February 10, 2009: Stiffelio in Vienna

2009-02-10 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Anthony Michaels-Moore (a)
Stankar = Mark Rucker (s)
Raffaele = Gergely Németi
Jorg = Alexandru Moisiuc
Federico = Benedikt Kobel
Dorotea = Elisabeta Marin

Michael Halász, conductor

Fault no.1: Anthony Michaels-Moore is onstage acting Stankar, but his name is not in the role lists, no mention of him at all. Fault no 2: Mark Rucker is beside the stage singing the role of Stankar with his notes before him, the role list says he is Stankar, but he is not onstage in costume. Fault no 3: the orchestra under Michael Halasz often sound like there is several orchestra members missing, and the conductor is careless so that the singers suffers, they have to fight to come in right on time.

The singers are wonderful. This Stiffelio seemed to have microphones for the radio broadcast. Saturday that was the superior performance was not broadcast, why? Because of the change in baritone, really?? Bad decision, and then to slight 2 baritones in one (see Fault 1+2). I found the acting of Anthony Michaels-Moore worth mentioning, he is great. But still I was disturbed when I understood that Mark Rucker would not be allowed to act as Stankar. If it was the will of either baritones then I will be content, but if it was the management then I really don't understand it. The audience that had not been there on Saturday was understandably confused. If only they had mentioned Anthony Michaels-Moore. M-M who acted admirably was too ill to be there for all the applause, so why wasn't he allowed to rest. If Mark Rucker would have to do some improvising then I would be sure the rest of the cast would have been up to it.

I have read two reviews of this Stiffelio, both praises the baritone Mark Rucker. One said that Jose Cura was no longer a Tenor Crown Prince, meaning he was no good, I guess. But the all the other got some praise. The other praised all, except Hui He who was too Diva and not Lina. Here both Jose Cura and Hui He are doing their best performances vocally and as actors, but the review doesn't like them. They are so wrong. I am really trying to understand how Jose Cura's singing could be prove that he is no longer good. I think the reviewer must already dislike his choices of how to use his voice for dramatic purposes. I can sometime disagree myself, but not this time. Hui He acting like a Diva, wow, not acting like Lina. What? Should she sing the arias bad, and then ... I really wondered, did we see the same performance?

Stiffelio
(35. Aufführung in dieser Inszenierung)

Dirigent: Michael Halász
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Thomas Lang

Stiffelio: José Cura
Lina: Hui He
Stankar: Anthony Michaels-Moore
Raffaele: Gergely Németi
Jorg: Alexandru Moisiuc
Federico: Benedikt Kobel
Dorotea: Elisabeta Marin

Beginn: 19.30

Das Wunder Oper - Wiener Zeitung
Staatsoper: Tenor-Kronprinz? Längst gestürzt! - Die Presse

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3 faults by Vienna Staatsoper, but Stiffelio still...

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February 9, 2009: Un Ballo in Maschera, Vienna

2009-02-09 Un Ballo in Maschera (Verdi), Wiener Staatsoper

Gustaf III. = Ramón Vargas
René Ankarström = Dalibor Jenis
Amelia = Indra Thomas
Ulrica Arvedson = Elisabeth Kulman
Oscar = Ileana Tonca
Christian = Marcus Pelz
Horn = Janusz Monarcha
Warting = Dan Paul Dumitrescu
Richter = Peter Jelosits
Diener = Peter Jelosits

Paolo Carignani, conductor

INDRA THOMAS triumphs as Amelia

Ileana Tonca is wonderful as Oscar. Elisabeth Kulman, who I saw as Fenena, is actually a marvel as Ulrica. For the first time the scene with Ulrica made sense, both musically and as theatre. BRAVA!!!

First in the 3 act, the masked ball, was the costume of Amelia right for Indra Thomas. If this had been a new production then I would have wondered if the old art of making attractive costumes to big bodies had gone lost. Even with her costume not being right for her Indra Thomas managed to project her inner Amelia. Her voice reminded me of Jessye Norman. My wish for Indra Thomas is that she will be recognised as a great soprano, and then she could be DIVA enough to demand costumes that sits right. That would be great for her and her audience.

The men, Ramon Vargas and Dalibor Jenis took longer to warm up. But they were also great.

This production was no doubt set in the historical time of King Gustaf III of Sweden. I really liked it.

