March 17, 2003: Tosca in Vienna

2003-03-17 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Isabelle Kabatu
Baron Scarpia = Franz Grundheber
Cesare Angelotti = Janusz Monarcha
Der Mesner = Wolfgang Bankl
Spoletta = Benedikt Kobel
Sciarrone = In-Sung Sim
Ein Schließer = Günther Groissböck

Stefano Ranzani, conductor


Wiener Staatsoper
Montag, 17. märz 2003
473. Aufführung in dieser Inszenierung

Tosca
Melodramma in drei Akten nach Victorien Sardou von Luigi Illica und Giuseppe Giacosa
Musik von Giacomo Puccini

Dirigent Stefano Ranzani
Inszenierung Margarethe Wallmann
Bühnenbild und Kostüme Nicola Benois
Chorleitung Ernst Dunshirn

Ein Hirt Kind der Opernschule
der Wiener Staatsoper

Orchester der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Chor der Wiener Staatsoper Kinder der Opernschule der Wiener Staatsoper

Tosca with José Cura as Mario Cavaradossi.

On 16th March 2003, I took a fall in a McDonald's restaurant. After coming to my hotel, I found out that I needed a doctor. He came, I got a kind of bandage on my right wrist, and a sport gel tube and some pill to kill the pain. After a not so pleasant night, it was 17th March 2003, and pain went and came again and again.

But I was not to miss Tosca, I already had a ticket, and I hope that the opera would be so great that I could forget pain and just be in operaland for 3 hours. But no, my loge was on the wrong side for getting to see the action. I blame the director, naturally. It was not a cheap ticket, and since I lost so much of act 2 and 3, like seeing how Jose Cura looked when singing "E lucevan le stelle".

The conductor was, I think really good. This was a good production, except when it was about situating the principals too much one side, making part of the audience suffering, to see nothing that was interesting that is. Isabella Kabatu was a great Tosca, and Grundheber a great Scarpia. I didn't find Cura a great Cavaradossi, but that was after his stupendous performance of Don Carlos.
'
The overall impression a weak Tosca performance, since it did not take my pain away.

I hardly heard Cura's voice. And how on earth am I to know if Cura sang a fantastic "E lucevan le stelle", I had lean over heavily to see his voice, had pain, and his voice was soooo weak when I compare to Don Carlos in Act 2 Scene 2. Cavaradossi died, and I did not care, Tosca jumped to her death, and I did not care.

I had some hope of seeing Cura backstage, and I did see him through the window, but all the people, and my pain. No, I had to protect myself from further pain, beside I hardly could operate my camera because of the pain. Well, I had promised some photos to my Cura Connexion friends, and I went to her hotel, wrote a not with my left hand, I also told the portier what I wrote so that the meaning would come through, and left some photos there. And then I went back to my hotel. The next day, 18. March was my home-going day.

well, Tosca is not so important for me, Don Carlos is. so Great TRAVEL, anyway

next time, please, I want to be lucky with the combination Cura and Tosca!!!

PS.
Lot of people enjoyed this Tosca, and especially José Cura as Cavaradossi. My excuse was my injury that made it harder to enjoy an opera performance. If I were rich I would have gone back to Vienna for another Tosca, tomorrow on 27. March is the last Tosca with Cura in Vienna for 2002/2003.


OD Travel + Photos

March 11, 2003: La Favorite in Vienna

2003-03-11 La Favorite (G. Donizetti), Wiener Staatsoper

Léonor de Guzman = Violeta Urmana
Fernand = Giuseppe Sabbatini
Alphonse XI = Carlos Alvarez
Balthazar = Giacomo Prestia
Don Gaspar = John Dickie
Inès = Genia Kühmeier

Fabio Luisi, conductor



Wlener Staatsoper
dienstag, 11. märz 2003
6. Aufführung in dieser Inszenierung

La Favorite
Oper in vier Akten
Text von Alphonse Royer und Gustave Vaëz
in Zusammenarbeit mit Augustin Eugène Scribe
Musik von Gaetano Donizetti

Dirigent Fabio Luisi
Inszenierung John Dew
Bühnenbild Thomas Gruber
Kostüme José-Manuel Vazquez
Choreinstudierung Marco Ozbic

Orchester der Wien er Staatsoper
Chor der Wiener Staatsoper

To start an opera evening by coming to the opera house 10 minutes before the opera starts is not the best way, but I soon calmed down to enjoy this, for me almost unknown opera. Knowing only "Spirto gentil" and "O mio Fernando" of this opera. But here they sang in French.

Having read the critic on beforehand, I was not too disappointed by the tenor singing of the top notes, they hurt my ears. After the tenor first aria, polite applause from the audience, they respects very much Giuseppe Sabattini. First act is in the convent where Fernand is a novice, the abbed wants Fernand to take the vows, but Fernand has met a very beautiful woman and is in love. Baltasar throws Fernand out of the convent, since F. does not want to forget the unknown woman. Next scene. An island where Leonor and her maids is enjoying life, Fernand comes there. He wants to marry Leonor, but she refuses, says she cannot and beseeches Fernand to forget her. He will not. Wonderful duet.

Act 2. The king and Leonor, with Ines and Don Gaspar in the royal garden of the moor king that Fernand have helped King Alphonse to win over. The king understands not that Leonor can be unhappy with being his mistress. The court despise Leonor, but the King sings of his great love, and Leonor tells that he deceived her to think that she was following her husband, when she left her father castle. Bah, I want to make you my queen. Then Don Gaspar, the courtier, has found out that a love letter to Leonor was given Ines, he gives the king the letter, who gets very angry with Leonor, especially since she refuses to give him the name of her lover. Then Baltasar comes with an urgent message from the pope, if the King and his mistress does not depart for ever, by the next day, they are excommunicated. In vain Alphonse tries to threaten Baltasar, King against the Church. The queen is there, thinking she can win over Alphonse to her side, just by evicting Leonor.

