March 23, 2006: La Favorite in Zurich

2006-03-23 La Favorite (Donizetti), Opernhaus Zurich

Leonor de Guzman = Vesselina Kasarova
Fernand = Fabio Sartori
Inez = Jaël Azzaretti
Alphonse = Roberto Servile
Balthazar = Carlo Colombara
Don Gaspar = Eric Huchet

Marc Minkowski, conductor



La Favorite - Donizetti
In französischer Sprache

Dirigent Marc Minkowski
Inszenierung Philippe Sireuil
Bühnenbild Vincent Lemaire
Kostüme Jorge Jara
Choreographie Avi Kaiser
Choreinstudierung Jürg Hämmerli
Lichtgestaltung Hans-Rudolf Kunz


First time that I saw Vesselina Kasarova live. And I liked the mezzo voice. Only wish it was La Favorita and not La Favorite. O mio Fernando would have been better than O mon Fernand. But today everybody likes to have the original. Well I think Favorita in Italian is better than Favorite in French. But will the operahouses nowadays dare to take the Italian Version that used to be more popular than the French (times has always been changing that). Nice voice, nice acting, nice woman, Kasarova. Unfortunately I found her voice not always as florid as I wished.

Jaël Azzaretti (Inez) was marvelous. Loved her singing. And Carlo Colombara (Balthazar) was as always wonderful, how I love his voice, deep and sonorous. Fabio Sartori (Fernand) has a good voice, beautiful and had he been slimmer then I would understand why Leonor fell for him. One was not always so aware of physical appearance when one listen to such a voice and he was also act, so he became Fernand. Roberto Servile (Alphonse) was not an ideal Alphonse, so unlike Carlos Alvarez in Vienna who I found very attractive as the King. Roberto Servile still had some great moments with Leonor but his thick and not so florid singing gave some rough moments.

The production: very nice scenography but unfortunately the team who created this Favorite had not believed this bel-canto opera good enough to stand on its own feet. La Favorite and the story here need not any more symbolism, just let it unfold. The director though he had good ideas, Fernand is only dreaming this etc. Just let us believe it, that the people and their feelings are real.

But worst of all the ballet, it was actually booed, not something that I believe happened frequently in Zurich. The King is throwing a party/ an entertainment for his mistress, the Favorite, Leonor. But the ballet is an insult to Leonor and an insult to the audience, do you really believe we are stupid, that we do not see the injustice to the women, the double morale. It was really such a disappointment to have that ballet moment done that way right in the middle of a fine opera evening. IT WAS JUST A VERY stupid IDEA.

It was the ballet alone that made a FIVE of even SIX star production become just a 3 star. Luckily the ballet did not end the opera, but it was life a knife in your heart that one. SENSELESS, stupid. Thank God, Carlo Colombara was singing in the last act, his aria was just really the best thing in the whole evening. What a voice!!!!

OD Travel + Photos

March 11, 2003: La Favorite in Vienna

2003-03-11 La Favorite (G. Donizetti), Wiener Staatsoper

Léonor de Guzman = Violeta Urmana
Fernand = Giuseppe Sabbatini
Alphonse XI = Carlos Alvarez
Balthazar = Giacomo Prestia
Don Gaspar = John Dickie
Inès = Genia Kühmeier

Fabio Luisi, conductor



Wlener Staatsoper
dienstag, 11. märz 2003
6. Aufführung in dieser Inszenierung

La Favorite
Oper in vier Akten
Text von Alphonse Royer und Gustave Vaëz
in Zusammenarbeit mit Augustin Eugène Scribe
Musik von Gaetano Donizetti

Dirigent Fabio Luisi
Inszenierung John Dew
Bühnenbild Thomas Gruber
Kostüme José-Manuel Vazquez
Choreinstudierung Marco Ozbic

Orchester der Wien er Staatsoper
Chor der Wiener Staatsoper

To start an opera evening by coming to the opera house 10 minutes before the opera starts is not the best way, but I soon calmed down to enjoy this, for me almost unknown opera. Knowing only "Spirto gentil" and "O mio Fernando" of this opera. But here they sang in French.