9. Februar 2009



UN BALLO IN MASCHERA
(66. Aufführung in dieser Inszenierung)

Dirigent: Paolo Carignani
Inszenierung: Gianfranco de Bosio
Bühnenbild: Emanuele Luzzati
Kostüme: Santuzza Calì
Chorleitung: Thomas Lang

Gustaf III.: Ramón Vargas
René Ankarström: Dalibor Jenis
Amelia: Indra Thomas
Ulrica Arvedson: Elisabeth Kulman
Oscar: Ileana Tonca
Christian: Marcus Pelz
Horn: Janusz Monarcha
Warting: Dan Paul Dumitrescu
Richter: Peter Jelosits
Diener: Peter Jelosits

Beginn: 19.00

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INDRA THOMAS triumphs as Amelia, Vienna 2009-02-09

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February 7, 2009: Stiffelio in Vienna

2009-02-07 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Anthony Michaels-Moore (a)
Stankar = Mark Rucker (s)
Raffaele = Gergely Németi*
Jorg = Alexandru Moisiuc*
Federico = Benedikt Kobel*
Dorotea = Elisabeta Marin*

Michael Halász, conductor

Cough, cough, Stiffelio in Vienna:
one sings, the other acts

I didn't. Cough, I mean, But two people did. Maybe more. Annoying.

But the real news, Anthony Michaels-Moore is sick, he cannot sing. The American Mark Rucker steps in on very short notice. So there he stood beside the stage with his partiture singing Stankar while onstage Anthony Michaels-Moore acted Stankar (only mouthing his part). Strange to see and think about but this was like advanced synchron swimming. They did it very well. The actor Michaels-Moore was great as actor, the singer Rucker was great as Stankar. Maybe MM was not great, but opera is not straight theatre, so when we think it as opera acting, not being able to sing probably meant the actor too was a bit unabled by that.

Did Stiffelio, the opera, suffer from this? No, not at all. Was the other singers affected by this? No, they were all great. Did the conductor suffer? No idea at all.

It was a great success for Mark Rucker. People were wild. I was near 3 of them who seem to come only for him. (If there is 3 it must really be plenty.)

HUI HE was wonderful as Lina. And all the audience understood they, one could hear that in the applause. She was warm and acted her role wonderfully. Wonderful voice. JOSE CURA did one of his very best Stiffelio's, if not the best. I wish I could describe how I have seen how Jose has changed with this role. One the negative side: Federico di Frengel was rather thin and old, Raffaele was tall and somewhat big and young, but in the opera it should be possible to think Federico was Raffaele. Oh, that was maybe while it was so dark lit the stage. I thought that was to make it possible to Mark Rucker to read the notes.

Anyway, Mark Rucker was the super nice and happy man with a big laugh when he came out of the opera house. Hui He was also very nice and humble. Jose Cura sat down to as many signing and photos, even until the warming all to get out of the building, the lights are soon put out. It was a relief to Jose Cura, And really the fans was not slighted a bit.

A wonderful opera night!!!!!!!!!!!!!!!!

Stiffelio
(34. Aufführung in dieser Inszenierung)

Dirigent: Michael Halász
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Thomas Lang

Stiffelio: José Cura
Lina: Hui He
Stankar: Anthony Michaels-Moore (acts)
Stankar: Marck Rucker (sings)
Raffaele: Gergely Németi*
Jorg: Alexandru Moisiuc*
Federico: Benedikt Kobel*
Dorotea: Elisabeta Marin*

(* Rollendebüt an der Wiener Staatsoper)

Beginn: 19.30

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Cough, cough, Stiffelio in Vienna: one sings, the other acts

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January 17, 2009: Turandot in London

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.

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

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December 17, 2009: Jose Cura in Oslo

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 14, 2009: La Fanciulla del West in Oslo

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 12, 2009: La Fanciulla del West in Oslo

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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October 10, 2009: Carmen in Munich

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...

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July 31, 2009: Turandot in Barcelona

2009-07-31 Turandot (Puccini), Gran Teatre del Liceu, Barcelona

Turandot = Anna Shafajinskaia
Liu = Daniela Dessi
Calaf = Fabio Armiliato
Timur = Giorgio Giuseppini
Ping = Gabriel Bermúndez
Pang = Eduardo Santamaría
Pong = Vincenc Esteve Madrid
Althoum = Josep Ruiz
Mandarin = Philip Cutlip

Giuliano Carella, conductor

I hoped that this time it would not end with suicide. But this Turandot died too like on July 30th.

