March 31, 2015: Les Contes d'Hoffmann in Munich

2015-03-31 Les Contes d'Hoffmann (Jacques Offenbach), Bayerische Staatsoper (Munich)

Olympia = Jane Archibald
Giulietta = Brenda Rae
Antonia = Serena Farnocchia
Cochenille, Pitichinaccio, Frantz = Kevin Conners Lindorf, Coppélius, Dapertutto, Miracle =
Christian Van Horn
Nicklausse/Muse = Angela Brower
Stimme aus dem Grab = Qiu Lin Zhang
Hoffmann = Rolando Villazón
Spalanzani = Ulrich Reß
Nathanaël = Dean Power
Hermann = Andrea Borghini
Schlémil = Christian Rieger
Wilhelm = Petr Nekoranec
Crespel = Peter Lobert
Luther = Peter Lobert

Constantin Trinks, conductor
Chor der Bayerischen Staatsoper Orchester Bayerisches Staatsorchester

Inszenierung - Richard Jones
Bühne - Giles Cadle
Kostüme- Buki Shiff
Choreographie - Lucy Burge
Licht - Mimi Jordan Sherin
Dramaturgie - Rainer Karlitschek

Chor - Sören Eckhoff

Having seen this opera before with Placido Domingo and Agnes Baltsa as Hoffmann and Giulietta, the video recording from Royal Opera House Covent Garden, I was not overly optimistic. The only part I could really enjoy was the Giulietta act and even Domingo could not make me enjoy the whole opera. The parts with Placido was always the best and with Agnes Baltsa too, it became magic.


Rolando Villazon was the best actor for this role and a good tenor, too. His voice is not as it used to be, they say. In this performance I saw a promise to come back to greatness with some care. Villazon was a great Hoffmann and by his side the true wonder of the evening Angela Brower as Nicklausse. The 3 sopranos was great. Jane Archibald was the most amazing Olympia. Serena Farnocchia was the most wonderful Olympia. Brenda Rae was Giulietta. This time I did not love the Giulietta act more the rest. It was just the most perfect production.

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

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

March 26, 2016: Pagliacci in Berlin

2016-03-26 Pagliacci (Leoncavallo), Deutsche Oper Berlin

Canio = José Cura
Nedda = Carmen Giannattasio
Tonio = Mark Delavan
Beppo = Álvaro Zambrano
Silvio = John Chest

John Fiore, conductor
Chor der Deutschen Oper Berlin
Kinderchor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - David Pountney
Stage design, Costume design - Robert Innes Hopkins
Choreographer - Silke Sense
Chorus Master - William Spaulding

Childrens Chorus - Christian Lindhorst

Just like in 2005 Jose Cura was Canio. In 2016 Jose Cura was even better. The singing was beautiful. Jose Cura may look older but he sings younger. The acting was great. He is truly a great Canio, I do long his Turriddu but this time JC could give everything to Canio because Jorge de Leon was Turriddu, Álvaro Zambrano as Beppe is just marvellous, he got everything the voice, acting and looks. Mark Delavan was Tonio. Great acting, weak voice compared to the others. But Pagliacci is all about acting.

Carmen Giannattasio was Nedda and since I don't care for Nedda I can only say she was good (she probably was amazing, but I don't like Nedda so,..). John Chest was Silvio. In another production I would probably say Bravo but here Silvio is a pathetic nerd, he is probably a Nedda stalker. And so the whole theater in theater gets another theatric layer and that it the whole Bajazzo thing is just a snare so that Canio can kill Silvio and just pretend to kill Nedda. La commedia e finita, but David Poutney ruins it when Canio can go away with Nedda. It nullifies it all.

Why should Pagliacci start with the dummy being cast down from the overhead to the road below and Mamma Lucia running to mourn her son. Hanno mazzato compare Turriddu! and the Prologue with Tonio. Why! The Funeral wagon with Mamma Lucia dragging it cross the stage during the Intermezzo. No! Why connect the opera together and then changes the whole stage into a theater stage. Stupid!


BUT Jose Cura was amazing!!!!!! BRAVO!!!!!

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

March 26, 2016; Cavalleria Rusticana in Berlin

2016-03-26 Cavalleria Rusticana (Mascagni), Deutsche Oper Berlin 

Santuzza = Elena Zhidkova
Turiddu = Jorge de León
Lucia = Ronnita Miller
Alfio = Mark Delavan
Lola = Stephanie Lauricella
Zwei Bauern = Robert Klöpper, Tomasz Rakocz


John Fiore, conductor
Chor der Deutschen Oper Berlin
Kinderchor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - David Pountney
Stage design, Costume design - Robert Innes Hopkins
Choreographer - Silke Sense
Chorus Master - William Spaulding

Childrens Chorus - Christian Lindhorst

It was almost 11 years ago that I saw this production for the first time (2005-05-01) and I do not like it much. The singing was superb on this occacion. Jorge de Leon (Turriddu) and Elena Zhidkova (Santuzza) have the most amazing voices, strong, vibrant voices and the acting was also superb. Ronnita Miller who looked like a Mama from another show was the definitive Mamma Lucia. I found the whole opera Cavalleria Rusticana much more to my liking with this Mamma Lucia. She was so real, so touching and yes, totally believable. Lola was also very good. Mark Delavan was Alfio. His acting was all there but the voice was not up to the high power of rest of the cast which was a shame.

