March 30, 2010: Simon Boccanegra in Berlin

2010-03-30 Simon Boccanegra (Verdi), Staatsoper (Berlin)

Simon Boccanegra = Andrzéj Dobber
Maria Boccanegra (Amelia) = Ailyn Perez
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Aquiles Machado
Paolo Albiani = Massimo Cavalletti
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

Daniel Barenboim, conductor



Director - Federico Tiezzi


Set Designer - Maurizio Balò


Costume Designer - Giovanna Buzzi


Light Designer - A. J. Weissbard


Chorus master - Eberhard Friedrich


Dramaturgy - Francis Hüsers
Barbara Weigel




This time my seat is on the 2nd balcony in the middle of the 2nd row. My view is excellent. Of course you see more in the seats of the parkette but here one can see the whole stage at once and even the subtitling at on glance. The Prologue and Act 1 is the same as on March 27, the only other is that I now know what and where is people coming and that I find Ailyn Perez even better. Her Come in quest-ora bruna was superb. During the performance one understood that Achiles Machado is at his limit in Gabriele Adorno but not in the degree that one cannot enjoy his voice throughout the opera.

In act 2 came the great tenor aria "Sento avvampar nell'anima" with Aquiles Machado.

O inferno! Amelia qui! L'ama il vegliardo!...
E il furor che m'accende
M'è conteso sfogar!... Tu m'uccidesti
Il padre... tu m'involi il mio tesoro...
Trema, iniquo... già troppa era un'offesa,
Doppia vendetta hai sul tuo capo accesa.
Sento avvampar nell'anima
Furente gelosia;
Tutto il suo sangue spegnerne
L'incendio non potria;
S'ei mille vite avesse,
Se mieterle potesse
D'un colpo il mio furor,
Non sarei sazio ancor.
Che parlo!... Ohimè!...
Piango!... pietà, gran Dio, del mio martiro!...
Pietoso cielo, rendilà,
Rendila a questo core,
Pura siccome l'angelo
Che veglia al suo pudore;
Ma se una nube impura
Tanto candor m'oscura,
Priva di sue virtù,
Ch'io non la vegga più.

And then the duet with Amelia (Ailyn Perez). Bravi!

I think I must cut short my review of this performance. It was just too good to describe. Andrej Dobber as Simon Boccanegra. Ferruccio Furlanetto as Fiesco, Ailyn Perez as Amelia, Aquiles Machado as Gabriele Adorno. BRAVI!! And honorary mention to the rest of the cast:
Paolo Albiani = Alexander Vinogradov
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

OD Travel + Photos

Original blog post: The end of OD Travel in March: Berlin, Boccanegra and home.

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

March 27, 2010: Simon Boccanegra in Berlin

2010-03-27 Simon Boccanegra (Verdi), Staatsoper (Berlin)

Simon Boccanegra = Andrzéj Dobber
Maria Boccanegra (Amelia) = Ailyn Perez
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Aquiles Machado
Paolo Albiani = Massimo Cavalletti
Pietro = Alexander Vinogradov
Ein Hauptmann der Bogenschützen = James Homann
Eine Dienerin Amelias = Rachel Frenkel

Daniel Barenboim, conductor

Director - Federico Tiezzi


Set Designer - Maurizio Balò


Costume Designer - Giovanna Buzzi


Light Designer - A. J. Weissbard


Chorus master - Eberhard Friedrich


Dramaturgy - Francis Hüsers
Barbara Weigel



Opera about the first Doge of Genoa (Genova). Of course the opera is not completely historical correct. 1900 the opera starts. Daniel Barenboim conducts. A great conductor of opera did he show himself to be. The orchestra shone The Scenography by Maurizio Balo, and the beautiful costumes was by Giovanna Buzzi.

Inszenierung / Federico Tiezzi, Dramaturgie / Francis Hüsers, Barbara Weigel.

