March 19, 2005: Josep Carreras in Bergen

2005-03-19 Jose Carreras, Grieghallen (Bergen)

Josep Carreras, tenor
Nuovo Quartetto Italiano
Lorenzo Bavaj, piano



Jose Carreras first time in Bergen, Norway
For the first time in Bergen. Grieghallen March 19th, 2005. With him is string quartet Nuovo Quartetto Italiano and Lorenzo Bavaj on piano.
The End of Carreras Nordic Tour 2005.
Standing ovations and 6 extra numbers!!!!

PROGRAMME

Jose Carreras: Luna Nova (Mario Pasquale Costa)
Jose Carreras: Elegie (Jules Massenet)

Nuovo Quartetto Italiano: L'Ultima Canzone (Francesco Paolo Tosti)

Jose Carreras: Segreto (Francesco Paolo Tosti)
Jose Carreras: Sogno (Francesco Paolo Tosti)
Jose Carreras: Aprile (Francesco Paolo Tosti)

Nuovo Quartetto Italiano: Intermezzo (Respighi) (played Presto by Donizetti??)

Jose Carreras: T'estimo (Edvard Grieg)
Jose Carreras: O primavera (Pier Adolfo Tirindelli)

PAUSE

Jose Carreras: L'Oreneta (Enric Morera)
Jose Carreras: Andaluza (Enrique Granados)

Nuovo Quartetto Italiano: Scherzo (Giuseppe Verdi)

Jose Carreras: Na sera e maggio (Giuseppe Cioffi)
Jose Carreras: Firenze sogna (Cesar Cesarini)
Jose Carreras: Passione (Vincenzo Valente)

Nuovo Quartetto Italiano: Crisantemi (Giacomo Puccini)

Jose Carreras: Silenzo cantatore (Gaetano Lama)
Jose Carreras: Musica proibita (Stanislao Gastaldon)




JOSÉ CARRERAS
Lorenzo Bavaj, piano
Nuovo Quartetto Italiano
Grieghallen, Bergen 19.3.2005

Josep Carreras 9th time in Norway, and first time in Bergen. Almost 15 years after I saw Josep Carreras live for the first time I see him this time too in Norway. 14 years and 11 months on the date since his recital in Oslo Konserthus. This time a much better seat. This time also full house. But this is a great evening with standing ovation and 5 extra numbers. 15 years ago it was more the baroque arias, this time it is the more lighter songs of Tosti, Costa and so on. Of the more major composers Grieg and Massenet.

He started with LUNA NOVA by Costa, not my favorite piece and more of a warming up of voice piece. His voice is perfect for Massenet and his mastering of the French is superb. ELEGIE of Massenet was the first highlight of the concert. What a disappointment that L'ULTIMA CANZONE by Tosti was just played by the string quartet, where it became just a very minor classical piece. Josep Carreras came back to sing 3 more songs of Tosti, not really his best rendition of the song but sung with full passion more suited for opera arias, really. After Tosti the Nuovo Quartetto Italiano was supposed to play INTERMEZZO by Respighi but they played PRESTO by Donizetti (?!).

After the quartet had played Carreras came back and treated us with an exquisite rendition of Griegs JEG ELSKER DIG in Catalan T*ESTIMO. Sorry to say that the string quartet did not enhance the magic of this romance, but Lorenzo Bavaj and Josep Carreras gave it all the magic needed to take the breath away of the enchanted audience. The height of musicality was somewhat lowered in the O PRIMAVERA by Tirindelli but still it sounded almost like a major classical piece.

PAUSE.

The second part was really superior to the first. To sing the Catalan songs gave Carreras a boost that maybe already the romance of Grieg had given. L*ORONETA and especially ANDALUZA was magnificently sung. The string quartet was OK with Verdi's SCHERZO, but luckily when Carreras came back to sing Neapolitan songs as NA SERA MAGGIO, FIRENZE SOGNO and PASSIONE, all the passion the Catalan tenor used was justified and a mesmerized audience succumbed completely. At last the string quartet that had bothered us with it good but not great playing had found the piece right for the occasion Puccini's music where the magical music from his greatest opera, MANON LESCAUT was heard. At last there was some opera music. And the official program was ended with some of my favorite music, SILENTIO CANTATORE and MUSICA PROIBITA. And the audience was up on its feet, applauding and shouting BRAVO!!

And the we were treated with a tenor with lots of humor, gratefully to his Bergen audience. 6 extra numbers. This concert was a smash hit in Bergen.

EXTRA NUMBER

1. Un'Ombra (from PURE PASSION)
2. Coren'grato (CARDILLO)
3. Vurria
4. Un Núvol blanc (LLACH)
5. Neapolitan song about Winter
6. Santa Lucia

OD Travel + Photos

March 11, 2007: Le Villi in Genova

2007-03-11 Le Villi (Puccini), Teatro Carlo Felice, Genova

Roberto = José Cura
Anna = Fiorenza Cedolins
Guglielmo Wulf = Gabriele Viviani

Riccardo Frizza, conductor



Le Villi
Opera-ballo in due atti di Ferdinando Fontana,
musica di Giacomo Puccini.
In forma semiscenica

Teatro Carlo Felice

Spettacoli correlati:

L'opera è preceduta dalla Sinfonia n. 1 in re minore op. 75 di Martucci


Direttore Riccardo Frizza

Prima: mercoledì 7 marzo 2007, 20.30 (A)
Repliche: venerdì 9 marzo, 20.30 (B)
domenica 11 marzo, 15.30 (C)

This was a strange day, check-out from hotel, and having to get a train after the opera. But this was the best performance, I doubt the 2007-03-07 performance was better (I was not there, but Rai Radio was there and it was transmitted on radio).

