January 13, 2007: Tosca in Zurich

2007-01-13 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Norma Fantini
Mario Cavaradossi = Marcelo Alvarez
Baron Scarpia = Ruggero Raimondi
Angelotti = Tomasz Slawinski
Mesner = Giuseppe Scorsin
Spoletta = Andreas Winkler
Sciarrone = Rolf Haunstein

Nello Santi, conductor




Tosca - Puccini
In italienischer Sprache


Deflo/Frigerio/Squarciapino/Hämmerli


Dirigent
Nello Santi


Inszenierung
Gilbert Deflo


Bühnenbild
Ezio Frigerio


Kostüme
Franca Squarciapino


Lichtgestaltung
Jürgen Hoffmann


Choreinstudierung
Jürg Hämmerli



PAUSE NACH DEM 1. AKT BEGINN: 19.30 UHR
ENDE:22.15 UHR


It was a wonderful opera evening. Ruggero Raimondi was a great Scarpia, Marcelo Alvarez was wonderful as Cavaradossi and so was Norma Fantini as Tosca.

The disappointment was the conductor Nello Santi who was almost killing the beautiful music, Tosca was mostly played painfully slow with sudden unreasoned faster parts. The Regie by Gilbert Deflo was not helping, as awkward moments in act 1. And deciding that Tosca would shoot herself rather that leaping from the Castello was really bad. Especially since both the shooting of Cavaradossi and later by Tosca was really too quiet. Not that one could not hear it but it didn't even hit our nerves. The scenography by Ezio Frigerio was probably one reason it was sometimes hard to hear the singers. The glass walls was just not reflecting the sound but it was giving reflects of the singers and the monitors which was a bit disturbing. And then there so not a huge or even big painting of Maria Magdalen, just some painters papers which really make the acting much more harder to do realistically.

After the opera, no Ruggero Raimondi in sight but delightful Marcelo Alvarez and the nicest soprano of all, Norma Fantini made the evening perfect. Marcelo Alvarez was most generous tenor meeting his fans and making everybody enjoy it deeply. And Norma Fantini was the warmest and nicest person you could meet. At the stage door a huge success for the fans. And I could go to the hotel with a big smile in my face. NORMA FANTINI, the power of nice!!!!


January 2007: Tosca in Zurich (2007-01-13)

OD Travel + Photos

November 20, 2010: La Fanciulla del West in Zurich

2010-11-20 La Fanciulla del West (G. Puccini), Opernhaus Zurich

Dick Johnson (Ramirez) = José Cura
Minnie = Emily Magee
Jack Rance = Ruggero Raimondi
Harry = Shinya Kitajma
Jake Wallace = Davide Fersini
Nick = Martin Zysset
Ashby = Daniel Henriks
Sonora = Cheyne Davidson
Sid = Tomasz Slawinsky
Trin = Pablo Ricardo Bemsch
Bello = Kresimir Strazanac
Joe = Boguslaw Bidzinski
Happy = Thomas Tatzl
José Castro = Valeriy Murga
Larkens = Aaron Agulay
Billy Jackrabbit = Thomas Forde
Wowkle = Bettina Schneebeli
Un Postilione = Simon Wallfisch


Massimo Zanetti, conductor


Inszeniering - David Poutney
Spielleitung - Aglaja Nicolet
Bühnenbild - Stefanos Lazaridis
Kostüme - Sue Wilmington
Lichtgestaltung - Jürgen Hoffmann


This David Pountney production of La Fanciulla del West by Giacomo Puccini is growing old and is no longer inspiring. Once upon a time the use of movie was innovating like in 2004 when I first saw this production I found it pure genius. But the times has changed and it is after all my 10th Fanciulla.

It is nothing new here. The Girl of the Golden West (LA FANCIULLA DEL WEST) is the Spaghetti Western as opera. Was it necessary to make the stage so steep and did the screen really have to be hung in a slope. It just seemed so sloppy. Every time the movie was playing or the backdrop was changed to another photo reminding us about the time of gold digging in California it was like the director took the audience as utter fools. It is the usual story of opera directors not daring to let the opera speak for it self.

