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Showing posts with label 2013. Show all posts
Showing posts with label 2013. Show all posts

Friday, February 16, 2018

February 16, 2013: UN GIORNO DI REGNO in Kristiansund, Norway

2013-02-16 Un Giorno di Regno (Verdi),Operaen i Kristiansund

Belfiore = Lars Eggen
Baron Kelbar = Trond Halstein Moe
Marchesa del Poggio = Itziar Martinez Galdos
Giulietta = Anna Einarsson
La Rocca = Sverre Johan Aal
Edoardo = Kristian Krokslett
Grev Ivrea = Thomas Ruud
Delmonte = Aleksander Mork

Kjell Seim, conductor

Regie - Ronald Rørvik
Scene - Bo-Ruben Hedwall
Lights - Hans-Åke Sjøquist
Costumes - Else Lund
Hair & mask - Maren Togstad
Operaen i Kristiansund

Un Giorno di Regno, or Konge for en dag in Norwegian, is simply Giuseppe Verdi's most wonderful comedic opera. It was simply the most fun you can ever have in an opera. The genius of Giuseppe Verdi together with Ronald Rørvik's Regie. It proved you can laugh so much and have so much fun your face seem  to have been massaged through and through. One can listen to the Philips recording with Jessye Norman, José Carreras, Fiorenza Cossotto and Ingvar Wixell and hear it is beautiful music but to really get into the fun one would need to go to Kristiansund and see Rørvik's production. On Youtube one can see parts of Parma's production with great singers but for the fun one would need the Kristiansund production.

The chorus was a great part of making this production so special. Every single member had their job and did it magnificently. It was beautifully done with a musicality that was amazing. A choreography that never felt forced and always seemed right. Everyone could act towards their strength. Whatever your body-type were or whether you needed glasses everything could be used to enhance the story. It was brilliant. That the beautiful and young man that was Belfiore, Lars Eggen, was simply made into just the right type for the fake King Stanislaus. Eduardo was sung by Kristian Krokslett, a chubby man that did not look like the young lover Eduardo. What a tenor voice and a true comedian!!! Of course this production worked even better like that. In an ordinary production. Both Belfiore and Eduardo would have been looked upon as miscast. But no, they were brilliant. What to say about the rest? Simply that they were brilliant. Itziar Martinez Galdos was amazing as Marchesa del Poggio. Anna Einarsson was simply beautiful in every way. And they could be serious and comedienne. Trond Halstein Moe was the most unhinged Baron Kelbar, simply genious. Sverre Johan Aal was a great La Rocca. Bravi, tutti!!!

OD Travel & Photos. Original blog post.

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

Friday, February 2, 2018

February 2, 2013: Carmen in Munich

2013-02-02 Carmen (G. Bizet), Bayerische Staatsoper (Munich) 

Carmen = Nancy Fabiola Herrera
Don José = Thiago Arancam
Escamillo = Vitaliy Bilyy
Micaëla = Aga Mikolaj
Zuniga = Tareq Nazmi
Moralès = Andrea Borghini
Dancairo = Alexander Kaimbacher
Remendado = Kevin Conners
Frasquita = Eri Nakamura
Mercédès = Julia Faylenbogen

Asher Fisch, conductor

Nach einer Produktion von Lina Wertmüller
Chöre - Sören Eckhoff
Bühne und Kostüme - Enrico Job
Licht - Franco Marri

Nationaltheater

CARMEN with Nancy Fabiola Herrera

Thiago Arancam has won 3 Prizes of Operalia 2008 and audience in Munich loved him, just like the audience in Stockholm did. For me he does not have a great voice. Once he can sing all notes free and unguarded then I might like him. The way he sang ruined the flower aria for me, I could not wait for it to stop. The duet in the end was much better. He seemed freer and I could enjoy some if his notes.

Nancy Fabiola Herrera is the Carmen of our times. I have heard more exciting singing but she makes CARMEN totally Spanish. And I just love her interpretation. I just want to shout Viva España!! Viva Nancy!! BRAVA!!!!!!!!!!!!!!

Vitaliy Bilyy was superb as Escamillo. His looks, singing and acting was superb! It seems to be hard to find a great Escamillo these times. But now he is found and the perfect Ecamillo is Vitaliy Bilyy!!!!!! BRAVO!

Aga Mikolaj was Micaela. Her French was not that good (like Arancam whose French was...), but all could be forgotten. She was a marvellous Micaela. BRAVA!!

Lovely production!! What a CARMEN, Nancy Fabio Herrera!!!


OD Travel & Photos. Original blog post.

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

Saturday, January 20, 2018

January 20, 2013: Andrea Chenier in Torino

2013-01-20 Andrea Chenier (Giordano),Teatro Regio di Torino

Andrea Chénier - Marcelo Álvarez
Carlo Gérard - Alberto Mastromarino
Maddalena di Coigny - María José Siri
Bersi, her maid - Giovanna Lanza
The Countess of Coigny - Anna Malavasi
Madelon - Chiara Fracasso
Roucher  - Gabriele Sagona
Mathieu, a sans-culotte - Federico Longhi
The Incredible - Gianluca Floris
The novelist Pietro Fléville - Matteo Peirone
Fouquier Tinville, the Public Prosecutor  - 
Scott Johnson
The Abbot, poet  - Luca Casalin
Schmidt - Fabrizio Beggi
Dumas - Franco Rizzo
Master of the Household - Gheorghe Valentin Nestor 
 
Renato Palumbo, conductor

Director - Lamberto Puggelli
Director cooperator - Salvo Piro
Sets - Paolo Bregni
Costumes - Luisa Spinatelli
Choreographic movements - Tiziana Tosco
Lighting - Bruno Ciulli
Assistant to costumes - Monia Torchia
Chorus Master - Claudio Fenoglio

Orchestra and Chorus of Teatro Regio
Staging by Teatro Regio




After the dark Macbeth in Genova I was happy to see this colorful Andrea Chenier in Torino.  This opera was double expensive for me since I originally had thought to see Macbeth again in Genova with other singers as Macbeth and Lady Macbeth. So that ticket was never used. The newsletter from Teatro Regio Torino made me choose Andrea Chenier, a wonderful opera, and MARCELO ALVAREZ was singing the main role. It was the perfect plan.