The production has its wonderful moments like the Mass with all the icons and the Hymn. The Lord is risen. The chorus was amazing and Elena Zhidkova was the high light and supported by the wonderful Mamma Lucia, Ronnita Miller. It was an OK production with an incredible cast. Or I should say the cast was very credible and real.


Worst moment was when Turridu is murdered and a doll was sent flying down and Reality just flew away. It was unbelievable, stupid and a crude moment.

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

March 3, 2012: Turandot in Berlin

2012-03-03 Turandot (Puccini), Deutsche Oper Berlin

Turandot = Maria Guleghina
Liu = Manuela Uhl
Calaf = Roy Cornelius Smith
Timur = Stephen Bronk
Ping = Alexey Bogdanchikov
Pang = Jörg Schörner
Pong = Yosep Kang
Althoum = Peter Maus
Mandarin = Hyung-Wook Lee
1st voice  = Kathryn Lewek
2nd voice  = Rachel Hauge

Jesus Lopez Cobos, conductor

Director - Lorenzo Fioroni
Stage-design - Paul Zoller
Costume-design - Katharina Gault
Choir Conductor - William Spaulding

Giacomo Puccini
TURANDOT
Online-Karten: € 28,- | 48,- | 69,- | 86,-
[zuzüglich € 2,- Service-Gebühr]

Samstag, 03.03.2012, 19:30 Uhr
Dauer: ca. 2 Stunden 30 Minuten | Eine Pause
Dramma lirico in drei Akten
Libretto von Giuseppe Adami und Renato Simoni, nach dem Schauspiel von Carlo Gozzi
Uraufführung am 25. April 1926 in Mailand
Premiere an der Deutschen Oper Berlin am 13. September 2008

BRAVA, Manuela Uhl!
BRAVO, Roy Cornelius Smith!
BRAVA, Maria Guleghina!!!!!!



I saw this production in 2010 with Maria Guleghina and Jose Cura as Turandot and Calaf. The Regie was the same, offensive nonsense. In 2010 I said not even Maria Guleghina could save it. But she was the saving grace now. She sang the most wonderful IN QUESTA REGGIA and her duets with Roy Cornelius Smith (Calaf) was also pure magic. Manuela Uhl was a fantastic Liu vocally but this was not the best production to showcase her talent. She did well as she acted like the director wanted her too, but that meant she was not able to really be Liu at the same time.

Remembering this Turandot from 2010 made it possible for me just to take in what was right about this Turandot and ignore the nonsense. The singers was in their best form. The chorus sang well. Jesus Lopez Cobos is a wonderful conductor.

It was an amazing operatic evening. Roy Cornelius Smith was just great as Calaf. Maria Guleghina simply was a great Turandot. Biggest surprise for me was Manuela Uhl in her great scene, it was simply unbelievable singing. BRAVA!!!!

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

February 23, 2003: Pagliacci in Hamburg

2003-02-23 I Pagliacci (R. Leoncavallo), Hamburgische Staatsoper

Canio / Bajazzo = José Cura
Nedda / Colombina = Hellen Kwon
Tonio / Taddeo = Ko Seng Hyoun
Beppe / Harlequin = Peter Galliard
Silvio = George Petean

ZWEI BAUERN
Peter Veit
Steven Dom Glfford

Niksa Bareza, conductor



INSZENIERUNG Gian-Carlo
dei Monaco
BÜHNENBILD UND KOSTÜME
Michael Scott
CHOR
Florian Csizmadia
HAMBURGER ALSTERSPATZEN
Jürgen Luhn
SPIELLEITUNG
Thomas Mittmann

Beginn 19.30 Uhr Ende gegen 22.30 Uhr Pause von
ca. 30 Minuten nach »Cavalleria rusticana«



049. Vorstellung seit der Premiere am 28. Januar 1988

José Cura sings Pagliaccio (Canio)
Seng Hyoun Ko was an amazing Tonio. Hellen Kwon weak-voiced, but good actor. George Petean was OK as Silvio. Peter Galliard was a good Beppe.

José Cura was at times a brilliant Canio, I am sure that he will sing on February 25 much better. Premiere nerves, after conducting Cav (tired), and very cold weather in Hamburg.