When I compare to the other Fanciulla productions that I have seen at Royal Opera House (London), Deutsche Oper Berlin, Den Norske Opera (Oslo) then Opernhaus Zürich production seem to be the oldest and dullest one.

The cast was incredible. Still I was bored and not really tuned into the action. I just know that Emily Magee was the perfect Minnie and José Cura was perfect as Dick Johnson. Ruggero Raimondi was also great. But the production let this opera down.

Original blog post
OD Travel + Photos

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

October 24, 1998: Tosca in Zurich

1998-10-24 Tosca (Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessì
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Jacob Will
Il Sagrestano = Martin Zysset
Sciarrone = Rolf Haunstein
Un carceriere = Peter Kalman

Marcello Viotti, conductor

Daniela Dessi was a superb Tosca, everything, her acting, her voice was great.I was really swept away with this great actress-singer. Neil Shicoff was Cavaradossi, he too was good. Ruggero Raimondi was a great Scarpia.

Musikalische Leitung MARCELLO VIOTTI
Inszenierung ULRICH PETER
Ausstattung HUBERT MONLOUP
Lichtgestaltung JAKOB SCHLOSSSTEIN
Chor JÜRG HÄMMERLI


Hirt NATALIE ZAGODA, REBECCA RÜEGGER
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH KINDERCHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Violoncello-SoloCLAUDIUS HERRMANN

Ort und Zeit der Handlung: Rom, Juni 1800

Musikalische Assistenz
und Einstudierung KELLY THOMAS, HERVE MAHE,
LODOVICO ZOCCHE Abendspielleitung und
Regieassistenz ULRICH SENN
Organisation und
Betreuung der llinder SUSY SIEGRIST
Inspizienz RUDOLF BUDAV ARY
Souffleur ADRIANO
Technische Leitung WERNER HUBER
Beleuchtung JÜRGEN HOFFMANN
Leiter des Ausstattungswesens BRUNO STUCKI

Samstag, 24. Oktober 1998Samstag-Abo
Pausen nach dem 1. und dem 2. Akt Beginn: 19.30 Uhr
Ende: ca. 22.15 Uhr

OD Travel

October 18, 1998: Attila in Zurich

1998-10-18 Attila (Verdi), Opernhaus Zurich

Attila = Ruggero Raimondi
Ezio = Leo Nucci
Odabella = Mara Zampieri
Foresto = Boiko Zvetanov
Uldino = Miroslav Christoff
Leone, alter Römer
[Papst Leo I.] = Guido Götzen

Vladimir Fedoseyev, conductor



Attila at 20.00, during and after Andrea Chenier I had a bit of a head-ache, but to my amazement, I found out that a GREAT opera performance can cure that.

Ruggero Raimondi, was a great Attila, but Nesterenko was better in the video from Verona, I think. Mara Zampieri has the most beautiful voice, and sang the difficult and vocally demanding role of Odabella, in the most exquisite way. Leo Nucci was much better than I would have thought possible for him. Boiko Zwetlanov was as good as anyone singing Forest.

Inszenierung
und Bühnenbild ERWIN PIPLlTS
Kostüme ULRIKE KAUFMANN
Lichtgestaltung JÜRGEN HOFFMANN
Chor ERNST RAFFELSBERGER

CHOR DES OPERNHAUSES ZÜRICH STATISTENVEREIN AM OPERNHAUS ZÜRICH
ORCHESTER DER OPER ZÜRICH
Mit Unterstützung der Schweizer Rück als Hauptsponsor
sowie der Marion Mathys-Stiftung
Musikalische Einstudierung
und Assistenz LODOVICO ZOCCHE, KELLY THOMAS
Abendspielleitung
und Regieassistenz CLAUDIA BLERSCH
Regieassistenz LORENZ AGGERMANN
Regiehospitanz SUSANNE SCHMIDT
Kostümassistenz EBERHARD VON KNOBLOCH
Inspizienz PAUL SUTER
Souffleuse URSULA MORI
Sonntag, 18. Oktober 1998Sonntagabend-Abo A
Pause nach dem 1. Akt
Beginn: 20.00 Uhr Ende: ca. 22.10 Uhr

