February 3, 2008: Le Cid in Zurich

2008-02-03 Le Cid (J. Massenet), Opernhaus Zurich

Rodrigue = José Cura
Chiméne = Isabelle Kabatu
L'Infante = Isabel Rey
Don Diège = Andreas Hörl
Le Roi = Massimo Cavalletti
Le Comte de Gormas = Cheyne Davidson
St. Jacques = Tomasz Slawinski
1 envoyé Maure = Kresimir Strazanac
Don Arias = Miroslav Christoff
Don Alonzo = Reinhard Mayr

Michel Plasson, conductor

Finally in Zurich to see Le Cid with Jose Cura as Rodrigue. A new singer as The King. His debut. Massimo Cavalletti did well.

Difficult music in act 1+2, almost no help in orchestra for the singers. Mass scenes are wonderfully sung.

Did not like the scenery in this production. If you sat in the middle or high up you could see everything. But for those on the sides very much up the opera was not to be seen because of 2 decorative walls. So how could the L'Infante Isabel Rey see Chiméne Isabelle Kabatu when she came from the right, not at all. Stupid.... Just like Isabelle Kabatu was looking out in the audience when she "saw" Rodrigue Jose Cura. (stupid).

Michel Plasson directed the orchestra and so he must be blamed for the slow and boring "Pleurez mes yeux" from Isabelle Kabatu. Kabatu was in excellent form especially in acts 3+4, but she was boring and having heard Montserrat Caballe singing this opera means that one know how wonderful and exciting it can be.

The great and wonderful aria from LE CID "O souverain, o juge, o pere" was not such a jewel in the opera version. The concert version is so much more wonderful, the opera has the chorus interrupting and St. James singing to Rodrigue. Very disappointing.......

The costumes was somewhat extreme "historic" idiocy. Jose Cura in soldier's uniform was great. Otherwise the production was a half-way: modern in scenography and "traditional" in costumes, and Regie was not great. Did Chiméne have to act like a silly teenager? Stupid. Luckily Isabel Rey was wonderful, acting a dignified L'Infante.

Andreas Hörl was a wonderful Don Diego. The arrogant Count of Gormas was sung by Cheyne Davidson.

Isabelle Kabatu and Isabel Rey sound perhaps too alike to make the duet great. I wound have wanted more music for L'Infante and Isabel Rey. A duet with Rodrigue Jose Cura would have been great.

I found the libretto somewhat weak and the music unexciting.

Le Cid - Massenet
with German subtitles


Supported by the Georg and Bertha Schwyzer-Winiker-Foundation


Conductor
Michel Plasson


Producer/production
Nicolas Joel


Set design
Andreas Reinhardt


Costumes
Andreas Reinhardt


Lighting
Jürgen Hoffmann


Choir rehearsal
Jürg Hämmerli


With
Isabelle Kabatu (Chiméne), Isabel Rey (L'infante); Jose Cura (Rodrigue), Andreas Hörl (Don Diège), Massimo Cavalletti *role debut (Le Roi), Cheyne Davidson (Le Comte de Gormas), Tomasz Slawinski (St. Jacques), Kresimir Strazanac (1 envoyé Maure), Miroslav Christoff (Don Arias), Kresimir Strazanac (Don Alonzo)

OD Travel + Photos

# Le Cid in Zurich 2008, February 3
# Finally Zurich and Le Cid

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 21, 2012: Turandot in Zurich

2012-01-21 Turandot (Puccini), Opernhaus Zurich

Turandot = Martina Serafin
Liu = Isabel Rey
Calaf = Johan Botha
Timur = Pavel Daniluk
Ping = Kresimir Strazanac
Pang = Andreas Winkler
Pong = Boguslaw Bidzinski
Althoum = Miroslav Christoff
Mandarin = Valeriy Murga

Massimo Zanetti, conductor

Producer/production - Giancarlo del Monaco
Set design - Peter Sykora
Costumes - Peter Sykora
Lighting - Hans-Rudolf Kunz

I had come to Zurich to see Jose Cura as Calaf. But he got a serious head cold so he couldn't sing. Johan Botha was to sing instead. It was like Lohengrin singing Calaf, I thought. But his large girth did not prevent him much to be an effective Calaf. He has a big and beautiful, clear voice. He stood and delivered the goods, but his acting consisted mainly of smiling. Those smiles seemed to me to come sometimes at inapprobiate times, but maybe it was another way of telling that Calaf is more of a cad than a romantic hero.