OD Travel + photos

February 23, 2003: Cavalleria Rusticana in Hamburg

2003-02-23 Cavalleria Rusticana (P. Mascagni), Hamburgische Staatsoper

Santuzza = Ildiko Komlosi
Turriddu = Kristjan Johansson
Alfio = Ko Seng Hyoun
Lucia = Olive Fredricks
Lola = Antigone Papoulkas

José Cura, conductor



049. Vorstellung seit der Premiere am 28. Januar 1988
INSZENIERUNG Gian-Carlo
dei Monaco
BÜHNENBILD UND KOSTÜME
Michael Scott
CHOR
Florian Csizmadia
HAMBURGER ALSTERSPATZEN
Jürgen Luhn
SPIELLEITUNG
Thomas Mittmann

Beginn 19.30 Uhr Ende gegen 22.30 Uhr Pause von
ca. 30 Minuten nach »Cavalleria rusticana«

TURIDDU
Kristjan Johannsson
(Für den erkränkten Attila B.Kiss)

José Cura conducts Cavalleria Rusticana
I really liked this production (Gian Carlo del Monaco) Ildiko Komlosi was wonderful as Santuzza. Kristjan Johannsson was OK as Turriddu (if only José Cura had sung it instead, what about, Cura conducts and sings Turriddu at the same time, somebody else acts Turriddu). Seng Hyoun Ko was wonderful as Alfio. Olive Fredricks was great as Mamma Lucia. Antigone Papoulkas was OK as Lola.


I think Cura was doing OK as a conductor, hard for me to say.


OD Travel + photos

February 22, 2014: Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin

Christian Vásquez, conductor

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin
Christian Vásquez, conductor
This time I was in Berlin for a concert of South American music. It was a nice trip. Another time something I did just because Jose Cura would be there singing Argentinian songs.

A reviewer of the concert said that Cura seemed to be uncertain and not fully himself until he sang Aurora by Panizza. He must have been on another concert. The concert was on Friday 21, Saturday 22, and Sunday 23., I was there on Saturday, the reviewer was probably on Friday. I cannot be sure that he was wrong since I only attended the concert on Saturday but I think he was mistaken. Of course a tenor would sing an opera aria with a fuller voice than he would sing the delicate classical art songs of Guastavino and Ginastera. Aurora is an opera by Panizza, the Intermezzo Epico is an Opera Aria. The songs of Guastavino and Ginastera are canciones. With Aurora comes the Opera Tenor Jose Cura, with the canciones comes the recitalist Jose Cura. On Saturday Cura showed that he can sing with his sweetest voice what must be sung so and with more forceful when the text demands it. This is fine and delicate work done by a master. Everybody knows Jose Cura as a operatic tenor with his famous Otello, Samson, Calaf. So those who expect to hear something more like Otello find something familiar when he sings the Song to the Flag from Aurora.

http://www.kulturradio.de/rezensionen/buehne/2014/konzerthaus_festival_suedamerika_2.html

I must say that I liked best Huapango by Moncayo. The orchestra works of Ginastera was too much noice. Of course, the cello player was divine. I loved the conductor. And Jose Cura was wonderful!!!

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin
Christian Vásquez, conductor

PROGRAMM

Silvestre Revueltas (1899 – 1940)
„Sensemayá“

Alberto Ginastera (1916 – 1983)
Konzert für Violoncello und Orchester Nr. 1 op. 36
ADAGIO MOLTO APPASSIONATO
PRESTO SFUMATO – TRIO NOTTURNALE
ASSAI MOSSO ES ESALTATO – LARGO AMOROSO

José Pablo Moncayo (1912 – 1958)
„Huapango“

PAUSE

Carlos Guastavino (1912 – 2000)
„Las nubes“ (Die Wolken)
Texte: Luis Cernuda Orchesterbearbeitung: Guillo Espel
JARDIN ANTIGUO (DER ALTE GARTEN)
DESEO (VERLANGEN)
ALEGRÍA DE LA SOLEDAD (DIE FREUDE DER EINSAMKEIT)

Albero Ginastera
Tänze aus dem Ballett „Estancia“
DANZA FINAL (MALAMBO). ALLEGRO


Carlos Guastavino
Tres canciones
Texte: Luis Cernuda Orchesterbearbeitung: Guillo Espel
VIOLETAS (VEILCHEN)
PÁJARO MUERTO (DER TOTE VOGEL)
DONDE HABITE EL OLVIDO (WO WOHNT DAS VERGESSEN)

Alberto Ginastera
„Cancion al árbol del olvido“
(Lied auf den Baum des Vergessens, 1938) Text: Fernán Silva Valdés

Arturo Márquez (*1950)
„La Conga del Fuego“

Héctor Panizza (1875 – 1967)
„Intermezzo Épico“ aus der Oper „Aurora“

2 extra orchestra numbers, first was very famous and catchy but I don't remember what it is called, last one was Mambo from West Side Story by Leonard Bernstein.

Then it was night talk with Jose Cura. My batteries was empty so no photos from the concert and only phone photos from the night talk in the music club.