Act 3. The kings palace. Aphonse wants revenge. Fernand comes as a hero, and he wants a noble woman as a bride, suddenly A. finds out that F. is his rival. The perfect revenge is clear, marrying of his mistress to the hero, who does not know that this is a clear way to loose his honor, something Leonor knows perfectly. "O mon Fernand", wonderfully sung by Violeta Urmana. She orders Ines to tell Fernand all, but Ines is taken prisoner by Don Gaspar on the command of the king. She thinks Fernand know it all and still wants to marry her. But know this only gets cleared when the contempt of the court, and Baltasar is told about the wedding. Fernand you have lost your honor, marrying the mistress of the King. F. is furious. And they all see Fernand was innocent he REALLY did not know.

Act 4 in the monastery, Fernand is finally convince of making his vows, even though the thought of Leonor still haunts him "Ange si pur". Then Leonor has followed Fernand. She hears him taking to vows, and then she collapses and so they meet. She asks desperately for forgiveness before she dies. When at last Fernand give in, he tells her that he still loves her, and that he is willing to sacrilege to have her. To leave the monastery to marry her, and live in another country. Leonor is forgiven, and happy to have Fernands love again, and that her own death saves Fernand from the sacrilege.

Wonderful and sad end. Even though Sabbattini lacked the top notes to make it really remarkable (bel canto), he still gave Fernand the verve and poignancy that made it a great performance (verismo!)!!

OD Travel

March 6, 2000: Herodiade in Vienna

2000-03-06 Herodiade (J. Massenet), Wiener Staatsoper

Herodiade = Agnes Baltsa
Jean = Kostadin Andreev
Herode = Georg Tichy
Salome = Nancy Gustafson
Phanuel = Wojtek Smilek
Vitellius = Istvan Gati
Oberpriester = David Cale Johnson
Eine Stimme = Tomislav Muzek

Reynald Giovaninetto, conductor



At last to see Agnes Baltsa in Herodiade. It was great. The Jean of the evening was Konstadin Andreev a mixture of Carreras & Domingo, very good. I missed Ferruccio Furlanetto's Phanuel and Juan Pons' Herode. And my favourite Salome is Eliane Coelho.

Wiener Staatsoper
montag, 6. märz 2000
26, Aufführung in dieser Inszenierung

Hérodiade
Oper in dreizehn Bildern von Paul Milliet,
Henri Grémont und Angelo Zanardini
Musik von Jules Massenet

Musikalische Leitung Reynald Giovaninetti
Szenische Konzeption
und Gestaltung Richard Bletschacher
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
Chorleitung Ernst Dunshirn

OD Travel

March 6, 1994: Samson et Dalila in Vienna (I was not there)

1994-03-06 Samson et Dalila, (Saint-Saëns), Wiener Staatsoper

Dalila = Agnes Baltsa
Samson = Josep Carreras
Le Grand-Prêtre de Dagon = Eduard Tumagian
Abimélech = Istvan Gati
Un vieillard hébreu = Goran Simic
Un messager philistin = Ruben Broitman
Premier philistin = Franz Kasemann
Second philistin = Peter Köves

Jacques Delacôte, conductor

I wish I was there to see this Samson et Dalila in Vienna State Opera instead of Zurich to see Fedora. Strangely I have the program for SD in Vienna but no program of Fedora in Zurich.

In 1996 finally I saw Samson et Dalila with Baltsa/Carreras. In 1998 finally Fedora with Baltsa/Carreras. Both in Zurich.

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

March 2, 2002: Jenufa in Vienna

2002-03-02 Jenufa (L. Jánácek), Wiener Staatsoper

Die alte Buryja = Anny Schlemm
Laca Kiemen = Jorma Silvasti
Stewa Buryja = Torsten Kerl
Die Küsterin Buryja = Agnes Baltsa
Jenufa = Angela Denoke
Altgesell = Wolfgang Bankl
Dorfrichter = Walter Pink
Seine Frau = Helene Ranada
Karolka = Renate Pitscheider
Schäferin = Stella Grigorian
Barena = Cornelia Salje
Jana = Ileana Tonca
Tante = Waltraud Winsauer

Seiji Ozawa, conductor



And March arrived, at last it was my turn to experience JENUFA. The good reviews made me look even more impatiently towards this day, 2002-03-02. I had read some different synopsis of this opera, and that was what I knew. After a night on the bus, from Kaupanger to Oslo, and then fly to Vienna via Copenhagen. I had some difficulty in finding my hotel, Hotel am Schubertring, but luckily I had my Vienna map with me. It was spring in Vienna, and I was coming from winter in Norway. My feet got hot, but I had with me shoes for the opera night, so I switched shoes in Stadtpark. I had to wait a bit for my hotel room, but when I got my room, it looked more expensive than I had thought. Luckily the price was right.

As always in Vienna, I visited Arcadia Opera Shop and EMI Austria in Kärtnerstrasse. Wonderful photos (Arcadia) of Agnes Baltsa at the Opernball 2002 and in JENUFA. I bought them naturally. Then I bought Manon Lescaut, Samson et Dalila and Traviata with José Cura (EMI Austria) just to be able to critize them in my Jose Cura website.

