June 4, 2016: La Fanciulla del West in Hamburg

2016-06-04 La Fanciulla del West (G. Puccini), Hamburgische Staatsoper

Dick Johnson (Ramirez) = José Cura
Minnie = Amarilli Nizza
Jack Rance = Claudio Sgura
Harry = Benjamin Popson
Jake Wallace = Stanislav Sergeev
Nick = Jürgen Sacher
Ashby = Tigran Martirossian
Sonora = Kartal Karagedik
Sid = Alexey Bogdanchikov
Trin = N.N.
Bello = Viktor Rud
Joe = Daniel Todd
Happy = Zak Kariithi
Harry = Benjamin Popson
José Castro = N.N.
Larkens = Alin Anca
Billy Jackrabbit = Bruno Vargas
Wowkle = Marta Swiderska
Un Postilione = N.N.

Josep Caballé-Domenech, conductor
Philharmonisches Staatsorchester Hamburg
Chor der Hamburgischen Staatsoper

Inszenierung: Vincent Boussard
Bühnenbild: Vincent Lemaire
Kostüme: Christian Lacroix

Licht: Guido Levi

It was Jose Cura's Day.

Some people disagree with me but this was the best Fanciulla del West for me, anyway.

This was the performance where I was never bored. I think the orchestra and the conductor did a fine job at least when I was the on June 4th, 2016. I loved Amarilli Nizza as Minnie. I found her absolutely right. She was the perfect Minnie. Jose Cura did one of his best Dick Johnson. Claudio Sgura was a great Jack Rance. The only thing about Jack Rance was that the director seemed to have had less thought about this important role in La Fanciulla del West than he used when thinking out the singer Jack Wallace. The director made Jack Wallace into a blonde but male Marilyn Monroe clone. What a stupid and useless idea that was! Putting Marilyn Monroe into an actual gold-mine, whoops.

I loved it. It was believable except for Marilyn Monroe, the canary in a gold-mine. The kiss in second act with the curtain coming down, it was snowing, a snow storm outside, and then curtain up and wow, suddenly a few seconds in real time could have been hours together with Dick doing more than just kissing Minnie. That was elegantly done. The sets was used in the best manner in this opera production. And even the 3rd act was well done. Bravi, tutti!


I must apologize to Marilyn Monroe: Sorry but you are still the icon to be used and abused and this time they did it as they were still in kindergarten. Buh!

Original blog post

OperaDuets Travel & Photos

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May 31, 2010: Agnes Baltsa Liederabend in Vienna

2010-05-31 Liederabend Agnes Baltsa, Opernhaus Zurich

Agnes Baltsa, mezzo
Achilleas Wastor, piano

Some people said (1 person, actually) that Agnes Baltsa was not on top form on Monday 31 May, 2010. The rest disagreed. She was splendid in Opernhaus Zürich. She was well worth the travel and any inconvenience. I had thought that hearing and seeing her sing those Greek songs would be like in 2004, the outdoor concerts in Ingolstadt and Regensburg. But in Zürich we got it all: It was an intimate evening where Agnes Baltsa poured every bit of her self in every song. It was only in the Extra number of Garifallo st'afti that she could really relax and just enjoy.

It was like a Verismo abend. Agnes Baltsa is Greek, she is it with her voice, body and soul. And we got a glimpse of that soul. Never have a Liederabend made me feel so alive and transported to Greece, Crete, Levkas, Acropolis. The depth was amazing. And I had listened to most of the songs before, the CD and the concerts in 2004. But this time it was a depth so deep, a passion so raw, a sadness so sad that the sea must weep. Does her voice respond in the same way as in 2004, no, but it has no lost its sweetness. Agnes Baltsa is the Verismo Godess. No fear for giving it all, the emotions are real and raw.

One could think after looking at the program that it is just the easiest repertory. But Agnes Baltsa was not looking for the easy crooning, she wanted to give us Greece. And she did. BRAVA!!!!

Achilleas Wastor, piano. He was great. And they were great together. In 2004 it was Stavros Xarhakos and his group with Agnes Baltsa. With piano the songs get to be more intimate. Lovely!


Liederabend Agnes Baltsa

AGNES BALTSA
Achilleas Wastor Klavier

Griechische Lieder

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)

OD Travel + Photos

Blog post: I can totally recommend Liederabend Agnes Baltsa

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May 31, 2004: L'Italiana in Algeri, Vienna

2004-05-31 L'Italiana in Algeri (Rossini), Wiener Staatsoper

Mustafà = Ferruccio Furlanetto
Elvira = Simina Ivan
Zulma = Stella Grigorian
Haly = Marcus Pelz
Lindoro = Juan Diego Flórez
Isabella = Agnes Baltsa
Taddeo = Alfred Šramek

Frédéric Chaslin, conductor



And at 1930 it started with the overture/Sinfonia of Italiana in
Algeri. It was almost the same production as last time, it was the wonderful Ponnelle production, but it had had some brush-ups. I thought that this was more buffo than before, and certainly I felt that Simina Ivan (Elvira) and Stella Grigorian (Zulma) was being too comic. Certainly Zulma was overdoing things. Ferruccio Furlanetto was an agile and playful Mustafa. Juan Diego Florez was great as Lindoro.
Agnes Baltsa had some really great moments in "O che muso", "Pensa alla patria" and the delightful "Per lui che adoro".

Wonderful opera!!