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

February 22, 2003: Eugen Onegin in Hamburg

2003-02-22 Eugen Onegin (P. Tsjaikovskij), Hamburgische Staatsoper

Larina = Renate Spingier
Tatiana = Danielle Halbwachs
Olga = Elena Zhidkova
Filipjewna = Kat ja Pieweck
Eugen Onegin = Jean-Luc Chaignaud
Vladimir Lenski = Piotr Beczala
Fürst Gremin = Simon Yang
Saretzki = Jörn Schümann
Triquet = Frieder Stricker

Friedemann Layer, conductor
Peter Tsjaikovskij
EUGEN ONEGIN
22. February 2003 19:30

Chor:
Florian Csizmadia

Conductor:
Friedemann Layer,
for the sick Lothar Koenigs


VORSÄNGER
Günter Hartmann
" Mitglied des Internationalen Opernstudios

Two sisters Tatiana and Olga fitted well together. But it was somewhat unusual to see Olga as the little, thin one, and Tatiana as well-gown, big young woman, at least when Olga being so small and thin. Tatiana the romantic heroine, and Olga the more earthly and happy little sister. But voice comes first, so when you get used to the figures, it works well. Wonderful voices. Really amazing how big a voice Olga had, to be so small in figure.

More troublesome to accept Tatiana, but you know it is like in real life, you can never tell from the outside of people who's the romantic and who's not. But in opera, like all art, we like to be a little challenges about our ideas, but not too much. I think if the production had been new, and with a director, everything would have been MUCH better.

Piotr Beczala as Lenski, was much better then this ONEGIN. Already I had some trouble believing in this Tatiana is the big Danielle Halbwachs, but with Jean-Luc Chaignaud as Eugen Onegin, I could not believe that Tatiana would fall in love with Onegin. As I started to accept this Tatiana, I could not BELIEVE that SHE would fall in love in this very unsympathetic Onegin. The harsh-voiced Frenchman being to a degree selfish, and totally unable to create any sympathetic reaction from people around him. Onegin should be like Don Giovanni, a man who does make woman fall in love, and men wanting to be him. A beautiful voice or a manner in walking / standing could have done that, but utterly boring persona, no.

Prince Gremin (Fürst Gremin), was sung by the Korean Bass Simon Yang. Very good, but when you have heard it sung better before, you know, it was not quite at the top. The aria where Gremin declares his love for Tatiana, is one of the big and greatest aria in all opera literature.

Then it was surtitled. Surtitling is serious and a difficult business, here the text did not repeat what the singers sung, and that did make it a little bit more difficult to GET IT. But the most terrible mistake, was the last sentence, it said something like, and this is my destiny. But Eugen Onegin last words are more: "Life is destroying me", this is a remark that can go into our very soul. Thanks to the surtitles, the end of Onegin did not have any impact on me. Had Jean-Luc Chaignaud really been able to transmit Eugen Onegin to the audience, it would have been a real shuttering experience.

GREAT opera, but it needs an EUGEN ONEGIN!!

Sonnabend,22.Februar 2003 In russischer Sprache
EUGEN ONEGIN
Lyrische Szenen
in sieben Bildern
Texte nach
Alexander Puschkin
von Peter I. Tschaikowsky und Konstantin Schilowski
Musik von
Peter I. Tschaikowsky

MUSIKALISCHE LEITUNG
Friedemann Layer 0
INSZENIERUNG NACH
Adolf Dresen
BÜHNENBilD NACH
Karl-Ernst
Herrmann
KOSTÜME
Margit Bárdy
CHOREOGRAFIE
Rolf Warter
CHOR
Florian Csizmadia
SPIEllEITUNG

OD Travel

February 14, 2015: Elektra in Hamburg

2015-02-14 Elektra (R.Strauss), Hamburgische Staatsoper

Klytämnestra = Agnes Baltsa
Elektra = Lise Lindström
Chrysothemis = Hellen Kwon
Aegisth = Peter Galliard
Orest = James Rutherford
Pfleger des Orest = Stanislav Sergeev
Schleppträgerin = Stefanie C. Braun
junger Diener = Daniel Todd
alter Diener = Dieter Schweikart
Aufseherin = Renate Spingler
1. Magd = Deborah Humble
2. Magd = Maria Markina
3. Magd = Rebecca Jo Loeb
4. Magd = Gabriele Rossmanith
5. Magd = Katerina Tretyakova

Simone Young, conductor
Chor und Orchester der Hamburgischen Staatsoper

INSZENIERUNG: August Everding

BÜHNENBILD UND KOSTÜME: Andreas Majewski

I loved the production. It was really like one can imagine the Ancient Greece was like. Lise Lindström who is famous for her Turandot had in the role of Elektra a much harder task. Her Elektra was believable as a crazy but very human woman. In this role Lise Lindström had to be present all the time, to be the person alway ON and never off. Taxing, is the least of this role. Agnes Baltsa, incredible that she is 70 now, sang the role of Klytemnestra and acted like the queen she is. Real singing from Agnes Baltsa and with real power. She was an extraordinary Klytemnestra. Nobody can do this role better. Hellen Kwon had the misfortune to be a more ordinary figure. Chrysothemis is the daughter who try be so nice that her mother Klytemnestra will give her the chance to live her own life. C just want to be an ordinary woman with husband and child. E want revenge. Klytemnestra want to no longer have nightmares or any dreams. Peter Gailliard was Aegisth and James Rutherford was Orest. The men pales at such women as Lise Lindström, Hellen Kwon and the divine Agnes Baltsa, but still they are in the right league.