After some headache pills, a little Coca-cola, a bath, and a change. OPERA-TIME:

An enthusiastic audience applauded the conductor Seiji Osawa just more and more as the evening commenced. From first note it was beautiful music. Another role that Agnes Baltsa could fill in an eminent way. She was fantastic. WUNDERBAR. Angela Denoke who sang JENUFA had a beautiful and full soprano voice. (Her voice was like Sachertorte). She was very free in her movement, she was moving very well onstage. And she danced like was she a dancer, and not opera singer. KERL and SILVASTRI was great as Stewa and Laca. Anny Schlemm as the grandmother was also very good. A really good production. The singing was in German, probably the best solution since no Czech singers was singing.

The stars of the evening was, without doubt, Seiji Osawa & Agnes Baltsa.

A strong cast, a wonderful chorus and orchestra. The scenography, the director and conductor , and naturally the costumes, all to make it a wonderful production.

Without Agnes Baltsa as Kostelnicka, no JENUFA!

OD Travel + Photos

February 28, 2004: I Puritani in Vienna

2004-02-28 I Puritani (Bellini), Wiener Staatsoper

Lord Gualtiero Valton = Goran Simic
Sir Giorgio = Alastair Miles
Lord Arturo Talbot = Joseph Calleja
Sir Riccardo Forth = Manuel Lanza
Sir Bruno Roberton = Benedikt Kobel
Enriquetta di Francia = Caitlin Hulcup
Elvira = Stefania Bonfadelli

Stefan Soltesz, conductor



I PURITANI
(Vincenzo Bellini)
WIEDERAUFNAHME
(36. Aufführung in dieser Inszenierung)

Inszenierung: John Dew
Bühnenbild: Heinz Balthes
Kostüme: José Manuel Vazquez
Chorleitung: Ernst Dunshirn

After Signierstunde Carreras in Karajan Center it is time to see if my photos are ready. They are not. Back to the hotel to relax before the opera. I decide that I have time to go to Westbahnhof and to use the Internet café there, I do so. Then suddenly little time left. Unfortunately my irregularly eating have made my stomach uneasy. Luckily the Opera Toilette is there, and at the sound of Strauss I get "ready" for the opera. Hungry, feeling a bit sick and tired. But when I sit down and opera starts... the opera I Puritani by Vincenzo Bellini... then I don't feel so sick and tired. I can enjoy it.

I saw this opera earlier with Gruberova as Elvira. I was disappointed when I heard that she was ill. Stefania Bonfadelli replaced her. Last time I saw Bonfadelli was as Lucia di Lammermoor. But this time I really was positively attracted to her voice. This time I heard this warm voice and she was adorable. After just a few moments I did not miss Gruberova at all. Joseph Calleja, the young Maltese tenor (only 24) was wonderful as Arturo. The music of Bellini also was a revelation to me.

And I must tell of the impact that the subtitling that we got in the Wiener Staatsoper. I sat there and just decided not to read the synopsis of the opera. Last time I saw Puritani I bought a Libretti and sat desperately reading it in the pauses. But now relaxed and just see the history evolve before my very eyes. It meant that I did not know the ending of the opera. At the beginning I did not know who was singing but that cleared up. Wonderful singing. MAGIC.

Colored light. I can understand the Red color when the king of England is beheaded, all the statues also beheaded with heads on one side of the stage, the bodies in the rear of the stage. Blood.
Orange. When Arturo and Elvira meets in the forest. I would have thought Green was better. There were other colors in the production, purple... But really it seemed often superficial. But the production was otherwise very good.

BRAVA!! BRAVO !! Bravissimo!!

OD Travel + Photos

February 27, 2004: Jose Carreras Gala in Vienna

2004-02-27 Carreras Gala, Wiener Staatsoper

Part 1: Recital

José Carreras, tenor
Lorenzo Bavaj, piano

Part 2: Sly (act 3)
by Ermanno Wolf-Ferrari

Sly = José Carreras
Dolly = Isabelle Kabatu
Diener = Boaz Daniel

David Giménez, conductor

Part 3: Carmen (act 4)
by Georges Bizet

Don José = José Carreras
Carmen = Agnes Baltsa
Escamillo = Boaz Daniel
Mercédès = Stella Grigorian
Frasquita = Bori Keszei

David Giménez, conductor



27. February 2004
José Carreras Benefit Gala,
Wiener Staatsoper.
Leukemia Foundation
30 years since Carreras made his debut in Wiener Staatsoper as the Duke in Rigoletto (1974).

Part 1:
Lieder & Arias by
Puccini, Verdi, Massenet, Cilea & Tschaikowsky.

Part 2: Sly (act 3)
by Ermanno Wolf-Ferrari


Part 3: Carmen (act 4)
by Georges Bizet


(Firma Peter Kupfer Kulturmanagment & Media.)
José Carreras Benefiz-Gala zugunsten der Leukämiestiftung

-------------A Fantastic Night at the Opera--------------------------
Traveling had given my a bit of a head-
ache, but this was a magic day, Carreras in Wiener Staatsoper again, my head-ache just had to be cured in time. After a few tablets I was almost ready for Carreras and Opera. With my new camera I came to Vienna State Opera ready for a new meeting with Carreras' voice.

The first part was Carreras and Bavaj (piano) and songs of Tosti, Leoncavallo and Puccini. I found Carreras voice a bit heavy now for the lovely love songs, but in the French songs by Leoncavallo, and finally in Puccini he was much more in his right element. His voice is definitely right for opera.