Having read the critic on beforehand, I was not too disappointed by the tenor singing of the top notes, they hurt my ears. After the tenor first aria, polite applause from the audience, they respects very much Giuseppe Sabattini. First act is in the convent where Fernand is a novice, the abbed wants Fernand to take the vows, but Fernand has met a very beautiful woman and is in love. Baltasar throws Fernand out of the convent, since F. does not want to forget the unknown woman. Next scene. An island where Leonor and her maids is enjoying life, Fernand comes there. He wants to marry Leonor, but she refuses, says she cannot and beseeches Fernand to forget her. He will not. Wonderful duet.

Act 2. The king and Leonor, with Ines and Don Gaspar in the royal garden of the moor king that Fernand have helped King Alphonse to win over. The king understands not that Leonor can be unhappy with being his mistress. The court despise Leonor, but the King sings of his great love, and Leonor tells that he deceived her to think that she was following her husband, when she left her father castle. Bah, I want to make you my queen. Then Don Gaspar, the courtier, has found out that a love letter to Leonor was given Ines, he gives the king the letter, who gets very angry with Leonor, especially since she refuses to give him the name of her lover. Then Baltasar comes with an urgent message from the pope, if the King and his mistress does not depart for ever, by the next day, they are excommunicated. In vain Alphonse tries to threaten Baltasar, King against the Church. The queen is there, thinking she can win over Alphonse to her side, just by evicting Leonor.

Act 3. The kings palace. Aphonse wants revenge. Fernand comes as a hero, and he wants a noble woman as a bride, suddenly A. finds out that F. is his rival. The perfect revenge is clear, marrying of his mistress to the hero, who does not know that this is a clear way to loose his honor, something Leonor knows perfectly. "O mon Fernand", wonderfully sung by Violeta Urmana. She orders Ines to tell Fernand all, but Ines is taken prisoner by Don Gaspar on the command of the king. She thinks Fernand know it all and still wants to marry her. But know this only gets cleared when the contempt of the court, and Baltasar is told about the wedding. Fernand you have lost your honor, marrying the mistress of the King. F. is furious. And they all see Fernand was innocent he REALLY did not know.

Act 4 in the monastery, Fernand is finally convince of making his vows, even though the thought of Leonor still haunts him "Ange si pur". Then Leonor has followed Fernand. She hears him taking to vows, and then she collapses and so they meet. She asks desperately for forgiveness before she dies. When at last Fernand give in, he tells her that he still loves her, and that he is willing to sacrilege to have her. To leave the monastery to marry her, and live in another country. Leonor is forgiven, and happy to have Fernands love again, and that her own death saves Fernand from the sacrilege.

Wonderful and sad end. Even though Sabbattini lacked the top notes to make it really remarkable (bel canto), he still gave Fernand the verve and poignancy that made it a great performance (verismo!)!!

OD Travel

February 12, 2017: Anna Bolena in Lisboa

2017-02-12 Anna Bolena (Donizetti), Teatro Nacional São Carlos
(Lisboa)

Anna Bolena = Elena Mosuc
Enrico VIII = Burak Bilgili
Giovanna Seymour = Jennifer Holloway
Lord Percy = Leonardo Cortellazzi
Smeton = Lilly Jørstad
Lord Rochefort = Luís Rodrigues
Hervey = Marco Alves dos Santos
 
Giampaolo Bisanti, conductor
CORO DO TEATRO NACIONAL DE SÃO CARLOS
Maestro titular Giovanni Andreoli

ORQUESTRA SINFÓNICA PORTUGUESA
Maestrina titular Joana Carneiro

Encenação - Graham Vick
Cenografia - Paul Brown
Desenho de Luz - Giuseppe Di Iorio
   

 Production - Fondazione Arena di Verona

I loved the production just as much as I did in Sevilla December 2016. This time it was different. Different singers and different feeling of the characters.