OD Travel

September 11, 2010: Tosca in Zurich

2010-09-11 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Maria Guleghina

Mario Cavaradossi = Marcelo Alvarez

Baron Scarpia = Ruggero Raimondi

Angelotti = Valeriy Murga

Mesner = Giuseppe Scorsin

Spoletta = Andreas Winkler

Sciarrone = Morgan Moody

Nello Santi, conductor

Iszenierung - Robert Carson

Spielleitung - Aglaja Nicolet

Austattung - Anthony Ward

Lichtgestaltung - Davy Cunningham

Regiemitarbeit - Alexander Lowde

Maria Guleghina is feeling better (TOSCA 11.9.2010)

- and so was I. After a week with back pain on and off finally Friday I felt good again. It became a normal Friday except that I was really going to Zürich to see TOSCA with Maria Guleghina, Marcelo Alvarez and Ruggero Raimondi.

Without Facebook I would not have known that Maria Guleghina had sung one Tosca against the doctor's order. Before the the performance there was an announcement by the management about the Grippe that was going on in the opera house. It was affecting Spoletta, the tenor had had the voice of a bass in the morning but was going to sing anyway. Had I not heard the word Spoletta I would have thought it was Cavaradossi who was affected. Marcelo Alvarez did seem to be very careful in his singing in act 1 but so was Maria Guleghina and Ruggero Raimondi. Marcelo Alvarez sang a precious "Recondita armonia" and showed himself to be an excellent actor. Maybe it was because Alvarez was so careful in his singing that Maria Guleghina was mimicking him or perhaps she still was not completely well. My only real complaint about the duet was the audience reactions, laughing at the jealousy of Tosca. Here one hear the wonderful act 1 duet and people are laughing. How rude it is! The interaction between Ruggero Raimondi (Scarpia) and Maria Guleghina (Tosca) was amazing. Real acting. And then act 1 ended with "Tre sbirri" and Te Deum. With act 1 the opera did not take flight, not yet, the singers were far too careful for that. PAUSE

Act 2 and with the first note that was sung the opera flying high. Ruggero Raimondi used his age to the advantage to create his menacing Baron Scarpia. This was an old and dangerous Scarpia. Marcelo Alvarez was the noble and aristocratic Cavaliere, proud and in defiance. Maria Guleghina was the Diva and Woman in Love. Act 2 was high drama, wonderfully acted and sung. I loved her "Vissi d'arte", it was so pure and true. For me there are no Tosca like Guleghina and how she sang acted to Cavaradossi and Scarpia was amazing. And unforgettable it was when Tosca realized after the fury and fear that she has really murdered someone.

Act 3 gave a wonderful "E lucevan le stelle" by Alvarez and of course the duet with Guleghina was a wonderful, too. Strange as it seem I still cannot say it was the best Tosca performance that I have seen. I have seen Marcelo Alvarez, Maria Guleghina and Ruggero Raimondi making better Tosca performances but never together. This performance came close to be the best TOSCA performance.

Still, the shouts of Brava and Bravo was highly deserved. And after the performance Marcelo Alvarez came first out the stage door, then Ruggero Raimondi and lastly Maria Guleghina. Then I got the chance to ask Maria Guleghina if she was feeling better. And she said yes, and that made me so very, very happy. And I used the opportunity to tell her how I enjoyed the way she sang "Vissi d'arte". And then we were both free to go, each over way.

Original blog post
OD Travel + Photos

For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

September 8, 2001: Tosca in Zurich

2001-09-08 Tosca (G. Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessi
Mario Cavaradossi = José Cura
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Guido Götzen
Der Mesner = Giuseppe Scorsin
Spoletta = Volker Vogel
Sciarrone = Rolf Haunstein
Ein Schliesser = Valery Murga

Carlo Rizzi, conductor



Disappointment!!!!!