OD Travel + Photos

May 31, 1998: Le Prophete in Vienna

1998-05-31 Le Prophete (Meyerbeer), Wiener Staatsoper

Fidès = Agnes Baltsa
Jean = Placido Domingo
Berthe = Viktoria Loukianetz
Le Comte d'Oberthal = Davide Damiani
Zacharie = Franz Hawlata
Mathisen = David Cale Johnson
Jonas = Torsten Kerl

Marcello Viotti, conductor

Preparation is everything, especially if an opera that are new for me. First live Meyerbeer opera. The only Meyerbeer I knew was the opera L'Africaine (from the video of the opera with Plácido Domingo and Shirley Verrett in San Francisco Opera. I went to the Theatermuseum, after buying Le Prophete (CBS Masterworks), it was a Meyerbeer expedition. Then it was time to go to Vienna State Opera for Le Prophete with Agnes Baltsa and Plácido Domingo. Having read the CD-libretto made me see what should have been onstage. Hans Neuenfels was the director, and his job was to make this Grand Opera unto a big messy spectacle. It was not too bad, the singers was excellent, and some of his ideas was good. One thing was absolutely not agreeable by me, the dancer who was another Jean, a modern one with heroin abuse and hanging, coming unto the stage, and the monkeys (probably belong to the 3 Anabaptists or even representing them). Too much was happening on the stage. Making you lose moments of the opera, confusing you.

Plácido Domingo was a superb Jean, very charismatic and strong. Agnes Baltsa was Fidès, very charismatic and in splendid voice. Le Prophete needs both a Jean and Fides that are in good voice and have charisma. Viktoria Loukianetz was Berthe, wonderful soprano. Acting was not easy in this overcrowded stage so filled with the directors own ideas of making Le Prophete his, but still Agnes and Plácido was strong enough to give enormous pleasure both in the singing and acting. Even if one loathed the production, one would like to go again to experience both Plácido and Agnes in roles that suited them so well, and Meyerbeer's opera is so wonderful in the melodies. Just focus on Plácido Domingo or Agnes Baltsa and the rest would cease to exist.

Sonntag, 31. Mai 1998 STAATSOPER
4. Aufführung in dieser Inszenierung

Le Prophète
Oper in fünf Akten
von Eugène Scribe
Musik Giacomo Meyerbeer

Musikalische Leitung Marcello Viotti
Inszenierung Hans Neuenfels
Bühnenbild und Kostüme Reinhard von der Thannen
Choreinstudierung Johannes Meister
Einstudierung der Tänze Renato Zanella


Offizier Johann Reinprecht
Bürger Hasik Bayvertian
Anabaptist Peter Tuff
Ballettsolisten Marialuise Jaska
Ludwig Karl
Christian Musil
Gregor Hatala
Bühnenorchester der Österreichischen Bundestheater
Eleven der Ballettschule der Österreichischen Bundestheater
Amadeus Knabenchor Bewegungschor

OD Travel

May 30, 2010: Otello in Berlin

2010-05-30 Otello (Verdi), Deutsche Oper Berlin

Otello = José Cura
Desdemona = Anja Harteros
Jago = Zeljko Lucic
Emilia = Liane Keegan
Cassio = Yosep Kang
Rodrigo = Gregory Warren
Lodovico = Hyung-Wook Lee
Montano = Jörn Schümann
Ein Herald = Lucas Harbour

Patrick Summers, conductor

Premiere
Sonntag, 30.05.2010, 18:00 Uhr
Dauer: ca. 3 Stunden | Eine Pause

D-Preise: 36,- | 62,- | 87,- | 120,- Ticket online kaufen
[zuzüglich EUR 2,- Service-Gebühr]

Giuseppe Verdi
Otello
Dramma lirico in vier Akten
Libretto von Arrigo Boito nach Shakespeares Tragödie OTHELLO, THE MOOR OF VENICE
Uraufführung am 5.Februar 1887 in Mailand
Premiere an der Deutschen Oper Berlin am 30. Mai 2010

In italienischer Sprache mit deutschen Übertiteln


Conductor
Patrick Summers

Director
Andreas Kriegenburg

Stage-design
Harald Thor

Costume-design
Andrea Schraad

Dramaturge
Katharina John

Choir Conductor
William Spaulding

Children's Choir
Dagmar Fiebach

Artistic-production-manager
Christian Baier





Chor der Deutschen Oper Berlin


Kinderchor der Deutschen Oper Berlin


Orchester der Deutschen Oper Berlin

It is all happening in a refugee camp. For those who loved this Otello, this is genius. For other people it is just a big question mark, why? Because it doesn't make sense. It does not do anything for the story. The refugees are interned in a camp. There is little to do except to watch and hope for some money and something to eat. To care about the African refugees that are in those refugee camps in Europe is a worthy cause, to use them are a mere backdrop for an opera is not.

There are nothing here to give you empathy for the refugees. They are simply the chorus, a mass of people. A heavily pregnant woman, children who are starting drinking alcohol and with drugs. Children who see too much. The children have to eat from the garbage brought in from the outside. The children are there so that Jago has his audience for his Credo. These children are not scared of hell, they are there. They are not scared of emptiness because that is all they have. The children can be played to be hide Otello when needed. They only cost a few coins and then you are a wall to hide behind because in this refugee camp nobody notices the children unless they need them.

But why care? It even starts with de-sensitive us. Before the music starts, the curtain goes up and the chorus just stands there, and then some of them put on black masks on their faces. Oh yes, this means that we should understand, what really? That we are all Otello? Or should it mean that there are Africans in this refugee camp. Or is that when those who loved this Otello understood that it happens in a refugee camp. Because for me it just told me that it is all a fake. Especially the Regie. It does not think or feel but most importantly it does not make the audience feel. Intellectually understanding the idea behind the Regie is one thing (and I found that hard) but Opera is Feelings not an University Degree.