What was the difference: No glasses for Jose Cura this time. He was FREE and could really ACT out as Roberto which also meant that Fiorenza Cedolins would be able to react as the fine actress she is. Gabriele Viviani was still a bit wooden but as the old Babbo Guglielmo it was easily forgiven, his voice was all that matters, but there is only so much to do when it is a concert and your part is really small.

Teatro Carlo Felice is really a fine theater but all the same I was sitting too close to people who do not understand that chatting is not permitted during an opera or concert. It did not completely destroy my opera evenings, but it did not make me happy. And these was not young people who did not no better... Inexcusable.

Anyway, Fiorenza Cedolins was not lucky when she sang a wonderful "Se come voi" because the orchestra glitched, and that was the only fault in this performance, think, during her big aria. But she had the luck of Jose Cura completely in his role as Roberto. How he touched her face when he said he wanted a smile, touching. The duet was really wonderful. And the prayer in the end of act 1 was also wonderfully executed. The aria of Guglielmo Wolf in act 2 is not easy to get, I guess you really need a stage for that one. Jose Cura was incredible in Roberto's long aria in act 2. And the final duet Cedolins/Cura was great.

Not strange that the applause lasted a bit over 10 minutes.


March 2007: Le Villi in Genova (2007-03-11)

OD Travel + Photos

March 9, 2007: Le Villi in Genova

2007-03-09 Le Villi (Puccini), Teatro Carlo Felice, Genova

Roberto = José Cura
Anna = Fiorenza Cedolins
Guglielmo Wulf = Gabriele Viviani

Riccardo Frizza, conductor



Le Villi
Opera-ballo in due atti di Ferdinando Fontana,
musica di Giacomo Puccini.
In forma semiscenica

Teatro Carlo Felice

Spettacoli correlati:

L'opera è preceduta dalla
Sinfonia n. 1 in re minore op. 75 di Martucci


Direttore Riccardo Frizza

Prima: mercoledì 7 marzo 2007, 20.30 (A)
Repliche: venerdì 9 marzo, 20.30 (B)
domenica 11 marzo, 15.30 (C)

Before the opera, there was a concert piece: Sinfonia n. 1 in re minore op. 75 di Martucci. It was not a bad piece. I found it quite operatic. After the interval: LE VILLI. The disappoint was that the opera was just really a concert of a whole opera. So I don't really see this as In forma semiscenica, really. it was just a backdrop showing a film, dark and with showing up some white lines in all its blackness was that Semiscenica.... No, it was simply a concert nothing more. The conductor was energetic with his arms almost in the faces of the artists, specially in the face of soprano Fiorenza Cedolins. Fiorenza Cedolins who was almost the perfect Tosca in Verona 2006 with Salvatore Licitra as her Cavaradossi was not up to the role of Anna, I felt. She was inhibited in her approach.Much better was she on Sunday's Le Villi. Her big voice in Verona seemed to big a little voice in Genova on this Friday. But in the 2nd act she was more like a true Anna.

Jose Cura had his glasses when he sang, on this Friday. His acting was limited, this was more of pure singing than acting out the complete Roberto feeling. But on this Friday it was quite obvious that Cura's main interest lay in the Symphonic structures of the opera. As a conductor LA STREGENDA from Le Villi is sort of his specialty, so he was very much there living the music. Also Fiorenza Cedolins was very there in reading the singers partiture all the time.

Gabriele Viviani as father Guglielmo was too young to be Fiorenza Cedolins father. But in his voice he was Babbo Guglielmo, an imposing man. But his beautiful voice could not really have the bite in it that is needed in act 2.

Even if this had been my only Le Villi in Genova I would not have regretted coming to Italy. But I am really happy that I chose to stay and get the better LE VILLI performance, or should I say the near perfect one.

March 2007: Le Villi in Genova (2007-03-09)

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 22, 2014: Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin

Christian Vásquez, conductor

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin
Christian Vásquez, conductor
This time I was in Berlin for a concert of South American music. It was a nice trip. Another time something I did just because Jose Cura would be there singing Argentinian songs.

A reviewer of the concert said that Cura seemed to be uncertain and not fully himself until he sang Aurora by Panizza. He must have been on another concert. The concert was on Friday 21, Saturday 22, and Sunday 23., I was there on Saturday, the reviewer was probably on Friday. I cannot be sure that he was wrong since I only attended the concert on Saturday but I think he was mistaken. Of course a tenor would sing an opera aria with a fuller voice than he would sing the delicate classical art songs of Guastavino and Ginastera. Aurora is an opera by Panizza, the Intermezzo Epico is an Opera Aria. The songs of Guastavino and Ginastera are canciones. With Aurora comes the Opera Tenor Jose Cura, with the canciones comes the recitalist Jose Cura. On Saturday Cura showed that he can sing with his sweetest voice what must be sung so and with more forceful when the text demands it. This is fine and delicate work done by a master. Everybody knows Jose Cura as a operatic tenor with his famous Otello, Samson, Calaf. So those who expect to hear something more like Otello find something familiar when he sings the Song to the Flag from Aurora.

http://www.kulturradio.de/rezensionen/buehne/2014/konzerthaus_festival_suedamerika_2.html

I must say that I liked best Huapango by Moncayo. The orchestra works of Ginastera was too much noice. Of course, the cello player was divine. I loved the conductor. And Jose Cura was wonderful!!!