With all the buzz about the movie of the musical Les Miserables I think going to see the opera Andrea Chenier is doubly enjoyable. Chenier was a real during who lied and died during the revolution. Of course the romantic story is not as historic as the persons. The real Chenier was not a romantic but he was a revolution man, a poet. But politically he was not on the winning side so Robespierre wanted him dead. 

I loved the production, so true and so real it was. The singing was suberb. Marcelo Alvarez was worth the trip to Torino. BRAVO!!!

Friday, January 19, 2018

January 19, 2013: Macbeth in Genova

2013-01-19 Macbeth (Verdi), Teatro Carlo Felice, Genova

Macbeth = George Gagnidze
Lady Macbeth = Maria Guleghina
Macduff = Rubens Pelizzari 
Banco = Roberto Scandiuzzi
Malcolm = Vincenzo Costanzo
Dama di Lady Macbeth = Sara Cappellini Maggiore
Medico = Francesco Verna
Domestico di Macbeth = Francesco Sorichetti
Un Sicario = Alessandro Pastorino
Un Araldo = Alessio Bianchini

Andrea Battistoni, conductor

Regia - Henning Brockhaus
Scene - Josef Svoboda
Ricostruzione allestimento scenico - Benito Leonori
Costumi - Nanà Cecchi
Allestimento in coproduzione con:
Fondazione Teatro Lirico G. Verdi di Trieste
Fondazione Pergolesi Spontini di Jesi


Maria Guleghina was the reason I had come to Genova to see Verdi's Macbeth. She was wonderful. This was a dark vision of Macbeth and his lady. Not much reason to like this two persons. In the scene of the prophecies Macbeth almost beheads Banco before he returns to reason. Lady Macbeth is one of the witches. This production is the only one that I have seen that is really successfull with the witches. This production is thoroughly thought out. Video projection is used but one never think "ah, video" it is integrated in the theatrical forms. Video is used as partt of the scenography and part of the regie. Rubens Pellizario was wonderful as Macduff. As part of this dark vision Macduff almost crowns himself but then cries of VITTORIA and Malcolm is crowned. 
O
OD Travel & Photos

Original Blog Post

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

Friday, January 12, 2018

January 12, 2013: L'Italiana in Algeri, Vienna

2013-01-12 L'Italiana in Algeri (Rossini),Wiener Staatsoper 

Mustafà = Ferruccio Furlanetto
Elvira = Ileana Tonca 
Zulma = Juliette Mars
Haly = Alessio Arduini
Lindoro = Antonino Siragusa
Isabella = Agnes Baltsa
Taddeo = Alfred Šramek

Jesús López-Cobos, conductor

Inszenierung/Bühnenbild - Jean-Pierre Ponelle


Agnes Baltsa as Isabella. What can one say? The lady is magic but she was born on November 19, 1944 says the books. She seems much younger on stage. I have heard her sing better better because she was younger then but she was the main event. Young Antonino Siragusa could not outshine Agnes Baltsa. He was an admirable Lindoro. I almost did not miss Juan Diego Florez. But it was fun to experience a new Lindoro. Ileana Tonca and Juliette Mars as Elvira and Zulma was OK, but I have heard better before. Ferruccio Furlanetto was Mustafa and he was great. But just like Agnes Baltsa even Ferrucio Furlanetto was older and not so shining as they were in 2004.  Most of all I felt that it was time for a new production. The sets and costumes are beautiful but... Maybe it only needs some updating in regie. Mustafa is in brown-face and it no longer feels comfortable. I think that maybe I no longer like the story in this opera.

OperaDuets Travel & Photos 
Original Blog Post

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

Saturday, December 9, 2017

December 9, 2013: Jose Cura sings Argentinian Songs in Vienna

2013-12-09 Ein Abend mit José Cura, Wiener Konzerthaus
José Cura, tenor
Kristin Okerlund, piano



Even as the concert was on Monday many JC fans was there and althought there was still free seats in the hall it still seemed quite full. Monday means taking 2 days off work for those not living close to Vienna. Saturday would have been a much better day. Secondly Sunday, third Friday. But it was quite good for being on Monday. I feel the concert could have been advertised much better. Maybe an opera concert with Jose Cura would have been completely sold-out even as it was a Monday in early December, but Argentinian songs with masters like Carlos Guastavino, Alberto Ginastero and the new composer Jose Cura himself should have been a must for all opera lovers especially if Cura is one of your tenor heroes.

From Tristan und Isolde on Sunday to Jose Cura singing songs on Monday, that is a distance. Excellenc is excellence in whatever form it takes. An ethusiastic audience greated the great maestro with thunderous applause. Jose Cura relaxed and smiling sat down. Kristin Okerlund sat down at the piano, with a young man as her page turner. A woman sat down, she too like Okerlund and Cura had some notes (papers) in front of her.

The concert started with Jose Cura singing alone Hilda Herrera's Desde el fondo de ti, then the piano invoced Maria Elena Walsh' Postal de guerra. Then Jose Cura started talking as he did during the concert. The other woman was called "Lalo" (?), a friend of Cura who would be reciting in German some short verses to give us some idea of what the songs meant. It was hard for me to hear her and so I got no more idea of the songs from her. Our progammes was free. The 3rd song according to the program was Alberto Ginastera's Accorro, but that was not what he song, we got that as one of the encores instead.