Burak Bilgili as Enrico had a smirk on his face that make him an instant villain. Jennifer Holloway as Giovanna Seymour was very tall and did not seem to be so unwilling to become queen and her relationship with the queen seemed hypocritical. Other than that it was amazing singing and acting from all.

Leonardo Cortellazzi was a wonderful Lord Percy, Lilly Jørstad was fantastic ad Smeton, Elena Mosuc was a gorgious Anna Bolena. Luis Rodrigues was great as Lord Rochefort. Among this gigant one could forget Marco Alves dos Santos as Hervey but we really should not forget him.

If one did not like the characters that Burak Bilgili and Jennifer Holloway brought in Enrico and Seymour it was a valid intepretation. Historically we know very little about Jane Seymour. The singing of all singers was at the highest standard. Also we had a great chorus and orchestra lead by maestro Bisanti.

In Sevilla and also in Parma the singing had been more come scritto, but here the singers was allowed to created a flourishes in their musical line. Excellently sung but I longed for the clarity of the come scritto approach. I am not a musicologist but those were my feelings,



Beautiful Lisboa but Sevilla will be closer to my heart. Elena Mosuc as Anna Bolena, the voice and acting, sublime. A new tenor to love: Leonardo Cortellazzi. This is the time for the Italian tenors to get to the opera ceiling. Divine voice, graceful acting, ah!

Opera Duets 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

January 22, 2017: Anna Bolena in Parma

2017-01-22 Anna Bolena (Donizetti), Teatro Regio Parma

Anna Bolena, wife of Enrico VIII = Yolanda Auyanet
Enrico VIII, King of England = Riccardo Zanellato
Giovanna Seymour, bridesmaid of Anna = Sonia Ganassi
Lord Rochefort, brother of Anna = Paolo Battaglia
Lord Riccardo Percy = Giulio Pelligra
Smeton, pageboy and musician of the queen = Martina Belli
Signor Hervey, officer of the king = Alessandro Viola
   
FABRIZIO MARIA CARMINATI, conductor
ORCHESTRA REGIONALE DELL’EMILIA ROMAGNA
CORO DEL TEATRO REGIO DI PARMA

Direction ALFONSO ANTONIOZZI
Scenes and video design MONICA MANGANELLI       
Costumes GIANLUCA FALASCHI
Lights LUCIANO NOVELLI
Choreography and Assistant Director
SERGIO PALADINO
Chorus Master MARTINO FAGGIANI
    
New production

In coproduction with Teatro Carlo Felice di Genova

On January 22nd, 2017 I saw Anna Bolena in Parma and it was a very different production than the one I saw in Sevilla on December 10, 2016. In Sevilla it was a traditional production and the costumes was historical correct and everything was done to make it historical. In Parma it was more modern. The dresses in Parma looked like something from the 1940's The acting was excellent and the singing superb from everybody.

What I did not like was that the actions on the stage under the Sinfonia. Why can't they just have the curtain down under the sinfonias or ouvertures. Worse still, it did not make sense. There was the 5 men who created the throne/stool for Anna Bolena was awakens by 5 women dressed in white who was acting during opera as angels/demons. Men in black and women in white but they did not offer more understanding to the story. Luckily one could ignore them and they did not prevent you from understand why the persons acted the why they did.

What I liked was that every action from the main persons was well thought out and no accidence. Sonia Ganassi was outstanding as Giovanna Seymour. I really loved everything about how she sang and acted, she was Giovanna Seymour. I even noticed her the moment she came on stage even though Giovanna Seymour is dressed so modestly.  One starts wonder how did the king notice her enough to fall madly in love with this woman. Giovanna Seymour in Sonia Ganassi has a magnetism, so...

Yolanda Auyanet was a wonderful Anna Bolena. She looked perfectly regal. The personal regie was stunning and everything made sense, Giulio Pelligra was a joy as Percy. What an amazing tenor voice? Riccardo Zanellato was another perfect choice in the role as the king Enrico. And Paolo Battaglia was another great bass in the role of Rochefort.