Martina Serafin was Turandot. She was very different from Paoletta Marrocu as Turandot in this production. Unfortunately she had some difficulties in the aria "In questa reggia" where the demands of the role seemed to somewhat beyond her so Botha's voice could easily overwhelm her in the "enigmi sono tre, la morte una". Martina Serafin was an otherwise great Turandot who I am sure will be able to takle all the demands of Turandot in a few years.

I also came to Zurich to see Isabel Rey as Liu. She was great. From a somewhat weak Signore, ascolta in the first act to the most wonderful and greatest rendition of Tu che in gel sei cinta. Wow, that was amazing!!!

Pavel Daniluk was simply an amazing Timur. His voice was grand and demanding.

What can one say abou the production? Partly it is super traditional, and partly modern. The action does happen in China, in legendary times. BUT the unknown prince (Calaf), Timur and Liu is dressed modernly. AND Calaf uses a computer to answer the riddles. The audience laughed when Johan Botha took the computer. In April 2006 (last time I saw this production) they did not laugh when Cura took the computer. But naturally it was silly then and now. But I guess then it was not so strange to see the chorus dressed in modern cloths when Turandot tells that she know the name of the stranger: His name is Love. Then we are in modern Shanghai and Turandot disrobes her traditional dress to the modern one, and Calaf and Turandot can enjoy a champagne, romantic meal served by modern times Ping, Pang and Pong.

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 12, 2015: Luisa Fernanda in Valencia

2015-01-12 Luisa Fernanda (Moreno Torroba), Palau de les Arts Reina Sofia (Valencia)

Luisa Fernanda = Davinia Rodríguez

Vidal Hernando = Plácido Domingo

Javier = José Bros

Carolina = Isabel Rey

Mariana = María José Suárez

Saboyano = Emilio Sánchez

Rosita = Sandra Ferrández

Nogales = Miguel Sola

Aníbal / Vareador = Vicenç Esteve

Don Florito = Juansa Lloret

Bizco Porras = David Rubiera

Don Lucas = David Fruci *

Capitán = Germán Olvera*

Jordi Bernàcer, conductor

Cor de la Generalitat Valenciana

Francesc Perales, director

Orquestra de la Comunitat Valenciana

Director - Emilio Sagi

Vestuario - Pepa Ojanguren

Iluminación - Eduardo Bravo

Producción - Teatro Real de Madrid

* Centre de Perfeccionament Plácido Domingo

Placido Domingo sounded fresher in this second performance of Luisa Fernanda. I have seen again the  DVD of the same production from Teatro Real in Madrid in 2006. Naturally with 9 more years Placido sound different now. Placido Domingo, the great tenor, is now singing baritone roles in full force. He is obviously dreaming of conquering all Verdi Baritone roles just like he did Verdi Tenor roles. Verdi baritone roles is very far from the lighter zarzuela even if he is singing Vidal Hernando, a baritone role. Still, Placido can still win people over. Is it the Magic of the Legend or does he still have It.

Jose Bros as Javier Moreno just as in 2006 (DVD), but in Valencia he was even better. I am a big fan of Nancy Fabiola Herrera so I assumed I would prefer her in the 2006 DVD, but I found that Davinia Rodriguez gave the role more personality. In the DVD recording Mariola Cantarero was the Duchess Carolina, but also there did I find more personality and depth in Isabel Rey's intepretation.

It is strange that or maybe it isn't, that the dvd feels more stuffed than the live performances in Valencia. Maybe it is that Valencia had the more superb cast also in the small parts and even chorus and dancers was more alive and real than in Teatro Real. I never saw this zarzuela in Teatro Real so I can only say what I see, feel and hear from the recording.