Instead of going through it song by song, here is my impression of the concert. Many years ago Jose Cura recorded Anhelo and that CD had many of the songs he now song. Those years gave Jose Cura a greater depth and a passion that makes these songs even better today than ever. Cura sang his own work of Pablo Nerudas Sonetas with Lalo in the role of the woman as Cura was the man. It was magic!!!

In the second half it was more unfamiliar songs except La rosa y el sauce and of course, La cancion de la Bandera by Panizza. Highlights. And then 3 encores!!


And after the concert, meeting with fans and Jose Cura inside the building. It was a cold day in Vienna, rain and icy winds. At last I had to go.

OperaDuets Travel & Photos
Original blog post

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

Friday, December 8, 2017

December 8, 2013: Tristan und Isolde in Vienna

2013-12-08 Tristan und Isolde (Wagner), Wiener Staatsoper

Tristan = Robert Dean Smith
König Marke = Albert Dohmen
Isolde = Violeta Urmana
Brangäne = Elisabeth Kulman
Kurwenal = Matthias Goerne
Melot = Clemens Unterreiner
Ein Hirt = Carlos Osuna
Ein Steuermann = Marcus Pelz
Stimme eines junges Seemanns = Sebastian Kohlhepp

Peter Schneider, conductor

Regie - David McVicar
Ausstattung - Robert Jones
Licht - Paule Constable
Choreographie - Andrew George




TRISTAN UND ISOLDE.
"Love" at first note. Loved the orchestra with conductor. Wagner the composer is great. Too many words all the time. But one does get into it. I no longer oppose the idea of Jose Cura as Tristan. But really Wagner heroes vs Verdi heroes, Verdi wins every time. Loved Elisabeth Kulman as Brangäne. Highlight in love duet between Tristan and Isolde = Brangäne singing. Robert Dean Smith is a great singer, once in a long while one hears he is not German but still amazing singer. Violeta Urmana as Isolde, great work, a great singer but she was not able to mesmerize me as she did as La Gioconda in Paris. Albert Dohmen was so great that I wished his part was bigger. Matthias Goerne as Kurwenal was just luxus. Clemens Untermeier as Melot was also very good. Carlos Osuna as the shepherd was also wonderful.


The production with David McVicar as director, scenography by Robert Jones, was great. Sadly it was Isolde's Liebestod that ruined the perfect Tristan. Tristan is the one the who dies of love, and King Marke appearing with Tristan dead that is truly sad. I actually cried. Then Isode's Liebestod, who would have guessed that was the disappointment of the evening. Violeta Urmana was singing her heart out. But instead of dying there, she was going slowly out in her red dress. For the applause Urmana appeared with the black dress and was then more like Isolde then in Liebestod. Bravi, tutti!!

OperaDuets Travel & Photos
Original blog post

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

Friday, November 17, 2017

November 17, 2013: I Lombardi alla Prima Crociata in Hamburg

2013-11-17 I Lombardi alla prima Crociata (Verdi), Hamburgische Staatsoper

Arvino = Massimiliano Pisapia
Papano = John Relyea
Viclinda = Cristina Damian
Giselda = Elza van den Heever
Pirro = Szymon Kobylinski
Un Priore = Dovlet Nurgeldiyev
Acciano = Wilhelm Schwinghammer
Oronte = Dimitri Pittas
Sofia = Solen Mainguené

Simone Young, conductor
Philharmoniker Hamburg
Chor der Hamburgischen Staatsoper

Inszenierung - David Alden
Bühnenbild - Charles Edwards
Kostüme - Brigitte Reiffenstuel
Licht - Adam Silverman

Chor - Eberhard Friedrich


Third time did not have the charm. First I saw La Battaglia in Legnano (see photo) that was a good enough production. Then I Due Foscari also OK, but. And now I LOMBARDI ALLA PRIMA CROCIATA. Where to begin?

I can start with the positive. Two great tenors, Massiliano Pisipia and Dimitri Pittas, as Arvino and Oronte. Loved also Vicinda, Gisenda and Sofia: Cristina Damian, Elza van den Heever and Sofia Mainguené. I was sorry not to see Viclinda and Sofia take their place at the end of the opera to get their very much deserved applause. John Relya was Papano and as the opera progressed he became more imposing by the minute.

The problem with I LOMBARDI lies with the words ALLA PRIMA CROCIATA. Was it any reason to update it in this way. It did not give anything to the story if it did anything it would be taking away. Then there is the opera itself, the text. It is no way to avoid the racist way Muslems are portrayed. I felt this production made it worse which is totally avoidable. To be a Christian and white means it is too easy just two say it was only 2 scenes so who cares. People who want to malign Muslims will find justifiing causes here. A Muslem wanting to be radicalezed will also find just cause here. Then there is the portraits of Christians, whether one choose to play them as nicer than the reality of the crusades, that would be wrong and as this production as a rather murderous horde, sadly more historically true, still not a good idea.

I LOMBARDI is a musical gem from Giuseppe Verdi, but it is not something that one should put onstage without any cultural awareness. Can we afford to create a wider gap between Christians and Muslems? NO. Should I LOMBARDI ALLA PRIMA CROCIATA be staged, at all?


