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

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

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
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December 15, 2006: Agnes Baltsa in Munich

2006-12-15 Opera Concert, Munich Herkulessaal der Residenz

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

1:
Verdi: Ouvertüre zu „La forza del destino“
The concert started in a grand way with the ouverture from the opera La Forza del Destino by Giuseppe Verdi. Wonderfully played by the orchestra.

Verdi: La canzone del velo aus „Don Carlo“
Agnes Baltsa had the most thunderous applause from the audience even before a single note was sung. To start with the Veil Song from Don Carlo was a bold decision. What a coloratura!! Unfortunately the part of the aria that Eboli sings with Tebaldo was not so glorious sung but that is what sometime happen when an opera aria becomes a concert piece. If Baltsa had sung Tebaldos line it would
have sounded better, I think. Major applause for Agnes Baltsa. BRAVA!!!

Massenet: Vorspiel zum 1. Akt aus „Werther“
Massenet: Va! Laisse couler mes larmes aus „Werther“
The orchestra plays the Prelude very well. And when Baltsa sings Charlotte's aria, we just love it, it is Agnes Baltsa at her best. But we want more of Charlotte, The music stops too sudden, "Sudden death". It just takes us with total surprise. Please do a better work when opera arias are to be changed to concert pieces. BRAVA, Agnes!!!!

Bizet: Zwischenspiel zum letzten Akt aus „Carmen“
Bizet: Carreau, pique... la mort! aus „Carmen“
Too much "sudden death", Entr'acte to 4th act of Bizet's Carmen, would have loved to hear a bit A dos cuartos, too.
Agnes Baltsa sang a wonderful Carreau, pique! but it ends too abruptly why not a bit of the ending with Mercedes and Frasquita in the orchestra. BRAVA, Baltsa!!

Berlioz: Ouvertüre zu „Die Trojaner“
Berlioz: Ah! Ah! Je vais mourir aus „Die Trojaner“
For the first I hear the ouverture to Berlioz Les Troyens and quite frankly that made me want to hear the whole opera (on CD first, naturally). And finally a piece that stands on it own. Makes it the perfect ending for the first part of this concert. Again Agnes Baltsa is absolutely wonderful, again totally in role and of course the audience just can't have enough of her. BRAVA!!!!

2:
Rossini: Ouvertüre zu „Italiana in Algieri“
Rossini: Cruda sorte aus „Italiana in Algieri“
Another very well known ouverture as opening, this time it is L'Italiana in Algeri by Gioacchino Rossini. The orchestra is very good but it sound better in an opera house with an orchestra who really get into the part that this is a comic opera. As a concert piece they played it well. I wished I were at an opera house... Agnes Baltsa on the other hand was totally Isabella. There are other arias I would also have liked her to sing, but the singing was too glorious to have any complains like that. BRAVA, Bravissima!!

Saint-Säens: Bacchanale aus „Samson und Dalida“
Saint-Säens: Amour, vienne aus „Samson und Dalida“
Wonderful played and sung. A very good bacchanale from Samson et Dalila. Agnes Baltsa is super as Dalila but I don't think anyone will think badly of me for wishing she sang Mon coeur s'ouvre a ta voix. That said, she sang it with all her heart and passion. And we just loved her. BRAVA!!

Mascagni: Intermezzo aus „Cavalleria rusticana“
Mascagni: Voi lo sapete, o mamma aus „Cavalleria rusticana“
The Intermezzo was wonderful. And it was really one of the best Voi lo sapete, o mamma I had ever heard. Stupendous! Baltsa is the best Santuzza ever!!!

extra:
Puccini: O mio babbino caro aus "Gianni Schicchi"
Bizet: Habanera & Seguidilla aus „Carmen“
No shock this time that Die Baltsa would choose O mio babbino caro from Gianni Schicchi. I am not even surprised that she sings it better than most if not all sopranos. And as "always" Habanera and Sequidilla from Carmen as encores. And this time I really got it, why Agnes Baltsa would sing the Seguidilla as last encore. She just absolutely adores to sing it. Agnes Baltsa's happiness was just echoed in the house. How we applauded, wanting even more!! Myself was really wishing for O don fatale from Don Carlo... But even if that never happened it was just a remarkable opera evening with Agnes Baltsa!!!!!
BRAVA! Bravissima!!! more more more.


Münchner Symphoniker
Nikos Athinäos LEITUNG
Freitag, 15. Dezember 2006
20 Uhr, Herkulessaal Abo

OD Travel + Photos

For more reviews from my travels, see www.operaduetstravel.com
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October 10, 2009: Carmen in Munich

2009-10-10 Carmen (G. Bizet),
Bayerische Staatsoper (Munich)

Carmen = Julia Gertseva
Don José = José Cura
Escamillo = Teddy Tahu Rhodes
Micaëla = Maija Kovalevska
Zuniga = Christian Van Horn
Moralès = Nikolay Borchev
Dancairo = Christian Rieger
Remendado = Kevin Conners
Frasquita = Lana Kos
Mercédès = Heike Grötzinger
Lillas Pastia = Manfred Ultsch