José Cura, Daniela Dessi and Ruggero Raimondi, they did all disappointment me. How:

New Tosca production in Zurich. I liked this production. Maybe it was the conductor's fault, the 3 ladies from Italy thought so. Yes, some of it. And then there was Cura, and his fans in the audience. I would like to say to Señor Cura that singing in an opera is different than singing in a concert. He sang the arias as were it a concert-piece and the conductor indulged him. Singing the last note looooong, waiting for the applause. His concerts of is with microphone, I think it have gone to the maestro's head. His pianissimo was not audible and I was not far from the stage and Zurich is not a BIG theatre in a physical sense. This MACHO Cavaradossi was an insult to Puccini, Daniela Dessi did not have an easy time with singing another kind of Tosca because of Jose's interpretation. Ruggero Raimondi lacked some parts of his large voice, he was not imposing enough something that it is very seldom that RR lacks.

Last act was a greater pleasure than the 2 previous acts.

(This piece make me feel as if I was writing it with a broken arm or something, but no that was another Tosca in Vienna with JC)

OD Travel + Photos

July 15, 2006: Tosca in Verona

2006-07-15 Tosca (Puccini), Arena di Verona

Floria Tosca = Fiorenza Cedolins
Mario Cavaradossi = Marcelo Alvarez
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Marco Spotti
The Sacristan = Fabio Previati
Spoletta = Cristiano Olivieri
Sciarrone = Gabriele Ribis
A Prison Guard = Angelo Nardinocchi

Daniel Oren, conductor

Tosca



Melodrama in 3 acts by
Giacomo Puccini
Libretto by Giuseppe Giacosa e Luigi Illica




Arena
15 July 2006 at 21.15



Principal Conductor Daniel Oren
Director Hugo de Ana
Scenographer Hugo de Ana
Costume Designer Hugo de Ana



This year I was in Verona to see Jose Cura as Canio in Pagliacci. A role I have seen him twice before. But this was a new production in Arena di Verona. And going to Verona is such fun. There was rumor that not many from the Jose Cura connexion (JC's fanclub) was going to be there, but I counted 7 persons at least. Since I had decided to go to Verona I and MARCELO ALVAREZ was going to sing in Tosca I wanted to combine these two great Argentinean tenors. I so it was Cav/Pag on July 14th and TOSCA on July 15th.

Better still; I hear that Cura was also going sing Turriddu in CavRust, my first with him in this role?! And then RUGGERO RAIMONDI as Baron Scarpia. My expectations skyrocketed. O dear, major disappointments is at hand if something goes awry.

This time I came my destination the day before the opera. So on Thursday the 13th I was resting up to be in the very best mood and hopefully not sleepy when the operas begin.

No problem in Verona, although it is very hot. But in the evening when the operas begin it is better. No need really to carry along a jacket even long after midnight it is still hot enough to go without.

CAV/PAG with Jose Cura was wonderful. One disappointment: where is Cura when we are waiting at the stage door. GONE?!

Luckily after TOSCA this never happened, both ALVAREZ, RAIMONDI and Cedolins was there. And of course RR fans and Alvarez fans.

TOSCA was incredible, FANTASTIC. Now comes the hardest part of this report from Verona; how to describe such a wonderful performance, the amazing acting, singing and this production. I will try, although many before have done a fabulous job in making a review of this TOSCA.

