo . . .
La donna più non supplica,
Qui la colpevol sta .

STIFFELIO:
Lasciatemi . . . lasciatemi . . .

LINA:
Ministro, confessatemi . . .

Lina ask of the evangelic minister to confession. It was not love, she was deceived. But what happens, Stiffelio jumps up for revenge, not forgiveness. And then her father comes out, with bloody arm. Raffaele is dead. Killed.

Jorg reminds of the church is waiting.

Track 14: Stiffelio : "Ah, sì, voliamo al tempio" (02:17)
STIFFELIO:
Ah sì, voliamo al tempio,
Fuggiam le inique porte,
Delitto solo e morte
Qui l'uomo vi stampò.
Ai seduttori esempio
Rimanga questo tetto . . .
Iddio l'ha maledetto,
D'infamia il fulminò.

LINA:
A dunque non v'ha in terra
Conforto al mio dolore! . . .
D'involontario errore
Perdono non avrò!
Clemente Iddio disserra
Di tua piet il tesoro,
Col palpito t'imploro
D'un cor che non peccò!

ACT 3

Track 15: Stiffelio : "Non punirmi, Signor" (04:48)
CORO, DOROTEA, FEDERICO:
Non punirmi, signor, nel tuo furore,
O come nebbia al sol dileguerò!
Miserere di me, piet, Signore,
Miserere, e tue glorie canterò.

STANKAR:
Se punii chi m'ha tradito
Nell'onor ch' tuo dono,
Come a Davide pentito,
Dio, concedimi il perdono.

LINA:
Confido in Te,
Signor, pieta
Non nieghi a me
La tua bonta

The organ plays, The congregation sings a miserere. Stankar is asking for forgiveness is his limited way. Lina is confiding in God's eternal mercy.

Track 16: Stiffelio : "Stiffelio!" "Eccomi" (03:37)
Stiffelio confused, doesn't recognize his wife. And the he starts reading the BIBLE, it is the famous meeting of Jesus and the adulterous woman.
STIFFELIO:
"Allor Gesù rivolto
Al popolo assembrato
Mostrò l'adultera
Ch'era a suoi piedi e così disse:

LINA:
(Oh, ciel!)

STIFFELIO:
'Quegli di voi che non peccò
La prima pietra scagli.'

JORG:
Che parli?

LINA:
(E non finisce?)

STIFFELIO:
E la donna, la donna
Perdonata s'alzò."

LINA:
Gran Dio!

JORG:
Che fai, Stiffelio?

STIFFELIO:
"Perdonata, perdonata."

Iddio lo pronunziò.

CORO:(Tutti ripetono)
"Perdonata! Perdonata!" Iddio lo pronunziò.

LINA:
Gran Dio!

In Zurich, the congregation was reenacting this scene, they were ready to "stone" Lina. But then stopped by the word, the one who has not sinned can throw the first stone. And then a quiet, and Jose Cura reads on, "And the woman stood up forgiven".
GOD HAS SPOKEN

AT LAST FORGIVENESS.

Can there be a greater opera with a more human message than this!!!!!!!!!!!!!!!!!!!!!!!!1

BRAVI TUTTI!

Thank you Giuseppe Verdi and the librettist PIAVE.

OD Travel + Photos

September 25, 2004: Carmen in Berlin

2011-09-25T01:00:00.000+02:00

2004-09-25 Carmen (Bizet), Deutsche Oper Berlin

Carmen = Agnes Baltsa
Frasquita = Stephanie Weiss
Mercédès = Jessica Miller
Micaëla = Michaela Kaune
Don José = Julian Gavin
Moralès = Bernd Valentin
Zuniga = Harold Wilson
Escamillo = Laurent Naouri
Remendado = Peter Maus
Dancairo = Jörg Schörner
Lillas Pastia = Klaus Lang
Andres = Ulrich George

Jun Märkl, conductor

GEORGES BIZET :: CARMEN

Regie: Peter Beauvais
Scenography, constumes Pier Luigi Samaritani
1900-2300

3:45 hrs

Chorus Ulrich Paetzholdt
Choreography Klaus Beelitz

Carmen Agnes Baltsa

Don José Julian Gavin

Schöneberger Sängerknaben

2004-09-25 almost not Carmen in Berlin with Agnes Baltsa.

I arrived early in Oslo, took the early bus to Sandefjord Airport Torp. 0615-0810. My plane was due to go to Copenhagen at 1215, but the plane didn't arrived until that time. Then it was 1235 boarding time, then when we were in the plane, they found a fault. Then we had to get out of the plane, and then it was to be repaired, so in the end 3 hours later than scheduled we left Torp. Unfortunately no direct-flight to Berlin in Copenhagen, I had to go via Munich. So in the end I was in Berlin Tegel 2035. The opera started 1900.