Karel Mark Chichon, conductor

CARMEN: This time, like all other times with Carmen, the conductor is too fast in the Prelude. I think the rest of the world disagree with me, but that is my opinion. What can I say about the production? Well, it was YELLOW. Is that a code for Seville... It was in my opinion a fairly traditional Carmen. There was some really good ideas there and sometimes the execution of ideas was wonderful. Julia Gertseva was a wonderful Carmen. I had not expected to love her as Carmen, but Carmen is really her role. Brilliant. José Cura was an excellent Don José. Vocally and acting brilliantly. The only thing is that here is French dialog. And that is hard stuff. I really think Julia Gertseva was the best in dialog, very clear, easy to hear, unfortunately I doubt it was the best French diction. Micaela was sung and acted superbly by Maija Kovalevska. It must have been the best Micaela I have seen. Zuniga and Morales seemed to young. Nikolay Borchev (Morales) seem to be the old type opera singer who sings to the audience. Christian Van Horn (Zuniga) right voice but too young for Zuniga. The smugglers Dancairo (Christian Rieger), Remendado (Kevin Conners) was alright, but Frasquita and Mercedes was another species of singers. Lana Kos was nothing short of wonderful as Frasquita. She makes you want more. Beautiful woman, voice and a sure actress. Heike Grötzinger as Mercedes was also a luxury Besetzung. This time one felt that Frasquita could easily become Micaela, and Mercedes could be Carmen.

Act 2 a gipsy camp with tents. I don't like it. And then the Fat Lady as Fat Gypsy Lady. OK, no not OK. A little too much of EXOTISM made of Gypsies, especially Gypsy Women, Zigeunerinnen. Problematic, the ROM people has been marginalized a long time when not looked as Exotic. OK, so it is CARMEN. But a little more respect. A big program but nothing about how the Roma people was treated in Spain in the time of Carmen or about how it is now or why not in the European History. But essays, essays about other things. Our chance of insight wasted. Insight of women's situation in Spain would be appreciated instead of just Carmen and who was she, what kind of love... boring stuff.

I almost forgot Teddy Tahu Rhodes as Escamillo. Doesn't that say it all. Almost forgot. Yes, young and beautiful (handsome, I mean), but it the end easy to forget. The last duet with Carmen (Julia Gertseva) and Don José (José Cura) was absolutely the best. Ever...

OD Travel + Photos
My Original blog post

For more reviews from my travels, see www.operaduetstravel.com
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September 25, 2004: Carmen in Berlin

2004-09-25 Carmen (Bizet), Deutsche Oper Berlin

Carmen = Agnes Baltsa
Frasquita = Stephanie Weiss
Mercédès = Jessica Miller
Micaëla = Michaela Kaune
Don José = Julian Gavin
Moralès = Bernd Valentin
Zuniga = Harold Wilson
Escamillo = Laurent Naouri
Remendado = Peter Maus
Dancairo = Jörg Schörner
Lillas Pastia = Klaus Lang
Andres = Ulrich George

Jun Märkl, conductor




GEORGES BIZET :: CARMEN

Regie: Peter Beauvais
Scenography, constumes Pier Luigi Samaritani
1900-2300

3:45 hrs

Chorus Ulrich Paetzholdt
Choreography Klaus Beelitz

Carmen Agnes Baltsa

Don José Julian Gavin

Schöneberger Sängerknaben

2004-09-25 almost not Carmen in Berlin with Agnes Baltsa.


I arrived early in Oslo, took the early bus to Sandefjord Airport Torp. 0615-0810. My plane was due to go to Copenhagen at 1215, but the plane didn't arrived until that time. Then it was 1235 boarding time, then when we were in the plane, they found a fault. Then we had to get out of the plane, and then it was to be repaired, so in the end 3 hours later than scheduled we left Torp. Unfortunately no direct-flight to Berlin in Copenhagen, I had to go via Munich. So in the end I was in Berlin Tegel 2035. The opera started 1900.

I took a taxi to Deutsche Oper Berlin. I was so lucky to be allowed inside to stand behind the door, for the last 30 minutes of Act 2, from the Smuggler-quintet. Julian Gavin sang a terrible Flower-song,
that was joyously applauded by the audience. I saw act 3 + 4 in my place, Agnes Baltsa sang magnificently the card-scene. And the end-duet was event brilliantly sung by Julian Gavin (Don Jose). The cast was mediocre, I found. But it was still nice to be there. I would have loved to see act 1 and the complete act 2.

OD Travel + Photos

August 3, 1996: The 3 tenors in Munich

1996-08-03 The 3 tenors, Olympia Stadium (Munich)

Josep Carreras, tenor
Placido Domingo, tenor
Luciano Pavarotti, tenor
Philharmonia Orchestra
James Levine, conductor

From tenorissimo.
MUNICH Olympia Stadium, August 3, 1996
Philharmonia Orchestra, conductor James Levine
on tv

Solos:

Carreras: Musica proibita (Gastaldon), Lamento di Federico (È la solita storia del pastore) from Cilea's 'L'Arlesiana', Granada (Lara), Improvviso (Un dì all'azzurro spazio) from Giordano's Andrea Chenier

Domingo: No puede ser from Sorozabal's 'La Tabernera del Puerto', O souverain, o juge, o père from Massenet's 'Le Cid', Dein ist mein ganzes Herz from Lehar's 'Das Land des Lächelns', E lucevan le stelle from Puccini's 'Tosca'

Pavarotti: La mia canzone al vento (Bixio/Mancini), Addio alla madre (Mamma, quel vino è generoso) from Mascagni's 'Cavalleria Rusticana', Mamma (Bixio/Mancini), Nessun dorma from Puccini's 'Turandot'

Together:
Medley I: Because, La Danza, Be my love, Marechiare, Muñequita linda, Torna a Surriento

Medley II: Maria, Tonight, Ò paese d'ò sole, Cielito lindo, Moon River, Caminito, Mattinata, Amapola, O sole mio

Encores: La donna è mobile, O sole mio

UPDATE 2009-08-07:
I remember it was raining and some people used umbrellas. People were encouraged to use raincoats and such instead in interest in other who wanted to use not just hear The 3 Tenors. I was disappointed to hear just the same songs and arias as in Gothenburg especially since they had said in documentary of earlier 3 Tenors' concert that with their vast repertory they could have had 10 concerts in a row and not repeat a single song. But that was a naïve dream. I should have known better.

