January 12, 2002: Nabucco in Vienna

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

September 1, 1995: Herodiade in Vienna

1995-09-01 Herodiade (Jules Massenet), Wiener Staatsoper

Jean = Josep Carreras*, tenor
Hérode = Juan Pons
Hérodiade, seine Gattin = Dolora Zajick
Salomé, ihre Tochter = Eliane Coelho
Phanuel = Ferruccio Furlanetto
Vitellius, römischer Feldherr = Istvan Gati*
Oberpriester = David Cale Johnson
Eine Stimme = Ruben Broitman

Marcello Viotti, conductor
Szenische Konzeption und Gestaltung - Richard Bletschacher, Hermann Nitsch
Bühnenbild und Kostüme - Hermann Nitsch
Chorleitung - Dietrich D. Gerpheide


Freitag, 1. September 1995 STAATSOPER
9 Aufführung in dieser Inszenierung

Hérodiade
Oper in dreizehn Bildern von Paul Milliet,
Henri Grémont und Angelo Zanardini
Musik Jules Massenet

Musikalische Leitung Marcello Viotti
Szenische Konzeption
und Gestaltung Richard Bletschacher,
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
Chorleitung Dietrich D. Gerpheide


Kaufleute, Palastwachen,
jüdische und römische Soldaten,
Priester und Volk
Tempeltänzerinnen und
Schwerttänzer Corps de ballet

Balletteleven der Österreichischen Bundestheater
Bühnenorchester der Österreichischen Bundestheater

Die Handlung spielt im Jahre 27 n. Chr. in Jerusalem

* Rollendebüt an der Wiener Staatsoper


This is a wonderful opera. The music of Massenet is just so beautiful, very musical. And this is a happier Salome opera than Richard Strauss, where Salome is a strange girl. In Massenet's opera is no longer teen-age, she certainly is not mad, she has lost her mother, is looking for her mother in Jerusalem, and Jean is the prophet she loves and that she follows. The other big differences is that Jean is a tenor role, and not baritone as in Strauss (Jochaanan). And Jose Carreras has found another perfect role.

In Strauss Herode(s) is also lusting for Salome, but in Massenet he doesn't know that Salome is Herodias (Herodiade)s daughter. Herodiade is missing her daughter who she left behind when she followed Herode. When Phanuel tells her that Salome is her daughter, her jalousie gets the better of her.

Massenet's Jean (John the Baptist) is a man who first denies the love he feels towards Salome, but in the end when execution awaits him, accepts this love as something God has given him.

The wonderful cast that heads with Jose Carreras as Jean, Juan Pons as Herode, and Ferruccio Furlanetto as Phanuel, and that have Eliane Coelho as Salome, and Dolora Zaijck as Herodiade, makes it really great night at the opera. My Favorite Tenor, My Favorite Baritone and My Favorite Bass is do their parts so well. Eliane Coelho makes Salome very enjoyable, and Dolora Zaijck is a great mezzo.

OD Travel

May 30, 1998: Jerusalem in Vienna

1998-05-30 Jérusalem (Giuseppe Verdi), Wiener Staatsoper

Gaston, Vicomte von Bearn = Keith Ikaia-Purdy
Comte von Toulouse = Yu Chen
Roger = Kurt Rydl
Hélène = Eliane Coelho
Isaure = Marjorie Vance
Adhemar de Monteil = Peter Köves
Emir de Ramla = Wolfgang Bankl

Bruno Campanella, conductor



Eliane Coelho = Helene
Keith Ikaya-Purdy = Gaston
Kurt Rydl = Roger

Wiener Staatsoper 30.5.98 kl.1900-2230
Verdi : Jerusalem


In place at the opera 1819, heard some magnificent voices warm up,
possibly Keith Ikaya-Purdy.
I bought my program ATS 38,- ( took 40)
Wearing my three-tenors-operaglasses, feeling classy.
Naturally I started by reading in the program.

The commercial for Chopard,with big picture of Jose, almost destroys
my happy mood. --- It Could have been Carreras singing---
I decide not to let any such thought destroy my evening, after all I
have a dark video of Jose as Gaston, and some picture too.

Graf von Toulouse = Yu Chen
Isaure = Marjorie Vanel

The House is full.

Pause after 1 act and after 3 act 1scene

BRAVO Kurt Rydl! Great Roger!!!

Prelude .
Gaston & Helene duet. Beautiful singing.
The person sitting beside me has no consideration of other peoples
wishes to see the stage too. Sitting leant back to the chair, he
would still see the stage with no problem, but he is leaning forward,
so that WE have problem seeing the stage, not only me. He is not
Thinking.

Bruno Camponelli conducts. Sublime music. Next scene. Yu Chen who
sing the Count of Toulouse look so like Carreras. Great bass. The
father is younger than his daughter. It is very natural.

Kurt Rydl is great as Roger, much better than Ramey. His character is
not only evil, he is multi-faceted.

A grand first act!!

OD Travel + Photos