And the there was the dancing in the background. But Otello is an Opera not a Ballet. It was not the worst idea but it was more distracting than giving anything to the audience. The people behind this Otello did not trust the audience to feel the pain of Otello and Desdemona. They even thought we needed children surrounding Desdemona in the scene Nel livido fango to understand how innocent this Desdemona is. No, Verdi and Boito have already made us aware. We are not stupid.

In the end there was a lot of Buh's and some Bravo's for the people behind this production. For the singers it was BRAVO's all the time. So much so that those who wanted to Buh the production team all the time did not do so much when the singers was there.

In the critic I have the read there seem to be a trend if they loved the Regie they did not like the conductor and vice versa. The singers were all wonderful, loved the sound of the chorus, and orchestra. I think Patrick Summers did well. The Children chorus was good.

Yosep Kang was wonderful as Cassio. Anja Harteros was the best Desdemona I have seen. José Cura was superb as Otello. Zeljko Lucic was Jago, good singer and actor. Liane Keegan has a great voice that soars. She not only has a big voice but a big body too but luckily here she was simply Emilia, Jago's wife and Desdemona's friend and not a caricature of a big woman.

BRAVA, Anja Harteros
BRAVA, Liane Keegan

BRAVO, José Cura

Blog post: Premiere of OTELLO in Berlin May 30, 2010


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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

May 30, 1998: Jerusalem in Vienna

1998-05-30 Jérusalem (Giuseppe Verdi), Wiener Staatsoper

Gaston, Vicomte von Bearn = Keith Ikaia-Purdy
Comte von Toulouse = Yu Chen
Roger = Kurt Rydl
Hélène = Eliane Coelho
Isaure = Marjorie Vance
Adhemar de Monteil = Peter Köves
Emir de Ramla = Wolfgang Bankl

Bruno Campanella, conductor



Eliane Coelho = Helene
Keith Ikaya-Purdy = Gaston
Kurt Rydl = Roger

Wiener Staatsoper 30.5.98 kl.1900-2230
Verdi : Jerusalem


In place at the opera 1819, heard some magnificent voices warm up,
possibly Keith Ikaya-Purdy.
I bought my program ATS 38,- ( took 40)
Wearing my three-tenors-operaglasses, feeling classy.
Naturally I started by reading in the program.

The commercial for Chopard,with big picture of Jose, almost destroys
my happy mood. --- It Could have been Carreras singing---
I decide not to let any such thought destroy my evening, after all I
have a dark video of Jose as Gaston, and some picture too.

Graf von Toulouse = Yu Chen
Isaure = Marjorie Vanel

The House is full.

Pause after 1 act and after 3 act 1scene

BRAVO Kurt Rydl! Great Roger!!!

Prelude .
Gaston & Helene duet. Beautiful singing.
The person sitting beside me has no consideration of other peoples
wishes to see the stage too. Sitting leant back to the chair, he
would still see the stage with no problem, but he is leaning forward,
so that WE have problem seeing the stage, not only me. He is not
Thinking.

Bruno Camponelli conducts. Sublime music. Next scene. Yu Chen who
sing the Count of Toulouse look so like Carreras. Great bass. The
father is younger than his daughter. It is very natural.

Kurt Rydl is great as Roger, much better than Ramey. His character is
not only evil, he is multi-faceted.

A grand first act!!

OD Travel + Photos

May 29, 2004: Otello in Hamburg

2004-05-29 Otello (Verdi), Hamburgische Staatsoper

Otello = José Cura
Desdemona = Barbara Frittoli
Jago = Lado Ataneli
Emilia = Yvi Jänicke
Cassio = Peter Galliard
Rodrigo = Ho-yoon Chung
Lodovico = Alexander Tsymbalyuk
Montano = Carl Schultz
Herold = Moritz Gogg

Philippe Auguin, conductor



Chorus: Florian Csizmadia



Otello (G. Verdi) 1930. Jose Cura, Barbara Frittoli and Lado Ataneli.

Act 1 The conductor was Philippe Auguin. From the first note of Otello I was disappointed. I blame the conductor. The musical dynamics was missing. All emotions and situations on the stage was conducted alike. The orchestra was loud and quiet, loud and quiet without any musical reason. The chorus suffered and the principals suffered too. Otello's "Esultate!" came to me as a three-parted voice of Cura, it was not together. I missed a greater scene-presence when Lado Ataneli sang, he sang well, but lacked the zeal of Ruggero Raimondi. The love duet was wonderfully sung and acted by Cura & Frittoli. Because of the slow tempi when BF sang Amen in "Amen risponda" she had trouble getting her full voice in specifically in the "A---men". The act ended with the couple on the beach, with the pier and and the red full moon behind them

Act 2. Jago's Credo was wonderfully sung by Lado Ataneli, but the menace that Ruggero Raimondi had was not there, I missed that. The beautiful quartet ended act 2, but it had couple of inaccuracies in timing, or rather almost inaccuracies. (forgot: that after the quartet followed "Tu, indietro!", and narrating the "dream" that he says Cassio had, and of course, "Si pel ciel marmoreo giuro")

First real intermission between act 2 & 3.

Act 3. The action in on the stairs of the castle. It was all truly great. For me the only thing is that I found that Otello was falling down too many times for me. But the singing and acting of Jose Cura was a first class act. BRAVO, CURA!