I took a taxi to Deutsche Oper Berlin. I was so lucky to be allowed inside to stand behind the door, for the last 30 minutes of Act 2, from the Smuggler-quintet. Julian Gavin sang a terrible Flower-song,
that was joyously applauded by the audience. I saw act 3 + 4 in my place, Agnes Baltsa sang magnificently the card-scene. And the end-duet was event brilliantly sung by Julian Gavin (Don Jose). The cast was mediocre, I found. But it was still nice to be there. I would have loved to see act 1 and the complete act 2.

OD Travel + Photos

September 24, 2006: Fanciulla del West in Berlin

2011-09-24T01:00:00.000+02:00

2006-09-24 La Fanciulla del West (Puccini), Deutsche Oper Berlin

Minnie = Sylvie Valayre
Jack Rance = Marco Chingari
Dick Johnson (Ramirez) = José Cura
Nick = Clemens Bieber
Ashby = Ante Jerkunica
Sonora = Lenus Carlson
Trin = Burkhard Ulrich
Sid = Guillaume Antoine
Bello = Markus Beam
Harry = Peter Maus
Joe = Jörg Schörner
Happy = Simon Pauly
Larkens = Roland Schubert
Billy Jackrabbit = Tiziano Bracci
Wowkle = Ceri Williams
Jake Wallace = Markus Beam
José Castro = Harold Wilson
Ein Postillon = Volker Horn

Vjekoslav Sutej, conductor

La fanciulla del West

[Das Mädchen aus dem Goldenen Westen]
Oper in 3 Akten von Giacomo Puccini
Libretto von Guelfo Civinini und Carlo Zangarini nach dem Drama The Girl of the Golden West von David Belasco
Uraufführung: 10. Dezember 1910 in New York
Premiere an der Deutschen Oper Berlin: 27. März 2004

In italienischer Sprache mit deutschen Übertiteln

24. | 27. September 2006
02. Oktober 2006

Musikalische Leitung Vjekoslav Sutej
Inszenierung Vera Nemirova
Bühne, Kostüme Klaus Werner Noack
Chöre Ulrich Paetzholdt

Minnie Sylvie Valayre
Jack Rance Marco Chingari
Dick Johnson José Cura

Dauer 3 Stunden 15 Minuten
Zwei Pausen

It was the worst production with the best singing that I have seen and heard. The photos in the www.deustcheoperberlin.de does not show how bad the production was. Reading the subtitles at the same time as seeing what's going on onstage would only serve to confusion.

This is a Spaghetti Western in Opera. But here it is modernized to an extent where only the sheriff is still sheriff. The Saloon of the opera is here something else, a fast food bar with some weird security line, is this the border to Mexico or is it a part of an airport or is it a German train station. What are the Santa's there for. It is near Christmas perhaps. Why is there a movie board showing the men getting dressed or something. This security thing can't be serious 'cause when Dick Johnson (Jose Cura) aka Ramirez, there are no-one making a copy of his hand.

Luckily when Jose Cura is there the opera becomes more real and interesting. Not that Sylvie Valayre is a bad Minnie, she is singing and acting wonderfully but this production does nothing to help this character to be a real and truly interesting person to the spectator. Minnie belongs to the West and in another century. Women today have much more and other choices to make. Truly when Sylvie Valayre and Jose Cura sings together there is deep connection between those two, Dick Johnson and Minnie, and therefor the audience connects too. Jack Rance is also more real when with Sylvie or Jose. Marco Chingari is an admirable singer doing his best. But the scenography and costumes does put me off.

The 2nd act is better. But still not good. The material Minnie's cabin is made of is so poor than one single man can easily destroy part of the wall. It is just carbon paper. And this is supposed to be the winter and in the mountains, and a single woman lives there alone. That is simply not realistic... It did not like how the cabin looked and I really did not like the idea that the men looking for Ramirez would destroy the cabin if they really wanted to protect " la ragazza del campo". They would have just knocked on the door and Minnie would have opened. So that was stupid. The good thing about the second act was that this time I found the opening with the two Native Americans, Wockle and Jackrabbit, soon to be parents and soon to marry, a truly nice and realistic moment. Of course the duets between Sylvie Valayre and Jose Cura and their acting was wonderful and showed the naivety of the two of them in a heartening way.

Jose Cura had told us that the 3rd act was worst, and in a way it was. It was situated in heaven, he said. Well, yes, there were clouds instead of mountains. But you could easily ignore that and make the "Heavenly" clouds into mountain sloops in your mind. I was more
troubled with the concept of a TV team being there to tape the execution. It was so not necessary. And in the end it was revealed as a movie in making. Well yes, right, that would have been nice, not since this was a modern Fanciulla del West.

The important thing is that the singing was outstanding, still I was glad I did not have to see this production again.

OD Travel + Photos