Martina Belli was equally perfect as Smeton vocally and acting. BUT she was obviously a woman this page Boy. Did that really matter if Smeton was a woman or a boy? The voice was mermerizing.


In all a wonderful opera matinee (the opera started 1530). A splitting headache in the first part was not ideal but after taking paracet in the cafe in the interval the second part of the opera was more pleasant for me.

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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

December 12, 2016: Anna Bolena in Seville

2016-12-10 Anna Bolena (Donizetti), Teatro de la Maestranza (Seville)

Anna Bolena = Angela Meade
Enrico VIII = Simón Orfila
Giovanna Seymour = Ketevan Kemoklidze
Lord Percy = Ismael Jordi
Smeton = Alexandra Rivas
Lord Rochefort = Stefano Palatchi
Hervey = Manuel de Diego

Maurizio Benini, conductor
REAL ORQUESTA SINFÓNICA DE SEVILLA Artistic and Musical Director, John Axerold
CORO DE LA A.A. DEL TEATRO DE LA MAESTRANZA Director, Íñigo Sampil 

Director - Graham Vick
Design - Paul Brown
Lighting - Giuseppe di Iorio
   
 Production - Fondazione Arena di Verona

2016-12-10 Anna Bolena (Donizetti), Teatro de la Maestranza (Seville)

Anna Bolena = Angela Meade
Enrico VIII = Simón Orfila
Giovanna Seymour = Ketevan Kemoklidze
Lord Percy = Ismael Jordi
Smeton = Alexandra Rivas
Lord Rochefort = Stefano Palatchi
Hervey = Manuel de Diego

Maurizio Benini, conductor
REAL ORQUESTA SINFÓNICA DE SEVILLA Artistic and Musical Director, John Axerold
CORO DE LA A.A. DEL TEATRO DE LA MAESTRANZA Director, Íñigo Sampil

Director - Graham Vick
Design - Paul Brown
Lighting - Giuseppe di Iorio
   
 Production - Fondazione Arena di Verona
I love Gaetano Donizetti and Anna Bolena is a beautiful opera. Angela Meade was a wonderful Anne Boleyn. Ketevan Klimoklidze was a lovely Jane Seymour. Alexandra Rivas was an amazing Smeton. Visually one would never mistake one for another but vocally they was quite similar although Anna is a soprano role, Jane mezzo and Smeton is an alto. Maybe the three roles can be sung by mezzos.

Simon Orfila was Henry the 8th, Ismael Jordi was Richard Percy. The production was very historical and the costumes, too. Maybe too much historicality,  The music was mesmerizing and the singing good. Loved it!!!

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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

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

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

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

Michael Pavelich, conductor



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

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

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

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

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

I think I will make this an annual tour.

OD Travel

October 25, 2016: Lucrezia Borgia in Bilbao

2016-10-25 Lucrezia Borgia (Donizetti), Palacio Euskalduna (Bilbao)

Lucrezia Borgia = Elena Mosuc 
Gennaro = Celso Albelo
Alfonso I d´este = Marko Mimica* 
Maffio Orsini = Teresa Iervolino*
Don Aposto Gazella = Jose Manuel Díaz Ascanio Petrucci = Zoltan Nagy
Oloferno Vitellozzo = Manuel de Diego
Rustighello = Mikeldi Atxalandabaso
Gubetta = Fernando Latorre
Astolfo = German Olvera*
Jeppo Liverotto = Jesús Álvarez* 

José Miguel Pérez Sierra, conductor
Euskadiko Orkestra Sinfonikoa
Coro de Ópera de Bilbao

Scene Director -  Franceso Bellotto
Scenography - Angelo Sala*
Costumes - Cristina Aceti*
Choreography - Martín Ruis*
Light - Fabio Rossi* 
 Director of the Chorus - Boris Dujin 
    
 Production - Torino, Bergamo and Sassari theaters 
    
 *Debuting at ABAO-OLBE

I have started to love Donizetti operas very much. In Bilbao I saw the most perfect Lucrezia Borgia. The production was amazing. The cast was splendid. Elena Mosuc was the most perfect Lucrezia Borgia. Celso Albelo was also stupendous. Marko Mimica was such a great Alfonso.