Act 4. Barbara Frittoli is a great Desdemona. The idea of seeing the wind blow in the curtains (we could actually see that there were hands moving the white curtains) was rather stupid, I find. It was not necessary at the beginning of first act and not even when Emilia sang "E il vento!" (It's the wind) was it necessary, the audience is not stupid. Then Otello, Jose Cura, came. The tension is high, and they are just great, Cura & Frittoli. But when Emilia cries Murder so very few comes, just the key players, and before Cura sings "Niun mi tema" they are gone, only the dead Desdemona and Otello is left on stage. "Niun mi tema" - "Nobody be afraid", but there is nobody there!? And when Otello sing "Un bacio!" and the music reminiscence of the love duet in act 1, the stage darkens, and we see the pier and the full moon of act 1. Cute, but we are not stupid. The Music tells it all much better.
After the opera a lot of JCx is waiting for Cura to come backstage, Lado comes first, then it is finally Cura. And when the crowd is satisfied. Ten JCx ends the day in the restaurant Opera with a drink and some salad.

At 0100 in bed.

OD Travel + Photos

May 28, 2012: Nabucco in Bilbao

2012-05-28 Nabucco (Verdi), Palacio Euskalduna (Bilbao)

Nabucco = Roberto Frontali
Ismaele = Alejandro Roy
Zaccaria = Carlo Colombara
Abigaille = Maria Guleghina
Fenena = Rosanna Rinaldi
High Priest of Belo = Silverio De la O
Abdallo = Eduardo Ituarte
Anna = Ana Otxoa

Massimo Zanetti, conductor
  Orquesta del Teatro Regio di Parma
Coro de Ópera de Bilbao

Director de escena - Daniele Abbado
Scenography - Luigi Perego
Light  design - Valerio Alfieri

It was the best Nabucco production with the best singers. Only one thing stood out for me as problematic and that was the golden hair of Zaccaria. Golden hair in the Middle East what was that about? Carlo Colombara has dark hair and could have been more authentic as Zaccaria without fake hair. This production of Nabucco was one that seemed to be about authenticity as history goes. Ismaele is clearly marked by his cloths as a Prince of Judea. Zaccaria is also similarly marked an important person. There is no doubt that Nabucco is an Assyrian King. All clearly marked except that one is never shown the chorus in Assyrian cloths. They are always dressed in Jewish cloths. This can be explained by the fact that Jerusalem is taken by Assyrians pretending to be Jews. But that is just true in the first act.

This is a beautiful production, intelligent and wants to be truthful to the libretto. Roberto Frontali, who I have seen as Stankar in the ROH Stiffelio production, was a truly fine Nabucco. Alejandro Joy was wonderful as Ismaele. Strong singing, wonderful acting. Rosanna Rinaldi was also great as Fenena. But the star was Maria Guleghina as Abigaille.

Abigaille can be boring since she is sometime acted as just a one-dimensional villain. Maria Guleghina shows all the different emotions that is Abigaille. She is weak sometimes. In this production one sees Abigaille hesitate in some crucial moment. How ambitious is she? She vacillate between power and love. Most of all she wants to be accepted as Nabucco's daughter and to be loved by Ismaele. Her feelings for her sister Fenena is also torn. Love and envy. So Nabucco changes into a believer of the God of Judea. As Abigaille loses her life she is also going to her redemption and I personally believe more in Abigaille change. Nabucco is just about his daughter Fenena.

I love Abigaille! And Maria Guleghina as Abigaille is just amazing!!!!!!!!!!!!!!!!!!!!!

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May 27, 2016: Simon Boccanegra in Vienna

2016-05-27 Simon Boccanegra (Verdi), Wiener Staatsoper

Simon Boccanegra = Dmitri Hvorostovsky
Maria Boccanegra (Amelia) = Barbara Frittoli
Jacopo Fiesco = Ferruccio Furlanetto
Gabriele Adorno = Francesco Meli
Paolo Albiani = Adam Plachetka
Pietro = Sorin Coliban
Un Capitano dei Balestrieri = Carlos Osuna
Lydia Rathkolb = Anat Edri

Marco Armiliato, conductor
Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Peter Stein | Regie
Stefan Mayer | Bühne
Moidele Bickel | Kostüme

It was Dmitri Hvorostovsky's day, it was Francesco Meli's day.

For many people in the opera this was Hvorostovsky's day as he triumphed in the title role of Simon Boccanegra. For me it was the triumph of Francesco Meli. Ferruccio Furlanetto was also great. Adam Plachetka was an amazing Paolo and I would love to experience him as Simon Boccanegra himself.

Dmitri Hvorostovsky and Barbara Frittoli was soft and suave. They were perfect together but vocally their voices did not had the strength of Ferruccio Furlanetto or Francesco Meli. Furlanetto was the perfect Fiesco and Francesco Meli was the most wonderful and strong Gabriele Adorno. Adam Plachetka was the luxury of Simon Boccanegra.

I am now a fan of the marvellous tenor Francesco Meli. Bravo, Francesco Meli!

And I adore the magificient bass of Ferruccio Furlanetto. Bravo, Ferrucio Furlanetto!!

This production of Simon Boccanegra in Wiener Staatsoper was just stupendous, perfect.

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OperaDuets Travel & Photos

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May 26, 2016: La Forza del Destino in Wiesbaden

2016-05-26 La Forza del Destino (Verdi), Hessisches Staatstheater Wiesbaden

Der Marchese von Calatrava, Pater Guardiano = Young Doo Park
Donna Leonora = Hui He
Don Carlos di Vargas = Carlos Alvarez
Don Alvaro = Richard Furman
Fra Melitone = Patrick Carfizzi
Curra, Preziosilla = Romina Boscolo
Mastro Trabuco = Benedikt Nawrath

Christoph Stiller, conductor
Chor, Extrachor & Statisterie des Hessischen Staatstheaters Wiesbaden, Hessisches Staatsorchester Wiesbaden

Inszenierung nach Immo Karaman
Spielleitung Magdalena Weingut
Bühne Timo Dentler
Kostüme Okarina Peter
Licht Andreas Frank
Choregrafie nach Fabian Poska
Chor Albert Horne
Dramaturgie Stephan Steinmetz

If only Jose Cura had been Don Alvaro... 