OD Travel
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

Thursday, November 16, 2017

November 16, 2013: I Due Foscari in Hamburg

2013-11-16 I due Foscari (Verdi), Hamburgische Staatsoper

Francesco Foscari = Andrzej Dobber
Jacopo Foscari = Giuseppe Filianoti
Lucrezia Contarini = Amarilli Nizza
Jacopo Loredano = Ziyan Atfeh
Barbarigo = Dovlet Nurgeldiyev
Pisana = Maria Markina
Fante del Consiglio = Sergiu Saplacan

Simone Young, conductor
Philharmoniker Hamburg
Chor der Hamburgischen Staatsoper

Inszenierung: David Alden
Bühnenbild: Charles Edwards
Kostüme: Brigitte Reiffenstuel
Licht: Adam Silverman
Choreografie: Maxine Braham

Chor: Eberhard Friedrich


This Due Foscari did not impress me immediately as La Battaglia di Legnano did. I did not warm up at once Giuseppe Filianoti and Amarilli Nizza. Andrzej Dobber was from the first moment on worth the whole trip himself. He is impressive as Doge Francesco Foscari. Amarilli Nizza may be a small woman off stage but she was a gigant onstage. Impressive singing that won me over from Amarilli Nizza. Was it my ear that deceived me or was she a bit hesitant in the beginning, who knows? Pyrotechnics she has. False notes seemed to come off Giuseppe Filianoti in his first scene but from those small misteps he climbed up to the top places.

The production was much like La Battaglia di Legnano. But. Yes, I know, BUT is not a full sentence and barely conceive any meaning still I must leave it like that.

OD Travel & Photos
Original blog post


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

Thursday, November 9, 2017

November 9, 2013: Otello in Berlin

2013-11-09 Otello (Verdi), Deutsche Oper Berlin

Otello = José Cura
Desdemona = Barbara Frittoli
Jago = Marco Vratogna
Emilia = Katarina Bradic
Cassio = Matthew Newlin
Rodrigo = Clemens Bieber
Lodovico = Seth Carico
Ein Herald = Andrew Harris

Donald Runnicles, conductor

Director - Andreas Kriegenburg
Stage-design - Harald Thor
Costume-design - Andrea Schraad
Dramaturgie - Katharina John
Choir Conductor - William Spaulding
Children's Choir - Christian Lindhorst
Choreography - Zenta Haerter

I had forgotten how much I disliked this production when I saw it at the premiere, 30.05.2010. I felt no outrage this time just boredom. It was the female ballet dancer in the back of the stage that annoyed me. The dancing was as a comment to Jago's narration of the Cassio's dream. In one way a good idea. But the placement of the dancer in the stage room meant that I could either watch the dancer or the singers, and that made it a bad execution of an idea that could have been good. I wanted to see and understand the dynamics between Jago and Cassio but the movement of the dancer forced my eyes away from my goal. Putting distractions onstage is not good theatre. And do untimately this is the failing of the director Andreas Kriegenburg, the production itself works as a distraction against Verdi's Otello.

In midst of it all, here comes Otello, Jose Cura. Placido Domingo used to be the ultimate Otello, now we have Cura. From the moment Jose Cura comes in it becomes a better show, finally it is possible to throw oneself into the work. I have seem him several times as Otello before and in different productions but this was the best performance with the most beautiful and sublime phrased singing and a overwhelming acting. He was good before too but here is the matured Otello, the excellence that comes from being Otello in so many different productions.

In one way we could say Cura singlehandedly a dull production to an exciting experience. To be fair I must say that Donald Runnicles conducting was a great part of the success. Marco Vratogna was singing and acting as if the role of Jago was tailormade for him. Barbara Frittoli was excellent as Desdemona, so warm. The vibrato was heavy in the first minutes but then the nervousness left and the lush, warm tones shone from Barbara Frittoli. Katarina Bradic sang and acted Emilia wonderfully. She made fine portrait of her role. Matthew Newlin made an excellent debut as Cassio. He was a joy to see and listen to.

After such a fine opera evening what can be better than to meet afterwards "backstage" with fans from  the Nordic Countries, Germany, Austria, Hungary, France, USA to name a few places. I guess Marco Vratogna was the MC-guy, Barbara Frittoli was also soon off. Jose Cura talked to his fans while the photos was flashing.

OD Travel & Photos
Original blog post

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

Thursday, November 2, 2017

November 2, 2013: Aida in Paris

2013-11-02 Aida (Verdi), Opera National de Paris (Opera Bastille)

The King = Carlo Cigni
Amneris = Luciana D’intino
Aida = Oksana Dyka
Radamès = Marcelo Alvarez
Ramfis = Roberto Scandiuzzi
Amonasro = Sergey Murzaev
A messenger = Oleksiy Palchykov
High Priestess = Elodie Hache

Philippe Jordan, conductor

Stage director - Olivier Py
Sets and costumes - Pierre-André Weitz
Lighting - Bertrand Killy
Chorus master - Patrick Marie Aubert

"Commissioned to celebrate concord between the nations, Aida is essentially about conflict. Hieratic and flamboyant, spectacular and introspective, Verdi's masterpiece returns to the Paris Opera after an absence of more than half a century."

Philippe JordanConductor
Olivier PyStage director
Pierre-André WeitzSets and costumes
Bertrand KillyLighting
Patrick Marie AubertChorus master
Carlo Cigni Il Re
Luciana D’intino (A) ⁄Elena Bocharova (B) Amneris
Oksana Dyka (A) ⁄ Lucrezia Garcia (B) Aida
Marcelo Alvarez (A) ⁄ Robert Dean Smith (B) Radamès
Roberto Scandiuzzi  (10, 12, 15, 20, 29 oct., 2, 6, 9, 12, 14 et 16 nov.) / Alexei Botnarciuc (25 oct.) Ramfis
Sergey Murzaev Amonasro
Elodie Hache Sacerdotessa

Paris Opera Orchestra and Chorus


(A) 10, 15, 25 OCTOBER, 2, 9, 14 NOVEMBER
(B) 12, 20, 29 OCTOBER, 6, 12, 16 NOVEMBER

So Opera Bastille and Marcelo Alvarez as Radames in Verdi's AIDA. The sets was in gold. The costumes was black or golden or camouflage. We all know that Verdi was an Italian patriot and that his name was used to say discreetly that they wanted Vittorio Emanuele Re D'Italia. Etiopia became Italy, and Egypt became Austria and that did not make sense here. The director improvements of Aida was distractions and in bad taste.