Still, it was another Turandot. First the performance did not start until 30 minutes later. That was because Daniela Dessi was not well but she still came. It was not possible to hear that she was not well except that she was singing softer in 3rd act and the orchestra was gentle with her. But for normal ears all was well. Not just well but splendid. And her husband-tenor Fabio Armiliato was a great Calaf. Giorgio Giuseppini was great as Timur.

Anna Shafajinskaia was Turandot. I almost thought that she had been replaced by Maria Guleghina. But Anna did not have Maria's specialties. Anna S. was in a more steely voice which was perfect for Turandot. But after Maria Guleghina's Turandot it was not enough for me even if singing and acting was more than perfect. But with Guleghina there is an extra tension, personality and charisma.

The main thing, the duet between Calaf/Turandot was acted so differently that I really hoped to the last that Turandot would choose life. But no Happy Ending. Great opera performance, but ...

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Original blog post: Turandot in Barcelona July 2009


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July 30, 2009: Turandot in Barcelona

2009-07-30 Turandot (Puccini), Gran Teatre del Liceu, Barcelona

Turandot = Maria Guleghina
Liu = Ainhoa Arteta
Calaf = Marco Berti
Timur = Stefano Palatchi
Ping = Gabriel Bermúndez
Pang = Eduardo Santamaría
Pong = Vincenc Esteve Madrid
Althoum = Josep Ruiz
Mandarin = Philip Cutlip

Giuliano Carella, conductor

It ends with a suicide.

First I thought the whole opera ended with Liu's death. Then came a curtain of the sky filled with stars in the night. A wonderful duet started. And Turandot killed herself after "I know his name. His name is LOVE". And Turandot killed herself because he was Love, and she was Death. A night filled with horror had drowned her white dress with the blood of inhabitants of the city. Nessun dorma, he sang dreamily of glory and love, not caring that his nobody shall sleep would mean torture and death to others. Calaf only cared when his own father and Liu was threatened. And Turandot herself: fascinated by Calaf and by the sacrificial love of Liu, but in the end not willing/capable to step out of her death cult and into becoming a loving woman.

Vocally it was never any doubt about Marco Berti's Calaf. A clarion voice with both Non piangere, Liu and Nessun dorma with the closest to perfection I ever heard live. He was no tempted to hold the last tone in Nessun dorma as long as possible I am certain he would have won that contest. But it is opera and no contest. Ainhoa Arteta was wonderful as Liu. Stefano Palatchi as Timur was not so demanding a voice as he should. But acted wonderfully. Ping, Pang and Pong was Ok when one got over the costumes in the act 1 and start of act 2. Ping was Gabriel Bermundez who sang Silvio in Zurich on July 8. Sadly he was often the weak link. But in the 3rd act he was wonderful.

Maria Guleghina as Turandot, what can I say about her. She is definitely more of a Tosca than a Turandot. But maybe it was the production and director's fault. I wonder how it had been had Guleghina been able/allowed to put all her energy and acting skills in the role. She was best vocally and all when she could step free from the robotic Chinese choreography.

But other than that, I liked the production and the choreography (of the dancers).

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July 8, 2009: Pagliacci in Zurich

2009-07-08 Pagliacci (R. Leoncavallo), Opernhaus Zurich

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Fiorenza Cedolins
Tonio (Taddeo) = Carlo Guelfi
Beppe (Arlecchino) = Martin Zysset
Silvio = Gabriel Bermudez
Erster Bauer = Uwe Kosser
Zweiter Bauer = Christopher Hux

Stefano Ranzani, conductor

Pagliacci started with a disappointment. The Prologue with Carlo Guelfi (Tonio) was boring, and he was already dressed up as a Commediante player. It really made me think skip the prologue, let's have the opera already.

Finally it started. Again it was the attention to detail and that every person on stage had personality and a life that impressed me. Martin Zysset as Beppe was nothing special here, why? Was it that it was the last performance of Cav/Pag in the season. As he did not excel here, Beppe (Martin Zysset) was the clue that fitted all together. Gabriel Bermudez as Silvio was a real good-looking, muscular man. No wonder Nedda fell for him. Especially since this Canio was more of drunkard than anything else. But when José Cura plays the drunkard one does feel sympathy for him. No sympathy for Nedda, Fiorenza Cedolins, the adulteress. Shameless... And then how would one feel for Nedda, the character does not have a forgiving feature. Only in Genoa, where Nedda/Canio had a daughter this I feel for Nedda, Svetla Vassileva. And then Carlo Guelfi in the opera, was better than in the prologue...