Even with the head-ache doing their destructive work I was able to applaud them vigorously

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

February 7, 2015: Macbeth in Berlin

2015-02-07 Macbeth (Verdi), Staatsoper im Schiller Theater (Berlin)

Macbeth = Plácido Domingo
Lady Macbeth = Liudmyla Monastyrska
Macduff = Rolando Villazón
Banco = René Pape
Malcolm = Florian Hoffmann
Dama di Lady Macbeth = Evelin Novak
Medico = Jan Martiník
Un Sicario = Jan Martiník

Daniel Barenboim, conductor

NACH EINER INSZENIERUNG VON

Peter Mussbach

Tenor Placido Domingo is now a baritone (just like he is sometimes the conductor. Tenor Rolando Villazon was in good shape as Macduff.

The production was good. It was one of the productions where the witches is really spot on. This was a believable theater. Scenography was just to give a emotional feeling. Colors and lights was also done to make us feel the reality in stead of just seeing it in a realistic setting. Placido Domingo's baritone was dark and heavy and he was a very much believable Macbeth. Ludmila Monastyrska was an amazing Lady Macbeth. Her voice has the most velvety, beautiful quality and at the same time she gives the role all the rage and all the other feelings. Beautiful and dangerous woman. Rene Pape as Banquo is naturally a solid choice and does this role well. Rolando Villazon was Macduff and in this production Macduff gets a little lost not strange when we Birnam forest move (Fangorn!!!! - Tolkien, dude).


Small things, sometimes Macbeth sings about something he sees but the production team misses to make the audience see it. Was it it misses or did they decide to do it like it.

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

February 5, 2000: Carmen in Berlin

2000-02-05 Carmen (G. Bizet), Deutsche Oper Berlin

Carmen = Agnes Baltsa
Don José = Alberto Cupido
Micaela = Michaela Kaune
Escamillo = Ludovic Tézier
Zuniga = Arutjun Kotchinian
Frasquita = Esther Lee
Mercedes = Mariana Cioromila
Morales = Kay Stiefermann
Remendado = Uwe Peper
Dancairo = Morten Ernst Lassen
Lillas Pastia = Frido Meyer-Wolff
Andres = Ulrich George

Ralf Weikert, conductor

DEUTSCHE OPER BERLIN
Saturday, 5. February 2000
Time: 19.00-22.30 hrs
Georges Bizet
Carmen
Conductor: Ralf Weikert (Jiri Kout)
Regie: Thomas M. Zipf
Scenography: Pier Luigi Samaritani
Choir: Helmut Sonne
Choreography: Klaus Beelitz

OPERA COMIQUE
with spoken dialogue
FIRST TIME for me: AGNES BALTSA live AS CARMEN
My first time in Berlin, too, but that's another story. It was not Agnes Baltsa's first time in Deutsche Oper Berlin. She really seemed to enjoy herself. Her voice was velvetly. In the beginning she seemed to be suffering from a cold. Maybe that cold had prevented her from singing Carmen in Zurich in January. To describe this evening in the Deutsche Oper, I must invoke the video from Metropolitan with Baltsa/Carreras. That was February 1987, 13 years ago. (My favourite video)-
Act 1: Much more beautiful setting in Berlin, than the Met. The people seemed more real. Beautiful dresses for the city folks. Morales (Kay Stiefermann, for an indisposed Peter Edelman) was funnier than the townspeople. Michaela (M. Kaune) was very pleasing in her singing and acting. More exciting than the Met. Zuniga was very imposing, great bass, this Aruntjun Kotchinian. Alberto Cupido, beautiful tenor voice, a real pleasure! The french dialogue was better spoken in the Met. AGNES BALTSA, incredible how she made Act 1 more exciting than I could have imagined it possible. When she was standing still, not even singing, just like all electricity was in her body. She was throwing some voltages to poor Don Jose. Agnes Baltsa even better than in video, how is it possible!!!
Act 2: The Lillas Pastia Tavern is really outside Sevilla, almost in the mountains. Quite understandable that the smugglers chose this place to be their rendevouz ordinaire. CHANSON BOHEMIENNE!!!. Agnes Baltsa is throwing herself into the singing/dancing. Beautiful voices from Mercedes & Frasquita. Escamillo (Ludovic Tezier), he is thrilling. Carmen is the only one not interested in him. Escamillo is singing the Toreador's Song and I am watching Carmen. Baltsa is thrilling in just being there, on stage, as Carmen.
Smugglers Quintet. Great. Loved sitting there listening for Agnes Baltsa's voice among all voices. Then Don Jose comes in. Although Alberto Cupido sings the Flower Song really well, has a beautiful voice. There is nothing wrong in his acting abilities. I long for the thrill (no 'that') Carreras brings in the video from the Met. SHE is great. The greatest moment of this act is "Non, tu ne m'aimes pas". That is simply GREAT. But the extra thrill is lacking. (It could be just because I am a Carreras fan, but...)
Zuniga, who is sung by an extraordinary bass, comes in. Or rather forces himself in. Breaking in, ridiculing Jose. Naturally the duel. Carmen makes the joke go to him, Zuniga, calling the other smugglers. For the first time, I realized that Don Jose could have chosen not to become a smuggler. It would have been another jail-sentence....
Act 3: A dangerous spot in the mountains. More reality than in the Met. What a great chorus Deutsche Oper has. So clear the voices ring. GREAT AGNES BALTSA!! Cardscene!! thrills upon thrills. The dialogue with the Guide, was better than in the Met. Not so exaggerating. MICHAELA Kaune sang the aria, with all what you can want. Duet/Duell Jose/Escamillo another highlight. CARMEN saves Escamillo!!. Fury from Don Jose. Then Michaela is found, the Ensembles is caressing my ears.
Act 4: Lovely scene outside the Arena. Maximum use of little place, and few people. Seems more than it is. Grand Parade! Duettino Escamillo/Carmen, Mercedes/Frasquita warn Carmen. GRAND DUET Jose/Carmen. ALL HIGHLIGHTS!!