The second part was Sly, last act. You really need to have seen the whole opera to really understand the agony Sly is in and what kind of person Sly is. Carreras was a wonderful Sly. But when Isabelle Kabatu came in that was when the level started to be ethereal. God, what a divine voice, and Carreras and Kabatu was just magic together. Sly dies and Dolly rages towards the cowards that have destroyed something really beautiful. It was a really heart-wrenching scene. And Giménez does make Wolf-Ferrari´s music really into the most fantastic music.

Giménez conducted Carmen with Baltsa & Carreras, last act. What can I say other than it was fantastic? Only this, I really wanted the whole opera with Carreras and Baltsa singing conducted by David Giménez.

Of course the Vienna audience was wild with excitement and love. There were speaks by Ioan Holender in the end, and a thank-you- speech from Carreras. And after the first part a big pay-check was given to Carreras.

OD Travel + Photos

February 23, 2008: Pagliacci in Vienna

2008-02-23 Pagliacci (R. Leoncavallo), Wiener Staatsoper

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Tamar Iveri
Tonio (Taddeo) = Georg Tichy
Beppe (Arlecchino) = Ho-yoon Chung
Silvio = Morten Frank Larsen
Erster Bauer = Jens Musger
Zweiter Bauer = Wolfgang Igor Dentl

Marco Armiliato, conductor

Pagliacci
Inszenierung: Jean Pierre Ponnelle
Bühnenbild und Kostüme: Jean Pierre Ponnelle

Wonderful Pagliacci, such a relief after Cavalleria Rusticana. It was not that CavRust was bad, just that is was so disturbing to see the village people being so demonstrative unkind to Santuzza.

Pagliacci, on the other hand is a happy tale in the beginning and only ends bad. The Direktion of the Staatsoper asked Jose Cura to sing the Prologue and he did a wonderful Prologue and so it was only fitting that JC also had the last word "La commedia è finita". This Canio really had a good heart but a bad temper. I have seen this production before in Vienna, but this was the best one, obviously revamped the acting. Tamar Iveri was wonderful as Nedda.

Hard to say more than BRAVI, tutti!

OD Travel + photos

4 Travel to Vienna/Florence: 23 February Cav/Pag

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 23, 2008: Cavalleria Rusticana in Vienna

2008-02-23 Cavalleria Rusticana (P. Mascagni), Wiener Staatsoper

Santuzza = Georgina Lukács
Turiddu = Peter Seiffert
Alfio = Alberto Mastromarino
Mamma Lucia = Daniela Denschlag
Lola = Roxana Constantinescu

Marco Armiliato, conductor

Cavalleria Rusticana
Inszenierung: Jean Pierre Ponnelle
Bühnenbild und Kostüme: Jean Pierre Ponnelle

I suffered so with this Santuzza, the rejection of the villagers and even priests and children. It was almost unbearable to watch. I have never felt such a depression from this opera before. I felt that I was in this village that was so closed to kindness. Georgina Lukács was wonderful as Santuzza. Acting and with her voice. Really sad that it is the women who suffer most in such a patriarchal culture. When Turriddu was killed ...

Innegiamo with Lukács was a great moment of rare beauty and sense of kindness....


OD Travel + photos

4 Travel to Vienna/Florence: 23 February Cav/Pag

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 22, 2008: Nabucco in Vienna

2008-02-22 Nabucco (G. Verdi), Wiener Staatsoper

Nabucco = Alberto Gazale
Ismaele = Marian Talaba
Zaccaria = Giacomo Prestia
Abigaille = Maria Guleghina
Fenena = Elisabeth Kulman*
Il Gran Sacerdote di Belo = Goran Simic
Abdallo = Benedikt Kobel
Anna = Caroline Wenborne*

Pier Giorgio Morandi, conductor

Two * role-debuts in Vienna State Opera. My sympathy lies with Abigaille. One could play her as just a power-hungry bitch. But then she is incomplete and you would oversee vital clues. She is Nabucco's daughter, or so she believes. She loves her father who all the time shows his affections is only for Fenena. Abigaille want to be loved. But even her love-interest love Fenena. But Abigaille is the daughter who really steps in Nabucco's shoes. For both Nabucco and Ismaele (the man she loves) she is willing to let go of power and instead of being Queen/Princess to be loved and love. If you really listen to what Abigaille says to Ismaele and Nabucco then you can hear a lot of compassion and love. But naturally Abigaille is really a complicated woman.

In the duet between Nabucco and Abigaille when Nabucco longs for Fenena, she says "You have another daughter" and runs towards him, and he rewards her with you are just a slave's daughter. Later he tries to save Fenena but Nabucco misses vital clues. Had he listened he would have understood to try to give Abigaille the kingdom (You shall be the Queen) is the wrong move, had he offered her "give me my daughter Fenena back and then then you too will be my daughter, and I will be you father) then I think things would be different. But he only sees the power-hungry woman and not a woman who wants her father's affection.

I see all the other characters in Nabucco as more fanatical and dangerous. Nabucco is a blood-hungry lion and so is Zaccaria even if Zaccaria is more religious. Ismaele and Fenena is also hard-hearted towards Abigaille and a bit fanatical. Of course the high-priest of Belo is fanatical. So Abigaille is the only one that is human and when Maria Guleghina sings Abigaille who cannot love her...

The Vienna production of Nabucco:
Inszenierung: Günter Krämer
Bühne: Petra Buchholz
Bühne: Manfred Voss
Kostüme: Falk Bauer
Licht: Manfred Voss
Musikalische Studienleitung: Jendrik Springer


I never quite liked it.
1- During the overture children acted like they were Abigaille, Fenena, Ismaele and Zaccaria in the children's room. That play did not give me anything.