As Maffio Orsino we heard and saw Teresa Iervolino. Unfortunately her voice which was a lovely mezzo soprano voice was not penetrating the wall of male voices. Elena Mosuc voice would ring through the whole chorus. Teresa Iervolino did not had that power, but I might be wrong after all I was sitting in front row where one sees well but hears maybe not that well.

Another tenor to enjoy besides the Celso Albelo was the wonderful, thrilling tenor voice of Mikeldi Atxalandabaso as Rustighello. A wonderful find!!!

I loved the production so much. It felt historical and real.
Scene Director -  Franceso Bellotto
Scenography - Angelo Sala*
Costumes - Cristina Aceti*
Choreography - Martín Ruis*
Light - Fabio Rossi*
The regie was right, the costumes and scenography was wonderful and singers and chorus alike was acting so it felt real. I even, after a while, liked the choreography by Martin Ruis. The orcs, I mean soldiers of Alfonso was allright. The woman and boy as Lucrezia and young Gennaro worked in the opera even as I do no generally enjoy ballet in opera. The main thing is that it worked and added a dimension that was emotional and after a while felt real. Lucrezia and Gennaro remembers and feels those two and see them in their inner eye. It meant that no longer is there an incestuos meeting but a mother and son that meets. The mother wants her son. The son wants his mother. Alfonso loves Lucrezia and he thinks Gennaro is a rival. In this production Alfonso is ashamed when he finds out that he was gloating over a mother's loss of her child. Wonderful production even if Lucrezia is still poisoning people here she is a mother under all her actions.

I have seen on video the Lucrezia Borgia from La Scala with Mariella Devia, Marcelo Alvarez and Michele Pertusi with Daniela Barcellona as Orsino and I thought nothing could be better than that. This experience in Bilbao was brilliant and at least on par with La Scala but also better. Elena Mosuc, what a voice and her acting was so brilliant. A beautiful voice and not only that every note was enjoyment for the listener and deeply acting not only through her body but voice too. Celso Albelo won me over. A robust voice even in the higher register. He sang ‘T´amo qual s´ama un angelo’. It was so touching. There was changes in the score from La Scala to Bilbao. Equally beautiful but musically I liked the score from La Scala better. Marko Mimica was a stunning, young Alfonso with his Lucrezia. So young and powerful. His voice rang out.

Chorus and orchestra was great under the hands of José Miguel Pérez Sierra.

And so it ended "Era desso figlio mio". Era dessa Lucrezia Borgia!!!! Brava, Elena Mosuc!! Bravo, Celso Albelo! Bravo, Marko Mimica! Bravissimi!

THE END.

OPERA DUETS 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 30, 2002: Roberto Devereux in Vienna

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

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

Frédéric Chaslin, conductor



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

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

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

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

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

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

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

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

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

Diese Produktion wurde ermöglicht mit Unterstützung von
~ LEXUS

OD Travel + Photos

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

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

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

Antonio Pappano, conductor



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

OD Travel

September 5, 1989: Lucia di Lammermoor in Oslo

1989-09-05 Lucia di Lammermoor (Donizetti), Den Norske Opera (Oslo)

Lucia = Elizabeth Norberg-Schulz
Edgardo = Giuseppe Costanzo
Enrico = Knut Skram
Raimondo = Svein Carlsen
Alisa = Torill Eriksen
Arturo = Ulf Øien
Normanno = Arild Helleland

Carlo Felice Cillario, conductor
Regie - Wilhelm Sandven (after an original konzept by Maria von Grosschmid) Scenography - Kathrine Hysing
OD Travel