The singing was glorious, the conductor magnificent. I was happy in the beginning, no blackface. Alas, that was not to last...

The opera started with man waiving a big, Italian flag behind the big golden building. Then soldiers dressed in camouflage caught him and beat him severely. Aida in black dress and blonde whig tried to help him. Amneris was also in a black dress with sparkly spots and blonde whig. Blond and white was name of Amneris followers. Aida rebelled and soon the whig was off. Radames was dressed in black as a general with gold streaks. Ramfis and his men was dressed as Catholic priests and monks. Ramfis was dressed in gold as Archbishop or Pope.

Soldiers in camouflage, some times off with shirt, flexing muscles, eager always to use machines against anyone. OK. We get it, Austria was bad to Italians. Ballet meant a chance for bad taste to unfold. The blackest blackface to one of the dancers and then a red "egypt hat" with black, curly hair AND dancing in a kind of monkey type dance AND beating of two camouflage soldiers. I had to look over the stage towards Amneris and friends and just avoid the stage floor. And what did it do for the opera NOTHING except BAD TASTE in whole body. Then there was the Holocaust looking like scene with lots of Dead, White Bodies and Radames strolling there with his water bottle. Also something in Bad Taste and Not Necessary.

This production was distracting when it should not be and it did not speak to me. All that wonderful musical talent and then we got a Golden, but Empty AIDA. Oksana Dyka was wonderful!!! Marcelo Alvarez wonderful!!!

When I left Opera Bastille I was SOOO happy I did not have to see it again. My number 10 Aida and sadly not one of the good ones. The Aida in Verona this summer does not seem so bad now.

OD Travel & Photos
Original blog post

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

Thursday, October 26, 2017

October 26, 2013: La Battaglia di Legnano in Hamburg

2013-10-26 La Battaglia di Legnano (Verdi), Hamburgische Staatsoper

Federico Barbarossa = Tigran Martirossian
Rolando = Giorgio Caoduro
Lida = Alexia Voulgaridou
Imelda = Rebecca Jo Loeb
Arrigo = Yonghoon Lee
Marcowaldo = Viktor Rud
1. Console di Milano = Vincenzo Neri
2. Console di Milano = Alin Anca
Il Podestá di Como = Szymon Kobylinski
Un scudiero di Arrigo = Manuel Günther
Un araldo = Sergiu Saplacan
Simone Young, conductor

Inszenierung - David Alden
Bühnenbild - Charles Edwards
Kostüme - Brigitte Reiffenstuel
Licht - Adam Silverman
Chor - Eberhard Friedrich



Giuseppe Verdi
La Battaglia di Legnano
SA, 26.10.2013 19:30 Uhr


What a wonderful opera night in Hamburg!!!

The great Simone Young conducted a superb cast. Loved the music and singing. This is an opera that shoud be played more in theatres around the world.

First it starts with one of the most beautiful Verdi ouvertures. Simone Young knows how to get best of the orchestra with great clarity it shines. What a demanding, physical work it is to be a conductor. Not only that but concentration and a great precision is needed.

Viva Italia!!! That is the theme of the opera. An Exit sign is on the stage. What does that mean? USCITA means just EXIT, but why is it onstage. It does naturally help the people to find the exit door but it is just never explained.

The chorus is just not on the stage but on the roof/floor of the stage. "Viva Italia" is sung a capella with the chorus dressed in classic Milanese cloths. The men are on the second floor. The women on the stage. The men onstage are actors not singers unless they have a role like being the Herald and such. A wounded Arrigo comes onstage, he is weak and wounded in his arm, he need support of a stick to hold himself erect. Yonghoon Lee sings Arrigo's aria ernestly and with a haunty beauty. Then comes Rolando and the two friends are now reunited. The young Giorgio Caoduro is convincing as Rolando. In Hamburg Arrigo and Rolando is of the same age. Rolando is an important man in Milano, he is the captain of the city. Arrigo has just been released from war prison. La Battaglia is an opera filled with patriotic moments and it the most Milanese opera. All of the opera happens in Milano, the main city of Lombardy.

The marches of La Battagia gives the opera the  most vigorous feeling.

After the scene of prisoners of war coming wounded to the city and not that welcomed by officials. Hospital bed and now out, in comes women happy for Italia. So strange that Lida is not happy. Married with one child, she cannot forget her first love, Arrigo. Her father and brothers are now all dead. Her father arranged the marriage of Lida and Rolando. She thinks Arrigo is dead, too. Alexia Voulgaridou is really a wonderful Lida. A wonderful coloratura. Unfortunately Marcowaldo, who has been allowed to stay at their home by a generous Rolando. He is the servant who fancies his boss' wife. This is a real annoyance for Lida but worse is it that he is present when Lida is beeing told Arrigo is alive. That a sad Lida is suddenly giddily happy is a giveaway. Great coloratura aria!!! Then Rolando comes with Arrigo. Now Marcowaldo has double reason to doubt. Then Rolando has to go out on official business. Arrigo is now alone with Lida. He wastes no time in accusing Lida of all sorts. The singing is glorious and musically the duet is just wonderful. But Lida never gets the chance to explain herself. Arrigo seems to believe that Lida as a woman could be free to chose whatever she wants. Arrigo is blind with fury. I loved you as a god, now I see you as a demon. But what would an opera be if the characters was thinking before acting. Opera is often all emotion. Reason be damned!

So now Lida is back to unhappiness again.