Now, we had second tenor Richard Furman as Don Alvaro. And that meant we had a weak link. Hui He was a strong, vibrant Leonora and with an equally excellent Don Carlo in Carlos Alvarez. The rest of the cast was also strong singers. Richard Furman acted well but his voice was sweeter and softer than the rest so his Don Alvaro was lost in this Forza del Destino.

I enjoyed very much this Fra Melitone, Patrick Carfizzi. Here was a strong singer and great actor and his role in this production was most believable. Unfortunately this production was bad, good and bad ideas were flouting around making little sense. Some scenes had some sense but in the end the whole structure was lacking. So: Production rubbish but Patrick Carfizzi as Fra Melitone was great. Fra Melitone was an idea that worked and often Fra Melitone is just stupid, here he made sense.

I guess that making the singer singing Marchese di Calatrava into Padre Superior was supposed to make an profound effect to the story and that was not really realized in the production. The same was true about making Curra = Preziosilla was a bit better but still in the end made no sense.

Putting La Forza del Destino in our times, or rather World War 2, was also damaging to the whole opera. Without Hui He and Carlos Alvarez or singers in that calible as Alvaro, Leonora and Carlo there is no need to put yourself into this production. The poignant end is no longer poignant!!!

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OperaDuets 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

May 26, 2012: La Chulapona in Madrid

2012-05-26 La Chulapona (Moreno Torroba), Teatro de la Zarzuela (Madrid)

Manuela = Cristina Faus
Rosario = Susana Cordón
José María = Antonio Gandía
Juan de Dios = Carlos Crooke
Señor Antonio =Luis Alvarez
Doña Venustiana = Charo Reina
El Chalina = Jesus Castejón
Don Epifanio = Gerardo Malla
Emilia = Raquel Torres
Organillero = Jesus Alcaide
Lolita = Ana Santamaria
Ascensión = Isabel Gonzalez
Concha = Ada Rodriguez
Ist Guard = Keni Roldan
2nd Guard = Abel Garcia
Manolito = Neric Forcada / Raul Ruiz / Pedro de la Torre
Chico de la taberna = José Varela
Cantaora = Eva Duran
Ganadero = Saturnino Garcia
Maestro Cansino = Juan Rueda
Maravilla = Maria Briones
Guadalupe = Sagrario Mielgo
Engargado de Café = Juan Luis Cobo
Durmiente = Jesus Landin
Plachandoras = Rosa Maria Gutierrez, Carmen Gaviria, Paloma Curros
Zapatero = Carlos Duran
Hojolatero = Pedro Azpiri
Cliente = Gustavo Berliete
Voz Interna = Paloma Suarez
Giutarrista = José Maria Molero
Invitado = Ignacio Del Castillo


Dirección musical: Miquel Ortega

Dirección de escena: Gerardo Malla
Escenografía y figurines: Mario Bernedo
Coreografía: Goyo Montero
Iluminación: Eric Teunis

La Chulapona
Del 4 de Mayo al 3 de Junio de 2012 (excepto lunes y martes)
Miércoles (Día del espectador) y domingos, a las 18:00 horas
Funciones de abono: 24, 25, 26 y 27 de Mayo de 2012
Comedia lírica en tres actos
Música de Federico Moreno Torroba
Libro de Federico Romero y Guillermo Fernández-Shaw
Estrenada en el Teatro Calderón de Madrid,
el 31 de Marzo de 1934
Producción del Teatro de la Zarzuela, 1988
Edición a cargo de Federico Moreno-Torroba Larregla
(Ediciones Iberautor, SRL / Instituto Complutense de Ciencias Musicales, 2005)


Yesterday was veterans showing how to sing and act, today was the young and coming up showing their colors. Another Manuela, Rosario and Jose Maria. But still great singing and acting. I was so used to a blond Rosario than I almost missed Susana Cordons entrance. This was another Rosario, but it was hard to tell in which way she differed from Carmen Gonzalez. The young Rosario was not so ironic and seemed softer. Cristina Faus was todays Manuela. Younger voice, and amazing but still I must say Milagros Martin could still be someone that Cristina Faus should look after in order to be even better. Antonio Gandia as Jose Maria was also wonderful.

The whole experience of what a zarzuela is made me think it more like a musical than simply operetta. It is vocally demanding like an opera, expects dancing skills more like in a musical. How I wish I understood Spanish! The dialogue is demanding and singing superb in a zarzuela. It is stylistic and naturalistic in combination. LOVED IT...


OD Travel
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

May 25, 2012: La Chulapona in Madrid

2012-05-25 La Chulapona (Moreno Torroba), Teatro de la Zarzuela (Madrid)

Manuela = Milagros Martín
Rosario = Carmen González
José María = Marcelo Puente
Juan de Dios = Carlos Crooke
Señor Antonio =Luis Alvarez
Doña Venustiana = Charo Reina
El Chalina = Jesus Castejón
Don Epifanio = Gerardo Malla
Emilia = Raquel Torres
Organillero = Jesus Alcaide
Lolita = Ana Santamaria
Ascensión = Isabel Gonzalez
Concha = Ada Rodriguez
Ist Guard = Keni Roldan
2nd Guard = Abel Garcia
Manolito = Neric Forcada / Raul Ruiz / Pedro de la Torre
Chico de la taberna = José Varela
Cantaora = Eva Duran
Ganadero = Saturnino Garcia
Maestro Cansino = Juan Rueda
Maravilla = Maria Briones
Guadalupe = Sagrario Mielgo
Engargado de Café = Juan Luis Cobo
Durmiente = Jesus Landin
Plachandoras = Rosa Maria Gutierrez, Carmen Gaviria, Paloma Curros
Zapatero = Carlos Duran
Hojolatero = Pedro Azpiri
Cliente = Gustavo Berliete
Voz Interna = Paloma Suarez
Giutarrista = José Maria Molero
Invitado = Ignacio Del Castillo


Dirección musical: Miquel Ortega

Dirección de escena: Gerardo Malla
Escenografía y figurines: Mario Bernedo
Coreografía: Goyo Montero
Iluminación: Eric Teunis

Finally at 2000 LA CHULAPONA in Teatro de la Zarzuela with Milagros Martin as Manuela and Carmen Gonzalez as Rosario. The production is from 1988 and there exists a DVD from it also with Milagros Martin and Carmen Gonzalez.