June 22, 2000: Lucia di Lammermoor in Vienna

2000-06-22 Lucia di Lammermoor (G. Donizetti), Wiener Staatsoper

Enrico = Franco Vassallo
Lucia = Edita Gruberova
Edgardo = Keith Ikaia-Purdy
Arturo = Torsten Kerl
Raimondo = Egils Silins
Alisa = Mihaela Ungureanu
Normanno = Tomislav Muzek

Marcello Viotti, conductor

Wiener Staatsoper
donnerstag,22. juni 2000
124. Aufführung in dieser Inszenierung

Zum letzten Mal in dieser Spielzeit
Lucia di Lammermoor
Tragische Oper
Dichtung nach Walter Scott
von Salvatore Cammarano
Musik von Gaetano Donizetti

Musikalische Leitung / Marcello Viotti
Inszenierung / Boleslaw Barlog
Bühnenbild / Pantelis Dessyllas
Kostüme / Silvia Strahammer
Chorleitung / Ernst Dunshirn
.,
Enrico (Lord Henry Ashton) Franco Vassalloo

-,
Ort der Handlung
Schloß und Park von Ravenswood in Schottland
.Zeit Ende des 16 jahrhunderts

Orchester und Chor der Wiener Staatsoper

0 Debüt an der Wiener Staatsoper

It was the most wonderful evening in the opera. Amazing this woman, Gruberova!! I had to remind myself that she was not really so young as she seemed as Lucia. An actress, a wonderful voice! I loved the production. The other singers was good too, Edgardo and Lucia's brother. And because Neil Shicoff was not singing I got a splendid ticket and wonderful seat.

OD Travel

June 10, 2002: Lucia di Lammermoor in Vienna

2002-06-10 Lucia di Lammermoor (G. Donizetti), Wiener Staatsoper

Enrico = Manuel Lanza
Lucia = Stefania Bonfadelli
Edgardo = Tito Beltran
Arturo = John Nuzzo
Raimondo = Dan Paul Dumitrescn
Alisa = Florina Carmen
Normanno = Cosmin Ifrim

Frédéric Chaslin, conductor



Wiener Staatsoper
montag, 10. juni 2002
129. Aufführung in dieser Inszenierung

Lucia di Lammermoor
Tragische Oper
Dichtung nach Walter Scott
von Salvatore Cammarano
Musik von Gaetano Donizetti

Musikalische Leitung Frédéric Chaslin
Inszenierung Boleslaw Barlog
Bühnenbild Pantelis Dessyllas
KostümeSilvia Strahammer
Chorleitung Ernst Dunshirn
,

-.
Ort der Handlung Schloß und Park von Ravenswood in Schottland Zeit Ende des 16 Jahrhunderts
Orchester und Chor der Wiener Staatsoper
" Stipendiat des Herbert von Karajan Centrums

TITO BELTRAN as Edgardo
Stefania Bonfadelli as LUCIA

Last time I saw it in Vienna State Opera was with Edita Gruberova as Lucia, she was just amazing: vocally and acting and in seeming so young. This time with a young soprano, wonderful voice and acting skills. Was Bonfadelli better then Gruberova? Different, but not better. The balance was better in Gruberova´ performance, in a mad scene that was not so exaggerated, but more chilling because of that. And in the beginning of the opera, when she tells of the ghost she saw and her love of Edgardo, much more adorable and winning and the young soprano. The duet with her brother, much better acting and singing. My heart did not beat so much for this Lucia, even though she has a very rich soprano voice, a fullbodied voice, and yet the top notes was sometimes a rather unpleasant shock.

Tito Beltran, was a really wonderful Edgardo, youthful and shining. Getting better all through the evening. The last scene really was a shower of tears for me. So emotional, hard not to start crying for real.