2014-02-22 Konzerthausorchester Berlin, Christian Vásquez, Konzerthaus Berlin

José Cura, tenor
Claudio Bohórquez, Violoncello

Konzerthausorchester Berlin
Christian Vásquez, conductor

PROGRAMM

Silvestre Revueltas (1899 – 1940)
„Sensemayá“

Alberto Ginastera (1916 – 1983)
Konzert für Violoncello und Orchester Nr. 1 op. 36
ADAGIO MOLTO APPASSIONATO
PRESTO SFUMATO – TRIO NOTTURNALE
ASSAI MOSSO ES ESALTATO – LARGO AMOROSO

José Pablo Moncayo (1912 – 1958)
„Huapango“

PAUSE

Carlos Guastavino (1912 – 2000)
„Las nubes“ (Die Wolken)
Texte: Luis Cernuda Orchesterbearbeitung: Guillo Espel
JARDIN ANTIGUO (DER ALTE GARTEN)
DESEO (VERLANGEN)
ALEGRÍA DE LA SOLEDAD (DIE FREUDE DER EINSAMKEIT)

Albero Ginastera
Tänze aus dem Ballett „Estancia“
DANZA FINAL (MALAMBO). ALLEGRO


Carlos Guastavino
Tres canciones
Texte: Luis Cernuda Orchesterbearbeitung: Guillo Espel
VIOLETAS (VEILCHEN)
PÁJARO MUERTO (DER TOTE VOGEL)
DONDE HABITE EL OLVIDO (WO WOHNT DAS VERGESSEN)

Alberto Ginastera
„Cancion al árbol del olvido“
(Lied auf den Baum des Vergessens, 1938) Text: Fernán Silva Valdés

Arturo Márquez (*1950)
„La Conga del Fuego“

Héctor Panizza (1875 – 1967)
„Intermezzo Épico“ aus der Oper „Aurora“

2 extra orchestra numbers, first was very famous and catchy but I don't remember what it is called, last one was Mambo from West Side Story by Leonard Bernstein.

Then it was night talk with Jose Cura. My batteries was empty so no photos from the concert and only phone photos from the night talk in the music club.

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 6, 2005: Il Corsaro in Barcelona

2005-02-06 Il Corsaro (Verdi), Gran Teatre del Liceu, Barcelona

Corrado = José Cura
Medora = Marina Mescheryakova
Gulnara = Susan Neves
Seid = Carlo Guelfi
Giovanni = Josep Ribot
Selimo / Un Eunuco Negro / Schiavo
= José Manuel Zapata

Marco Guidarini, conductor



Il corsaro (versión concierto)

Musical Director
Marco Guidarini

Orquestra Simfònica
del Gran Teatre del Liceu

Cor del Gran Teatre del Liceu

06/02-2005

2005-02-06 Il Corsaro (Verdi), Barcelona

another wonderful concert performance with Jose Cura as Corrado,
Susan Neves as Gulnara, Marina Mescheryakova as Medora, & Carlo
Guelfi as Seid.

Some madrileño had come to Barcelona just to disrupt this
performance. But the Catalan audience hushed him.

OD Travel + Photos

February 5, 2005: Ewa Podles in Barcelona

2005-02-05 Recital, Gran Teatre del Liceu, Barcelona

Ewa Podles, mezzo
Roman Markowicz, Piano

I

Frédéric Chopin (1810-1849)
El desig de la noia, op. 74, núm. 4
El noi ben plantat, op. 74, núm. 8
L’anell, op. 74, núm. 14
Cançó lituana, op. 74, núm. 16
Estimat, op. 74, núm. 12

Gioachino Rossini (1792-1868)
Giovanna d’Arco (Cantata)
“E Notte”
“O mia madre”
“Eppur piange”
“Ah, la fiamma”
“Corre la gioia”


II

Serguei Rakhmàninov (1873-1943)
Crist ha ressucitat, op. 26, núm. 6
Des que ha arribat l’amor, op. 14, núm. 3
En el silenci de la nit, op. 4, núm. 3
Tot passa, op. 26, núm. 15
Tant bella com el migdia, op. 14, núm. 9
Rius de primavera, op. 14, núm. 11

Johannes Brahms (1833-1897)
Zigeunerlieder, op. 103
“He, Zigeuner”, núm. 1
“Hochgetürmte Rimaflut”, núm. 2
“WiBt ihr”, núm. 3
“Lieber Gott”, núm. 4
“Brauner Bursche”, núm. 5
“Röslein Dreie”, núm. 6
“Kommt dir manchmal”, núm. 7
“Rote Abendwolken”, núm. 8




Date Serie Price scale*
Saturday 05-02-2005 18:00 h F IV

Saturday 5th, 2005. I decided go early to the Gran Teatre del Liceu to get the guided tour at 10am and I decided also to see the club Cercles de Liceu. Of course the most interesting part of the opera house was closed, the backstage, the technical areas, and not allowed to take photos of the stalls, but the mirror hall was allowed. And the club was nice, but not that interesting. I only got a head-ache after these guided tours. Then I needed some food and I went to the MacDonalds just over the road of Espai Liceu. I had an interresting view. The MacDonalds sign at the top of the small window and the view of Liceu and in the middle the front of the programme of Wolff-Ferrari´s Sly which I saw in June 2000. Ironic and worlds apart.

Then in the evening, Recital Ewa Podles at 1800. It lasted 2 hours with songs of Chopin, Rossini, Rachmaniov & Brahms, the first extra Cruda sorte from Rossini´s L'Italiana in Algeri. and then something that sounded like de Falla's Polo from Siete cançiones españolas, and Spanish song of Rossini.

Then I waited for Ewa Podles to come by the stage door. I took some photos, and I almost talked to her.