My seat was not a very good one so without the big screens I would have seen virtually nothing. My parents sat outside the arena in pouring rain and enoyed the sounds from the arena. I was the only one with tickets. More about how I got the tickets and such is forgotten...

OD Travel

July 25, 2003: Jose Cura in Munich

2003-07-25 Opera Concert, Gasteig Munich

Jose Cura, tenor & conductor

Tullio Gagliardo, conductor

I came to Munich on the day of the concert. After first getting to my hotel, and a nice hot shower, my first task was to find the venue. GASTEIG. And after looking here and there I also found out which building the hall itself was in. The hall was called Philharmonie. After getting something to eat, Stachus McDonalds I was back in time, more people was there, some in gala dress other more normally dressed.

I meet Yvonne, my Swiss friend, and by a coincidence our tickets showed that we sitting next to each-other. Met more Cura fans later. The hall was not totally packed, it was some empty seats here and there. Then the orchestra members came in, not in a very orderly fashion, but they played beautifully, it is after all a professional opera orchestra.

The sound of a harp, and Cura is singing Deserto sulla terra from Trovatore, beginning from offstage, and coming in singing.
Giuseppe Verdi:
IL TROVATORE - Deserto sulla terra
Jose Cura, tenor Tullio Gagliardo, conducts
"Guten Abend" . He conducts a wonderful interpretation of the Overture of Nabucco.
NABUCCO - Ouverture
Jose Cura, conducts
The other conductor comes in, he gets a big hand from the audience. And the wonderful aria that Corrado sings in the beginning of the opera Corsaro, is almost perfectly sung by Cura. The orchestra is very good in following Cura and Gagliardo
IL CORSARO - Ah si, ben dite...Tutto parea sorridere
Jose Cura, tenor Tullio Gagliardo, conducts
An ovation of applause, at the moment when the applause is lessening, one suddenly hears Cura's voice "O figli, o figli miei". It seem to the utterly shattering for Cura to sing this immensely sad aria. A man grieving the loss of his children and his wife. My fatherly hand was not there to protect you, my children dying, crying after their father. José Cura must have really dug into the feeling, a family man himself. BRAVO Cura!
MACBETH - O figli...Ah, la paterna mano
Jose Cura, tenor Tullio Gagliardo, conducts
After a short while Cura came back alone to conduct the overture from La Forza del Destino, a fiendishly difficult piece to conduct. The twist and turns of the music, the different dynamics. But my impression is very good. Cura is a good conductor. Even if this orchestra naturally must have done this piece many times, without a good conductor, they would get lost here.
LA FORZA DEL DESTINO - Overture
Jose Cura, conducts
My favorite aria, conducted by Gagliardo, sung by Cura. A wonderful clarinettist sets the feeling/emotion on the right spot. The best La vita e inferno/O tu che in seno agli angeli, ever. Everybody was overwhelmed by this aria.
LA FORZA DEL DESTINO - La vita è inferno
Jose Cura, tenor Tullio Gagliardo, conducts
Tullio Gagliardo back onstage to conduct Intermezzo from Pagliacci, I could not understand why. I thought Cura would conduct all the instrumental pieces. But then I understand the intermezzo goes straight over to Vesti la giubba, which Cura really being Canio there. He starts on the floor, sitting on the stage. It is really wonderfully operatic
Ruggiero Leoncavallo:
I PAGLIACCI - Intermezzo / Vesti la giubba
Tullio Gagliardo, conducts Jose Cura, tenor

PAUSE

Again another wonderful clarinet-solo starts yet another wonderful aria sung by José Cura. Beautifully done. A masterpiece.
Giacomo Puccini:
TOSCA - E lucevan le stelle
Jose Cura, tenor Tullio Gagliardo, conducts
José Cura starts before we are finished applauding a perfect E Lucevan le stelle, and he launches into a passionate and desperate Addio, fiorito asil from Madama Butterfly. A very short aria, but Cura put all into it. What a concert!
MADAMA BUTTERFLY - Addio, fiorito asil
Jose Cura, tenor Tullio Gagliardo, conducts
What a surprise Le Villi in the program. Naturally I would have love Cura to sing the long aria from Le Villi. But to experience him conducting the Witch Dance from Le Villi was also great. A bit short, though. More, please!!!!
LE VILLI - La tregenda
Jose Cura, conducts
Puccini's music is never more modern than in Il Tabarro, and this is very verismo and dark. Cura actually managed to make this opera aria, dark and almost disharmonic into one of my favorites. Not when I listened to it in the Puccini CD, but here in Munich July 25th, 2003. BRAVO!!
IL TABARRO - Hai ben ragione
Jose Cura, tenor Tullio Gagliardo, conducts
Water bottle to the stage. "It is hot"... "Why do we have to be dressed like Penguins, we should be doing it in jeans and T-shirts"..."Let's give another one, Maestro!" And the he starts with a wonderful rendition of Non piangere, Liú!!!
TURANDOT - Non piangere, Liú
Jose Cura, tenor Tullio Gagliardo, conducts
And as the end of the official program, the Argentine aria from Aurora, the song of the Argentine flag. He never does a less than perfect rendition of the aria. After all, he is a proud Argentine. Naturally it is in Spanish.
Hector Panizza:
AURORA - Intermezzo epico
Jose Cura, tenor Tullio Gagliardo, conducts

BRAVO!!!!!!!!!!!!!!!!!!!!!!!!!!!