Despite I still don't understand all that much Spanish I understood much more than I did in 1989 when I saw this zarzuela during the Edinburgh Festival. I love zarzuela and have recently started a small collection of zarzuelas. Federico Moreno Torroba (the composer) is a genius and the music in Chulapona is just marvellous. Naturally I have the CD with Teresa Berganza as Manuela and the wonderful Pilar Lorengar as Rosario. A wonderful CD with the perfect Manuela and perfect Rosario.

24 years after the premiere are Milagros Martin and Carmen Gonzalez still the perfect Manuela and Rosario. Aged but like fine wine only better and more refined than ever. Marcelo Puente in the role of Jose Maria, loved by these two different women, was also wonderful.

OD Travel
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

May 25, 1990: Die Csardasfurstin in Oslo

1990-05-25 Die Csardasfürstin (Kalman), Den Norske Opera (Oslo)

Fyrst Lippert-Weylesheim = Almar Heggen
Anhilte = Vessa Hanssen
Edwin = Jan Sødal
Stasi = Anne Nyborg
Grev Boni von Kancianu = Tor Fagerland
Sylvia Varescu = Ingjerd Oda Mantor

Tore Dingstad, conductor



9 Years and 3 days after my first visit in an Opera House and then same operetta with some changes in the role list. GREAT!! I loved this production.

OD Travel

May 24, 2008: Carmen in Karlsruhe

2008-05-24 Carmen (G. Bizet),
Badisches Staatstheater Karlsruhe

Carmen = Denyce Graves
Don José = José Cura
Escamillo = Thomas J. Mayer
Micaëla = Barbara Dobrzanska

Jacques Delacôte, conductor

Musikalische Leitung Jacques Delacôte
Inszenierung Achim Thorwald
Bühne Christian Floeren
Kostüme Ute Frühling
Badischer Staatsopernchor
Extrachor, Theaterkinderchor am Helmholtz-Gymnasium
Badische Staatskapelle

"Non, tu ne m'aimes pas" (Carmen, Karlsruhe 24.5.08)

I was looking forward to a tradional CARMEN with the same sensational people that I had enjoyed in 2004 in London as Samson et Dalila (José Cura and Denyce Graves) and conducted by the great Jacques Delacôte. But I must admit that by the time that Cura had sung a wonderful Flower song and Denyce Graves was responding with "Non, tu ne m'aimes pas" that I knew what I was going to called the review of this Carmen. Yes, Carmen or Denyce Graves I do not love your voice anymore. It makes me sad!!! Already at the Habanera I thought, what have happened with the wonderful full mezzo voice, Denyce two voices appeared, one of a grown woman and the voice of a small and whiny child. Then my hopes was for the Seguedilla, but the same thing happened, but the Card Aria in act 3 was wonderful. So SAD... But hopefully this is just temporary problem... Of course, 2nd act of Carmen is a bit like Samson et Dalila, I even fantasized this Carmen being morphed into a SAMSON ET DALILA where Denyce Graves would have no vocal problems at all. And as a Baltsa fan I must admit I wanted Agnes Baltsa to come and rescue this Carmen, even if one at this stage of AB's career can hear that she is over 60.

DENYCE GRAVES was despite her vocal state, a wonderful Carmen, she can act and she can dance. And she was celebrated in Karlsruhe. JOSE CURA was wonderful as Don José. His only problem, and that was the whole ensembles problem; the French dialogue. It was hard to hear, the pronunciation was not all that good by all singers. And the dialogue was cut shorter which really did not help that much. As if one got instead of thought got half thought. The dialogue was such a pain that I wanted the sung recitative (and I normally "hate" that one).

The Escamillo was great as an actor but as a singer so much volume was missing and he was too light in voice. Nice, cute, good-looking, yes.... But I missed a voice, big and with resonance (like Ruggero Raimondi in the opera film by Rosi). Micaela was wonderful in the duet with Don José and OK in her big aria.

Last act. We are in the matador's room, we see Escamillo pray the Prayer all matador pray before the corrida, he was dressed up by his men. Of course he walked into the room with Carmen. The duettino (Si tu m'aimes, Carmen) and the when Escamillo walks out to the corrida, Frasquita and Mercedes come to warn Carmen about Don José. It is all in the room, José and Carmen meets again, he pleads and then he kills. Escamillo has finished his job at the corrida, and does not see Carmen is killed, he is too busy with Frasquita and Mercedes. Fine man, that Escamillo!! Mercedes sees and finally Escamillo... (what? a slight shock) while Don José is all finished and asked to be arrested, he has killed his love, his Carmen.


The Production was OK. Modernized. But the men were all creeps and the women was nothing worth. And the Gypsies smuggled cocaine. Is it modern to be so negative... or is it just CARMEN?

Signierstunde after the opera with José Cura, Denyce Graves and Jacques Delacôte. And I had just a mobile phone. In the end I was the last to get to take a photo of José, he was tired as you can see, and as you can also judge a mobile camera is no competition to a real camera. but still....