Carmen = AGNES BALTSA
great singing, acting and dialogue
Her Carmen is wild, only one Law (her own)
More persuading than ever! More Electricity! Fantasy Carmen!
Don Jose = ALBERTO CUPIDO
great tenor voice, beautiful voice!
Difficult to hear what he is saying
Michaela = Michaela Kaune
Great Soprano voice
Acting and dialogue
Escamillo = Ludovic Tézier
Toreador's Song Great
Better than Ramey?
great voice, acting, dialogue
Zuniga = Arutjun Kotchinian
What a Voice!!!!
Greater than most Basses!
Personality!!

FRASQUITA = Esther Lee (Cornelia Götz)
MERCEDES = Mariana Cioromila
MORALES = Kay Stiefermann (Peter Edelmann)
REMENDADO = Uwe Peper
DANCAIRO = Morten Ernst Lassen
LILLAS PASTIA = Frido Meyer-Wolff
ANDRES = Ulrich George

OD Travel

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

January 29, 2011: Andrea Chenier in Berlin

2011-01-29 Andrea Chenier (Giordano), Deutsche Oper Berlin

Andrea Chenier = Salvatore Licitra
Carlo Gérard = Seng Hyoun Ko
Maddalena de Coigny = Maria Guleghina
Bersi = Diana Axentii
Comtessa de Coigny = Katarina Bradic
Madelon = Liane Keegan
Roucher = Ben Wager
Pietro Fléville = Krzysztof Szumanski
L'abbé = Peter Maus
Fouquier Tinville = Hyung-Wook Lee
Mathieu = Nathan De’Shon Myers
L'Incroyable = Burkhard Ulrich
Schmidt = Seth Carico
Majordomo = Sergio Vitale
Dumas = Sergio Vitale

James Allen Gähres, conductor

Inszenierung - John Dew
Spielleitung - Anja Nicklich
Bühne - Peter Sykora
Kostüme - Jose-Manuel Vazquez
Chöre - Thomas Richter
Choreographische Mitarbeit - Klaus Beelitz

Maria Guleghina sang a wonderful Maddalena di Coigny. It was brave to do so when suffering from bronchitis. But I really wish she would take better care of herself and not think too much about her fans. We do love her well enough to see her healthy and sound even if we must suffer not see her onstage but another soprano. Get well and sleep well!

I worried about Salvatore Licitra as Chenier and about the baritone who sang Gerard but they only got better and better. The tenor used his lyrical instrument to the fullest. He gave a really beautifully sung Andrea Chenier. The baritone did not seem to have the right powerful voice in act 1 but that soon changed. He gave a really thrilling Nemico della patria. It was a truly believable duet between Gerard and Maddalena.

I loved the Regie. It was traditional and naturalistic at the same time as it was innovating using the space to maximize the history at the same time as it was minimalistic.

After the opera I got the change to give Maria Guleghina my get well wishes. Sleep well, my favorite Diva! Take care!!!!

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

January 19, 2014: La Gioconda in Berlin

2014-01-19 La Gioconda (Ponchielli), Deutsche Oper Berlin

La Gioconda = Hui He
La Cieca = Dana Beth Miller
Alvise Badoero = Ante Jerkunica
Laura = Marianne Cornetti
Enzo Grimaldo = Marcelo Álvarez
Barnaba = Lado Ataneli
Zuàne = Ben Wager
Ein Steuermann = Noel Bouley
Ein Sänger = Simon Pauly
Isèpo = Gideon Poppe
1. Gondoliere = Paul Kaufmann
2. Gondoliere = Ben Wager
Kirchendiener = Simon Pauly


Jesús López Cobos, conductor
Chor der Deutschen Oper Berlin
Opernballett der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - Boleslaw Barlog
Stage-design, Costume-design  - Filippo Sanjust
ChöreWilliam Spaulding
ChoreografieGudrun Leben

Originaldekorationen aus der Entstehungszeit des Werkes [Scenografia Camillo Parravicini, Rom]

The music in both La Gioconda and I Due Foscari is just wonderful. The productions could not be more different. In Deustche Oper Berlin's La Gioconda the scenography and costumes was just breathtakingly beautiful. The beauty of the original scenography from the very first premiere of La Gioconda was so beautiful it was difficult to get inside opera the opera. Theater an der Wien's I Due Foscari had another problem, the ugliness of torture was all too much to handle as it was right in your face.