Extras:
1. Puccini: MANON LESCAUT - Tra voi belle, brune, bionde
Jose Cura sings and conducts, the violinists use their violins as guitars. Cura tells that in Regensburg 2 days ago, the musicians were acting as students (Manon Lescaut, act 1), doing the middle section Ha Ha, laughing. "But this is such a serious place"

2. Brahms: Ungarische Tanz. Jose Cura, conducts I thought it was Liszt Hungarian Rhapsody or something. But in Verona after Carmen on July 29, Cura told me it was Brahms Hungarian Dances.

3. Puccini: TURANDOT - Nessun dorma
Jose Cura, tenor Tullio Gagliardo, conducts
Before Cura sang Nessun dorma he told us that "2 hours ago I got a telephone from Verona, they want me sung 2 more Turandot, so tomorrow I must sing Turandot in Verona... But, you know, I am tired" He did sang Turandot on July the 26th, the day after this concert. He was also due to sing the last on August the 2nd, but at last the toll on Jose did get on him, so Cura got sick, and another tenor replaced him.

End of concert, but Jose Cura has to do some signing and being photographed for almost an hour, before he can go... It was 2300 when he left, and I and bunch of other Cura fans, sat a long time together in a restaurant not far from the Gasteig. So it was really late when I came back to my hotel. But since I was luckily persuaded by my wonderful Swiss friend to take a taxi, I was there a bit over 1 in the night. I would have loved to see Turandot again with Cura, this time maybe the complete opera, with the complete love-duet. But I thought, I save money and my poor head... I'll rest tomorrow.

Bravi tutti!

Bravo, Jose Cura!

OD Travel + Photos

July 24, 2010: Agnes Baltsa in Munich

2010-07-24 Liederabend Agnes Baltsa, Bayerische Staatsoper (Munich)

Agnes Baltsa, mezzo
Achilleas Wastor, piano

The recital was wonderful. Prinzregententheater is much smaller than Nationaltheater and it was completely full. Agnes Baltsa is very popular in Munich. But the small size and with so many people meant that it was warm and the air inside became thick especially by the the second part. The pianist was sweating. The piano was suffering. And even Agnes Baltsa got tired in the end. But she still sang not only the whole program but her 2 encores: Garifollo st'afti, and "Stay with me" by a famous Greek composer named K(something). Agnes Baltsa told me herself the meaning of the song (or tried to) and said the composer's name (but sadly I don't remember more of it).

Mános Hadjidákis (*1925 Xanthi - †1994 Athen)
Peribanou
(Klavier solo)

Stavros Xarhákos (*I939 Athen)
Áspri méra ke ja mas (Es werden glücklichere Tage kommen, auch für uns)

Míkis Theodorákis (*1925 Khios)
To tréno févgi stis ochtó (Der Zug fährt um acht ab)

Mános Hadjidákis
Óniro pedión tis gitoniás (Die Träume der Nachbarskinder)

Vassílis Tsitsánis (*1915 Trikala - †1984 London)
Horisam’ ena dilino (Und eines Tages hatten wir uns auseinandergelebt)
Sinefiasmeni kiriaki (An einem regnerischen Sonntag)
(Klavier solo)

Stavros Xarhákos
Stou Óthona ta hrónia [Zur Zeit von König Otto)
Háthike to fegári (Der verlorene Mond)

Vassílis Tsitsánis
Archóntissa (Meine Edelfrau)
Ta kavourákia (Die Krabben)

---- PAUSE ----

Míkis Theodorákis
Hartaetí (Drachensteigen)
(Klavier solo)

Spíros Peristéris (*1900 Smyrna - †1966 Athen)
Mes ston ondá enós Passá (Im Privatgemach eines Paschas)

Mános Hadjidákis
O tachitrómos péthane (Der junge Postbote starb)

Stavros Xarhákos
To praktorío (Die einsame Station]

Mános Hadjidákis
Nihterino (Nocturne)
Kalamatianos
Megali sousfa
(Klavier solo)

Stavros Xarhákos
Varkaróla (Barkarole)

Mános Hadjidákis
Páme mia wólto sto fegári (Spazieren wir zum Mond)

Stavros Xarhákos
Nin ke aí (Jetzt und für immer)

The Pianist only smiled when Agnes Baltsa was taking the bow with him. Alone he often looked stern. Agnes Baltsa was all smiles. Even to the man in the front row who took many photos even when she was singing. This time she really enjoyed the photographs being taken, and what a treat that was. And then even a Signierstunde, things could not be better.

OD Travel + Photos

Original blog post: Agnes Baltsa: "Stay with me" by K, regrets or no?