2- This production uses the Holocaust in a way that I really don't think fits, not to the opera, and not at all, it seem like abuse of that great tragedy.

3- And the Holocaust reference would not be universally understood unless you have seen photos of Jews waiting with their luggage at the train station and read enough to understand what terrible places they were really going to.

Otherwise the production works very enough.

THE SINGERS

Maria Guleghina was a wonderful Abigaille. Her singing and acting was superb. She showed all the nuances of Abigaille. GREAT!

Alberto Gazale was really coming to be a Nabucco to be listening too. A bit weak in the beginning but then he really found his voice and was from that point on a Nabucco to be counted on. Leo Nucci, Renato Bruson, Juan Pons was great as Nabucco and now a new Nabucco has arrived. And I loved it how he when Abigaille came in dying to the stage I saw compassion in this last scene of the opera. GREAT!

Elisabeth Kulman sang Fenena. A beautiful voice, did her part wonderfully, one really hopes she gets a role she can shine into. Fenena is a small part. But she did it well!!

Marian Talaba was Ismaele. He really did sing and act well. A great part for Marian Talaba!

Goran Simic as the Great Priest of Belo (Baal) was really impressing this time. Full-bearded and full-voices. Great!!

Abdallo = Benedikt Kobel (did well)

Caroline Wenborne as Anna was a disappointment. Such a small role and she managed to be so very late in her most important moment "Oh fratelli, perdonate! Un'Ebrea salvato egli ha."

Giacomo Prestia as Zaccaria was really impressing. Rich voiced and acting well. GREAT!!

And after the opera: Maria Guleghina talked to her fans in fluent Italian and was the sweetest person. I even got to talk to her. WOW, I got even more a fan of her after that encounter!!!!!!!!!!!!!!

VIVA MARIA GULEGHINA!!!!!!!!

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 20, 2010: Pagliacci in Vienna

2010-02-20 Pagliacci (R. Leoncavallo), Wiener Staatsoper

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Nicoleta Ardelean
Tonio (Taddeo) = Lado Ataneli
Beppe (Arlecchino) = Herwig Pecoraro
Silvio = Tae Joong Yang
Erster Bauer = Jens Musger
Zweiter Bauer = Wolfram Igor Derntl

Asher Fisch, conductor

José Cura plays Canio as a drunkard from beginning to end with serious violence problems. I did not really get Lado Ataneli's Tonio. I found him enjoyable to see and hear but I did not understand Tonio at all. Canio was easy to get into. Nicoleta Ardelean was giving her first time in Staatsoper as Nedda. She was also good and improved during the performance. The other roles was also solidly sung and acted. This time Tonio gets the Prologue.

José Cura in der Materialschlacht - DiePresse.com

Die Presse seemed not to like José Cura at all. But loved Lado Ataneli as Tonio. A better Tonio than Jago. I saw Lado Ataneli as Jago in Hamburg 6 years and I think it was a better role for him. But of course that was in 2004.

Jean Pierre Ponelle - Regie, Scenography and Costumes

OD Travel + Photos
Cavalleria Rusticana/Pagliacci in Vienna (20.2.2011)


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 20, 2010: Cavalleria Rusticana in Vienna

2010-02-20 Cavalleria Rusticana (P. Mascagni), Wiener Staatsoper

Santuzza = Dolora Zajick
Turiddu = José Cura
Alfio = Alberto Mastromarino
Mamma Lucia = Auro Twarowska
Lola = Roxana Constanisnescu

Asher Fisch, conductor

José Cura first performance in Vienna State Opera as Turriddu in Cavalleria Ructicana was a gigantic success. From the first moment I heard a tenor in great vocal shape. The Siciliniana was beautifully sung. His acting abilities makes him a superb Turriddu. Dolora Zajick was a good Santuzza, vocally and acting.

Aura Twarowska also sang for the first the role of Mamma Lucia in Vienna State Opera on February 20, 2010. She was great. Alberto Mastromarino was his usual Alfio, vocally not quite as great as I have heard him on earlier CavRust performances. Lola, Roxana Constantinescu, was also solidly sung.

As it was not the first time I saw this Jean-Pierre Ponelle production I noticed some small changes that made it even more clear what cruel situation Santuzza is in here. Even more pointing fingers than before. More hypocrisy. This time I think Alfio and all the village knows about Lola and Turriddu. They know about Turriddu and Santuzza too, why else would they be so cruel to Santuzza. Because Lola is married to a rich and powerful man, Alfio, in this village they pretend she is good. Because Santuzza had the mark of evil, read hear, and comes from the poor part of the village she is easy target. Turriddu is accepted although they don't really see much in him, he is a drunkard, because he is after all a man. And a man can do no evil, unless outed by another man.

Regie, Scenography and Costumes = Jean-Pierre Ponelle

OD Travel + Photos
Cavalleria Rusticana/Pagliacci in Vienna (20.2.2011)

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 13, 2004: Andrea Chenier in Vienna

2004-02-13 Andrea Chenier (Giordano), Wiener Staatsoper

Andrea Chenier = José Cura
Maddalena di Coigny = Norma Fantini
Carlo Gérard = Renato Bruson
Bersi = Elina Garanca
Gräfin di Coigny = Waltraud Winsauer
Madelon = Mihaela Ungureanu
Roucher = Boaz Daniel
Pietro Fléville = Hans Peter Kammerer
Fouquier Tinville = Goran Simic
Mathieu = Wolfgang Bankl
Abbé = Benedikt Kobel
Incroyable = Michael Roider
Hauhofmeister = Marcus Pelz
Dumas = Peter Köves
Schmidt = Johannes Wiedecke

Marcello Viotti, conductor
13. Februar 2004



ANDREA CHÉNIER
(82. Aufführung in dieser Inszenierung)

Dirigent: Marcello Viotti
nach einer Inszenierung von: Otto Schenk
Bühnenbild: Rolf Glittenberg
Kostüme: Milena Canonero
Choreinstudierung: Ernst Dunshirn



Beginn: 19.30


about Andrea Chenier


ANDREA CHENIER, Wiener Staatsoper 13.2.04.