Prologue: Paolo (Massimo Cavalletti) and Pietro (Alexander Vinogradov) decides that Simon Boccanegra shall be the new Doge and not Lorenzino. Then Paolo has to convince Boccanegra (Andrej Dobber) to be Doge and accept to let Paolo have a part of the power. Simon only wants his Maria so in order to win Maria as his wife he accepts to be Doge. They leaves as a crowd of men appears. Pietro and Paolo tells the crowd that Lorenzino is paid by Fiesco, the patrician. So they want another, a man of the people, Simon Boccanegra, the corsair. Paolo moves the crowd with a song about the palace of Fiesco where the beautiful and pious Maria is prisoner and where a ghost haunts the house (says Paolo). Fiesco (Ferruccio Furlanetto) appears from the opera. He is mourning Maria who has just died. He curses Boccanegra. Simon Boccanegra appears as Fiesco disappear, all lips will call my name, he sings. Then Boccanegra will be Doge and Maria's husband. Fiesco and Boccanegra meets, Fiesco is proud and fierce, Boccanegra is asking of forgiveness. Simon still believes Maria to be alive and begs of forgiveness. Never is the answer from Fiesco unless you give me the child from their unmarried relationship. But the child was taken care of by an old woman far from Boccanegra. The woman died, the child cried 3 days and then she disappeared. Fiesco is unplacated by the story. He leaves, only to look as Simon Boccanegra tries to find his Maria the house. And he finds her dead, the coffin is leaving the house. Fiesco rejoices only to hear Boccanegra proclaimed as the new doge.

25 years later
Act 1: Amelia GrimaldiAdorno to appear. Achiles Machado is Gabriele Adorno. She is worried because he is involved in plans against the powers in Genoa, the Doge. Amelia fears that the Doge who wants to visit is planning a marriage between her and Paolo. Gabriele must see Adrea (Fiesco in disguise) to arrange marriage so that she would not have to marry Adorno. As Amelia leaves, Fiesco appears and Gabriele Adorno is told that Amelia Grimaldi is not a Grimaldi but a poor orphan that was raised up in Pisa with the nuns there in the cell that was Amelia Grimaldi's cell before. Gabriele still wants to marry Amelia. Andrea/Fiesco blesses Gabriele Adorno. They leave as the Doge appear. "Amelia Grimaldi's" work is done as the Doge Simon Boccanegra gives her the paper of the forgiveness of Amelia's brothers. She tells the Doge the she loves another man and do not want to marry a man who is only after the Grimaldi gold. Boccanegra is so understanding that she confesses not to be a Grimaldi. As she tells her story and Boccanegra asks if the old woman's name was Giovanna and the portrait of her unknown mother is it not the same as he has. Amelia Grimaldi is Maria, Maria Fiesco's daughter with Simon Boccanegra. As she goes, Paolo appears only to hear that he have to give up to marry Amelia Grimaldi. When the Doge leaves, he and Pietro agrees to abduct Amelia Grimaldi to Lorenzino's house.

In the Doge's Palace. The Doge and Senators. Between talks of peace or war with Venice a noise is heard from outside the palace. A fight between large groups of people. Gabriele Adorno is captured. At the sound of cries of death to the Doge. The Doge tells the herald to tell the people that the Doge will open the doors to hear the people. The trumpets, and after the herald, cries that hails the Doge. Then the people arrive. The fractions in Genoa are against each other, no trust. The Doge questions Adorno who has killed Lorenzino for abducting Amelia Grimaldi but before he died Lorenzino told that a powerful man was behind. Adorno hints that it might me the Doge and almost attacks the Doge. Then Amelia appears and on the Doge's request tells who she was captured and how did she get free. She tells it but omits that she knows it is Paolo who is behind it. Since nobody knows who the man is it soon gets violent until the Doge calls it

Fratricidi!!!


Plebe! Patrizi! Popolo
Dalla feroce storia!
Erede sol dell'odio
Dei Spinola e dei D'Oria,
Mentre v'invita estatico
Il regno ampio dei mari,
Voi nei fraterni lari
Vi lacerate il cuor.
Piango su voi, sul placido
Raggio del vostro clivo
Là dove invan germoglia
Il ramo dell'ulivo.
Piango sulla mendace
Festa dei vostri fior,
E vo gridando: pace!
E vo gridando: amor!


Then the acts ends with the Doge Simon Boccanegra making Paolo curse himself.

After act1 it was an interval in which I left to take the train to Zurich.

Andrej Dobber was a great Simon Boccanegra, Ferruccio Furlanetto sang a fierce Fiesco. It was disappointing that Paolo (Massimo Cavalletti) seemed so weak against the great bass of Alexander Vinogradov as Pietro. The young couple was sung by Ailyn Perez and Aquiles Machado. After "Come inquest'ora bruna" I got used to Ailyn Perez' voice and found her to be a wonderful Amelia. Aquiles Machado was also a delight as Gabriele Adorno.