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

July 17, 2008: Nabucco in Munich

2008-07-17 Nabucco (G. Verdi), Bayerische Staatsoper

Nabucco = Paolo Gavanelli
Ismaele = Mikhail Agafonov
Zaccaria = Giacomo Prestia
Abigaille = Maria Guleghina
Fenena = Heike Grötzinger
Il Gran Sacerdote = Steven Humes
Abdallo = Kevin Conners
Anna = Lana Kos

Paolo Carignani, conductor

Musikalische Leitung Paolo Carignani
Inszenierung, Bühne und Kostüme Yannis Kokkos
Licht Michael Bauer
Chöre Andrés Máspero
Dramaturgie Anne Blancard-Kokkos

Das Bayerische Staatsorchester
Der Chor der Bayerischen Staatsoper



Termin
Münchner Opernfestspiele 2008
Donnerstag, 17. Juli 2008
Nationaltheater
19.00 - ca. 21.40 Uhr
Dauer: Ca. 2 Stunden 45 Minuten

Mikhail Agafonov sprang in for Aleksandrs Antonenko as Ismaele with short time to prepare. But he sang and acted really well.

This time I sat on the best side for this opera, on the left, so I saw better the action. There were hammering sound during the opera even as the singing resumed it did not stop, it was simply disrespectful to the audience such noises. And then there was all this changes on stage that had often seemingly no reason to happen. And then Nabucco is an opera where the chorus play a great role in itself. The singing was OK but the acting simply wrongheaded.

This time Zaccaria (Giacomo Prestia) was well and the new Ismaele was an improvement. Paolo Gavanelli simply in my opinion has the wrong kind of voice for Nabucco, too sweet is his voice and not commanding in the voice. And then it was his looks, a big belly (his own or was it the directors idea) seemed to take even more command away from his appearance one could hardly image him riding tough and hard on a horse.

This was the better Nabucco is one sense, the overture was in anyway better played than on July 14th. Maria Guleghina was perfect as Abigaille. Heike Grötzinger was good as Fenena. But still as the opera ended and the singers bowed to the audience, the singers with Maria Guleghina as their head seem more tired than on July 14th. It was the last Nabucco of the season... Sadly it made me long for Vienna's Nabucco although there was things I did not like about that production.

BRAVA, Maria Guleghina!!!

OD Travel + Photos

Original blog post: Again Nabucco from Munich, another Ismael (July 17, 2008)


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

July 14, 2008: Nabucco in Munich

2008-07-14 Nabucco (G. Verdi), Bayerische Staatsoper

Nabucco = Paolo Gavanelli
Ismaele = Aleksandrs Antonenko
Zaccaria = Giacomo Prestia
Abigaille = Maria Guleghina
Fenena = Heike Grötzinger
Il Gran Sacerdote = Steven Humes
Abdallo = Kevin Conners
Anna = Lana Kos

Paolo Carignani, conductor

Inszenierung, Bühne und Kostüme Yannis Kokkos
Licht Michael Bauer
Chöre Andrés Máspero
Dramaturgie Anne Blancard-Kokkos

Das Bayerische Staatsorchester
Der Chor der Bayerischen Staatsoper



Termin
Münchner Opernfestspiele 2008
Montag, 14. Juli 2008
Nationaltheater
19.30 - ca. 22.10 Uhr
Dauer: Ca. 2 Stunden 45 Minuten

Parte 1
01 Ouverture conducted by Paolo Carignani
Not the best NABUCCO ouverture that I have heard. Rather unimpressive.

02 Gli arredi festivi Chorus sang Ok, but the acting was so obviously staged. I did not get any feeling that the persons on stage felt anything out of the ordinary.

03 Sperate, o figli Giacomo Prestia, chorus. Giacomo Prestia did well as Zaccaria, obviously not in the best voice that evening. Not surprising since we were told that he was not well. The corus responded better with Giacomo Prestia as their chief voice.

04 Furibondo.... Aleksandrs Antonenko, Giacomo Prestia, chorus. Aleksandrs Antonenko was Ismaele and Giacomo Prestia as Zaccaria did their best to impress.

05 Fenena, mia diletta Aleksandrs Antonenko, Heike Grötzinger. Ismaele and Fenena. Heike Grötzinger was good as Fenena, but Ismaele was kind of boring

06 Prode Guerrier Maria Guleghina, Aleksandrs Antonenko, Heike Grötzinger. Finally some great singing and acting, Maria Guleghina as Abigaille.

07 Lo vedeste Chorus

08 Viva Nabucco! Maria Guleghina, Giacomo Prestia, Aleksandrs Antonenko, Paolo Gavanelli. Most unepressive Nabucco was Paolo Gavanelli, unfortunately, but he has a beautiful voice.

09 Tremin gl'insani.... Paolo Gavanelli, Maria Guleghina, Aleksandrs Antonenko, Heike Grötzinger, ensemble. As always wonderful to hear Mria Guleghina.

10 O vinti, il capo al terra! Paolo Gavanelli, Giacomo Prestia, Aleksandrs Antonenko, Maria Guleghina,
Heike Grötzinger.

Parte 2
11 Ben t'invenno, o fatal scritto Maria Guleghina. Another highlight from Maria Guleghina.
12 Anch'io dischiuso un giorno Maria Guleghina as sweet a sound as never before

13 Salgo gia Steven Humes, Chorus, Maria Guleghina. Would have been even better if Steven Humes (Gran sacerdote di Belo) and chorus had been more on par with Maria Guleghina.