OD Travel
Blog post: "Non, tu ne m'aimes pas" (Carmen, Karlsruhe 24.5.08)

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

May 23, 1998: Sly in Zurich

1998-05-23 Sly (Wolff Ferrari), Opernhaus Zürich

Sly = Josep Carreras
Westmoreland = Juan Pons
Dolly = Daniela Dessi
John Plake = Carlos Chausson

Rafael Frühbeck de Burgos, conductor



This was the first time for me, Sly. A copy of a recording of a German recording had been my preparation and reading the libretto, but in German Sly is not an opera easily to be liked. Even in Italian it is not easy the first time. To have Jose Carreras in this role, creates all those positive forces that is needed to get an opera like this to be revived. This is an opera that needs a great ensemble of good singers, Zurich have an excellent ensemble. Like Stefania Kaluza as the hostess. She is an excellent mezzo, a Zurich member. Great! With Juan Pons as Westmoreland and Daniella Dessi as Dolly, and Carlos Chausson as John Plake headed by the great Jose Carreras as Sly, it could only be success.

First act is in a tavern, filled with many different characters. Vivid! Dolly has run off from her gilded life with the Count and come to the tavern to the real life. All reacts to her beauty, Dolly is enjoying herself but too soon the Count find out where he is. John Plake tells of Sly, Sly comes. He is a poet (a drunkard,too), he is making poetry of fantasizing. Snare tried to get Sly to prison (since Sly has debts to pay). Dolly protects Sly via the Count. Sly is so drunk that he fantasize of the perfect woman with Dolly standing so close to him, and he notices her not.
All the Counts sees in Sly is somebody/something that can amuse him, Dolly sees a dream and feels compassion to Sly. The Count decide; we will make Sly think he is the Count, what an amusement it will be.

Second act is in the Castle of Count Westmoreland. Sly wakes up and cannot believe it is true, he is an aristocrat and rich. But what makes him want to go with the dream, is the woman. His wife, who is waiting for him. He is seduced by the richesse. Love is at hand for Sly, the incomparable dream for Sly. Dolly is supposed to take part in a comedy, playing her part. But Dolly starts feeling for Sly, LOVE. Big Love Duet! Then the Count pretends to be Snare, Sly understands. They are murdering Love.

Third act is the dungeon of the Castle. Sly wakes up, desperate. When he decide it has all been a LIE, he decide on DEATH. Dolly comes in, but he is already dying.

THE END.
Carreras is the ultimate SLY!!!!

OD Travel + Photos

Musilkalische Leitung RAFAEL FRÜHBECK DE BURGOS
Inszenierung HANS HOFMANN
ßühnenbild HANS HOFFER
Kostüme DIRK VON BODISCO
Lichtgestaltung JÜRGEN HOFFMANN
Chor ERNST RAFFElSBERGER


Französiss('her Edelmann/Musiker PIOTR BECZALA
1. Edelnann/mohr MARTIN ZYSSET
2. Edelnann/Indiauer VOLKER VOGEL
3. Edelmann/ Alter Diener PETER KELLER
4. Edelmam1/Chinese RUDOLF A. HARTMANN
5. Edehnann/Doktor JEE-I-IYUN KIM0
Wirtin STEFANIA KALUZA
Rosalina CAPUCINE CHIAUDANl0
Snare, Polizeibeamter RORY BAIN°
Page GABRIELA PALIKRUSCHEVAo
Kellner MIROSLAV CHRISTOFF
Landrichter RICARDO BERNAL0
Soldat JUUSO HEIVIMINKi 0
KoehI-IEIKKI YRTTIAHO
Fuhrmann ENGELBERT CARL
1. Säufer CARL HIEGER
2. Säufer PETER KÁLMÁN°
1. Dame MILENAJOTOwVAO
2. Dame ALEXANDRA WEISS0
3. Dame CAPUCINE CHIAUDANi 0
1. Diener RUDOLF A. I-IARTIVIANN
2. Diener RORY BAIN°
3. Diener JEE-I-IYUN KIIVi 0
Dubiose Individuen JULlE BRÄUNING+, SILJA CLEMENS+,
und junge Höflinge SUSANNE LlCHTENßERGER+, ANTJE MAlRlCH+,
B,ARB,ARA MAURER+, ALEX,ANDRA RÖHRER+, KEERSTlN RULLlK+ PHILIPPE GRAßER+, INGO I-IElSE+, MARCEL METTEN+, EMAANUEL RUHOFF +, HENRlK ZIMMIERMANN+
0 Mitgiie,d des lnternationaien Opernstudios,
unterstützt vou der Herbert von Karajan M"sic, Legacy
und von Geert. Bianke,n, Sursee
+ Student/in der Schauspiel Aikademie Zürich
CHOR DES OPERNIHIAUSES ZÜRICI-I
STATISTENVEREIN AM OPERNI-IAUS züRIcI-I
ORCI-IESTER DER OPER ZÜRICI-I

May 22, 1987: Don Giovanni in Oslo

1987-05-22 Don Giovanni (Mozart), Den Norske Opera (Oslo)

Don Juan: Knut Skram
Il Commendatore Oddbjörn Tennfjord
Donna Anna: Eva Johansson
Don Ottavio: Esaias Tewolde
Donna Elvira: Frøydis Klausberger
Leporello: Stein Arild Thorsen
Masetto: Espen Fegran
Zerlina: Ingjerd Oda Mantor

Heinz Fricke, conductor



Friday 1987-05-22 DEN NORSKE OPERA

(Premiere 4/4-87)
DON JUAN = Don Giovanni
Opera in 2 acts by Wolfgang Amadeus Mozart
Text: Lorenzo da Ponte
19.30 - ca. 22.35.