Wonderful production of this most known opera by Umberto Giordano. But I must confess that I was not convinced this was José Cura's best performance as Andrea Chenier. Not that I regret coming to Vienna for this Andrea Chenier. It was interesting to see Renato Bruson as Carlo Gerard and Norma Fantini as Maddalena di Coigny.

But I found the overall impression was not convincing . But the house agreed on Boaz Daniel as Roucher was wonderful. In my opinion José Cura acted Andrea Chenier wonderfully, but sang less good. Pronunciation and timing was somewhat lacking. Renato Bruson was great as Carlo Gerard, but unluckily for me I find his voice a little too hard. Norma Fantini also great as Maddalena, but lacked some of the vocal weight that I heard she had when she sang Aida in Munich (2002). Margareta Hintermeier did not sing the role of the Countess (Maddalena's mother) and I wonder if not that would have made a difference, more weight and drama in this small role.

Madelons aria is always a highlight in the 2 act, but this time it could have easily been overlooked. It is usually quite emotional to listen to this aria. And when the judges came in the judgement scene I did not feel any weight and could not see who they were and neither did I feel the terror that the people feel when the terrible judges come. So act 3 was a little blass.

In the whole the crowd scene was not really good represented on the stage. Very few angry men did get into the gilded house during the party in act 1, the house guests outnumbered them. The crowds was really small and in this huge stage it almost looked stupid, it is afterall supposed to be Paris, a rather overcrowded city.

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February 10, 2009: Stiffelio in Vienna

2009-02-10 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Anthony Michaels-Moore (a)
Stankar = Mark Rucker (s)
Raffaele = Gergely Németi
Jorg = Alexandru Moisiuc
Federico = Benedikt Kobel
Dorotea = Elisabeta Marin

Michael Halász, conductor

Fault no.1: Anthony Michaels-Moore is onstage acting Stankar, but his name is not in the role lists, no mention of him at all. Fault no 2: Mark Rucker is beside the stage singing the role of Stankar with his notes before him, the role list says he is Stankar, but he is not onstage in costume. Fault no 3: the orchestra under Michael Halasz often sound like there is several orchestra members missing, and the conductor is careless so that the singers suffers, they have to fight to come in right on time.

The singers are wonderful. This Stiffelio seemed to have microphones for the radio broadcast. Saturday that was the superior performance was not broadcast, why? Because of the change in baritone, really?? Bad decision, and then to slight 2 baritones in one (see Fault 1+2). I found the acting of Anthony Michaels-Moore worth mentioning, he is great. But still I was disturbed when I understood that Mark Rucker would not be allowed to act as Stankar. If it was the will of either baritones then I will be content, but if it was the management then I really don't understand it. The audience that had not been there on Saturday was understandably confused. If only they had mentioned Anthony Michaels-Moore. M-M who acted admirably was too ill to be there for all the applause, so why wasn't he allowed to rest. If Mark Rucker would have to do some improvising then I would be sure the rest of the cast would have been up to it.

I have read two reviews of this Stiffelio, both praises the baritone Mark Rucker. One said that Jose Cura was no longer a Tenor Crown Prince, meaning he was no good, I guess. But the all the other got some praise. The other praised all, except Hui He who was too Diva and not Lina. Here both Jose Cura and Hui He are doing their best performances vocally and as actors, but the review doesn't like them. They are so wrong. I am really trying to understand how Jose Cura's singing could be prove that he is no longer good. I think the reviewer must already dislike his choices of how to use his voice for dramatic purposes. I can sometime disagree myself, but not this time. Hui He acting like a Diva, wow, not acting like Lina. What? Should she sing the arias bad, and then ... I really wondered, did we see the same performance?

Stiffelio
(35. Aufführung in dieser Inszenierung)

Dirigent: Michael Halász
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Thomas Lang

Stiffelio: José Cura
Lina: Hui He
Stankar: Anthony Michaels-Moore
Raffaele: Gergely Németi
Jorg: Alexandru Moisiuc
Federico: Benedikt Kobel
Dorotea: Elisabeta Marin

Beginn: 19.30

Das Wunder Oper - Wiener Zeitung
Staatsoper: Tenor-Kronprinz? Längst gestürzt! - Die Presse

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3 faults by Vienna Staatsoper, but Stiffelio still...

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February 9, 2009: Un Ballo in Maschera, Vienna

2009-02-09 Un Ballo in Maschera (Verdi), Wiener Staatsoper

Gustaf III. = Ramón Vargas
René Ankarström = Dalibor Jenis
Amelia = Indra Thomas
Ulrica Arvedson = Elisabeth Kulman
Oscar = Ileana Tonca
Christian = Marcus Pelz
Horn = Janusz Monarcha
Warting = Dan Paul Dumitrescu
Richter = Peter Jelosits
Diener = Peter Jelosits

Paolo Carignani, conductor

INDRA THOMAS triumphs as Amelia

Ileana Tonca is wonderful as Oscar. Elisabeth Kulman, who I saw as Fenena, is actually a marvel as Ulrica. For the first time the scene with Ulrica made sense, both musically and as theatre. BRAVA!!!