14 Vieni, o Levita Giacomo Prestia. He does so well that one marvels at how he would do had be been well.

15 Che si vuol Chorus, Aleksandrs Antonenko.

16 Deh fratelli, perdonate. Lana Kos, Giacomo Prestia, Kevin Conners, Heike Grötzinger, Guleghina, Gavanelli

17 S'appressan l'instante Paolo Gavanelli, Maria Guleghina, Aleksandrs Antonenko, Heike Grötzinger, Prestia.

18 S'oda or me. Paolo Gavanelli, Giacomo Prestia, Heike Grötzinger, chorus.

19 Chi mi toglie.. Paolo Gavanelli...

Parte 3
20 E l'assria una Regina ... Chorus. Good singing but no acting,

21 Eccelsa Donna... Steven Humes, Maria Guleghina, Paolo Gavanelli, Kevin Conners

22 Donna, chi sei? Paolo Gavanelli, Maria Guleghina. Wonderful duet....
23 Oh, di qual onta.... Paolo Gavanelli, Maria Guleghina
24 Oh qual suon .... Paolo Gavanelli, Maria Guleghina
25 Deh perdona .... Paolo Gavanelli, Maria Guleghina

26 Va, pensiero Chorus. OK

27 Oh, chi piangi. Giacomo Prestia, chorus. Again Giacomo Prestia is the only one that can make the chorus be more alive.

Parte 4
28 Son pur queste mie membra Paolo Gavanelli is more Nabucco here is this part.
29 Dio di Giuda Paolo Gavanelli. Great aria
30 Porta fatal Paolo Gavanelli, Kevin Conners
31 O prode miei. Chorus, Paolo Gavanelli

32 Va la palma del martirio Giacomo Prestia, Heike Grötzinger. Finally an aria for Fenena. Wonderful.

33. Ah torna Israella Paolo Gavanelli, ensemble.

34 Immenso Jeovha Ensemble

35 Su me, morente Maria Guleghina. Fantastic Maria Guleghina!!!!!


My favorite opera, NABUCCO by G. Verdi and one of my favorite sopranos, Maria Guleghina as Abigaille. When the manager went out to announce something I got scared maybe it was something about my favorite Abigaille. But no, Giacomo Prestia was not well but was still singing.

Even as Giacomo Prestia was not well I still enjoyed his Zaccaria more than Paolo Gavanelli's Nabucco. Paolo Gavanelli was simply quite wrong as Nabucco in my opinion. He did quite well in Nabucco's great aria and was quite good in the great duet with Maria Guleghina. Ismaele was Aleksanders Antonenko who was not the best tenor for this role, but then which top star tenor would want to sing Ismaele. It is usually a role for the young tenor in the beginning of his career like it was for Josep Carreras and José Cura.

Maria Guleghina was a wonderful Abigaille. But the production was not a great one. The chorus sang well but felt nothing. It was much use of the possibilities on the stage to move stars and so on. But seldom did that add something to the opera. It was a lot of lost opportunities. Fenena was also great. Heike Grötzinger.

OD Travel

Original blog post: A weak Nabucco in Munich (July 14, 2008)

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

July 5, 2005: Otello in Munich

2005-07-05 Otello (Verdi), Opern-Festspiele, Munich

Otello = José Cura
Desdemona = Barbara Frittoli
Jago = Sergei Leiferkus
Emilia = Hannah Esther Minutillo
Cassio = Raymond Very
Rodrigo = Kevin Conners
Lodovico = Maurizio Muraro
Montano = Steven Humes
Ein Herald = Matthias Wippich

Zubin Mehta, conductor



Otello

Giuseppe Verdi
Arrigo Boito



Conductor Zubin Mehta
Regie Francesca Zambello
Scenography and costumes Alison Chitty
Choreography Alphonse Poulin
Light Mimi Jordan Sherin
Chorus Andrés Máspero


This time I did not have just a standing room ticket, but I sat on the first row. And I could see everything. Naturally having seen this Otello before on July 2nd meant that there were no surprises. But this time I could see the whole stage and see what was happening deep down on the stage. It was a wonderful Otello on July the 2nd, and it was actually even better this time. Jose Cura's interpretation of Otello's agony is very physical even at the edge of portraying Otello as a psychological unstable person, very much in the way Cura did Don Carlo in Zurich. But nevertheless, it works. The Regie works, Francesca Zambello did another masterwork of Verdi's great Masterpiece Otello based on Shakespeare's Masterpiece. This would not have been surprising had one not seen so many of the masterpieces of Opera destroyed by the scandal- or ego-driven directors. This time Otello was Otello.

The conductor Zubin Mehta held everything in his hands, and Orchestra & Chorus and the whole Ensemble responded magnificently. Barbara Frittoli had her eye-twitching movements but sang and acted as the great Desdemona she is. Hannah Esther Minutillo was equally a total Emilia, blending and acting well in duets, ensembles etc. Raymond Very as Cassio did a very well indeed. I have read some criticism of Sergei Leiferkus' Jago but I do not think that is fair. He was a very good Jago, someone who you could believe that others would think him honest and true, his malice subdued.

Sadly I had to go before all the applause was ended because I had a train to catch, since this was my last opera in my Summer Opera Holiday 2005.