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Real verismo in Zurich on July 8th, 2009

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July 8, 2009: Cavalleria Rusticana in Zurich

2009-07-08 Cavalleria Rusticana (P. Mascagni), Opernhaus Zurich

Santuzza = Paoletta Marrocu
Turiddu = José Cura
Alfio = Cheyne Davidson
Mamma Lucia = Cornelia Kallisch
Lola = Katharina Peetz

Stefano Ranzani, conductor

It was Real Verismo where every choir member had a role to play, nut as simply a chorus, but as real persons with their own individual lives. There were no masses, only individuals. Wonderful to see such attention to detail in an opera production. Paoletta Marrocu was Santuzza, I wish I could really describe how she acted and sang but nothing, except that she was Santuzza, really. Alfio and Lola, Cheyne Davidson and Katharina Peetz, was the good-looking and wealthy couple. Everybody in the village except Alfio and mamma Lucia knew about Turriddu and Lola. But wealth has it privilege, Lola was still excepted. Santuzza, not. Mamma Lucia, Cornelia Kallisch, was a much deeper role, more sympathetic especially in the end towards Santuzza. José Cura was Turriddu. He was great, even deeper understanding to the role. No wonder he was killed by Alfio, having been drinking a lot, and Alfio had not been drinking alcohol.

OD Travel + Photos

Original blog post:
Real verismo in Zurich on July 8th, 2009

For more reviews from my travels, see www.operaduetstravel.com
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June 20, 2009: Tosca in Berlin

2009-06-20 Tosca (Puccini), Deutsche Oper Berlin

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Franz Grundheber
Cesare Angelotti = Krzysztof Szumanski
Der Mesner = Roland Schubert
Spoletta = Jörg Schörner
Sciarrone = Hyung-Wook Lee
Ein Schließer = Tomislav Lucic

Emmanuel Villaume, conductor

Tuesday I got the news from Parsifal's blog, that Angela Gheorghiu canceled her Tosca in Berlin, and that Maria Guleghina was singing instead. So I bought tickets to the opera and air ticket for the travel. I am so lucky that the price was reasonable at Norwegian Air. Because Angela Gheorghiu was supposed to sing the price was 118 Euro. Really 120 Euros.

So thanks to Parsifal's was I in Berlin to see an extraordinarily fine performance. Maria Guleghina is a fine actress. The perfect Tosca. Neil Shicoff sang the role of Mario Cavaradossi ardently. His voice sounded like always only a little bit grainier. His Recondita armonia and E lucevan le stelle was applauded very much. Maria Guleghina sang a wonderful Vissi d'arte. Franz Grundheber was an excellent Baron Scarpia. He used his age to his advantage. As many older opera singers who have learnt how to use everything to their advantage even their faults, Grundheber know all about how to project the character via voice and gestures...

The production was Tosca, plain and simple. Tosca in Rome in the right historical time. But isn't it time that the sagrestano lets go of the hunchback and being some kind of comic relief. Luckily Roland Schubert who sang this role had a great sonorous voice. Loved his voice. Cesare Angelotti was sung by Krzysztof Szumanski, also a bass, acted well together with Neil Shicoff. Of course, the opera only took on form and real life when Maria Guleghina came in. Wonderful duet followed. After the Tosca in Vienna (April 25, 2009) I was interested in how Sciarrone and Spoletta was in this production. From Vienna I recall the Sciarrone but not Spoletta. Here there was a different interaction between Sciarrone and Spoletta was different, more competitive. I liked Jörg Schörner as Spoletta and Hyung-Wook Lee as Sciarrone. And Tomislav Lucic was a sympatric jailor. A perfect TOSCA!!!!

Sat, 20.06.2009, 19:30 h
duration: 2 hrs 45 mins | 2 intervals

D Category: 35,- | 60,- | 85,- | 118,- Ticket online kaufen
[A service fee of Euro 2,- per ticket will be charged]

Giacomo Puccini
Tosca
Melodramma in 3 acts
Libretto by Giuseppe Giacosa and Luigi Illica based on the drama LA TOSCA by Victorien Sardou
First performed on 14th January, 1900 in Rome
Premiered at the Deutsche Oper Berlin on 13th April, 1969