First in the 3 act, the masked ball, was the costume of Amelia right for Indra Thomas. If this had been a new production then I would have wondered if the old art of making attractive costumes to big bodies had gone lost. Even with her costume not being right for her Indra Thomas managed to project her inner Amelia. Her voice reminded me of Jessye Norman. My wish for Indra Thomas is that she will be recognised as a great soprano, and then she could be DIVA enough to demand costumes that sits right. That would be great for her and her audience.

The men, Ramon Vargas and Dalibor Jenis took longer to warm up. But they were also great.

This production was no doubt set in the historical time of King Gustaf III of Sweden. I really liked it.

9. Februar 2009



UN BALLO IN MASCHERA
(66. Aufführung in dieser Inszenierung)

Dirigent: Paolo Carignani
Inszenierung: Gianfranco de Bosio
Bühnenbild: Emanuele Luzzati
Kostüme: Santuzza Calì
Chorleitung: Thomas Lang

Gustaf III.: Ramón Vargas
René Ankarström: Dalibor Jenis
Amelia: Indra Thomas
Ulrica Arvedson: Elisabeth Kulman
Oscar: Ileana Tonca
Christian: Marcus Pelz
Horn: Janusz Monarcha
Warting: Dan Paul Dumitrescu
Richter: Peter Jelosits
Diener: Peter Jelosits

Beginn: 19.00

OD Travel + Photos
INDRA THOMAS triumphs as Amelia, Vienna 2009-02-09

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February 7, 2009: Stiffelio in Vienna

2009-02-07 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Anthony Michaels-Moore (a)
Stankar = Mark Rucker (s)
Raffaele = Gergely Németi*
Jorg = Alexandru Moisiuc*
Federico = Benedikt Kobel*
Dorotea = Elisabeta Marin*

Michael Halász, conductor

Cough, cough, Stiffelio in Vienna:
one sings, the other acts

I didn't. Cough, I mean, But two people did. Maybe more. Annoying.

But the real news, Anthony Michaels-Moore is sick, he cannot sing. The American Mark Rucker steps in on very short notice. So there he stood beside the stage with his partiture singing Stankar while onstage Anthony Michaels-Moore acted Stankar (only mouthing his part). Strange to see and think about but this was like advanced synchron swimming. They did it very well. The actor Michaels-Moore was great as actor, the singer Rucker was great as Stankar. Maybe MM was not great, but opera is not straight theatre, so when we think it as opera acting, not being able to sing probably meant the actor too was a bit unabled by that.

Did Stiffelio, the opera, suffer from this? No, not at all. Was the other singers affected by this? No, they were all great. Did the conductor suffer? No idea at all.

It was a great success for Mark Rucker. People were wild. I was near 3 of them who seem to come only for him. (If there is 3 it must really be plenty.)

HUI HE was wonderful as Lina. And all the audience understood they, one could hear that in the applause. She was warm and acted her role wonderfully. Wonderful voice. JOSE CURA did one of his very best Stiffelio's, if not the best. I wish I could describe how I have seen how Jose has changed with this role. One the negative side: Federico di Frengel was rather thin and old, Raffaele was tall and somewhat big and young, but in the opera it should be possible to think Federico was Raffaele. Oh, that was maybe while it was so dark lit the stage. I thought that was to make it possible to Mark Rucker to read the notes.

Anyway, Mark Rucker was the super nice and happy man with a big laugh when he came out of the opera house. Hui He was also very nice and humble. Jose Cura sat down to as many signing and photos, even until the warming all to get out of the building, the lights are soon put out. It was a relief to Jose Cura, And really the fans was not slighted a bit.

A wonderful opera night!!!!!!!!!!!!!!!!

Stiffelio
(34. Aufführung in dieser Inszenierung)

Dirigent: Michael Halász
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Thomas Lang

Stiffelio: José Cura
Lina: Hui He
Stankar: Anthony Michaels-Moore (acts)
Stankar: Marck Rucker (sings)
Raffaele: Gergely Németi*
Jorg: Alexandru Moisiuc*
Federico: Benedikt Kobel*
Dorotea: Elisabeta Marin*

(* Rollendebüt an der Wiener Staatsoper)

Beginn: 19.30

OD TRAVEL + Photos
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Cough, cough, Stiffelio in Vienna: one sings, the other acts

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January 20, 2014: I due Foscari in Vienna

2014-01-20 I due Foscari (Verdi), Theater an der Wien

Francesco Foscari = Plácido Domingo
Jacopo Foscari = Arturo Chacón-Cruz
Lucrezia Contarini = Davinia Rodriguez
Jacopo Loredano = Roberto Tagliavini
Barbarigo = Andrew Owens
Pisana = Gaia Petrone
Fante = Ioan Hotea
Servo del Doge = Marcell Attila Krokovay

James Conlon, conductor'
ORF Radio-Symphonieorchester Wien
Arnold Schoenberg Chor (Ltg. Erwin Ortner)

Inszenierung - Thaddeus Strassberger
Bühne - Kevin Knight
Kostüme - Mattie Ullrich

Licht - Bruno Poet

I DUE FOSCARI by Giuseppe Verdi. Different from La Gioconda in many ways. Verdi's music sings of the waters surrounding Venice, the production tells of a cruel world filled up with torture and the unlucky souls caught up in the power games of the Counci of Ten. The lauded Fairness of Venice is that even a son of the current Doge can be caught in the web. Fairness, they call it, and pity as cruel verdicts is given both father and son Foscari.