OD Travel + Photos

July 2, 2005: Otello in Munich

2005-07-02 Otello (Verdi), Opern-Festspiele, Munich

Otello = José Cura
Desdemona = Barbara Frittoli
Jago = Sergei Leiferkus
Emilia = Hannah Esther Minutillo
Cassio = Raymond Very
Rodrigo = Kevin Conners
Lodovico = Maurizio Muraro
Montano = Steven Humes
Ein Herold = Matthias Wippich

Zubin Mehta, conductor



Regie Francesca Zambello
Scenography and costumes Alison Chitty
Choreography Alphonse Poulin
Light Mimi Jordan Sherin
Chorus Andrés Máspero



From Verona, Parma, and Torino when I had seen Aida, Werther and Nabucco I was on my way to Berlin. Had planned to take the night train to Berlin from Munich. But knowing that Jose Cura would sing Otello in Munich I decided to try my luck for a ticket in Munich, knowing that it was all sold out, hoping that somebody would be having an extra ticket. And I was at the Theatre 10 minutes before Otello was starting. 5 minutes before 19 I had my ticket for standing room only. It was a hot day and I was already quite tired, but luckily it was a bar to hang on there and I was so happy it had one pause of 30 minutes to sit and drink a little. It was heavy air to stand there and hot. It was a wonderful Otello and I could see the whole stage of course something's was not so visible if I bent down a bit I could see the subtitles.

It was a Francesca Zambello production and it was a the most wonderful Otello production seen until then. All in splendid form. Jose Cura, Barbara Frittoli was wonderful as Otello and Desdemona. Leiferkus was great as Jago. Cassio was also wonderful. Emilia was a dream. It was a dream Otello.

And after the opera Jose Cura was signing. Long was the wait, and unruly the queue. But he came and so many JCx friends were there. And after all this, a late dinner for JCx in a nearby Stube. At 1 the Stube had to close and so I had to find a hotel for the rest of the night, and I found it close to Hauptbahnhof.

OD Travel + Photos

July 2, 2005: Otello in Munich

2005-07-02 Otello (Verdi), Opern-Festspiele, Munich

Otello = José Cura
Desdemona = Barbara Frittoli
Jago = Sergei Leiferkus
Emilia = Hannah Esther Minutillo
Cassio = Raymond Very
Rodrigo = Kevin Conners
Lodovico = Maurizio Muraro
Montano = Steven Humes
Ein Herold = Matthias Wippich

Zubin Mehta, conductor



Regie Francesca Zambello
Scenography and costumes Alison Chitty
Choreography Alphonse Poulin
Light Mimi Jordan Sherin
Chorus Andrés Máspero



From Verona, Parma, and Torino when I had seen Aida, Werther and Nabucco I was on my way to Berlin. Had planned to take the night train to Berlin from Munich. But knowing that Jose Cura would sing Otello in Munich I decided to try my luck for a ticket in Munich, knowing that it was all sold out, hoping that somebody would be having an extra ticket. And I was at the Theatre 10 minutes before Otello was starting. 5 minutes before 19 I had my ticket for standing room only. It was a hot day and I was already quite tired, but luckily it was a bar to hang on there and I was so happy it had one pause of 30 minutes to sit and drink a little. It was heavy air to stand there and hot. It was a wonderful Otello and I could see the whole stage of course something's was not so visible if I bent down a bit I could see the subtitles.

It was a Francesca Zambello production and it was a the most wonderful Otello production seen until then. All in splendid form. Jose Cura, Barbara Frittoli was wonderful as Otello and Desdemona. Leiferkus was great as Jago. Cassio was also wonderful. Emilia was a dream. It was a dream Otello.

And after the opera Jose Cura was signing. Long was the wait, and unruly the queue. But he came and so many JCx friends were there. And after all this, a late dinner for JCx in a nearby Stube. At 1 the Stube had to close and so I had to find a hotel for the rest of the night, and I found it close to Hauptbahnhof.

OD Travel + Photos

June 21, 2015: Norma in Munich

2015-06-21 Norma (Bellini), Bayerische Staatsoper

Norma = Sondra Radvanovsky
Adalgisa = Ekaterina Gubanova
Clotilde = Golda Schultz
Pollione = Gregory Kunde
Flavio = Francesco Petrozzi
Oroveso = Mika Kares

Paolo Carignani, conductor

Inszenierung, Bühne und Kostüme, Lichtkonzept - Jürgen Rose
Choreographische Mitarbeit - Jo Siska 
Licht - Michael Bauer
Produktionsdramaturgie - Peter Heilker 

Chöre - Stellario Fagone

Finally, Norma! Live from Munich with Sondra Radvanovsky and Ekaterina Gubanova as Norma and Adalgisa.

First time to see this opera live for me. Sondra Radvanovsky, who I saw last time in London as Lina in Verdi's Stiffelio 8 years ago, has become NORMA in a very big way. She is there alongside with Maria Callas, Joan Sutherland and Montserrat Caballé. Ekaterina Gubanova, who I have loved ever since Oberto in Paris in 2011, was equally amazing as Adalgisa.

Gregory Kunde was Pollione instead an indisposed Massimo Giordano. He was Pollione with gusto but not my cup of tea, so to speak. Mika Kares was a wonderful Oroveso. Frnacesco Petrozzi was Flavio and I wanted more from him like he should be singing Pollione with his beautiful voice.

Golda Schultz did her job in the little and yet important part of Clotilde. Parolo Carignani conducted it all.

Two children played the roles of the children of Norma and Pollione. Poor children!! Innocent young boys with a mother who loves (and hates) them.  A father who in the end is more a lover than a father. I still wonder if Norma was the only to die (did she die?), was Adalgisa also killed, did the children really get a chance to live safely with Oroveso, or ... Did Pollione die (killed by the Druids)?


The music is divine but who can love Norma or Pollione. Adalgisa can, I cannot. But I can love Adalgisa and wish the children did get a chance of love from ever lovable Adalgisa.