OD Travel

February 3, 2005: Il Corsaro in Barcelona

2005-02-03 Il Corsaro (Verdi), Gran Teatre del Liceu, Barcelona

Corrado = José Cura
Medora = Marina Mescheryakova
Gulnara = Susan Neves
Seid = Carlo Guelfi
Giovanni = Josep Ribot
Selimo / Un Eunuco Negro / Schiavo
= José Manuel Zapata

Marco Guidarini, conductor






First I took the night bus to Oslo as usual. Luckily my bus was not affected by the bad weather, real snowy conditions that had closed som montain roads. So I came in Oslo in good time for my flight. And then I was in Barcelona after almost 3 hours on the plane. All one had to look forward to was untasty plane food. So bad
that only the cola light and Pringles tasted good. At last, Barcelona airport and my first encounter with the Catalan way of queuing. Very polite and nice queu for taxi. And there were many taxis and many people, and it was quick and polite. So then I was at my hotel. Nice hotel but my room was very cold. Then I went to Placa
Catalunya to get used to going to the centre and to have some nice food (and get my tickets). Then soon it was time to get to the Liceu for a concert version of Verdi´s Corsaro.

The orchestra was onstage. It was chairs and note-stative for the singers. I was on front row. It was a wonderful sung and "acted" Corsaro, Medora was wonderful, Gulnara even more wonderful, & Corrado, the Corsair, Jose Cura was splendid. After a long wait Jose Cura came out at the stage door. He was photographed, and after signing and talking to his fans, at proximo midnight it was truely
over.

Today, Friday 4th, I have been suffering headaches, after my first try out, I had to stop before I came to Placa Catalunya, I stopped at Provinca and sat down at a small cafe, unfortunately It was heavily music'ed. So I had to get to Muntaner and my hotel. After more tablets and eating, and laying in my bed. I was ready to go out again. Placa Catalunya and down la Ramblas to Liceu and down to the harbour (almost) and the up again. At Placa Catalunya I visited Fnac, at Liceu I visited the Shop and then Placido Domingo came, he is singing Parsifal day, and I got one good photo of him, when I came up from the harbour, I was hijacked into a restaurant, ate great ensalada and had a bite of pollo, then back to Muntaner, and
my hotel.

OD Travel + Photos

December 19, 2006: Agnes Baltsa in Vienna

2006-12-19 Opera Concert, Konzerthaus Wien

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

Agnes Baltsa Gala-Konzert
Dienstag, 19. Dezember 2006, 19:30 Uhr Großer Saal

Agnes Baltsa, Mezzosopran
Dirigent: Nikos Athinäos
Münchner Symphoniker


Veranstalter
Stimmen der Welt Konzerte GmbH.

1:
Verdi: Ouvertüre, „La forza del destino“

Verdi: La canzone del velo, „Don Carlo“

Massenet: Prelude1. Akt, „Werther“
Massenet: Va! Laisse couler mes larmes, „Werther“

Bizet: Entr'acte Akt 4, „Carmen“
Bizet: Carreau, pique... la mort!, „Carmen“

Berlioz: Ouvertüre, „Les Troyens“
Berlioz: Ah! Ah! Je vais mourir, „Les Troyens“


2:
Rossini: Ouvertüre, „Italiana in Algieri“
Rossini: Cruda sorte, „Italiana in Algieri“

Saint-Säens: Bacchanale, „Samson et Dalila“
Saint-Säens: Amour, vienne, „Samson et Dalila“

Mascagni: Intermezzo, „Cavalleria rusticana“
Mascagni: Voi lo sapete, o mamma, „Cavalleria rusticana“

extra:
Puccini: O mio babbino caro, "Gianni Schicchi"
Bizet: Habanera & Seguidilla, „Carmen“

Agnes Baltsa in her blue dress, famous from many great concerts.

Exactly the same concert as in Munich. But of course, no concert is really like, not completely. Another audience, both enthusiastic, but in Munich there were more "come more often to us". Vienna is simply a Baltsa city where she visit often. As Carmen, Herodiade, Küsterin, Isabella.

Baltsa seemed fresher in Munich, took more often applause. The Orchestra played better in Vienna, giving the music full opera treatment. A bit tired maybe or with a hint of cold, her Eboli aria (La canzone del velo) was a joy, even better than in Munich. Her Charlotte aria (Vas, laisse couler mes larmes) was also a earth-chattering experience. Always the great Carmen (Carreau, pique) was are there enough words to find the right praise. And Didon (Je vais mourir), even if I would have loved more happy tunes with Baltsa, I would not think about Baltsa and death in the same sentence, but the Berlioz aria was so heavenly beautiful.

Second part gave us Isabella (Cruda sorte), Dalila (Samson, recherchant ma présence - Amour! viens aider ma faiblesse!) and the Santuzza aria. And as she is the perfect Isabella, Dalila and Santuzza it was just simply the best arias. And this time she sang Dalila's aria so well that even Mon coeur s'ouvre a ta voix was not so missed.

And the extra number, long time since they were any surprise was a wonderful O mio babbino caro and Habanera and Seguedilla.

Conclusion: I would so like to see Baltsa onstage as Eboli in Don Carlo or Didon as Les Troyens, and as Charlotte in Werther or Dalila in Samson et Dalila. And Isabella in Italiana or Santuzza in Cavalleria Rusticana. Do I need to see Agnes Baltsa as Carmen for the 10th time, I believe that I do need that too, but Eboli and Dalila would mean more to me.

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

December 17, 2009: Jose Cura in Oslo

2009-12-17 Recital - José Cura & Giulio Laguzzi, Den Norske Opera, Oslo

José Cura, tenor
Giulio Laguzzi, piano

Magic and reality hand in hand.

The Lights were Out. Then:


The recital started with a Norwegian actor reading one of Pablo Neruda's poem in Norwegian.

It was still dark when Jose Cura came out singing Hilda Herrera's Desde el fondo de ti.

And still in the dark when Giulio Laguzzi sat down to play the piano and Cura found his seat to sing Maria Elena Walsh' Postal de guerra. Then Jose Cura true to his personality asked for light to see the people. It was not the first time he has done that. Not new, but still endearing is his total willingness to show his gratitude to the multitude of people making this recital possible. So applause to the actor that we heard, the people behind the curtain. Naturally the pianist and later the the note-reader too. Cura was singing quietly, passionately and in full voice whatever the songs needed. He talked in the between quietly. In the second half he said in full voice he was sorry that some of the people had not been able to hear but still be was reserving his voice for singing.