What could have made this evening better: a better Enrico. Manuel Lanza was weak this evening. Even the showstoppers that Enrico have was not a highlight. It was impossible for Stefania Bonfadelli to be better in the scene Lucia/Enrico, because of her weak partner. And in the Wolfrag-scene between Edgardo/Enrico, without a strong partner it was not possible to make this a real highlight, even for TITO BELTRAN

OD Travel

May 21, 1998: L'Elisir d'Amore in Zurich

1998-05-21 L'Elisir d'Amore (Donizetti), Opernhaus Zürich

Adina = Isabel Rey
Nemorino = Vincenzo La Scola
Belcore = Angelo Veccia
Dulcamara = Carlos Chausson
Giannetta = Martina Jankova

Nello Santi, conductor



Inszenierung GRISCHA ASAGAROFF
Ausstattung TULLlO PERICOLl
Mitarbeiler des Ausstatters MAROUAN DIB
Lichtgestaltung JÜRGEN HOFFMANN
Chor JÜRG HÄMMERLl


0 Mitglied des Internationalcn Opcrnstndios,
unterstützed von der Herbert von Karajan Music Legacy
CHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OlPERNI'IAUS
ORCHESTER DER OPER ZÜRICH
Musikalische Einstudierung
und Biihnenmusil,THOMAS B1ARTHEL
ftbendspielleitungGUDRUN HARTMANN
Organisation und
Beb'euung der Kincler SUSY SIEGRIST
Inspizient RUDOLF BUDAV ÁRY
Souffieuse TATJANA KUKAWKA
Iuitische Ausgabe herausgegeben vou
Alberto Zedda, G. Ricordi & C., lVMailand
Donnerstag, 21. Mai 1998 Wiederaufnahme, Kombi-Abo
Pause nach dem 1. Akt
Beginn:20.00 Uhr
Ende: ca. 22.45 Uhr


Should have started at 20.00. The technicians were working hard, the ballet earlier that day, had lasted too long, the management said they were sorry. But they couldn't have known it was like that. So we waited about half an hour. But since we knew the explanation it was all right.

169 SF for a good place in the opera Reihe 2 Platz 7. Fantastic!!!

Vincenzo La Scola is as good as Carreras would have been as Nemorino. (Carreras is better naturally). So natural.

Isabel Rey is great. Actress/singer as were La Scola

All great.

Vincenzo La Scola: is as good as I am sure Carreras would have been if he sang Nemorino. It would have been so interesting to see Carreras in this role, because he would have been supreme. La Scola was also a natural kind of Nemorino. Not Stupid as many portray him, he just haven't learnt to write. "Tu sei buona, modesto sei" You are good, and modest,as Adina says. He has qualities in him, Pavarotti makes him a village fool. And in this version, unlike the Alagna, there no modernization of the arias ( Or should I say Oldifization).

Isabel Rey, is this not-so-modest woman. Wealthy and flirty farm-keeper (quoted from : http://www.operaed.org/guides/elisir/index.htm)

She comes at stage and all the other show her their respect. She Takes this in the most natural way, she is friendly to all,and there is just a invisible barrier between her and the others. It is all very natural. The Chorus is overdoing a little, but maybe it's just my seat near the scene that makes it seem so.

Her aria is very natural, sitting there telling them about Tristan and Isolde. Then the duet, such beautiful singing, and acting as it is all happening here and now.

Belcore comes, he is so sure of him self, and vulgar.

Dulcamara comes, and his aides are helping him.

Aria between Nemorino and Dulcamara. The acting and the singing is superb at all stages.

Caro elisir, sei mio -You should have been there. Think about the Philips cd-set with Carreras, and fill it with you own pictures of how you think, it would be on stage, and you might be right. Nothing stupid in this scene either

Adina comes in, and their duet, Incroyable!!

Crowd scene: Adina accepts to marry belcore. "Adina,credimi" Vincenzo La Scola is amazing, Isabel Rey showing Adina's feeling, the stupid, angry Belcore!!

