January 12, 2002: Nabucco in Vienna

2002-01-12 Nabucco (G. Verdi), Wiener Staatsoper

Nabucco = Anthony Michaels-Moore
Ismaele = Miro Dvorsky
Zaccaria = Alastair Miles
Abigaille = Eliane Coelho
Fenena = Mihaela Ungureanu
Gran Sacerdote di Belo = Goran Simic
Abdallo = Walter Pauritsch
Anna = Renate Pitscheider

Anton Guadagno, conductor



Wiener Staatsoper
samstag, 12. jänner 2002
13. Aufführung in dieser Inszenierung

Nabucco
Oper in vier Teilen von Temistocle Solera
Musik von Giuseppe Verdi

Musikalische leitung / Anton Guadagno
Inszenierung / Günter Krämer
Bühne / Manfred Voss und
Petra Buchholz
licht / Manfred Voss
Kostüme / Falk Bauer
Choreinstudierung / Ernst Dunshirn
..


Orchester und Chor der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper
Eleven der Ballettschule der Wiener Staatsoper

New opera for me, so subtitling was good for me, and it fitted the opera very well.

The conductor Anton Guadagna was older and thinner, but a great conductor for Nabucco. I saw a orchestra-member smiling happily at the thought of playing Verdi's music. And really from the pit came wonderful music of Verdi, and that Nabucco is not played more was a mystery. Anthony Michaels-More was a great choice as Nabucco, even Leo Nucci could not do it better. I think that Michaels-Moore gave more pleasure in the role than Nucci, in his voice was enough italienitá, and he was immersed in the role. Here is the baritone for today and the future.

As Brogni in La Juive did not Alastair Miles impress me, as Zaccaria he did fit more into the role. But also here did he in some instances lack some vocal depth, but it didn't do any harm to this interpretation. I think that Miles had learned from Shicoff how to be a proud Jew.

In the role of Ismaele, as once was one of Carreras first opera roles, we saw and heard Miro Dvorsky, the younger brother of Peter Dvorsky. His voice resembled that of Neil Shicoff, but was more beautiful and soft. A likable fellow, Dvorsky (see picture above).

The two sisters and rivals, Fenena (Michaela Urungureanu) and Abigaille (Eliane Coelho), wonderful voices. Fenena, mezzo soprano with some higher notes almost soprano. Abigaille, soprano, but with some depth not possible for true sopranoes. Truly a wonderful and exciting new voice: Michaela Urungureanu !

Eliane Coelho, exciting soprano from Brazil, since long Prima Donna in the Wiener Staatsoper. I have seen her in other roles, but this must be her best. Nabucco without a great singer in this role would be a bore, but Eliane Coelho makes Nabucco a true Masterwork of Giuseppe Verdi.

NABUCCO
Often presented as a political drama, and it is that too, and a story of the conditions of the Jews under Nabucco in Babilonia. But here the emphasis was on the human side, and especially Nabucco relationship to Abigaille and Fenena, his daughters. On the side is the lovestory of Ismaele and Fenena, they not act and react to the things that happen around them. Only Nabucco and Abigaille is playing an active part in making the story happen.

Nabucco is too power-hungry to see what he is doing to his daughters. Abigaille lost her father's love, maybe she never had it. And she loves a man who loves her sister. Deprived of love in family or in a romantic way, her way became the way of destruction. When Nabucco finds out that he, in his madness has signed the death-warrant to not only the Jews but also of Fenena. When he pleas for his daughter's life to Abigaille he forgets and that Abigaille too was his daughter. So his plea can not be of any effect since he only ask the Queen, not the daughter, the human being of Abigaille for salvation.

OD Travel

December 30, 2010: Tosca in Oslo

2010-12-30 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg4

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.


Almost New Year's Eve in the Opera. Tosca is one of my favorite operas, and Maria Guleghina is one of my favorite opera singers. I sat in 3rd Balcony almost in the middle. I could see the whole stage all the time.