DVD
Torroba: Luisa Fernanda 

Plácido Domingo (Vidal Hernando); Nancy Herrera (Luisa Fernanda); José Bros (Javier Moreno); Mariola Cantarero (Duchess Carolina); 

"The production at the Teatro Real in Madrid was a top-of-the-range version...Vidal is a peach of a role for Domingo: his voice easily commands its baritone range and he dominates the action, convincingly heroic in voice and figure and still able to project a greying virility in the style of Sean Connery. Nancy Herrara as Luisa and Jose Bros as Javier gave fine support." (The Independent)

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 9, 2015: Luisa Fernanda in Valencia

2015-01-09 Luisa Fernanda (Moreno Torroba), Palau de les Arts Reina Sofia (Valencia)

Luisa Fernanda = Davinia Rodríguez
Vidal Hernando = Plácido Domingo
Javier = José Bros
Carolina = Isabel Rey
Mariana = María José Suárez
Saboyano = Emilio Sánchez
Rosita = Sandra Ferrández
Nogales = Miguel Sola
Aníbal / Vareador = Vicenç Esteve
Don Florito = Juansa Lloret
Bizco Porras = David Rubiera
Don Lucas = David Fruci *
Capitán = Germán Olvera*

Jordi Bernàcer, conductor
Cor de la Generalitat Valenciana
Francesc Perales, director
Orquestra de la Comunitat Valenciana

Director - Emilio Sagi
Vestuario - Pepa Ojanguren
Iluminación - Eduardo Bravo
Producción - Teatro Real de Madrid


* Centre de Perfeccionament Plácido Domingo

It was the perfect way to end a day. I came for Isabel Rey, soprano from Valencia, And she was wonderful as La Duquesa Carolina. Davinia Rodriguez was known earlier because she sang in I Due Foscari with Placido Domingo as Doge Foscari in Theater an der Wien. Luisa Fernanda is very different from Lucrezia Contarini still Davinia Rodriguez showed she could be the perfect Luisa Fernanda, too. In December Celso Albelo was Javier but I chose Josep Bros and for me that choice paid very well off. Placido Domingo was Vidal Hernando, of course. This time he came of as a bit hoarse at times, but he is still the Placido, Placidissimo! Maria Joae Suarez was Mariana and she was just such a delight to see and hear.

OD Travel & Photos

Original blog post

It was the perfect way to end a day. I came for Isabel Rey, soprano from Valencia, And she was 
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

August 22, 1997: Opera Gala in Hamburg

1997-08-22 Hamburger Operngala, Rathausplatz

Agnes Baltsa, mezzo
Josep Carreras, tenor
Isabel Rey, soprano

David Gimenez, conductor



PROGRAM
1. Mozart : Le Nozze di Figaro
2. Tosti: Marechiare JC
3. Tosti: Vieni sul mar JC
4. Le Nozze di Figaro- Voi che sapete AB
5. L'Italiana in Algeri - Pensi alla Patria AB
6. L'Arlesiana - E la solita storia JC
7. Cavalleria Rusticana - Voi che sapete AB
8. Cavalleria Rusticana - Intermezzo
9. Cavalleria Rusticana - Tu qui, Santuzza ABJC


2100-2125
1. Las Bodas de Luis Alonso
2. Me llaman la prima rosa IR
3. Granada JC
4. El duo de la Africana IRJC
5: Carmen - Habanera AB
6. Coren'grato JC
7. O mio babbino caro AB
8. Dein ist mein ganzes Herz JC
9. Die Lustige Witwe - Lippen schweigen ABJC



EXTRA
1. Isabel Rey, koloraturarie
2. Agnes Baltsa, Seguedilla
3. Jose Carreras, O sole mio
4. Baltsa, Carreras, Rey LA TRAVIATA - Brindisi
5. Jose Carreras; O sole mio


Fantastic concert. It was rainy and even some thunder in the second half of the concert.


The concert at Rathausmarkt "Operngala"

18.10. I were at the Rathausmarkt, bought my program, and found my
seat. One could buy Danish dish, a Japanese sushi dish, drink
champagne (of course it wasn't cheap, but almost stylish). I was just
drinking from my bottle of cola-light (big bottle). Not so stylish,
but cheaper!!!

at 20.00

The concert begins, a big applause to the conductor, no, it was
director of the Hamburger Opernwoche. He talks for a short while, then
he gave the word someone import in Hamburg. She talk for a long time,
it seemed. (But in real time the two talked for 10 minutes).

But then David Giménez, came young and fresh and full of energy on the
stage, and we could hear:

Mozart: Le Nozze di Figaro- Ouverture
Splendid delivery of an opera pearl.