I was most eager to hear him singing his self-composed sonetas by Pablo Neruda. For this part he wanted us to sit in the dark with lights on him and the pianist and the note-reader. I loved it.

Programme
Hilda Herrera:
Desde el fondo de ti
Maria Elena Walsh:
Postal de guerra
Serenata para la tierra de uno
Alberto Ginastera:
Arrorró
Canción del árbol del olvido
Pablo Neruda / José Cura:
Sonetos

II
Carlos Lopez Buchardo:
Canción del carretero
Carlos Guastavino:
La rosa y el sauce
Se equivocó la paloma
El único camino
Elegía para un gorrión
Campanilla
Soneto IV
Héctor Panizza:
Canción a la bandera

The extras was 3 Children's songs from Argentina, and Stille Nacht in French, English, German, Spanish and Norwegian. Jose Cura sang Stille Nacht (in the languages) with the audience, the Norwegian version (Glade jul, hellige jul) was sung by the Norwegian Audience without Cura. I think it the audience did a good job. Last extra: ANHELO. He explained the lyric to a light in day when nobody sees and it the night where it is seen by those in need. A beautiful sentiment that we should all follow...

And so did Jose Cura say Merry Christmas to us in the New Opera House of Oslo, Norway. Magic!! and MERRY CHRISTMAS, God jul!!!!!!!!!!!!!

OD Travel + Photos
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December 17, 1993: Josep Carreras in Oslo

1993-12-17 Christmas Opera Galla, Oslo Spektrum

Josep Carreras, tenor
Karita Mattila, soprano
Norwegian Radio Orchestra
Enrique Ricci, conductor

Jose Carreras

in concert

CHRISTMAS OPERA GALA

with Norwegian Radio Orchestra

Conductor: Enrique Ricci

introducing

Karita Mattila

Soprano

Friday 17 December 1993

Oslo Spektrum

Newspapers
Aftenposten
Dato: 1993-12-17 Utgave: Aften
"Kong Carreras' ariekarriére"

Aftenposten
Dato: 1993-12-19 Utgave: Morgen
"Intim sangkunst i et stort rom"

Aftenposten
Dato: 1993-12-18 Utgave: Morgen
"Supertenor på podiet"

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December 15, 2006: Agnes Baltsa in Munich

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

Agnes Baltsa, mezzo
Münchner Symphoniker
Nikos Athinäos, conductor

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

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

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

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

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

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

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

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

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


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

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December 9, 2013: Jose Cura sings Argentinian Songs in Vienna

2013-12-09 Ein Abend mit José Cura, Wiener Konzerthaus
José Cura, tenor
Kristin Okerlund, piano

Even as the concert was on Monday many JC fans was there and althought there was still free seats in the hall it still seemed quite full. Monday means taking 2 days off work for those not living close to Vienna. Saturday would have been a much better day. Secondly Sunday, third Friday. But it was quite good for being on Monday. I feel the concert could have been advertised much better. Maybe an opera concert with Jose Cura would have been completely sold-out even as it was a Monday in early December, but Argentinian songs with masters like Carlos Guastavino, Alberto Ginastero and the new composer Jose Cura himself should have been a must for all opera lovers especially if Cura is one of your tenor heroes.

From Tristan und Isolde on Sunday to Jose Cura singing songs on Monday, that is a distance. Excellenc is excellence in whatever form it takes. An ethusiastic audience greated the great maestro with thunderous applause. Jose Cura relaxed and smiling sat down. Kristin Okerlund sat down at the piano, with a young man as her page turner. A woman sat down, she too like Okerlund and Cura had some notes (papers) in front of her.

The concert started with Jose Cura singing alone Hilda Herrera's Desde el fondo de ti, then the piano invoced Maria Elena Walsh' Postal de guerra. Then Jose Cura started talking as he did during the concert. The other woman was called "Lalo" (?), a friend of Cura who would be reciting in German some short verses to give us some idea of what the songs meant. It was hard for me to hear her and so I got no more idea of the songs from her. Our progammes was free. The 3rd song according to the program was Alberto Ginastera's Accorro, but that was not what he song, we got that as one of the encores instead.

Instead of going through it song by song, here is my impression of the concert. Many years ago Jose Cura recorded Anhelo and that CD had many of the songs he now song. Those years gave Jose Cura a greater depth and a passion that makes these songs even better today than ever. Cura sang his own work of Pablo Nerudas Sonetas with Lalo in the role of the woman as Cura was the man. It was magic!!!

In the second half it was more unfamiliar songs except La rosa y el sauce and of course, La cancion de la Bandera by Panizza. Highlights. And then 3 encores!!


And after the concert, meeting with fans and Jose Cura inside the building. It was a cold day in Vienna, rain and icy winds. At last I had to go.

