December 15, 2002: Samson et Dalila in London

2002-12-15 Samson et Dalila (C. Saint-Saëns), Barbican (London)

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor
London Symphony Orchestra
Sir Colin Davis, conductor



Saint-Saëns Samson and Delilah

This was just the concert version of the opera. And the Barbican Hall is air-conditioned, something that I think contributed to the drier sound of the singers than on the dress-rehearsal Dec13th.

This time the hall was full and the chorus was onstage also on the second act, even though they had nothing to sing, but they probably just wanted to see José Cura, Marina Domashenko and Juha Uusitalo sing the wonderful act 2 of Samson et Dalila.

The soloists was all dressed in black except Marina Domashenko who was in a shimmering grey dress. Even more acting in this premiere-night than on the dress-rehearsal, especially as it concerns José Cura and Marina Domashenko. Both have sung their roles in opera houses, so they knew exactly what was happening.

It was a wonderful opera-night, even if only a concert. Unfortunately I got real sick when I came back to my hotel, I was nearly not well enough to get to Heathrow and to take my plane back to Norway. Then in Norway I found out that I naturally had gotten a cold, presumably in London.

So a wonderful concert turns into a blues, but not because of the soloists, the chorus, the orchestra and the conductor.

HAPPY NEW YEAR, all !

SAMSON = Jose Cura, tenor
DALILA = Marina Domashenko, mezzo-soprano
(replaces Carolyn Sebron, mezzo-soprano)
(replaces Olga Borodina)
The High Priest of Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
And Old Hebrew = Robert Lloyd, bass
London Symphony Chorus

OD Travel

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 13, 2002: Samson et Dalila in London

2002-12-13 Samson et Dalila (C. Saint-Saëns), Barbican London

Samson = José Cura
Dalila = Marina Domashenko
Grand Pretre de Dagon = Juha Uusitalo
Abimelech = John Relyea
Un Vielliard Hebreu = Robert Lloyd
London Symphony Orchestra
Sir Colin Davis, conductor

London Symphony Orchestra
Sir Colin Davis, conductor

Samson = Jose Cura, tenor
Dalila = Marina Domashenko, mezzo-soprano
Grand Pretre de Dagon = Juha Uusitalo, baritone
Abimelech = John Relyea, bass
Un Vielliard Hebreu = Robert Lloyd, bass
Mark Stone, baritone
London Symphony Chorus

Saint-Saens Samson and Delilah

Dress Rehearsal, Barbican Hall in the Barbican Centre

It started at 1900 (London Time), I was on Norwegian Time 2000.
Concert version of the opera. They were all in casual wear, nobody more so than José Cura. It was an orchestra and chorus in great form, conducted by Sir Colin Davis, who also conducted Cura's recording of Samson et Dalila on Erato. Marina Domashenko replaced Olga Borodina, who had partnered Cura on the CD. Her voice was rich and she was in role all the time. José Cura sang Samson in a way that showed that this role was also his onstage in an opera house. Of the deep voices Robert Lloyd, the old Hebrew was the most impressive on, but the Great Priest (Juha Uusitalo) and Abimelech was also very good. The sound of the chorus was crystal-clear. On only really missed the stage when the Danse of the Priestesses, or the Bacchanal was played. Or, should I say, that was the time on REALLY missed it.

The "staging" of the concert. Chorus and orchestra all dressed formally in black. The chorus was behind the orchestra, soloists was standing next to the conductor, but closer to the audience than the conductor. In the beginning of "Dieu d'Israel", the chorus is sitting (since this opera starts with almost a whisper), and then they stand of (all at the same time) when the music reaches a higher level of anger/despair. Cura walks casually in, and starts singing "Arretez, o mes freres" while walking and not looking at his score. Then he turns towards the chorus and quietly put his glasses on. They are very discreet , but one can see the reflection from them. Then Abimelech comes in, put his score on the stand and sings, and go out after singing his part (as a dead man, since Samson has just killed him). One needs one's phantasy when the opera is a concert..

Then The Great Priest of Dagon arrived with the 1 Philistine (Alasdair Elliot, tenor) and the 2. Philistine (Mark Stone, baritone) and the Messager (Peter Auty, tenor). Great singing. In the "Hymne de joie", the lower male voices of the chorus stood up, with Robert Lloyd as the old Hebrew. Wow, can that man sing!!! Then it was the female singers turn for "Voici le printemps", marvelously sung. And then Dalila came, at last, Marina Domashenko, "Je viens celebrer la victoire". Dalila came from the left door, Cura & Lloyd from the right. Wonderfully sung, all. Cura & Lloyd left for the Danse of the priestesses, Samson seemed to want to stay on. Dalila, Marina Domashenko, stood there, in role, seeming to almost wanting to danse with all her allure on. Then Dalila sang "Printemps qui commence" and the Old Hebrew tried to dissuade Samson from listening, since it was a concert Cura was not there.
INTERVAL
2nd act, my favorite.
The Chorus does not sing in act 2, so they were not there. But Dalila and Great Priest and then José Cura, Samson they all sung and conquered us. Not only singing, but they also acting their part as far as it was possible in a concert, and the limited space. When Dalila exclaims "I hate you", she walks off, Samson is distraught, but the he is off. The orchestra is in fervor. Marina Domashenko walking out the door " A moi, philistines!!", José Cura: "TRAHISON!"
INTERVAL
3rd act.
José Cura and the chorus in emotional "Vois ma misere, helas!" Both orchestra and chorus did well in all their parts, and I must say that this chorus really sang so that one heard the words. Great Priest of Dagon and Dalila came onto stage, it was really touching what Cura did with his tormented Samson, soft-voiced in his reproaches to himself, passionate in his defense for God.