OD Travel + Photos

Original blog post: ODT Travel in March to Berlin's Boccanegra

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

January 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

November 6, 2004: La Forza del Destino in London

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

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

Antonio Pappano, conductor

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

NEW PRODUCTION

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


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

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

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

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

Conductor:
Antonio Pappano

Staging:
Patrizia Frini

Lighting:
John B Read

Based on a production from
La Scala, Milan

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

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

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

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

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

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

OD Travel + Photos

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

October 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
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

September 22, 2003: Herodiade in Vienna

2003-09-22 Herodiade (Massenet), Wiener Staatsoper

Herodiade = Agnes Baltsa
Herode = Philippe Rouillon
Jean = José Cura
Salomé = Barbara Haveman
Phanuel = Ferruccio Furlanetto
Vitellius = Markus Nieminen
Oberpriester = Janusz Monarcha
Eine Stimme = Cosmin lfrim

Jun Märkl, conductor




Wiener Staatsoper
Montag, 22. September 2003
31. Aufführung in dieser Inszenierung

Herodiade
Oper in dreizehn Bildern von Paul Milliet, Henri Gremont und Angelo Zanardini
Musik von Jules Massenet

Dirigent Jun Märkl
Szenische Konzeption
und Gestaltung Richard Bletschacher
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
Chorleitung Ernst Dunshirn


Eine Stimme Cosmin lfrim*

Tempeltänzerinnen und Schwerttänzer Corps de ballet
Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Balletteleven der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper

* Rollendebüt an der Wien er Staatsoper

Cura is sick (he has a fever), but he is a fantastic Jean this night!

First a man came out pronouncing that José Cura is still going to sing Jean, but he has fever, hope for understanding of the audience.

Then the opera starts. Jun Märkl is really good conductor today, the orchestra wonderful. The chorus singing and acting in the opera is not improved and the dancers is not doing very well, at least in the beginning. From the moment Ferrucio Furlanetto appears, it is a much better opera than on the 19th. First of all the members of the chorus and statists is reacting to the coming of Phanuel (Ferruccio Furlanetto) in the right moment. It is logical and natural. Unlike Friday, so I wondered if the chorus had been told anything.

Barbara Haveman sang the aria "Il est doux!" splendidly. She was a wonderful Salome. Philppe Rouillon sang Herode better this day, but he chose just this day when Jose Cura was feverish and sick to be quite brutal with Jean (José Cura) in leashes. I feared very much that Cura would fall, and not be able to continue singing. Agnes Baltsa was a wonderful Herodiade, the interaction between Herodiade and Salome in the end of the opera was quite magic. Since señor Cura was sick, probably because of the heat and being long at the stage door on Friday the 19th, and then coming out in the relatively colder weather outside the opera house after 1,5 hour in the heat, Agnes Baltsa decided to go out to greet her fans, but she (being wise) wanted to do the autographing and such outside. Thank you, Agnes Baltsa!!!

Everybody was better this day. Even José Cura, who no doubt was sick and should have been in bed. But lucky for us, opera-goers, he was on stage, singing and acting wonderfully the role of Jean. But I saw his eyes, the sweat, and his uncompromising force to stay on his two feet, to stay in the role of Jean. His eyes seemed to sparkle, but it was probably the fever. He never touched the walls, or chairs unless it could be musically valid. In the big last act aria, he walked and walked even as if was clear he needed to sit down, to rest, but he would not compromise the role of Jean, by letting the weakness win. And many times he took the audience Bravos, and frenzy. When the opera was over, he came out the stage door. Jose Cura said "I am going straight to bed!". I got to say "Get well !!!" to Jose Cura. BRAVO, Jose Cura!!!

OD Travel + Photos

September 19, 2003: Herodiade in Vienna

2003-09-19 Herodiade (Massenet), Wiener Staatsoper

Herodiade = Agnes Baltsa
Herode = Philippe Rouillon
Jean = José Cura
Salomé = Barbara Haveman
Phanuel = Ferruccio Furlanetto
Vitellius = Markus Nieminen
Oberpriester = Janusz Monarcha
Eine Stimme = John Nuzzo

Jun Märkl, conductor



Wlener Staatsoper
Freitag, 19. september 2003
30. Aufführung in dieser Inszenierung

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

Dirigent Jun Märkl
Szenische Konzeption
und Gestaltung Richard Bletschacher
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
ChorleitungErnst Dunshirn

., .
Tempeltänzerinnen und Schwerttänzer
Corps de ballet

Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Balletteleven der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Give this opera OMO color

This is the 3rd time I saw this opera in this production. Unfortunately the production just a little less then 10 years old is weary. The colors needed brightening up, some of the scenography definitely needed a new touch. But worst of all was the lack of timing and a director to strengthened the drama and give the tension the drama needed. A more traditional approach would have helped, especially the costumes.