Paul Curran had the Regie for this Tosca. It was a traditional production with much attention to the details. Puccini's music had already decided much of the timing and the action. Naturally it is hard to get all the details right in every performance. But for the first time I noticed that Puccini had put Angelotti's heavy breathing when he finally was in the church and could relax, when he composed it. It is unfortunately that many directors seem to overlook these clues in the music when they make their "regie". What we now often call Regie-Theater is neither Regie nor Theater, it is a director creating his own play while ignoring most of what would make the opera or theater a living breathing truth appearing before our eyes. So this Tosca production proves that a tradional setting of an opera, where one put it in context and in its own time need not be Old and Boring.

Attention to detail made Tosca real and interesting. From the beginning when Angelotti came in exhausted and till Tosca leapt to her death it was all believable and interesting. And the music was excellent, singers, orchestra was all together to make it opera-magic. Not one person on stage was un-real. But only in the movies could you make sure that everything would happen on the right Puccini note. This was real theater, no editing of false moves was possible. I think it must be absolutely impossible in a theater to close the door at the precise time at the cantata in act 2. Impossible! But it was so close that I would say that the impossible was achieved.

It is seldom one really feel that Cavaradossi and the Sagrestano is really preparing the colors when Cavaradossi sings "Recondita armonia" but of course here one knows it. Miroslav Dvorsky was a Cavaradossi who was really a painter, a revolutionary, a lover of Tosca, a smart man. The interaction of Cavaradossi with Angelotti was also interesting with Angelotti recognizing Cavaradossi and hugs him, but the painter does not recognized him and rejects him to the floor. So real... But then Cavaradossi understands that it is Angelotti who has escaped prison and promise to help him even it can mean his death, which in the end it does.

Mario Cavaradossi still has his head with him even if Angelotti looses his wits and his bags of women's cloths. He picks the bag up but misses the fan. Again something we seldom see so clearly as in this production. Tosca comes. Maria Guleghina is Tosca and one does fall for her spell. Paul Curran had made his choices in how to portray the relation of Cavaradossi and Tosca. I might disagree about making Tosca a little too fickle but when it works and really has foundation in the opera, then it can be true, too. This production is the first production I have seen where Tosca not only comes with flowers but also lays jewels at the Madonna. Attention to details is everywhere in this production. How happy I am to see a Tosca performance where the timing of when Tosca notices la Marchesa Attavanti is the Maddalena that Cavaradossi is painting, is correct.

It was a lovely love duet between Miroslav Dvorsky and Maria Guleghina.

The situation that Angelotti is in, is grave. It is serious business, and when Tosca has left and Angelotti and Cavaradossi meets again, Cavaradossi is taking care of things not like it is only theater but as a life and death situation. They leave. The Sagrestano comes in with a lot of people. And there is a Baccano in chiesa. As a lively scene play out with children, priests, nuns, men and women, the stage is prepared for the Te Deum with women taking the paper bits that Tosca teared up the Cavaradossi drawing of Attavanti, and priests takes away the painter's things. Everything that happens on the stage seem natural and organic... Then Scarpia and his minions appears. It is true as the opera says that this Scapia is feared by Rome's inhabitants. Even the children knows that this is a dangerous man. His minions is also recognized as unfriendly and to be feared. They are all relieved to be allowed to go. But the poor Sagrestano must stay. When Scarpia seem to forget him for a moment, he tries to escape, but the Scarpia's minion's punished the Sagrestano with violence in a corner of the church. Scarpia care not for him. Then Tosca comes in looking for Cavaradossi and the Sagrestano mocks her and is seized by Scarpia's men and pulled away. Scarpia stalks her, pretending to want to offer her Holy Water. Scarpia had planned this since he understood that Cavaradossi, Tosca's lover, was involved in the Angelotti affair. Tosca's jealousy was roused by Attavanti's fan that Scarpia supposedly found with the painter's things. When Tosca leaves Scarpia arrange for 3 spies and one vehicle to follow Tosca. The Te Deum is in progress, an impressive affair. This Scarpia leaves then by almost crashing the whole procession.