In Hamburg it seems that the opera is happening during the risorgimento. Act 2 starts with the Mayor of Milano and a group of important who is about to agree with the opressor Barbarossa. Rolando and then Arrigo are outraged of the patriotic weakness. They will never accept Barbarossi. But then suddenly Barbarossa with his big, red beard appears. He was in the room all the time while Rolando and Arrigo was insulting him. Great scene. Barbarossa has already surrounded the city. He gloats, Rolando and Arrigo counter that with patriotic will will Milano cast out the foreign army. The city is in turmoil and burns already. Barbarossa is not the destiny of Milano. NEVER!!

ACT 3

Arrigp desperate of love and patriot as he is. He joins the Cavalieri della Morte. Dressed in the flag of Italy with a skull in his hand Arrigo swears to be a Cavlier della Morte. The scene is of glorious gloom and a musical feast. And on this note, the lights go out and we can now eat, drink, relax.

Why a pause at the beginning of act 3? Musically it simply ends better so it feels right. After act 2 we just feel a scene is over but it not as clear. Anyway, that was the decision in Hamburg.

So after a pause of 25 minutes we are in the Rolando household. Lida is extremely agitated, Arrigo has joined the death/suicide squad. This is just a scene of extreme feeling. Lida is in secret writing a note to Arrigo. Imelda agrees to carry it, to give it to Arrigo. But sleazy Marcowaldo gets hold of the document.  Rolando comes to Lida to say goodbye and since it is war again and he could die. He is very emotial and Lida becomes teary-eyed, too. Their boy is seated and Rolando gives instructs Lida "tell him he is of Italian blood, then him he is my son". Beautiful duet. Then a scene with Rolando and Arrigo alone. Rolando does not know that Arrigio has joined the death squad so he asks Arrigo to take care of his wife and son. Arrigo who has shown no mercy toward Lida, he can feel sorry Rolando, the man who "stole" Lida from him. Beatiful scene. As Rolando is about to depart Marcowaldo shows the letter Lida wrote to Arrigo and naturally Rolando waste no time to think and goes into fury about the "betrayal" immediately.

Arrigo is in his appartement feeling sorry for himself. So sure of his death is Arrigo so he is writing his mother to prepare her. Having heard no word from Arrigo since Arrigo has not received the note, Lida comes. She confesses her love. But even as that makes Arrigo happy Lida tells him he must live for his mother just as she must live for son. The appartment is on the second floor and the stage is covered in blue light as it night and the river runs there. Rolando appears, Arrigo hides Lida. Rolando has decided against killing Arrigo. Arrigo is to die the slow, agonizing death of shame. Rolando knows that for Arrigo that is worse than death. For Lida, another shame, to no longer be a part of the Rolando household, Rolando will no longer accept her as his wife. Infamia!!! Desperately Arrigo throws himself in the river. He will find a way to join the Componi della Morte. This scene is just Verdi magic.


Act 4. War is over. Lida is overjoyed to hear that Arrigo managed to get to his squad, His shame has been averted. Masses celebrate. A mourning sound is heard. The death squad leads a mortally wounded Arrigo, a man dying for the fatherland cannot lie. Rolando must understand that Lida is innocent. Will Rolando not accept and hold the hand of Arrigo. Rolando forgives Arrigo and possibly Lida, too. Arrigo dies as hero. The opera ends beautifully!!!!!

OD Travel & Photos
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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

Thursday, October 19, 2017

October 19, 2013: Don Carlo in Vienna

2013-10-19 Don Carlo (Giuseppe Verdi), Wiener Staatsoper

Philipp II = Ferruccio Furlanetto
Don Carlo = Ramón Vargas
Rodrigo = Ludovic Tézier
Elisabeth von Valois = Tamar Iveri
Prinzessin Eboli = Violeta Urmana
Großinquisitor = Eric Halfvarson
Mönch = Dan Paul Dumitrescu
Tebaldo = Ileana Tonca
Lerma = Xiahou Jinxu
Herold = Xiahou Jinxu
Stimme vom Himmel = Valentina Nafornita

Franz Welser-Möst, conductor

Daniele Abbado | Regie
Graziano Gregori | Bühnenkonzeption
Angelo Linzalata | Bühne
Carla Teti | Kostüme
Alessandro Carletti | Licht
Boris Stetka | Regiemitarbeit
Simona Bucci | Choreographie


DON CARLO (ITAL.)
Giuseppe Verdi
19. Oktober 2013
19:00-22:30|1 Pausen|Preise G

Did I like the production? Well, it was OK but nothing new and interesting. The stage was just like how do we move this walls around. The effect was nothing really. Costumes good but not amazing. Modern kind of historic. It was the majesty of Ferruccio Furlanetto, the vulnerality of Ramon Vargas, the vigor of Ludovic Tezier, the sweetness of Tamar Iveri, the passion of Violeta Urmana, these singers made the opera real.


Xiahou Jinxu as Lerma/Herold was just wonderful!! A wonderful voice, a skilful presention and a singer for the future. Loved him!!! Of course I adored Ramon Vargas who is a great singer and actor. I found the interaction between Vargas and Ludovic Tezier as Don Carlo and Rodrigo, just perfect. Tezier was a really wonderful Rodrigo. The interaction between Ferrucio Furlanetto and Tamar Iveri as Fillip II and Elisabeth was another high. Vargas as Iveri also very good. I really liked Violeta Urmana and her Eboli.