J o s e C a r r e r a s came, at everything seemed a l i v e

Tosti: M a r e c h i a r e
Carreras was great, his voice seemed to have been darkening, it had an
almost baritonal flavor. V i e n i s u l m a r


A g n e s B a l t s a

Mozart: Le nozze di Figaro_-V o i c h e s a p e t e

I still gets tears in my eyes when I think of that performance, never
was the aria sung so .... (my words fails me)

Rossini: L'Italiana in Algeri - P e n s a a l l a p a t r i a

She always sings this aria like a goddess. Always when you hear and see
Agnes Baltsa, one is reminded that she can't separate the aria from
the acting, the role, unlike so many other singers, who when it is
concert they don't act.

J o s e C a r r e r a s

Cilea: L'arlesiana _ E l a s o l i t a s t o r i a

Fantastic!!!!!!!!!!!!!!!!!!!

A g n e s B a l t s a

Mascagni: Cavalleria Rusticana - V o i l o s a p e t e , o
m a m m a

Intermezzo (orchestra)

A g n e s B a l t s a & J o s e C a r r e r a s

T u q u i , S a n t u z z a

Great, great, great

End of part 1
----------------------------------------------------------------- Part
2 of the concert.

Resounding in my head was the duet from Cavalleria Rusticana. Nobody
can sing Santuzza like Baltsa, no one can be a better Turriddu than
Carreras. But thinking about it, now, I don't know whether Carreras
has ever sung Turriddu on stage in a opera performance.

It was a 25 minutes break between the two parts of the concert

Agnes Baltsa was wearing a dress, white on the top, and fluffy on the
arms, and the long skirt was black. To get an idea, see:
Baltsa picture.

Isabel Rey was wearing a "turkise" dress. (bleu with green flavor)

Than at 21.25 the concert commences:

Alonso: Las Bodas de Luis Alonso-Intermedio

I s a b e l R e y

Alonso: El Barberillo de Lavapies _ M e l l a m a n l a
p r i m a r o s a
What a joy to hear her fresh and highly individual voice, she doesn't
sound like Caballé, Victoria de los Angeles or Pilar Lorengar, but she
is definitely in their league. A new great Spanish soprano. She have
studied under Montserrat Caballé and Alfredo Kraus, so the program
says.

J o s e C a r r e r a s

Lara: G r a n a d a

naturally the audience goes wild (in the heart, more than action,
maybe it was to hot in Hamburg, I don't know)

C a r r e r a s & R e y

Caballero: EL DUO DE LA AFRICANA

They are acting, they are singing, it is FANTASTIC!!!!!!

A g n e s B a l t s a

Bizet: CARMEN - H a b a n e r a

Great, yes, yes, yes I want to see her as Carmen live on stage
no matter what it costs. How can I say that I have seen Carmen onstage
when she was not the Carmen

J o s e C a r r e r a s

Cardillo: C o r e n ' g r a t o

Jose is just great.

A g n e s B a l t s a

Surprise of the evening:
Puccini:Gianni Schicchi O m i o b a b b i n o c a r o

A mezzo singing one of the great showpiece aria for any young soprano
(like Isabel Rey). With Agnes Baltsa the aria goes further than just
show-piece than just comedy. She gives the aria an touch of tragedy
after all, the soprano is begging her father of getting to marry her
love, if he says no, she will jump into the river Arno.

Wonderfully sung, she ends with a pianissimo.
It is touching, the not so young mezzo, gives away a young woman's
true heart

J o s e C a r r e r a s

Lehar: The land of smiles D e i n i s t m e i n g a n z e s
H e r z

Nobody, even with a better German pronunciation could have sung the
aria better.

B a l t s a & C a r r e r a s

Lehàr Die Lustige Witwe L i p p e n s c h w e i g e n

Great duet from de Merry Widow. one disappointment: Agnes wanted to
waltz, he didn't. But still Fantastic!!!!!!!!!!!!

Extras:

Jose Carreras being the perfect gentleman arranges that I s a b e l
R e y will sing the first extra. He decides which aria she will
sing, gets her laughing yes, and indicating that she knows that aria
perfectly. But I don't .

A g n e s B a l t s a

Bizet: Carmen: S e g u e d i l l a

J o s e C a r r e r a s
O s o l e m i o (or T o r n a a S u r r i e n t o).