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 16, 2002: Aida in Munich

2002-06-16 Aida (G. Verdi), Bayerische Staatsoper (Munich)

Aida = Norma Fantini
Radames = Dennis O'Neill
Amneris = Nadja Michael
Ramfis = Carlo Colombara
Amonasro = Alexandru Agache
Re d'Egitto = Gerhard Auer
Un messagero = Francesco Petrozzi
Sacerdotessa = Annegeer Stumphius

Zubin Mehta, conductor



Bayerische Staatsoper
Staatsintendant Sir Peter Jonas
Generalmusikdirektor Zubin Mehta
Sonntag, 16 Juni 2002
5" Abonnement Serie 26
Aida
In italienischer Sprache mit deutschen Übertiteln
Oper in vier Akten
Libretto von Antonio Ghislanzoni
Musik von
Giuseppe Verdi
Musikalische Leitung" Zubin Mehta
Inszenierung David Pountney
Bühne" Robert Israel
Kostüme Dunya Ramicova
Choreographie' Nils Christe
Licht' Mimi Jordan Sherin
.Chöre" Udo Mehrpohl

Tänzer:
Aida'
Ein MannChristian lanole
Eine FrauValentina Divina
Amneris'
Zwei FrauenSaskia van Bosch, Chantal Gagnebin
Radames'
Zwei MännerVincent Loermans, Marc Mondelaers


Das Bayerische Staatsorchester
Der Chor und Extrachor der Bayerischen Staatsoper
Mitglieder des Bayerischen Staatsballetts (Ballettdirektor Ivan Liska)
Musikalische Assistenz' Massimiliano Murrali
Abendspielleitung: Markus Koch
Bühnenmusik: Gregor Raquet
Inspizienz' Nikolaus Ehlers, Holger Haase, Ruth Wieman
Souffleuse' Carmen Sylva Schileru
Lichtinspizienz' Hilde Harrer
Übertitel' Ingrid Zellner
Übertitel-lnspizienL Antonia Walther
Anfertigung der Bühnenausstattung und Kostüme in eigenen Werkstätten
@ G, Ricordi & Co" Mailand
Die Bayerische Staatsoper dankt Elfriede und Andreas Zäch und den Freunden des Nationaltheaters tür die großzügige Unterstützung der" Aida"-Produktion.
Nationaltheater München
Beginn 19.00 Uhr
Pause nach dem 2. Akt, ca. 30 Min. Ende ca. 22.10 Uhr


Zubin Mehta conducts. When the curtains go up, I see the scenography, and my heart sinks to the bottom, but Zubin is conducting, and the singers are excellent. They are all excellent. NADJA MICHAEL is a magnificent AMNERIS. What a great voice! Her slender body and big voice and a great actress too. NORMA FANTINI must be one of the best
AIDA's today, big voice. RAMFIS is also the best voice I have heard for long. Alexandru Agache is naturally a great baritone, but his pronunciation is not as clear as could have wished for. Dennis O´Neill is good as RADAMES, he looks like Pavarotti, but I still am not quite a fan of this Welsh tenor. Act 1 + 2 were together as one act, then 30 minutes pause, and then Act 3+4 together as one act. Luckily the
second half was much more to my liking as scenography. And wow, was there a great mezzo there in Nadja Michael, like in the duet with Radames in the fourth act, I have never heard it sung better. It was such a great performance, that even though it seem to ordinary to walk from the performance at minimum applause, people stayed on and
on. I was naturally one of the last to go.

Another 6 stars, the scenography gets only 3, 0 for act 1+2, 6 for act 3+4.

OD Travel + Photos

May 30, 2004: Romeo et Juliette in Munich

2004-05-30 Romeo et Juliette (Gounod), Bayerische Staatsoper

Juliette = Angela-Maria Blasi
Stéphano = Anna Bonitatibus
Gertrude = Anne Pellekoorne
Romèo = Marcelo Alvarez
Tybalt = Manolito Mario Franz
Mercutio = Martin Gantner
Paris = Christian Rieger
Grégorio = Nikolay Borchev
Capulet = Ramaz Chikviladze
Frère Laurent = Maurizio Muraro
Le Duc = Steven Humes

Marcello Viotti, conductor



Inszenierung Andreas Homoki
Scenography Gideon Davey
Light Franck Evin
Chorus Andrés Máspero


1900. Romeo et Juliette (Gounod). Marcelo Alvarez & Angela Maria Blasi, conducted by Marcello Viotti. I don't like this production but I feel that the shouting of Buh's for the production team is unjustified. I dislike the idea in this production but it is working, it is never against the music or action. Sung and acted as it were in full earnest, deadly earnest. Bravo company! The colors was as from a comics book with strong colors. RED, MAGENTA, YELLOW, GREEN. The idea of setting it in a college, it is not the family Capulet and Montague, it is "Houses". It is a very youthful approach. This school-children is really children, and childish. Teenagers. But does it matter that the duel is made with giant pencils and giant-pen. That on the center of the stage is a GIANT school-table and with giant romantic books. Marcelo Alvarez is ROMEO, there is nothing phony about him, he is a person so is JULIETTE (Blasi) and all the other.

BRAVO, Marcelo!!! I love you. A really great night at the opera even though I disagreed with the production.

Unfortunately I did not have the time to wait for the artists to come out the stage door. I had to go to Vienna for L'Italiana in Algeri with Agnes Baltsa, Juan Diego Florez, and Ferruccio Furlanetto as Mustafa.

OD Travel + Photos