ACT 1:
http://www.operaduetsphotos.com/Tosca2006_0715_1.html
As you can see from the photos this is a beautiful production. And when I see them I remember the most glorious singing. And Marcelo Alvarez had a golden voice and so in character. Fiorenza Cedolins was a good Tosca but I must admit I was more looking at Cavaradossi than Tosca. But to start with the beginning. Angelotti (Marco Spotti) comes in near exhaustion. Really great acting even though the stage was not really having a Madonna stature where Angelotti could find the keys or where Tosca could put her flowers. But that didn't matter the great acting made up for that. Later came the Sacristan (Fabio Previati) with several monks, and in this production the monks was almost for laughs and not the sacristan. Then came the moment, Mario Cavaradossi (Marcelo Alvarez) came onstage. Glorious singing and acting. Marcelo Alvarez was completely in role. This role fits him like a glove. Wonderful Recondita armonia!!! Then he met Angelotti again and the story becomes serious. This Cavaradossi is serious in his political convictions, Se la vita mi costassi!!!, Alvarez is singing and it is going out like a rocket. Tosca is singing "Mario! Mario! Mario!" As Angelotti hides, Cavaradossi answers Tosca. Tosca (Fiorenza Cedolins) arrives and of course this is one of the opera literature most beloved opera duets, wonderfully sung by Alvarez and Cedolins. Her acting and singing makes her believable as Tosca. Alvarez is naturally showing why he is a No 1 tenor in the world. Now, the only thing is that the audience thinks Tosca's jealousy is just a laughing matter. I don't, jealousy is not easy for the jealous person, and not for the partner. I loved how Marcelo made his Cavaradossi such a caring and lovable person who know how to make Tosca's life better in spite of her jealousy. So I saw in Verona how this love duet showed the depth of their relationship, deep love. One highlight was naturally "Qual occhio nel mondo al par de tuoi". Incredible acting and singing. At last Tosca is going, "Urge la opra!" In don't know why there were laughs when Cedolins was going. May be it was the "Falle l'occhio nere".

Then we see the soldiers in Castel Sant'Angelo (high up in the steps) they have found one prisoner missing (Angelotti), and a COLPO di CANONE. And there where quite a few laughs (almost hysterical) at the real BANG of the Cannon. And it was LOUD, and of course you could see the smoke, and not little of that either. Then of course on the stage Angelotti and Cavaradossi flees. The Sacristan and the chorus is ready to celebrate the big victory against Napoleon. The Sacristan had wanted to tell of this victory against Napoleon to Cavaradossi to show him "We win, you loose!"

Now it is time for Baron Scarpia (Ruggero Raimondi) and his spies to search the church. And the big painting. of Maddalena and the Christ was into two pieces. And I guess somebody in standing on this robe or maybe it is the painting. Ruggero Raimondi tries to stand up twice, then as the smart artist he is he starts singing kneeling, making that so right so natural and so right in character to sing "Un tal baccano in chiesa!". With the help of his spies and with no loss of dignity he goes on, owning the stage, domineering and scaring the wit out of the sacristan.

Of course Scarpia figures out what had happened from the evidence. A empty bucket in the chapel (Cavaradossi's food prepared by the sacristan, C was not hungry, and now the it inside the Attavanti chapel), Attavanti's portrait by Cavaradossi (she is the sister of Angelotti). Scarpia is lusting for Tosca and now her lover is evidently helping a State Enemy). YES, Tosca will be mine.

Then Tosca arrives. Scarpia found a fan belonging to Attavanti in the chapel. But he tells Tosca he found it near the painters pencils etc. Fiorenza Cedolins is a Tosca only looking for Cavaradossi so Baron Scarpia being there is not something she is thinking about. But when he will give her, a devout Catholic, holy water she can only accept, absentmindedly. Then when Scarpia starts his insuating. Making her believe that Cavaradossi is in their love nest with Marchesa Attavanti, she is all fire. Just what Baron Scarpia wanted and he orders "Una Carrozza, tre sbirri" and the Te Deum begins. And it is really BIG, BIG, BIG in the Arena. Even almost overwhelming Ruggero Raimondi. TOSCA, ACT 1: Incredile ma vero!

Act 2:
http://www.operaduetsphotos.com/Tosca2006_0715_2.html

This is the act that most define Tosca and that is saying without a great Scarpia and Tosca it will fall apart. Of course Ruggero Raimondi is the man to ensure that this act will have all the drama it need. And Fiorenza Cedolins is enough of a Tosca to really ignite the fire it need. It is going to be impossible to describe how fantastic this act was sung and acted.