Conductor: Heinz Fricke
Regie: Goran Järvefelt
Translation: Per Boye Hansen after Pauline Hall
Scenography: Kathrine Hysing

Lysdesign: Torkel Blomquist


Den Norske Operas chorus
Den Norske Operas orchestra
Cembalo: Tore Dingstad

This Don Giovanni production was also televised naturally with Knut Skram, our Great Norwegian baritone but with other singers in the other roles.

OD Travel

As I remember it, I enjoyed this night at the opera.

May 22, 1982: Rosenkavalier in Stockholm

1982-05-22 Der Rosenkavalier (R. Strauss), Operan (Stockholm)

Feldmarschallin Fürstin Werdenberg = Margareta Hallin
Octavian = Edith Thallaug
Herr von Faninal = Erik Saeden
Sophie, his daughter = Dorrit Klejmert
Baron Ochs = Arne Tyrèn
Jungfrau Marianne Leitmetzerin = Leana Peterson
Valzacchi = Sven-Erik Vikström
Annina = Gunilla Söderström
A singer = Hans Johansson

Neemi Järvi, conductor



ROSENKAVALJEREN = Der Rosenkavalier
Composer: Richard Strauss

Saturday 22 may 1982 kl. 16.30



Operan, Stockholm (Kungliga Teatern = The Royal Theatre)

Regie = Folke Albenius
Conductor NEEME JÄRVI
Translation = Herbert Sandberg & Göran Gentele

We were in Stockholm for vacation. My mother had bought the Stockholm-card to get the most out of this trip to Sweden. We got tickets at the Royal Opera and saw our own Edith Thallaug as Octavian. And we enjoyed it. The production seemed to be a classic and the singers were good.

OD Travel

May 22, 1981: Die Csardasfurstin in Oslo

1981-05-22 Die Csardasfürstin (Kalman), Den Norske Opera (Oslo)

Leopold Maria,
Fürst Lippert-Weylersheim = Almar Heggen
Anhilte, his wife = Vessa Hanssen
Edwin, their son = Jan SødaI
Stasi, his cousin = Eva SoIheim
Graf Boni Kancsianu = Tor Fagerland
Sylva Varescu = Else Dehli
Graf Feri von Kerekes = Tor Gilje
Eugen von Rohnsdorff = Terje Stensvold

Zdenko Peharda, conductor



Czardasfyrstinnen = Die Csardasfürstin
Operetta in three acts by EMMERICH KALMAN
Den Norske Opera
Friday 22. may 1981

Text by Leo Stein and Bela Jenbach
Adaption: Folke Abenius
Translation of song text: Einar Sissener
Translation of dialogue: Wilhelm Sandven
Conductor: Zdenko Peharda
Regie: Folke Abenius og Eugene Gabay

Scenography: Wolfgang Vollhard
Costumes: Anna Gisle
Choreograpyi: Eugene Gabay



Den Norske Operas Chorus and Orchestra

Performance starts. 19.30 and ends ca. 22.30
Pause between the acts.

My first time in any opera house, my first operetta. I loved it. This operetta, this production was also later televised although with other singers. Tor Fagerland was great as the cute count Boni.

OD Travel

May 21, 2011: Samson et Dalila in Berlin

2011-05-21 Samson et Dalila (Saint-Saëns),Deutsche Oper Berlin

Samson = José Cura
Dalila = Vesselina Kasarova
Abimelech = Jörn Schümann
High Priest = Laurent Naouri
Ancient Hebrew = Ante Jerkunica
Messenger = Clemens Bieber
First Philistine = Peter Maus
Second Philistine = Sergio Vitale

Alain Altinoglu, conductor

Director - Patrick Kinmonth
Stage design, Costume design - Patrick Kinmonth, Darko Petrovic
Light design - Manfred Voss
Dramaturgie - Katharina John, Miriam Konert
Chorus master - William Spaulding
Artistic production manager - Christian Baier

I love Saint-Saens' Samson et Dalila and act 2 is the best act. But today in Deutsche Oper Berlin I was bored and I was pained by listening to the mezzo Vesselina Kasarova. It was not helped by the feeling of lacking fresh air in the audience room. But, any way, I am pleased to say that both Jose Cura and Vesselina Kasarova was excellent in the big duet of act 2 beginning with En ces lieux and continued with Mon coeur s'ouvre a ta voix.

Kasarova's voice is deeper now and sound almost like an alto. Her voice lacks some agility and she was not helped by the young maestro's slowing the music. Jose Cura's voice seemed to have opened of by act 2 and continued its triumph in act 3. In act 1 his voice sounded muffled. Laurent Nouri was an excellent High Priest of Dagon.

This Samson et Dalila was not shocking, or edgy. It was not even interesting. Even having Jose Cura singing his heart out in Vois ma misere did not change the fact that this production failed to make us care. It was the best singing of this aria so this says the production failed. It did not fail because director chose to put the action to another time place, Paris at the time the opera was composed. It fail by having half-cooked ideas, by defying logic, by putting distractions up instead of making the audience think and feel. The young boy and young woman (his mother? and servant to Dalila), the boy was supposed to be the alter-ego of Samson, but what interpretive value did it give the opera? Little value but plenty of distractions to the real story. The offensive part was the end of the opera with cattle wagons and Philistine dressing down as if they were Jews off to Auschwitz. But the real offensive part of this offensiveness was to make Holocaust into kitsch and it did not even make sense.... BAD

Yes it was bad, really bad, I have never applauded so little in my life, except that time when I had almost broken my wrist.

UPDATE: All the reviews I have read about this production gives the highest praise to Vesselina Kasarova.

Lost and found in Berlin's Samson et Dalila (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