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November 29, 2002: Jose Cura in Vienna

2002-11-29 Opera Arias & Symphonic Concert, Konzerthaus Wien

José Cura, tenor & conductor
Sinfonia Varsovia
Pietro Veneri, conductor

José Cura in Concert, Konzerthaus Wien
Sinfonia Varsovia
José Cura, tenor and conductor
Pietro Veneri, conductor
Composers: Ponchielli, Verdi, Boito, Giordano,
Meyerbeer, Panizza, Rachmaninow


P R O G R A M M E
Part 1
Amilcare Ponchielli
Cielo e mar, scena & aria ( Enzo from «La Gioconda») (1876)

Giuseppe Verdi
O figli, o figli mei ... Ah, la paterna mano, scena & aria
(Macduff from «Macbeth») (1847)

Ouverture «Les vêpres siciliennes» (1855) Cura conducts

Ah si. ben dite .... Tutto parea sorridere (Corrado from «Il Corsaro»)

Arrigo Boito
Giunto sul passo estremo (Faust from «Mefistofele») (1868)

Umberto Giordano
Prelude 2. Act from the opera «Siberia» Cura conducts

Giacomo Meyerbeer
Mi batte il cor ... O paradiso (Vasco from «L'Africana») (1865)

Panizza
La Cancion a la Bandera (Mariano from «Aurora»)

------------------- Pause ------------------- Part 2


Sergei Rachmaninov
Second Symphony in E minor opus 27 (1906-1907) Cura conducts


Extra-numbers:


Ouverture, Guglielmo Tell (Rossini)


Nessun dorma

How can one compare a studio recording to a live concert? It is impossible for me, it was live, it was wonderful to look at José Cura conducting his Sinfonia Varsovia. And in the end, he just started the orchestra to get into a joyous musical moment, unfortunate I don't know which music that played, only that Cura started the orchestra and then he left. But luckily he came back to give us an extra number, Nessun Dorma.

And naturally did the Konzerthaus Wien give us opportunity to buy his Aurora CD and the Rachmaniov CD, and then we could stand in line for his autograph and maybe a photo of the great maestro.
-------------------------------------------------------------------------
José Cura 29.11.2002
COMPARISON: CD and November 29th, 2002 (Part 1):

Aurora, opera arias

1- Canción a la Bandera / Aurora, (Hector Panizza)
2- Svanir le voci! ... Meco all' altar di Venere... Me protegge, me difende / Norma (Vincenzo Bellini)
3- Ah si, ben dite... Tutto parea sorridere / Il Corsaro (Giuseppe Verdi)
4- Oh! fede negar potessi .... Quando le sere al placido / Luisa Miller (Giuseppe Verdi)
5- Mi batte il cor ... O Paradis / L'Africana (Giacomo Meyerbeer)
6- Giunto sul passo estremo / Mefistofele (Arrigo Boito)
7- Sia gloria ai canti dei naviganti! ... Cielo e mar / La Gioconda (Amilcare Ponchielli)
8- Ed anche Beppe amó / L'amico Fritz (Pietro Mascagni)
9- Preludio. Atto II / Siberia (Umberto Giordano)
10- Orride steppe / Siberia (Umberto Giordano)
11- Intermezzo Epico / Aurora (Hector Panizza)

As one can see from the list of the CD and 1rst part of this concerts, they are very similar, which makes it easier to make a comparison. On the CD Cura conducts it all. In the concert it was Veneri who conducted the arias. And here is the biggest difference, I find José Cura's reading of the score's more romantic, well, I liked his conducting better than Veneri's. Not that I found Veneri lacking in the concert, but when listening to the CD I know what I like best. Naturally I would have liked very much to hear and see Cura in the flesh singing the arias from Norma, Luisa Miller. L'Amico Fritz and the aria from Siberia. But I guess that Cura had to spare himself after all he was to conduct the 2nd symphony of Rachmaniov after the interval. In the aria concert I found Cura singing from Macbeth and Mefistofele as the two most beautiful vocal moments. And I enjoyed Cura conducting the Ouverture from I Vespri Siciliani and the Prelude from Siberia.

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November 22, 2008: Juanjo Cura in Berlin

2008-11-22 Juanjo Cura, Kammermusiksaal Philharmonie (Berlin)

Juanjo Cura, tenor
Javier Tucat Moreno, piano
Malys Im, double bass
Guillermo Destaillats, bandoneon
??, percussion

First impressions of Juanjo Cura in Berlin

It was cold in Berlin. And it was even a bit cold in Kammermusiksaal Philharmonie Berlin. It is a special concert room with a small plattform in the middle, just the right size for a small group of people with instruments. For 5 people, it was perfect.

Juanjo Cura seems to have more than just Argentinians on his side as fans of him and of tango, it was quite a lot of Germans there too. The concert hall was not full but it seemed to be more more than half full. I sat in the front row, in the best seat of the room. I bought my 3rd Juanjo Cura CD there, Pasional. He talked in German during the concert and we had no program, all our information was from Juanjo himself in his German. Since I am not German myself but understand German and speak a little myself I still had a little problem since his German was good but it was an Argentinian speaking German... But it was still very impressive to do that.

My other disadvantage is my not knowing too much about Argentinian Tango. For so many there they knew the music already and loved it already. I am more of the classical person. Juanjo Cura is more approaching the music like a Jazz singer would, being very free with the notes. But Juanjo Cura's voice is a true tenor voice. Personally I will always regret that he did not choose the more classical path but Juanjo seem to enjoy more the explosive passion of the tango. And he really acts it out. Nobody can say that he just sings because he doesn't just sing he is every tango and song he sings. But sadly it reminds me of why I "hate" Jazz and LOVE Classical music. I will always love more the correct attack to the notes that are the Classical way and dislike most of the loose attack that is Jazz. But I don't regret using my money to go to Berlin just for this concert. I don't regret that at all. I loved his singing "Dein ist mein ganzes Herz" from Lehar's Das Land des Lächelns. His singing My Way in German. And some of the tangos/boleros/songs that he sang as nicely as he does on his CD's.

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November 9, 2002: Jose Cura in Aalborg

2002-11-09 Opera Concert, Aalborg Kongress & Kultur Center

José Cura, tenor & conductor
Giuseppina Trotta, mezzo
Aalborg Symphony Orchestra
Fernando Alvarez, conductor



CONCERT WITH THE TENOR JOSÉ CURA
with AALBORG SYMPHONY ORCHESTRA under the baton of Fernando Alvarez. Guest soloist: mezzosoprano GUISEPPINA TROTTA in Aalborghallen, Aalborg Kongres & Kultur Center, at 20hrs.