In Italian with German surtitles


conductor
Emmanuel Villaume

director
Boleslaw Barlog

stage-design, costume-design
Filippo Sanjust

chorus-master
William Spaulding




Orchester der Deutschen Oper Berlin

Chor der Deutschen Oper Berlin

Knabe des Staats- und Domchores

Kinderchor der Deutschen Oper Berlin

OD Travel + Photos

Original blog post

For more reviews from my travels, see www.operaduetstravel.com
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April 25, 2009: Tosca in Vienna

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

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

Pier Giorgio Morandi, conductor

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

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

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



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

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

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

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

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

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

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

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

April 4, 2009: Jenufa in Vienna

2009-04-04 Jenufa (Jánácek), Wiener Staatsoper

die alte Buryja = Janina Baechle
Laca Klemen = Jorma Silvasti
Stewa Buryja = Marian Talaba
Küsterin = Agnes Baltsa
Jenufa = Ricarda Merbeth
Altgesell = Marcus Pelz
Dorfrichter = Alexandru Moisiuc
seine Frau = Waltraud Winsauer
Karolka = Caroline Wenborne
Schäferin = Roxana Constantinescu
Barena = Juliette Mars
Jana = Ileana Tonca
Tante =

Graeme Jenkins, conductor

Her stepdaughter: Ricarda Merbeth as Jenufa
Agnes Baltsa as Die Küsterin, Jenufa's stepmother.


Wonderful, wonderful!! I like Ricarda Merbeth as Jenufa, Marian Talaba was Ok as Stewa, Jorma Silvasti WAS Laca Klemen, Agnes Baltsa was sensational as Die Küsterin Buryja.

Agnes BALTSA even came out backstage and greeted her fans, and I got to talk to her.

The production is from 2002. Agnes Baltsa was also then Die Küsterin and Jorma Silvasti was Laca Klemen. That time Angela Denoke and Torsten Kerl were Jenufa and Stewa. Both singers have blond hair. Ricarda Merbeth and Marian Talaba have darker hair. Why mention this? Well, not only is Marian Talaba underwhelming as Stewa Buryja but his dark hair undermines the mention in the text about Stewa's supposedly golden hair. Another thing is that all the other people except Küsterin and Laca have dark hair so how do one as audience understand who to look at. Lucky me, having seen this production before I knew where Jenufa would be. Others would not have a clue. And STEWA the big man in this village he looked just like anyone else. With Torsten Kerl, big and blond, he would always catch your eyes. And the maybe Torsten Kerl even has charisma that in my view was lacking from Marian Talaba. Talaba as Stewa was just a plumb, dark-haired man. With Stewa and Jenufa as both blonde-haired and fairer than all the rest, not only would the story be even more believable but also easier to follow.

Other than the lack of right color of the hair of the protagonists there was the orchestra that played wonderfully under conductor Graeme Jenkins but often too LOUD. I was in parkette. Did it sound better in other parts of the opera house? I don't know. But I know that there was exquisite singing drowned by the orchestra. Not all the time but still.. I think this was the best performance of Agnes Baltsa as Die Küsterin. I adored Ricarda Merbeth as Jenufa. Where Angela Denoke had been harder to swallow was Ricarda Merbeth pure vocal joy and wonderful acted too. Jorma Silvasti was Laca Klemen and he could dominate the scene, a man with brute force and with a Vulnerable soul was his Laca Klemen, the sound of his voice was wonderful to listen to, so delicate and pure and still strong, Janina Baechle who was like in 2006 Grandma Buryja was even better acting and sounding than in 2006. Marian Talaba was, unfortunately, a bland Stewa. He has the voice, but something else was missing. He was not helped by having become somewhat heavier in body. But Jorma Silvasti (Laca Klemen) is also a heavy-built man, but he has charisma and an instant-recognizable voice. But Marian Talaba is young, he might still become a wonderful Stewa... AGNES BALTSA was Wonderful as Die Küsterin. What an actress!! To see Agnes Baltsa as die Küsterin to be the strong and strict stepmother of Jenufa and then to see her being so totally broken by the heinous act of her murdering Jenufa's child with Stewa was great theatre. Her singing and acting was marvelous. But the orchestra played wonderful music often too LOUD.

I LOVED this JENUFA!!!!


04. April 2009
Beginn: 19.30 Uhr
Spieldauer: 3 Stunden , Pausen: 2
Premiere am
24. Februar 2002,
Wiener Staatsoper

OD Travel + Photos
Original blog post: Her stepdaughter: Ricarda Merbeth as Jenufa 4.4.2009

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