The solution was in both cases to have the best singers that sung and acted superbly. What ever the beauty or cruelty that was to be seen we had in both cases directors who knew what they were doing. The director managed to create with these excellent singers the web of relations between individuals that create the feeling of truth.

Hui He was La Gioconda, she was truely La Gioconda, and a great La Gioconda, too. Very unlike Violeta Urmana's La Gioconda from Paris Bastille, but the was a completely different production. Hui He was the right choice in this production. As her mother, La Cieca, we had Dana Beth Miller and she owned her role. Like in Paris Marcelo Alvarez was Enzo Grimaldi. I found him even better in Berlin. He was marvellous in Paris, but in Berlin better. Lado Ataneli was a great Barnaba. Ante Jerkunica was a young and splendid Alvise. Marianne Cornetti was Laura, wife of Alvise and rivale to Gioconda for the love of Enzo.

La Gioconda is a street singer who profoundly loves two persons, her mother and Enzo. La Cieca is Gioconda's blind mother, a devoute woman who loves her child, La Gioconda. Enzo Grimaldi is a Prince that Alvise has outlawed. He loved Laura but Laura was then married to Alvise, against her will. Now he is the lover of La Gioconda. But he stills loves Laura and La Gioconda believes him just to be a young sea captain. Barnaba and Alvise are the villains. Barnaba is the spy for the inquisition and works for Alvise but mostly for himself. He fancies himself in love with La Gioconda. This "love" does not care that La Gioconda loaths him and he is willing to kill La Cieca because she is in his way, or so he thinks. An obsession to possess La Gioconda is driving him. There are no layers in him. He is simply evil. Alvise is one of the leaders of the Inquisition in Venice. He thinks that killing his wife when it is believed and almost proven that she has been adulterous will cleanse the stain to his honor. Alvise is in many ways just like Barnaba just richer and more powerful. Laura Adorno is married to Alvise, she does not love him. Finding out Enzo is there, in Venice, makes her reckless when she should know how dangerous Alvise can be.

Enzo Grimaldi is no hero. He is faithless to La Gioconda. He creates dangers for Laura Adorno. There are no reason here, only feelings. He almost kills La Gioconda in a rage that is all about Laura, and then when Laura is heard and then seen and he understands La Gioconda has saved Laura, then it is "fanciulla santa". The change seem to take just seconds.

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

January 18, 2004: Tosca in Berlin

2014-01-18 Tosca (Puccini), Deutsche Oper Berlin

Floria Tosca = Tatjana Serjan
Mario Cavaradossi = Marcello Giordani
Baron Scarpia = Sergey Murzaev
Cesare Angelotti = Ben Wager
Der Mesner = Seth Carico
Spoletta = Jörg Schörner
Sciarrone = Andrew Harris
Ein Schließer = Noel Bouley

Matthias Foremny, conductor
Kinderchor der Deutschen Oper Berlin
Chor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

Director - Boleslaw Barlog
Stage-design, Costume-design  - Filippo Sanjust
ChöreThomas Richter

KinderchorChristian Lindhorst

There is this idea that one can see too many performance of one opera. Then there is perfection like on Saturday January 18, 2014 in Deutsche Oper Berlin. This is on of the classic productions that will never be tired, especially when it has been rehearsed so well that it seem to be real here and now. Marcello Giordani was a wonderful Mario Cavaradossi, perfectly sung and acted. Tatjana Serjan was just so right in this role, Tosca was in her bones and airs. Sergey Murzaev was just the perfect Scarpia.

Sergey Murzaev was the perfect Scarpia. Only hardened Thomas Hampson fans would be disappointed by Murzaev. This was a smooth, good-looking Scarpia who just occationally let the inner demon out. His minions looked more intimidating than Scarpia himself. But Roma knew of his reputation. Marcello Giordani made his Mario Cavaradossi a much more noble, politically savvy and screwd mind than most tenors give the role. Tatjana Serjan's Floria Tosca had also a wider pallette to paint than most sopranos. Then add upp a production and regie that takes everything in and draws the right picture all the way. Best Tosca ever!!

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

January 17, 2016: Otello in Wiesbaden

2016-01-17 Otello (Verdi), Hessisches Staatstheater Wiesbaden

Otello = José Cura

Desdemona = Cristina Pasaroiu

Iago = Matias Tosi

Cassio = Aaron Cawley

Roderigo = Benedikt Nawrath

Lodovico = Young Doo Park

Emilia = Celeste Haworth

Montano = Nathaniel Webster

A Herald = Christian Balzer

Bianca = Rosa Alt

Leo McFall, conductor

Chor, Extrachor, Jugendchor & Statisterie des Hessischen Staatstheaters Wiesbaden, Hessisches Staatsorchester Wiesbaden

Director - Uwe Eric Laufenberg

Stage Designer - Gisbert Jäkel

Costume Designer - Jessica Karge

Lighting Designer - Andreas Frank

Chorus Master - Albert Horne

Dramaturgy - Regine Palma

Once again and it is Jose Cura as Otello. This time in Wiesbaden.