La Gioconda is a Venice of later centuries than the story of the two Foscari. Whether or not Jacopo Foscari is guilty his treatment is too cruel to be fair. To our eyes Torture is never acceptable and we should never be willing to trade that truth. In the century of Foscari torture was used often, but was it thought acceptable then? Due Foscari had a lot of torture going on onstage. I hated that, but it was not put there on a whim, it was telling the story. I am just not a fan of cruelty onstage but even more do I object to the cruelty of torture and courts of law where the law is followed in such a way that it is a mockery of human lives and their sanctity. It is an important lesson but are we willing to see it as it happens now somewhere on the planet and work against the ills of our world.

Arturo Chancun-Cruz was able to justice to Jacopo Foscari, singing as a god as Jacopo was tortured on stage. That must have taken a lot of will power. Behind the scenes and onstage people must have really been learning a lot of safety features unssen by the audience as all that torture happened.

Davinia Rodriguez as Jacopo's wife, Lucrezia Contarini, had so many different palettes of sounds. In the end she would win the audience heart. The hardest role was hers and she was amazing.

Placido Domingo as the old Doge Francesco Foscari. Unhappy father and now he was to lose his last son. The implacable enemy wanted all Foscaris gone and dealt with and with the power of the Council of Ten in his hands he had the power, The Doge dies utterly unhappy with no shame spared. Loredano  uses a mock pity is used to knife his victims.

Foscari has not yet drawn fully his last breath before the new Doge in crowned. Loredano' justice has been served.


I DUE FOSCARI is a masterpiece just like La Gioconda. The story of Foscari is part of the history of Venice. La Gioconda is a story that happens to be in Venice.

OD Travel & Photos
Original blog post

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January 13, 2002: Parsifal in Vienna

2002-01-13 Parsifal (R. Wagner), Wiener Staatsoper

Amfortas = Bernd Weikl
Titurel = Peter Wimberger
Gurnemanz = Kurt Rydl
Parsifal = Placido Domingo
Klingsor = Wolfgang Bankl
Kundry = Violeta Urmana

Peter Schneider, conductor





Peter Schneider was the right conductor for Parsifal.
Kurt Rydl was great as Gurnemanz, but not as tall as Matti Salminen, and that was a pity. Because in Madrid where M. Salminen sang Gurnemanz, he was always the tallest onstage, and that is almost a requirement in this role. Bernd Weikl too was great, as Amfortas, but I think Madrid's Grundheber was better. As in Madrid: Wolfgang Bankl was Klingsor, and he was great, too.

And this Parsifal was great, but now we come to the center of the question, Parsifal and Kundry. Plácido Domingo and Violeta Urmana. It was the Placido Domingo who sang the best German, without a false word, the Spaniard was better than the German-speaking singers in the language test of Parsifal. Violeta Urmana, in her attempt to sing correct German, seem to loose out meaning in the search of pronounciation.

The Kundry of Violeta Urmana was unexciting, boring in both act1 and 3. Only in Act 2 did she manage to be any thing called exciting because of the beautiful dress she was wearing. Where Agnes Baltsa gave heart and soul into Kundry, only belcanto from Urmana.

Plácido Domingo, the final judgment: he is a great Parsifal. still young. Forever young.


13.JANUARY 2002 17:00


-----
Parsifal
Ein Bühnenweihfestspiel von Richard Wagner

DirigentPeter Schneider
Inszenierung August Everding
Ausstattung Jürgen Rose
Choreographie Ray Barra
Chorleitung Ernst Dunshirn
" ..

Kundry - Violeta Urmana*
Erster Knappe - Cornelia Salje*
Zweiter Knappe - Michelle Breedt
Dritter Knappe - Walter Pauritsch
Vierter Knappe  - Michael Roider
Erster Gralsritter - Benedikt Kobel
Zweiter Gralsritter - Peter Köves
Blumenmädchen 1 Gruppe - lngrid Kaiserfeld
Judith Halász*
Stella Grigorian
2 Gruppe - Simina Ivan
Renate Pitscheider
Michelle Breedt
Stimme von oben - Michelle Breedt
* Rollendebüt an der Wiener Staatsoper


ODTravel

January 12, 2013: L'Italiana in Algeri, Vienna

2013-01-12 L'Italiana in Algeri (Rossini),Wiener Staatsoper 

Mustafà = Ferruccio Furlanetto

Elvira = Ileana Tonca 

Zulma = Juliette Mars

Haly = Alessio Arduini

Lindoro = Antonino Siragusa

Isabella = Agnes Baltsa

Taddeo = Alfred Šramek

Jesús López-Cobos, conductor

Inszenierung/Bühnenbild - Jean-Pierre Ponelle

Agnes Baltsa as Isabella. What can one say? The lady is magic but she was born on November 19, 1944 says the books. She seems much younger on stage. I have heard her sing better better because she was younger then but she was the main event. Young Antonino Siragusa could not outshine Agnes Baltsa. He was an admirable Lindoro. I almost did not miss Juan Diego Florez. But it was fun to experience a new Lindoro. Ileana Tonca and Juliette Mars as Elvira and Zulma was OK, but I have heard better before. Ferruccio Furlanetto was Mustafa and he was great. But just like Agnes Baltsa even Ferrucio Furlanetto was older and not so shining as they were in 2004.  Most of all I felt that it was time for a new production. The sets and costumes are beautiful but... Maybe it only needs some updating in regie. Mustafa is in brown-face and it no longer feels comfortable. I think that maybe I no longer like the story in this opera.

OperaDuets Travel & Photos 
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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.

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