This photo of Fiorenza Cedolins as Tosca in act 2 says it all, what a proud and unafraid Tosca she played:

Unlike most Tosca's I have seen Vissi d'arte was not the greatest in this act it was Marcelo Alvarez "Vittoria!". Really amazing!! But not only that, unlike the other Tosca, seeing Cavaradossi standing up against Scarpia was like magic. Like this:
http://www.operaduetsphotos.net/MarceloAlvarez/Tosca/2006_0715_223656.html

My photos from act 2 really says better than I can do what a dangerous situation act 2 was.

Act 3 is my favorite
http://www.operaduetsphotos.com/Tosca2006_0715_3.html

And Marcelo Alvarez sang so splendidly E lucevan le stelle that the whole arena wanted to have it again. And after a false start "O dolci mani", Marcelo Alvarez was obviously already thinking ahead. Both E lucevan le stelle was the kind of singing that should become the standard. Fiorenza Cedolins and Marcelo Alvarez was both singing their best duet ever, it was THAT great. The acting was outstanding. Then unfortunately the opera would be over with the death of Cavaradossi and Tosca. WHAT A PITY that it is not a longer opera. BRAVA, Cedolins! BRAVI, Marcelo Alvarez & Ruggero Raimondi!!! It was like a dream come true.

After all the applause it was time to go to the stage door. Waiting a long time, but it was worth it. Alvarez, Cedolins and Raimondi came out, the boy soprano too and many more. I had almost nil change to get a photo of Cedolins, that was because the world wanted ALVAREZ and RAIMONDI. Ruggero Raimondi tries to get out quickly, but luckily I got some fine photos of him. AND then I got PLENTY of Marcelo Alvarez. And another time I hope to get a chance to talk more to Canterbella, Davina and maybe even Christine.

And it could have ended there but no. I and my Japanese friend was following Marcelo Alvarez. Marcelo had promised her to meet his son. And now another kind of magic started. We followed Marcelo with his little troupe, and there he was standing in the middle of the piazza and applause just started impromptu. We walked closed to one of the many cafes, more applause, BRAVO!!!!, people wanted to have his autograph, being photographed with him, congratulating him. So many hugs our dear tenor gave, and so gladly, laughingly. Yet another Cafe, the same happened, all in the Piazza Bra loved Marcelo Alvarez, he talked and waved his hands. It was Magic. And in the end my Japanese friend got to talk to Marcelo Alvarez young son. Who was like his father a gracious being. And he also gave his autograph just like his father. Just before leaving him to eat with his family and friends in a restaurant just a few steps from Piazza Bra I got the chance to thank him for a wonderful Tosca, and in the end I say !Viva Cordoba! in what I hoped sounded Spanish. And he asked me where I was from, I said Norway.

And I have been trying to get my sleep back ever since then.

BRAVO, Marcelo Alvarez!!!!!!

OD Travel + Photos

July 13, 2002: Otello in Zurich

2002-07-13 Otello (Verdi), Opernhaus Zurich
Otello = José Cura
Desdemona = Daniela Dessì
Jago = Ruggero Raimondi
Cassio = Antonello Palombi
Emilia = Brigitte Pinter
Roderigo = Miroslav Christoff
Lodovico = Pavel Daniluk
Montano = Valeriy Murga
Un arraldo = Michael Mirosek

Vladimir Fedoseyev, conductor

OPERNHAUS ZURICH Verdi: OTELLO
Musikalische Leitung VLADIMIR FEDOSEYEV
Inszenierung SVEN-ERIC BECHTOLF
Bühnenbild ROLF GLITTENBERG
Kostüme MARIANNE GLITTENBERG
Lichtgestaltung JÜRGEN HOFFMANN
Chor ERNST RAFFELSBERGER
CHOR DES OPERNHAUSES ZÜRICH
ZUSATZCHOR OPERNHAUS ZÜRICH
KINDERCHOR DES OPERNHAUSES ZÜRICH
ORCHESTER DER OPER ZÜRICH
EIN KULTUR-ENGAGEMENT DER CREDIT SUISSE PRIVATE BANKING
Samstag, 13. Juli 2002
FREIER VERKAUF
PAUSE NACH DEM 2. AKT
BEGINN: 19.00 UHR ENDE: ca. 22.15 UHR
Musikalische Assistenz und Einstudierung ENRICO CACClARI, THOMAS BARTHEL Abendspielleitung und Regieassistenz CLAUDIA BLERSCH
Bühnenbildassistenz MARIO FERRARA
Kostümassistenz AMELIE HAAS
Regiehospitanz EVA FISCHLlN
Organisation und Betreuung der Kinder SUSY SIEGRIST
Inspizienz SUSANN ZAHLER
Souffleur ADRIANO