PROGRAM
Giuseppe Verdi
LA FORZA DEL DESTINO - Ouverture, Cura conducts
He still thinks conducting is about the exact notes. So this ouverture is not alive, his excact movements, makes it fuzzy.
Il CORSARO - Ah si, ben dite - Tutto parea sorridere Cura sings
He sings wonderfully, but he does have a cold. He moves too much, what was cute in the DVD Passion for Verdi is not cute in Aalborg.
IL TROVATORE - Madre, non dormi Duett: Cura/Trotta
The mezzo is to young to give Azucena the drive she needs, but she tries to be real even if this is a concert. Cura is his usual Manrico

Pietro Mascagni
CAVALLERIA RUSTICANA- Voi lo sapete, o Mamma Trotta
This aria is like exam for the mezzo, does Trotta pass the Santuzza test. Well, there is a great promise in her rendition.

Amilcare Ponchielli
LA GIOCONDA Cielo e mar Cura sings
A wonderful rendition of Cielo e mar.

Giacomo Puccini
MANON LESCAUT Intermezzo Cura conducts
He starts the intermezzo by nodding to the cellist, and slowly he builds up this intermezzo, and what a wonderful building it is. BRAVO Cura and Aalbirg Symphony Orchestra

Giacomo Meyerbeer
L'AFRICAINE O, paradiso Cura sings
This time Cura sings it better, but still the prononciation could and must be improved
Cura speaks.Oh new world you belong to me Cura (Vasco da Gama) sang in L'Africaine, and in Aurora, the new world have got it freedom.
Hector Panizza
AURORA Cancion de la Bandera Cura sings
Spendid rendition of this Argentine aria

Intermission

Camille Saint-Saëns
SAMSON ET DALILA Bacchanale Cura conducts
Cura conducts a wonderful bacchanele
Mon coeur s'ouvre à ta voix Trotta / Cura
When Cura comes and sings the Samson lines, it is perfect

LE CID O souverain, o juge, o père Cura sings
Wonderful aria sung perfectly

Georges Bizet
CARMEN Prelude Cura conducts
Wonderful prelude by Cura and Aalborg, going directly to the Habanera. Trotta is going onto the stage during the predude
Habanera Trotta, Cura conducts
Cura conducts Trotta, and Trotta sings Carmen. She is not a full-borne Carmen, yet.
La fleur que tu m'avais jetée Cura sings
A magical Flower-song by Jose Cura
Entr'acte, act 4
Alvarez conducts the Entr'acte, wonderful
C'est toi, c'est moi Trotta / Cura
Wonderful and dramatic Carmen Duet.

EXTRA
Addio, fiorito asil (MADAMA BUTTERFLY) Cura
Seguedilla (CARMEN) Trotta / Cura
Nessun dorma (TURANDOT) Cura

When Cura errs in Nessun dorma it only makes
this opera night more magical.

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November 3, 1995: Carreras/Caballe in Oslo

1995-11-03 Opera Gala, Oslo Spektrum

Josep Carreras, tenor
Montserrat Caballé, soprano
Norwegian Radio Orchestra
David Giménez, conductor

01. IL BARBIERE IN SIVIGLIA - Ouverture / Kringkastingsorkesteret, David Gimenez
02. TOSTI: Apri / José Carreras
03. Vieni sul mal / José Carreras
04. HERODIADE - Il est doux, il est bon / Montserrat Caballé
05. L'AFRICANA - Mi batte il cor / José Carreras
06. CIRO IN BABILONIA - Vorrei veder lo sposo / Montserrat Caballé
07. LA FORZA DEL DESTINO - Ouverture / Kringkastingsorkesteret, David Gimenez
08. LA TRAVIATA - Brindisi / Montserrat Caballé, José Carreras
09. CAVALLERIA RUSTICANA - Intermezzo / Kringkastingsorkesteret, David Gimenez
10. ADRIANA LECOUVREUR - Io son l'umile ancella / Montserrat Caballé
11. Coren'grato / José Carreras
12. Musica Proibita / José Carreras
13. Me llaman la primarosa / Montserrat Caballé
14. EL ULTIMO ROMANTICO - Bella enamorada / José Carreras
15. LA BODA DE LUIS ALONSO / Kringkastingsorkesteret, David Gimenez
16. EL DUO DE LA AFRICANA / Montserrat Caballé, José Carreras
17. Granada / José Carreras
18. GIANNI SCHICCHI - O mio babbino caro / Montserrat Caballé
19. O sole mio / José Carreras
20. La Paloma / Montserrat Caballé
21. DIE LUSTIGE WITWE - Lippen schweigen / Montserrat Caballé, José Carreras

5 extras

Radio NRK P2
Carreras/Caballe first concert together in Scandinavia.
It was wonderful to see them dancing a bit to Lippen Schweigen.

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October 26, 2001: I Capuleti ed i Montecchi in Oslo

2001-10-26 I Capuleti ed i Montecchi (Bellini), Oslo Konserthus

Giuletta = Patrizia Biccirè
Romeo = Ingebjørg Kosmo
Capellio = Carsten Stabell
Tebaldo = Salvatore Fisichella
Lorenzo = Magne Fremmerlid

Elizabeth Norberg-Schulz (Norway), sick (child)***
Replaced by Patrizia Biccirè, Italian Soprano

a wonderful replacement, wonderful Giulietta. Passionate singing, making Giulietta come forward as a person. Ingebjørg Kosmo, a wonderful mezzo, her voice was velvety, sometimes she was lacking in strength, but Bellini is demanding for the voice. Magne Fremmerlid was a big-voiced Lorenzo. I just couldn't believe he was Norwegian. Carsten Stabell as Capellio was a disappointment, weak voice and little presenza. SALVATORE FISISCHELLA was a magnificent Tebaldo.