Act 2. The best Vissi d'arte ever.

Act 3. A wonderful E lucevan le stelle and a perfect Love Duet by Miroslav Dvorsky and Maria Guleghina.

What can I say? It was perfect.

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

December 28, 2010: Tosca in Oslo

2010-12-28 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

Both Greer Grimsley (Scarpia) and Miroslav Dvorsky (Cavaradossi) seemed to have been affected by the cold weather but Maria Guleghina (Tosca) was as her usual self. I was sitting on 3rd balcony on the right side. I could see more of the stage than on December 19 when I sat on Parkett right. From the beginning I could hear that Miroslav Dvorsky was not in his best form but that did but that did not hinder him from singing a fine Recondita armonia and an exceptional E lucevan le stelle. Only in the last duet it happened he lost his voice painfully. Luckily at his side a great collegue, Maria Guleghina who grasped his hands and comforted the tenor with her presence and her big voice and as a miracle the tenor found his voice back and that made the last duet even more moving. Tenor and soprano make it part of the opera. It was a happy opera night for Maria Guleghina who sang one of he finest Vissi d'arte. Maria Guleghina's interpretation of Tosca is always something to admire. She put her heart and soul into every part she sings. At this moment it is her Tosca and her Abigaille that I most admire.

After the opera I found the stage entrance and I went in to wait for my idol. I was alone, people left the opera house and there she was, the Diva with her beautiful assistant. Maria Guleghina and I are friends on Facebook but I never thought the Diva would look at me and say "it is your birthday, isn't it?". And then she sang me Happy Birthday in a natural, un-operatic way. And her assistant took a photo of me with Maria on my Birthday. O lucky day!

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

December 19, 2010: Tosca in Oslo

2010-12-19 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Regie - Paul Curran
Scenography / costumes - Kevin Knight
Light design - David Jacques
Cooperation with Canadian Opera Company

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

On December 19th, 2010 it was matinee at 1500. It was Maria Guleghina first time as Tosca at Norwegian National Opera, Oslo. It was the fourth time for me since I have earlier seen her as Tosca at Vienna State Opera, Deutsche Oper Berlin and Opernhaus Zurich.

I loved the production by regisseur Paul Curran. It was as historical as an opera can be. I sat on right so I could not seen the whole stage but that did not prevent me from enjoying this Tosca. Paul Curran used minor characters and statists to liven up things but never at the expense of the opera.

Maria Guleghina was the perfect Tosca even though she sometimes sang too quietly but I always felt she did it to be true to the person she acted. Miroslav Dvorsky sang and acted a fine Cavaradossi. It was sad that the conductor only stopped the music for applause for the aria in the first act and not for the 3rd act bacause his E lucevan le stelle was really great where Recondita armornia he was more like he was still warming up a bit. The audience really yearned to applaud so it applauded Maria Guleghina and Miroslav Dvorsky in the middle of their 3rd act duet.

The applause for Recondita armonia seemed to be an automatic response to the conductor pausing the orchestra. The act 1 duet applause came more from the heart of the audience. But the applause after Vissi d'arte had the feeling of the audience going wild for Maria Guleghina, and the applause after the opera was "endless".

Greer Grimsley was Baron Scarpia. Just perfect. Maybe too perfect. Or maybe I have seen too many Tosca performance. The chorus, orchestra, statists and the other singers were also wonderful. Paul Curran must be so proud. Maria Guleghina clearly loved the production and Paul Curran.