OD Travel & Photos
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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

Thursday, September 21, 2017

September 21, 2013: Giovanna d'Arco in Bilbao

2013-09-21 Giovanna d'Arco (Verdi), Palacio Euskalduna (Bilbao)

Giovanna d'Arco = Krassimira Stoyanova
Carlos VII = Alejandro Roy
Giacomo = Claudio Sgura*
Talbot = Miguel Ángel Zapater
Delil = Eduardo Ituarte

Yves Abel, conductor
Euskadiko Orkestra Sinfonikoa
Coro de Ópera de Bilbao

Regie - Gabriele Lavia
Scenography - Alessandro Camera
Costumes - Andrea Viotti
Light design - Boris Dujin

Production from Teatro Regio di Parma


*Debuta en ABAO-OLBE



GIOVANNA D'ARCO in Bilbao 2013-09-21
What a difference from Otello in Vienna to Giovanna d'Arco in Bilbao? In Vienna we had a modern production that unfortunately did not make sense even with Shakespeare and Boito together for the drama. In Bilbao we had a traditional production of Giovanna d'Arco.


Yves Abel conducted the opera. Giovanna d'Arco is an opera with some glorious music but that was hard to hear in Bilbao. The ouverture was sloppy and the opera seemed to be on and off during the evening. Claudio Sgura was not only literally taller than all but also figuratively speaking. Krassimira Stoyanova was a wonderful Giovanna but I did not feel that she was supported enough by the orchestra/conductor. Alejandro Roy as the King started the opera with a big scene and aria. He became better and better during the performance.

It was a beautiful production that was as historically correct as an opera can be. Historical correct costumes can be too much for modern sensibilities. It was a really good workmanship this production, but perhaps not the most exciting one. Can Giovanna d'Arco be better?


During the evening there was  coughing, coughing everywhere and often in the most sensitive moments. Not to mention the person that made some loud deep clensing from the nose and down, and not once. But that can be how live opera is. Great onstage but annoying audience. Not all the audience, but still...

OD Travel & Photos
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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

Monday, September 18, 2017

September 18, 2013: Solistenkonzert Agnes Baltsa in Vienna

2013-09-18 Solistenkonzert Agnes Baltsa, Wiener Staatsoper

Agnes Baltsa, mezzo

Achilleas Wastor, piano

Mános Hadjidákis
Peribanou (Klavier solo)

Stavros Xarhákos
Áspri Méra ke ja mas (Es werden glücklichere Tage kommen, auch für uns)

Míkis Theodorákis
To tréno févgi stis ochtó (Der Zug fährt um acht ab)

Mános Hadjidákis
Óniro pedión tis gitoniás (Die Träume der Nachbarskinder)

Vassílis Tsitsánis
Horisam`ena dilino (Und eines Tages hatten wir uns auseinandergelebt)
Sinefiasmeni kiriaki (An einem regnerischen Sonntag)

Stavros Xarhákos
Stou Óthona ta hrónia (Zur Zeit von König Otto)
Háthike to fegári (Der verlorene Mond)

Vassílis Tsitsánis
Archóntissa (Meine Edelfrau)
Ta kavourákia (Die Krabben)

PAUSE

Míkis Theodorákis
Hartaetí (Drachensteigen)

Spíros Peristéris
Mes ston ondá enós Passá (Im Privatgemach eines Paschas)

Mános Hadjidákis
O tachitrómos péthane (Der junge Postbote starb)

Stavros Xarhákos
To praktorío (Die einsame Station)

Mános Hadjidákis
Nihterino (Nocturne)
Kalamatianos
Megali sousta (Klavier solo)

Stavros Xarhákos
Varkaróla (Barkarole)

Mános Hadjidákis
Páme mia wólto sto fégari (Spazieren wir zum Mond)

Stavros Xarhákos
Nin ke aí (Jetzt und für immer)

My week in Vienna ended with Greek songs with AGNES BALTSA. The same concert with the same extra numbers. She was wonderful. The pianist was not so wonderful but maybe that was the instrument.

Agnes Baltsa greeted her fans with a Signierstunde at the portier of the Bühneneingang. I got he signature but once again I left without knowing the name of the second and last extra. The first was Garifollo st afti, and is as sure as after an opera concert the extra will be Seguedilla from Carmen.

OperaDuets Travel & Photos
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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

Sunday, September 17, 2017

September 17, 2013: Otello in Vienna

2013-09-17 Otello (Verdi), Wiener Staatsoper

Otello = José Cura
Desdemona = Anja Harteros
Jago = Dmitri Hvorostovsky
Emilia = Monika Bohinec
Cassio = Marian Talaba
Rodrigo = Jinxu Xiahou
Lodovico = Alexandru Moisiu
Montano = Mihail Dogotari
Ein Herald =

Dan Ettinger, conductor

Director - Christine Mielitz
Stage-design - Christian Floeren

Costume-design - Christian Floeren

Siberian tiger and Anja Harteros (September 17, 2013)


2013-09-17 Otello (Verdi), Wiener Staatsoper
Otello = José Cura
Desdemona = Anja Harteros
Jago = Dmitri Hvorostovsky

Dan Ettinger, conductor



The Siberian tiger, that was too easy. Dmitri Hvorostovsky, baritone from Sibiria.

With the words Otello and Argentinian that was José Cura, tenor from Argentina. But why did I say mountain lion. Well, I really wanted to say lion but they do not live in Argentina, mountain lions do.  Anyway Otello is called the lion of Venice and onstage José Cura was often on four legs like a powerful predator.

Anja Harteros is Anja Harteros, the German soprano.

News!! I now saw that sometimes the chorus was in black and red. The red on the black as red as blood. Other news sometimes the video showed clouds and not the raging sea, some times one could see something else and sometimes it was just black as nothing.

It really did not make much sense and it was boring. Boring color changes. The singing was glorious. Everybody deserved a much better production.  BIG NEWS! José Cura was well and in good humour. The nicest tenor ever!!