Romeo's big scene in the end of the opera, was a HIGHLIGHT, and so touching when Giulietta wakes up. I almost cried. Kosmo and Biccire was top class!!

***Luckily as far as I know her child is now well after fighting Leukemia***

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October 14, 2011: Gala with Jose Carreras in Vienna

2011-10-14 Gala-Abend mit Startenor Jose Carreras, Konzerthaus Wien

Josep Carreras, tenor
Sylvia Schwartz, soprano

David Gimenez, conductor
Orchester der Volksoper Wien

It was Spanish zarzuela and Italian songs. Carreras started softly with Cancion Hungara from Alma de Dios in the first part and ended the second part with full power in Coren'grato. Sylvia Schwartz is a young soprano with a nice voice. She was most impressive when she sang duets with Carreras, especially in El Duo de la Africana. She got to sing some of the best soprano arias from zarzuela and operette, still I was often left cold. The Guiditta aria in the extras was her best. Carreras sang with his soul and mine responded. David Gimenez was a wonderful conductor. Neither singer nor conductor had their notes in front of them, only the orchestra had notes. That was impressive. The orchestra responded well to David Gimenez.

1 El Sombrero de Tres Picos - Danza final 6:21 Conductor David Gimenez
Falla, Manuel de (1878 - 1946)

2 ALMA DE DIOS - Cancion Hungara 4:40 José Carreras
Serrano, José (1873 - 1941)

3 EL NINO JUDIO - De Espana vengo 5:25 Sylvia Schwartz
Luna, Pablo (1879 - 1942)

4Festeig2:49José Carreras
Toldra, Eduard (1895 - 1962)

5Canco de Grumet 2:17 José Carreras
Toldra, Eduard (1895 - 1962)

6 LA BODA DE LUIS ALONSO - Intermedio 5:52 Conductor David Gimenez
Jiménez, José Alfredo (1926 - 1973)

7LA DEL SOTO DE PARRAL - Ya mis horas felices 4:44 José Carreras
Soutullo, Reveriano (1880 - 1932) y Vert, Juan (1890 - 1931)

8 EL BARBERO DE SEVILLA - Me llaman la Primarosa 4:23 Sylvia Schwartz
Jiménez, José Alfredo (1926 - 1973)

9 EL DUO DE LA AFRICANA - Duo y Jota 5:55 Sylvia Schwartz, José Carreras
Fernández Caballero, Manuel (1835 - 1906)

INTERVAL

10 Era de Maggio 2:50 José Carreras
Costa, Pasquale Mario (1858 -1933)

11La Serenata 3:03 José Carreras
Tosti, Francesco Paolo (1846 – 1916)

12 Il Bacio 2:53 Sylvia Schwartz
Arditi, Luigi (1822 – 1903)

13Passione 3:22 José Carreras
Valente, Nicola (1853 - 1939)

14 Tu ca nun chiagne 2:35 José Carreras
de Curtis, Ernesto (1875 - 1937)

15 L'AMICO FRITZ - Intermezzo 4:46 Conductor David Gimenez
MASCAGNI, Pietro (1863 - 1945)

16 Non ti scordar di me 3:09 José Carreras, Sylvia Schwartz
de Curtis, Ernesto (1875 - 1937)

17Les filles de Cadiz 3:35 Sylvia Schwartz
Delibes, Leo (1836 - 1891)

18 Coren'grato 3:09 José Carreras
Cardillo, Salvatore (1874 – 1947)

EXTRA NUMBERS

19 Chitarra Romana 2:17 José Carreras

20 GIANNI SCHICCHI - O mio babbino caro 2:48 Sylvia Schwartz
PUCCINI, Giacomo (1858 - 1924)

21 Extra JC 2:46 José Carreras

22 GIUDITTA - Meine Lippen sie küssen so heiss 5:26 Sylvia Schwartz
Lehar, Franz (1870 - 1948)

23 LA TRAVIATA - Libiamo ne' lieti calici 3:07 José Carreras, Sylvia Schwartz
VERDI, Giuseppe (1813 - 1901)

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October 13, 2012: I Capuleti ed i Montecchi (Bellini) in Oslo

2012-10-13 I Capuleti ed i Montecchi (Bellini), Den Norske Opera & Ballett (Oslo)

Giulietta = Marita Sølberg
Romeo = Vesselina Kasarova
Capellio = Magne Fremmerlid
Tebaldo = Diego Torre
Lorenzo = Yngve André Søberg

Antonio Fogliani, conductor
Den Norske Opera & Ballett

Chorus and Orchestra

It was Vesselina Kasarova's debut in Oslo's new opera house, but it was Marita Sølberg's triumph.

It was strange being in Oslo for an opera. This was a concertant opera. But that was not it. My mother died early Monday morning. And now on Sunday this opera, I Capuleti ed i Montecchi, a Romeo and Julia story. My mother died of breast cancer. This time it had spread through her body.

I still liked Bellini's music and the opera, but I could not get into it. It was too far away from my life. Marita Sølberg was fantastic. Her voice is so warm and so she was the ideal Giulietta. Vesselina Kasarova is, of course, the famous Bulgarian mezzo, but I have never really warmed up to her. She was a teenage Romeo, walking strangely about. Her voice was more soprano than mezzo. Diego Torre was a wonderful Tebaldo. Loved his tenor voice. Magne Fremmerlid as Cappelio and Yngve Andre Søberg as Lorenzo are two amazing basses who sang well. The conductor Antonio Fogliani worked hard to get the right sounds from the orchestra. The chorus sang well. It would have been wonderful if it could have become staged this opera, but that was not to be this time.

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