OD Travel

May 15, 1999: L'Elisir d'Amore in Vienna

1999-05-15 L'Elisir d'amore (G.Donizetti), Wiener Staatsoper

Adina = Ana Maria Martinez
Nemorino = Ramon Vargas
Belcore = Manuel Lanza
Dulcamara = Alfonso Antoniozzi
Giannetta = Uta Schwabe

Anton Guadagno, conductor

Samstag, 15. Mai 1999 STAATSOPER
126. Aufführung in dieser Inszenierung
L 'Elisir d'Amore
Komische Oper in zwei Akten
vonFelice Romani
MusikGaetano Donizetti

Dirigent Anton Guadagno
Nach einer Inszenierung vonOtto Schenk
Bühnenbild und Kostüme
nach Entwürfen
für die Aufführung im
Theater an der Wien 1973 von Jürgen Rose
Chorleitung Ernst Dunshirn


Ein Trompeter Konrad Monsberger
Diener des Dulcamara Michael Burggasser
Landleute und Soldaten
Bühnenorchester der Österreichischen Bundestheater

Why not see one of the most popular operas? It is exciting to see familiar operas, maybe just for enjoyment, for making a comparison against what your mind told you this opera should be or other productions of the same opera. Opera critics: the opera as a whole or just the top notes, never mind the rest. I detest top notes when it is just put there no connection to the drama. When the top notes gives the dramatic key to the opera, telling the truth there and them, then I embrace it.

I remember the cries: "Bravo, Ramon!!" And he was worth those cries. Ana Maria Martinez, she not as great as Isabel Rey was in Opernhaus Zurich. But the production was splendid. Loved the scenography. Ramon Vargas was a sympathetic Nemorino. I remember the chorus. The individuality of the chorus. Making it real.
BRAVO, RAMON!!

OD Travel

May 12, 2001: Roberto Devereux in Vienna

2001-05-12 Roberto Devereux (G. Donizetti), Wiener Staatsoper

Elisabetta = Edita Gruberova
Nottingham = Carlos Alvarez
Sara = Enkelejda Shkosa
Roberto Devereux = Ramon Vargas
Lord Cecil = Cosmin Ifrim
Sir Gualtiero Raleigh = Marcus Pelz

Marcello Viotti, conductor

Wiener Staatsoper
samstag,12. mai 2001
10. Aufführung in dieser Inszenierung
Zum letzten Mal in dieser Saison

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

Musikalische LeitungMarcello Viotti
Inszenierung Silviu Purcarete
Bühnenbild und
Kostüme Helmut Stürmer
Choreinstudierung Ernst Dunshirn
-,

Ein Vertrauter Nottinghams Mario Steller
Ein Page Hacik Bayvertian
-,
Chor und Orchester der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

12.5.01
The day starts with a delay in Oslo caused by sick person. A full hour go by after the time the plane was scheduled to go. This was not the worst part. The worst part was that many of us that was going to other planes in Zurich, had to be rescheduled there. Usually one would ask the other transit-planes to wait, but Swissair did not do that. For me it meant, that my plane was leaving as I came into the airport by airport-bus. I had all my luggage with me into the plane just to not miss any luggage nor plane.

New plane from Zurich is 1805. After one hour at the transit-checkin, I have my new boarding pass. During this time I was thinking about Roberto Devereux in Vienna in the evening (did I have any chance to get there in time?), or take the train to Friedrichshafen (only 2,5 hours from Zurich, call my hotel, skip Devereux, call the State Opera). It would have been more relaxing maybe in the end less expensive. But when my boarding pass was handed to me, I sort of thought, "Ok then" .

Bus to Westbahnhof at 1925 directly from the plane. U3 to Stephansplatz, found my hotel 20.30, 2055 I got my ticket to Roberto Devereux. This was just after act 1, it was intermission, and act 2 started 21.10.

19.30 (missed act 1)
Wiener Staatsoper
Roberto Devereux
Gaetano Donizetti



What can one say after an opera, when one seen half of it. This Sara was a wonderful, powerful voice. All praise to her!!! Gruberova as the old queen Elizabeth I, the end of Roberto Devereux was spectacular. Ramon Vargas seemed having slight of cold.
Bravo! Carlos Alvarez, great singer, really powerful. And the winner is Enkelejda Shkosa !!!

OD Travel