If the conductor had not taking some seconds here and there, when it did not need it. It felt like patched up, like listening to an opera on a cd-player, who put 1 second air between each track.

Just tighten the drama, it is a very dramatic opera, French, yes, but it does have drama even if this an opera for the beautiful voices.

Luckily Jose Cura as Jean, not bothered by the production, he sang out, clear and ringing being the Prophet Jean. The opera rose up every time Jose Cura was there.

Agnes Baltsa as Herodiade was wonderful, but the partnership of Philippe Rouillon gave her no support. Her voice found her strength, her acting was perfect. And when with Phanuel (F. Furlanetto) and Salome (B. Haveman), her ability shone out. Wonderful in the ensembles.

Ferruccio Furlanetto as Phanuel was great, he was better in 1995, when Herodiade was almost new. But growing in stature all the time.

Barbara Haveman was great as Salome. Good in the beginning, fantastic in the end of the opera.

Philippe Rouillon as Herode, was a disappointment, his acting bad, even his voice was good enough.

Markus Nieminen as Vitellius was good in the ensemble and elsewhere. High Priest: Januszch Monarcha, a good voice.

The Voice, John Nuzzo, was not in a beautiful voice.

(This is only my opinion of the performances, not THE TRUTH, but my opinion at the time)

OD Travel + Photos

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

June 3, 2004: L'Italiana in Algeri, Vienna

2004-06-03 L'Italiana in Algeri (Rossini), Wiener Staatsoper

Mustafà = Ferruccio Furlanetto
Elvira = Simina Ivan
Zulma = Stella Grigorian
Haly = Marcus Pelz
Lindoro = Juan Diego Flórez
Isabella = Agnes Baltsa
Taddeo = Alfred Šramek

Frédéric Chaslin, conductor



L'Italiana in Algeri

Conductor Frederic Chaslin


WHAT A PERFORMANCE!!!! Have I ever smiled as much during a performance, I can still feel it in my face, such happy smiles means work for muscles in the face. After the performance I met Nancy Gustafson, soprano and fiancee of the conductor Frederic Chaslin, what have you done, it was do fantastic. I just had to ask somebody about that, what made this performance so extraordinary, who did it, is it just magic, ensemble-work. Nancy who I saw at the last performance (May 31) obviously recognized me from the crowd otherwise I do not think that I would have gotten to talk to her. She was all smiles too. AGNES BALTSA WAS SPLENDID AS ISABELLA, I think it was maybe Agnes that was throwing her magic in the operahouse. She was in such good humor, they all were great. One mishap, Juan Diego Florez came a bit late in the male terzett (Mustafa, Taddeo, Lindoro) to the "Per lui che adoro", in the second he had come down. Good I was nervous that Florez had maybe broken a leg behind the scenes. But luckily he had just been delayed, and was jumping on the stage with great vigor in the Pappataci scene.

And on this day when we came out of the opera house it had stopped raining.And at the stage door I saw Nancy and the Chaslin, the indentant Ioan Holender, Furlanetto and Florez, and AGNES BALTSA in the portier room, and we were many to take photos and to get autographs.

And soon I will be going back to Hamburg for my second Otello with Cura, Frittoli.

OD Travel + Photos

May 31, 2004: L'Italiana in Algeri, Vienna

2004-05-31 L'Italiana in Algeri (Rossini), Wiener Staatsoper

Mustafà = Ferruccio Furlanetto
Elvira = Simina Ivan
Zulma = Stella Grigorian
Haly = Marcus Pelz
Lindoro = Juan Diego Flórez
Isabella = Agnes Baltsa
Taddeo = Alfred Šramek

Frédéric Chaslin, conductor



And at 1930 it started with the overture/Sinfonia of Italiana in
Algeri. It was almost the same production as last time, it was the wonderful Ponnelle production, but it had had some brush-ups. I thought that this was more buffo than before, and certainly I felt that Simina Ivan (Elvira) and Stella Grigorian (Zulma) was being too comic. Certainly Zulma was overdoing things. Ferruccio Furlanetto was an agile and playful Mustafa. Juan Diego Florez was great as Lindoro.
Agnes Baltsa had some really great moments in "O che muso", "Pensa alla patria" and the delightful "Per lui che adoro".

Wonderful opera!!