BRAVISSIMI!!!!

OD Travel

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 23, 2003: Carmen in Oslo, Norway

2003-08-23 Carmen (G. Bizet), Den Norske Opera (Oslo)

Carmen = Marina Domashenko
Don José = Torsten Kerl
Micaëla = Elizabeth Norberg-Schulz
Escamillo = Gregg Baker
Frasquita = Kjersti Reppe
Mercedes = Nanna Maria Cortes
Remendado = Arild Helleland
Dancairo = Thor-Inge Falch

Patrick Fournellier, conductor



Carmen with world-names in the roles!

The saison starts with Georges Bizet's opera
CARMEN
Saison premiere Saturday 23. august at18.00

One of the worlds most performed operas marks
the opening of the season.
The cast is full of world known soloists.

CARMEN
Opera in 3 acts by Georges Bizet
Libretto by Henri Meilhac / Ludovic Halévy

Premiere: 23/8
Days of performance 25/8, 26/8, 27/8, 28/8, 29/8, 30/8, 1/9, 2/9, 3/9, 4/9, 5/9, 6/9
Duration : app. 3 h 15 m
Sung in French
Norwegian subtitles

Conductor: Patrick Fournellier
Direction: Runar Borge
Choreograhpy: Runar Borge
Set Design: Svein Lund-Roland
Costumes: Mathias Clason
Lighting Design: Gretar Sveinbjørnsson
Choir & Childrens Choir: Steffen Kammler and Edle Stray-Pedersen



The Norwegian National Opera`s Children's Choir, Choir and Orchestra
Wonderful Carmen in Operaen in Oslo!

I liked the production, using the relatively small stage in a superb way. Torsten Kerl was the golden-haired Don José, a big man and tenor, with a securely and beautifully produced Flower-aria. Marina Domashenko was a passionate Carmen, wonderfully sung, danced and acted. After many years I hear Elizabeth Norberg-Schulz live again, in Oslo, her voice has matured and has a more full-rounded sound. And she got a standing ovation after the opera, very well deserved. Gregg Baker was a powerful Escamillo, really great in movements and perfectly the natural center of any party.

From OperaDuets Travel

July 29, 2003: Carmen in Verona

2003-07-29 Carmen (G. Bizet), Arena di Verona

Carmen = Marina Domashenko
Micaela = Hei-Kyung Hong
Frasquita = Cristina Pastorello
Mercedes = Milena Josipovic
Don José = José Cura
Escamillo = Samuel Ramey
Dancairo = Marco Camastra
Remendado = Antonio Feltracco
Zuniga = Dario Benini
Morales = Roberto Accurso

Alain Lombard, conductor

Arena di Verona
29 July 2003 - 21.15

Carmen


Dramma lirico in 4 acts by Georges Bizet
Libretto by Ludovic Halevy - Henry Meilhac


PRINCIPAL CONDUCTOR Alain Lombard


DIRECTOR Franco Zeffirelli
Assistant Director Marco Gandini


SCENOGRAPHER Franco Zeffirelli
COSTUME DESIGNER Anna Anni
CHOREOGRAPHER El Camborio
Assistant Choreographer Lucia Real


CHOIR MASTER Marco Faelli
Director of the Corps de Ballet Maria Grazia Garofoli
Light Designer Paolo Mazzon
Director of stage design Giuseppe De Filippi Venezia


...
Visiting lead dancers Lucia Real - Belen Lopez - Jose' Triguero - Joaquin Mulero
JCuraPhotos
2003-07-29 Carmen (G. Bizet), Arena di Verona

Carmen = Marina Domashenko
Micaela = Hei-Kyung Hong
Frasquita = Cristina Pastorello
Mercedes = Milena Josipovic
Don José = José Cura
Escamillo = Samuel Ramey
Dancairo = Marco Camastra
Remendado = Antonio Feltracco
Zuniga = Dario Benini
Morales = Roberto Accurso

Alain Lombard, conductor
José Cura on horseback in the arena, twice. First alone on the horse, leading the garde montante, then with Carmen on a horse in the mountains. Photo. We even saw donkeys and carriages onstage. Dancing almost all the time on both wings of the performance, except in the last duet, when José kills Carmen.

Recitative version. I have heard this before, but it was really dull recitatives in Verona. José Cura is a wonderful Don José, Hei-Kyung Hong is great as Micaela, Samuel Ramey as Escamillo sounds like he is at the end of the road (painful to hear SR sing, great man, Ramey). The Carmen is really enjoyable when she sings, but when she talks... it is not beautiful, nor seductive, just irritating. And when Marina Domashenko came out after Carmen, she just went straight through the crowd, talk to a friend/fan, and off she went, maybe somebody would have wanted her autograph, or to take a photo. José Cura, on the other hand, was really tired, but was backstage a long,long time, it was, I think almost 02.30 when he left. He was tired, hungry, and a real gentleman.

The 4th act started with A dos cuartos, and then it was a shout "Gitana!" and at the music of the Entr'acte music to usually starts the 4th act, was great Spanish dancing (sevillana or flamenco like).

An absolutely thrilling "C'est toi? C'est moi!" And a lot of applause. Marina Domashenko who had really danced and used the castagnettes in the 2nd act of "Je vais danser en votre honneur" also danced on the at the end, with the Spanish dancers enjoying it, like "Olé!" and José Cura danced, too. It was just simply a really fantastic Carmen.

OD Travel + Photos