Photographs being taking at the same time as we see the heavenly
blitz. Jose loses no nerve.

B a l t s a , C a r r e r a s & R e y

Verdi: La Traviata - B r i n d i s i
Pure heaven

J o s e C a r r e r a s

O s o l e m i o
It was a pure demonstration of strength.

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 14, 1999: Die Fledermaus in Vienna 1999

1999-05-14 Die Fledermaus (J. Strauss), Theater an der Wien

Gabriel von Eisenstein = Wolfgang Brendel
Rosalinde, his wife = Silvana Dussmann
Prince Orlofsky = Agnes Baltsa
Alfred, voice coach = Herbert Lippert
Dr. Falke, notary = Olaf Bär
Dr. Blind, barrister = Ernst-Dieter Suttheimer
Frank, prison director = Anton Scharinger
Adele, Rosalinde's maid = Isabel Rey
Ida, her sister = Mercedes Echerer
Frosch, court usher = Erwin Steinhauer

Nikolaus Harnoncourt, conductor


Wiener Festwochen 1999

Die Fledermaus (The Bat)
by Johann Strauss
Libretto and lyrics by C. Haffner and R.
Genée based on the vaudeville "Réveillon"
by Meilhac and Halévy


New production
Joint production of Vienna Festival and Zurich Opera

Musical director: Nikolaus Harnoncourt
Director: Jürgen Flimm
Stage design: Dieter Flimm
Costumes: Birgit Hutter
Choreography: Catharina Lühr



Vienna Symphonic Orchestra
Arnold Schoenberg Choir



Venue: Theater an der Wien
Premiere: 8 May (Televised ORF)
Additional performances: 10, 12, 14, 16 May
19.00 - 22.30

(Interesting that no audience is alike.)

Brava, Agnes Baltsa!
Brava, Isabel Rey!
Brava, Silvana Dussmann!

OD Travel + Photos

May 12, 1999: Die Fledermaus in Vienna

1999-05-12 Die Fledernaus (J. Strauss), Theater an der Wien

Gabriel von Eisenstein = Wolfgang Brendel
Rosalinde, his wife = Silvana Dussmann
Prince Orlofsky = Agnes Baltsa
Alfred, voice coach = Herbert Lippert
Dr. Falke, notary = Olaf Bär
Dr. Blind, barrister = Ernst-Dieter Suttheimer
Frank, prison director = Anton Scharinger
Adele, Rosalinde's maid = Isabel Rey
Ida, her sister = Mercedes Echerer
Frosch, court usher = Erwin Steinhauer

Nikolaus Harnoncourt, conductor

Wiener Festwochen1999

Die Fledermaus (The Bat)
by Johann Strauss
Libretto and lyrics by C. Haffner and R.
Genée based on the vaudeville "Réveillon"
by Meilhac and Halévy


New production
Joint production of Vienna Festival and Zurich Opera

Musical director: Nikolaus Harnoncourt
Director: Jürgen Flimm
Stage design: Dieter Flimm
Costumes: Birgit Hutter
Choreography: Catharina Lühr


Vienna Symphonic Orchestra
Arnold Schoenberg Choir

Frank, prison director = Anton Scharinger
Adele, Rosalinde's maid = Isabel Rey
Ida, her sister = Mercedes Echerer
Frosch, court usher = Erwin Steinhauer

Nikolaus Harnoncourt, conductor
Theater an der Wien
DIE FLEDERMAUS
Prinz Orlofsky = Agnes Baltsa
Adele = Isabel Rey

The Spanish Soprano Isabel Rey (she lives in Zurich) is Adele, a Wienerin. The Greek Mezzo Agnes Baltsa (who also live in Switzerland) is Orlovsky from Russia. Isabel Rey is everything one wants Adele to be, she knows comedy and have a strong sense of language (German, naturally). Act 1 belongs to Isabel Rey. Then in act 2 comes Orlofsky Ball, and when Orlovsky and Adele, who is presented as Fräulein Olga (from Russia), wants to be a singer and sings a line from "Pres de remparts de Seville" and then Prinz Baltsa repeats it, to the great enjoyment of the house.
Act 3 starts with a boring Frosch, interesting for the Viennese, but not for me. Only Isabel Rey is good in this act, when Baltsa comes, then it is a good end of this operetta.

OD Travel + Photos