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

June 25, 2006: Verismo Gala in Miskolc

2006-06-25 Verismo Gala, Miskolc Operafestival

Agnes Baltsa, mezzo
Mirolav Dvorsky, tenor
Natasa Kátai, soprano
Paolo Gavanelli, baritone

Miskolc Symphonic Orchestra
János Ács, conductor



7 pm, Grand Theatre

Verismo Gala


Miskolc Symphonic Orchestra

Host: Ferenc Baranyi
Conducted by: János Ács
Directed by: Imre Halasi



Verismo Gala, Miskolci Nemzetközi Operafesztivál

Agnes Baltsa, mezzo
Miroslav Dvorsky, tenor
Paolo Gavanello, baritone
Natasa Kátai, soprano

SO I guess you want to know was it worth it: YES. Agnes Baltsa was great she sang, of course the Santuzza aria (Voi lo sapete, o mamma) and the duet with Turriddu (no surprise there) but it did not end there, when Turriddu (Miroslav Dvorsky) went out, the music continued and then Paolo Gavanello came it and then it became the duet Santuzza/Alfio (not often a concert piece). IT WAS WONDERFUL!!!

First part was the Cavalleria Rusticana / Pagliacci arias, duets. It started with Pagliacci Prolog which was very appropriate. The second part was the more unknown operas/arias. Started with what was probably something from the opera L'Amico Fritz, then Paolo Gavanello sang aria (CILEA?), it was the aria from Catalani's LA WALLY, Lamento di Federico. Gavanello sang Nemico della Patria (ANDREA CHENIER).... and finally Baltsa came and it was CARMEN, Seguedilla, Miroslav Dvorsky sang the flower aria, and the Verismo Gala ended with the Carmen duet, and when Carmen died it was over.

No extra numbers, nothing. But then my friend told me that it was something happening inside the house, an reception. So we went there. Eva Marton was there, and soon came Agnes Baltsa, Dvorský etc. Of course there was wine, food, and many other people. It was speeches, and naturally Agnes Baltsa was the toast. And I even got a chance to talk to her. I never got a chance to take a photo. Not in the theatre, the usher turned me down. And in the reception it never seemed to be the right thing to do. I could naturally just have asked Agnes Baltsa, I think she might have said yes. But it was enough somehow to be near.

BRAVA, AGNES BALTSA!!


PROGRAMME

1. Leoncavallo: PAGLIACCI - Prologo - "Si puo?" - PAOLO GAVANELLO, baritone

Hungarian
2. Leoncavallo: PAGLIACCI - "Qual fiamma avea nel guardo!" - "Stridono lassù" - Natasa Kátai, soprano

3. Mascagni: CAVALLERIA RUSTICANA - "Voi lo sapete, o mamma" - Agnes Baltsa, mezzo


4. Mascagni: CAVALLERIA RUSTICANA - "Mamma, quel vino è generoso" - Miroslav Dvorsky, tenor


Hungarian
5. Mascagni: CAVALLERIA RUSTICANA - Intermezzo

6a. Mascagni: CAVALLERIA RUSTICANA - "Tu qui, Santuzza" - Miroslav Dvorsky, tenor
& Agnes Baltsa, mezzo
6b. Mascagni: CAVALLERIA RUSTICANA - "Iddio vi manda, compar Alfio" - Agnes Baltsa, mezzo & Paolo Gavanello, baritone


interval

7. Mascagni: L'AMICO FRITZ - Intermezzo

Hungarian
8. Ponchiello: LA GIOCONDA - "O monumento" - Paolo Gavanello, baritone


9. Catalani: LA WALLY - "Ebben! Ne andrò lontana" - Natasa Kátai, soprano

10. Puccini: IL TABARRO - "Nulla! Silenzio!" - Paolo Gavanello, baritone


Hungarian
11. Cilea: ADRIANA LECOUVREUR - "Io son l' umile ancella" - Natasa Kátai, soprano

12. Cilea: L'ARLESIANA - "E' la solita storia del pastore" - Miroslav Dvorsky, tenor

13. Giordano: ANDREA CHENIER - "Nemico della patria" - Paolo Gavanello, baritone


Hungarian
14. Bizet: CARMEN - "Près des remparts de Seville" - Agnes Baltsa, mezzo

15. Bizet: CARMEN - "La fleur que tu m'avais jetée" - Miroslav Dvorsky, tenor

Hungarian
16. Bizet: CARMEN - "C'est toi? - C'est moi" - Agnes Baltsa, mezzo & Miroslav Dvorsky, tenor

OD Travel