He was great and this time one could understand why Otello behave as he does because this time we have a Jago who you can see how other people could trust hime. He is a villain, no doubt about that and nothing good is in him.

A great cast. Amazing Otello, Desdemona and Jago. All the other roles was also well. And we have Bianca.

The person-regie was amazing, all the details was there. I really did not like all the sexing and alll that, men are are brutes, women are whores. So cheap to go that way.

So some love and some meh!

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

January 16, 2016: Don Carlo in Frankfurt

2016-01-16 Don Carlo (Giuseppe Verdi), Oper Frankfurt

Don Carlo = Sergio Escobar

Elisabeth von Valois = Tamara Wilson

Philipp II. = Andreas Bauer

Prinzessin Eboli = Tanja Ariane Baumgartner

Rodrigo, Marquis von Posa = Daniel Schmutzhard

Graf von Lerma, Herold = Simon Bode

Tebaldo = Julia Dawson

Der Großinquisitor = Magnús Baldvinsson

Ein Mönch = Vuyani Mlinde

Stimme von oben = Danae Kontora

Renato Balsadonna, conductor

Chor und Extrachor der Oper Frankfurt

Frankfurter Opern- und Museumsorchester

Director - David McVicar

Revival rehearsed by Caterina Panti Liberovici

Stage Designer - Robert Jones

Costume Designer - Brigitte Reiffenstuel

Choreography - Andrew George

Lighting Designer - Joachim Klein

Chorus Master (Chorus and Male Extra Chorus) -

Tilman Michael

Dramaturge -Malte Krasting

Sergio Escobar and Tamara Wilson, two amazing artists with great voice and acting skills. BRAVI, Sergio & Tamara!!

In fact everybody was amazing, the singing and acting likewise. Only the Grande Inquisitore sounded old and tired but that fitted the role.

Tamara Wilson was divine. Her acting was totally believable. She sang Elisabeth de Valois in a way that I realized that  never before had it been sung to such perfection with all the passion we would wish for. She reminded me of Montserrat Caballe except that Caballe is often Caballe onstage too where Tamara Wilson was always Elisabeth de Valois. The booklet showed a paiting of the thin, almost too skinny, Elisabeth de Valois. It is not possible for a soprano in the age group of Elisabeth de Valois to sing this hefty Verdi role. Tamara Wilson had everything except the look of Elisabeth de Valois. But this is opera so we are invited to see love not in the Hollywood perfect size way but the every-kind-of-body-size that opera singers have. Should we not postpone old ideas of how love looks and accept what the stage gives us.

Both our Elisabeth and our Carlos had a different body that what we saw in the booklet (programme). But who cares about that when the singing and acting is absolute perfection. This perfection was not cold it was passionate as Verdi should be. Sergio Escobar was wonderful. And the singing and acting made you forget all sizeist bias and you are thanking Oper Frankfurt that they decided to allow us opera-goers to experience such bliss.

I loved it all so much. I wish I had it on DVD. Thank you, director and production theme!

I enjoyed the Eboli of Tanja Ariane Baumgartner so much. Her voice, everything!

Tamara Wilson, my new Soprano Diva!! Brava, Tamara Wilson! and the best for your career!!!

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

December 16, 2006: Werther in Munich

2006-12-16 Werther (Massenet), Bayerische Staatsoper, Munich

Werther = Marcelo Alvarez
Albert = Christopher Maltman
Le Bailli = Christoph Stephinger
Schmidt = Kevin Conners
Johann = Franz-Josef Kapellmann
Brühlmann = Marc Pujol
Charlotte = Sophie Koch
Sophie = Adriana Kucerova
Käthchen = Anaik Morel

Daniel Oren, conductor

Werther
Jules Massenet
Edouard Blau, Paul Milliet,
Georges Hartmann after Johann Wolfgang von Goethe


Conductor Daniel Oren
Production, Set, Lighting Concept
and Costumes Jürgen Rose
Production Staff Franziska Severin
Lighting Michael Bauer
Children Chorus Stellario Fagone
Dramaturgy Ingrid Zellner

Werther Marcelo Alvarez


The Bavarian State Orchestra

And then in the evening another Premiere with Marcelo Alvarez, in 2004 I was in Bayerische Staatsoper for the premiere of Romeo et Juliette... What can I say? Sophie Koch has a beautiful mezzo soprano voice and was wonderful as Charlotte. Marcelo Alvarez was a passionate Werther. The production that I had heard was wonderful, I did not like it. Luckily act 3 and 4 was great enough. Not that the production was bad, it was just not good enough, it made me yearn for the Vienna production which had better ideas. Sophie was in this production just a silly girl, I though we had evolved from that. Sophie is much better, more relevant if she is near Charlotte in age (almost said height) and light-hearted but not silly... The scenography, why update Werther, silly...

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