OD Travel + Photos

May 27, 2016: Simon Boccanegra in Vienna

2016-05-27 Simon Boccanegra (Verdi), Wiener Staatsoper

Simon Boccanegra = Dmitri Hvorostovsky
Maria Boccanegra (Amelia) = Barbara Frittoli
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Francesco Meli
Paolo Albiani = Adam Plachetka
Pietro = Sorin Coliban
Un Capitano dei Balestrieri = Carlos Osuna
Lydia Rathkolb = Anat Edri

Marco Armiliato, conductor
Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Peter Stein | Regie
Stefan Mayer | Bühne
Moidele Bickel | Kostüme

It was Dmitri Hvorostovsky's day, it was Francesco Meli's day.

For many people in the opera this was Hvorostovsky's day as he triumphed in the title role of Simon Boccanegra. For me it was the triumph of Francesco Meli. Ferruccio Furlanetto was also great. Adam Plachetka was an amazing Paolo and I would love to experience him as Simon Boccanegra himself.

Dmitri Hvorostovsky and Barbara Frittoli was soft and suave. They were perfect together but vocally their voices did not had the strength of Ferruccio Furlanetto or Francesco Meli. Furlanetto was the perfect Fiesco and Francesco Meli was the most wonderful and strong Gabriele Adorno. Adam Plachetka was the luxury of Simon Boccanegra.

I am now a fan of the marvellous tenor Francesco Meli. Bravo, Francesco Meli!

And I adore the magificient bass of Ferruccio Furlanetto. Bravo, Ferrucio Furlanetto!!

This production of Simon Boccanegra in Wiener Staatsoper was just stupendous, perfect.

Original blog post
OperaDuets Travel & Photos

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

May 3, 2015: Neil Shicoff Gala in Vienna

2015-05-03 Neil Shicoff Gala, Wiener Staatsoper

NEIL SHICOFF - 40 JAHRE BÜHNE

Les Contes d’Hoffmann (Jacques Offenbach) – Prolog 
Hoffmann: Neil Shicoff
Lindorf: Paolo Rumetz
Nicklausse: Stephanie Houtzeel
Andres: Thomas Ebenstein
Luther: Marcus Pelz
Hermann: Clemens Unterreiner
Nathanael: Carlos Osuna

Pique Dame (Peter I. Tschaikowski) – 2. Akt, 2. Szene 
Hermann: Neil Shicoff
Lisa: Krassimira Stoyanova
Gräfin: Anja Silja
Mascha: Hyuna Ko 

La Juive (Jacques Fromental Halévy) – 4. Akt
Eléazar: Neil Shicoff
Kardinal Brogni: Ferruccio Furlanetto
Rachel: Krassimira Stoyanova
Eudoxie: Simina Ivan

Carmen (Georges Bizet) – 4. Akt 
Carmen: Elena Maximova
Don José: Neil Shicoff
Escamillo: Clemens Unterreiner
Frasquita: Simina Ivan
Mercédès: Juliette Mars

Frédéric Chaslin, conductor

What a disappointment, coming to Neil Shicoff 's Gala and no Agnes Baltsa as Carmen to his Don Jose. From the greatest Don Carlo of Rolando Villazon et co. in Berlin. Had I known that Baltsa would not sing I would have seen Don Carlo for the 2nd time on this day instead I got the cold in Vienna and Neil Shicoff.

Having just seen Les Contes d'Hoffmann with Rolando Villazon in a great production seeing the prolog was nothing much. Shicoff can act and sing, but he is not my guy.

Pique Dame - Shicoff was great as Hermann. Anja Silja was not that audible. Krassimira Stoyanova was having an Off day, or maybe it was just that I was OFF.

Interval

La Juive - not the whole end but we got the Aria from Eleazar. Simina Ivan and Krassimira Stoyanova could have been the Duet of the Ages but they had aged since I saw them in the of Eudoxie and Rachel. Ferruccio Furlanetto as Brogni, he only gets better with age but then he is a bass.

CARMEN - the end
Elena Maximova is the new CARMEN on the block. Neil Shicoff acts but he is no Carreras, Domingo, Cura & Alvarez. Clemens Unterreiner was Escamillo and a good, solid one.

Frederic Chaslin conducted it all.

Then  when we thought it was over we got 45 minutes or so with speaches. Shicoff ended it with his I am so nervous, the most nervous if them all. The audience gives us the energy not the other way around. And thank god for my wife, Dawn Kotoski.


And I am still not cured. Kleenex forever!!!

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