OD Travel & Photos
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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

Saturday, September 16, 2017

September 16, 2013: Carmen in Vienna

2013-09-16 Carmen (G. Bizet), Wiener Staatsoper

Carmen = Rinat Shaham
Don José = Roberto Alagna
Escamillo = Laurent Naouri
Micaëla = Anita Hartig
Zuniga = Jongmin Park
Moralès = Gabriel Bermúdez
Dancairo = Mihail Dogotari
Remendado = Sebastian Kohlhepp
Frasquita = Hila Fahima
Mercédès = Juliette Mars

Dan Ettinger, conductor

Inszenierung und Bühnenbild - Franco Zeffirelli

Kostüme - Leo Bei


2013-09-16 Carmen (Bizet), Wiener Staatsoper
Carnen = Rinat Shaham
Don José = Roberto Alagna
Escamillo = Laurent Naouri
Micaela = Anita Hartig

Dan Ettinger, conductor

I would have loved the ticket to be cheaper. But how can one regret PERFECTION. It started with the most perfect Prelude. I have never enjoyed the Prelude of Carmen just like it was on September 16, 2013. DAN ETTINGER was the conductor. And Dan with his crazy hair made my day with that piece. I never thought it would be possible but my Dream Carmen Prelude came through. Other conductors just annoyed me from their first beat of the Prelude. This was a Dream. The wonderful conductor with this wonderful orchestra. The crisp, clear sound of orchestra and one sound that just continued to amaze, Dan Ettinger made CARMEN sound new and fresh. And that is just impossible, after all This is Carmen!!!!

This time even where the dialogue was cut it was cut in a way that only works in the advantage of the drama. That is rare. I did not expect to like Roberto Alagna a lot but he was perfection. The perfect Don José and with Rinat Shaham so very close to the perfect Carmen. But with Rinat Shaham that is just nitpicking. I loved Anita Hartig as Micaela, but I want to see her in bigger roles like Marguerite in Faust. And while I am in an Alagna rush with Roberto Alagna as her Faust. Laurent Naouri was also great, how great is hard to say with a smallish role as Escamillo.


Even as it rained hard when the opera ended I was surprised so few waited for the Great Roberto Alagna. But that made my waiting short and my back pain managable. He came out with his girl friend. So that was a 2 for 1 moment.

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

Friday, September 15, 2017

September 15, 2013: Tosca in Vienna

2013-09-15 Tosca (Puccini),  Wiener Staatsoper

Floria Tosca = Angela Gheorghiu
Mario Cavaradossi = Marcelo Álvarez
Baron Scarpia = Zeljko Lucic
Cesare Angelotti = Janusz Monarcha
Der Mesner = Alfred Šramek
Spoletta = Benedikt Kobel
Sciarrone = Marcus Pelz
Ein Schließer = Alexandru Moisiuc

Marco Armiliato, conductor

Inszeniering - Margarethe Wallmann

Bühnenbild und Kostüme - Nicola Benois


2013-09-15 TOSCA (Puccini), Wiener Staatsoper
Tosca = Angela Gheorghiu
Cavaradossi = Marcelo Alvarez
Scarpia = Zeljko Lucic

Conductor Marco Armiliato.


And a happy opera night it was. The production was TOSCA and no nonsense here. Marcelo Alvarez was a great Cavaradossi. He had a wonderful E lucevan le stelle. Angela Gheorghiu´s best moment was Vissi d arte and the last act. Zeljko Lucic was too mellow, strange since he is such a powerful Jago.

OD Travel & Photos
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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 15, 2013: Konzertmatinee Josep Carreras in Vienna

2013-09-15 Konzertmatinee Jose Carreras, Wiener Staatsoper

Josep Carreras, tenor
Anita Hartig, soprano
Margarita Gritskova, mezzo
Adam Plachetka, baritone

David Gimenez, conductor
Orchester der Sommerakademie der Wiener Philharmoniker


PROGRAMM

La gazza ladra – Overture | Gioachino Rossini

Te voglio bene assaje | Gaetano Donizetti
José Carreras

Nel giardin’ sotto il tiglio | Franz Schreker
José Carreras

Il barbiere di Siviglia – Una voce poco fa | Gioachino Rossini
Margarita Gritskova

Don Giovanni - La ci darem la mano | Wolfgang Amadeus Mozart
Anita Hartig, Adam Plachetka

Le nozze di Figaro – Vedrò, mentr’io sospiro | Wolfgang Amadeus Mozart
Adam Plachetka

Terra e mare | Giacomo Puccini
José Carreras

Sole e amore | Giacomo Puccini
José Carreras

Faust – Oh Dieu que de bijoux | Charles Gounod
Anita Hartig

Je te veux | Erik Satie
José Carreras, Anita Hartig

T’estimo | Edvard Grieg
José Carreras

Pause

El eco de tu voz | Isaac Albéniz
José Carreras

La Linda Tapada – Canción del gitano | Francisco Alonso
José Carreras

Les filles de Cadix | Léo Delibes
Anita Hartig

Sogno | Francesco P. Tosti
Adam Plachetka

Pecchè | Francesco Pennino
José Carreras

Vierno | Vincenzo Acampora
José Carreras

Carmen – Seguidille | Georges Bizet
Margarita Gritskova

El Dúo de la Africana – Dúo y Jota | Manuel F. Caballero
José Carreras, Anita Hartig

Core n’grato | Salvatore Cardillo
José Carreras

2013-09-15 Carreras and friends in Wiener Staatsoper.

Of course the MatinéKonzert with Josep Carreras and Friends was something different than Otello with  José Cura. For 6 Euro what can you get? Balcony seat high, high up where you cannot see the whole "stage". Tragically I was on the wrong side. This time left was wrong. I could only see Carreras by leaning out. So I sat and saw him seldom. But I could hear. It was a wonderful concert and I hope it brought a lot of money for the Carreras foundation to fight Leukemia. www.fcarreras.org

That was 11 to 1330 and then I waited for Carreras, And then I gave it up. But I did get photo of the conductor David Gimenez Carreras.

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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