Wonderful Cura, Dessì & Raimondi Otello in Space, but still Verdi's Otello. The backdrop is a cinematic view of the stars, as if on a space-ship. This modernism is not doing anything for the opera, so I will go straight into the matter. Otello, the opera, as theater and singing considered. The Chorus was weak, especially in the beginning of the opera, I think the Zurich opera needs more singers in the chorus. The children's chorus was excellent. Ruggero Raimondi was in full rigor as Jago, excellent singing and acting. Roderigo did his part well enough, but his voice was weak. Cassio was a bigger voiced tenor than I am used to in Otello performances, here we had a match for Cura, a future Otello no-doubt. José Cura as Otello, I liked him, but still Plácido Domingo's interpretation of the role is too vivid in my mind that I can fully appreciate Cura's because they are quite different. Daniela Dessì was a brilliant and young Desdemona, perfect in all ways. Emilia was also great in this performance.

OD Travel + Photos

June 2, 2004: I Vespri Siciliani in Zurich

2004-06-02 I Vespri Siciliani (Verdi), Opernhaus Zurich

Elena = Paoletta Marrocu
Arrigo = Marcello Giordani
Procida = Ruggero Raimondi
Montfort = Leo Nucci

Carlo Rizzi, conductor



Mi 02 19.30-22.45 I VESPRI SICILIANI
Rizzi/Lievi/Balò/Raffelsberger
Marrocu, Schmid; Nucci, Raimondi, Giordani, Mayr, Groissböck, Winkler, Christoff, Murga, O'Reilly
Mittwoch-Abonnement B, Preise VI

2.6.2004 Nicolai Ghiaurov is dead! I did not know that he died in the morning when I came to the opera house for Verdi's Vespri Siciliani with Ruggero Raimondi, another star basso, as Procida. After the only intermission (before act 4), the indendant of Opernhaus Zurich Alexander Pereira came out, first he said nobody is sick, but the opera house has just received a call that the great basso Nicolai Ghiaurov is dead, he died this morning. The house sighed at this devastating news. Alexander Pereira then asked the audience to stand up for this great artist. And the house rouse up. And we all sat down as if we were only one body. The indentant told a bit of Ghiaurov's career in Zurich, and he said that the Opernhaus is dedicating this performance to Nicolai Ghiaurov.

The artists was all grieved by the loss, but nevertheless this two last acts was really fantastic sung and acted.

And now back to the beginning. The Overture of I Vespri Siciliani is a truly wonderful piece, and it brought back memories of the first 3 tenors concert, the original in Roma. I could see the images from the TV, and when the overture ended I almost waited that Carreras would come to sing Lamento di Federico. But instead there was another Lamento for Federico, Elena is mourning her brother. Paoletta Marrocu as Elena, maybe it was my ears that needed getting used to her voice or she sang better as the evening progressed, or both. Leo Nucci, Guido di Monforte, was really making a tremendously fine job in Vespri. It was a perfect role for him, his voice was really beautiful and his presence was tremendous. Marcello Giordani, Arrigo, was in the first 3 acts not in the best voice, but luckily in act 4+5 he was fantastic. Ruggero Raimondi, Giovanni da Procida, was wonderful but unfortunately in this opera all the characters is one-dimensional so it was only one side of RR, he was all revenge and patriotic. Before the intermission I thought that only the overture was highlight but luckily there were more "juicy" stuff in act 4+5.

All day long the skies were threatening with rain but the rain held until after the opera. Then the rain poured down. No waiting at the stage door for me, no umbrella and after all tomorrow I will have to get up early in the morning for a early flight to VIENNA and my second Italiana.

OD Travel + Photos