March 6, 2000: Herodiade in Vienna

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

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

Reynald Giovaninetto, conductor



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

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

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

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

OD Travel

February 3, 2008: Le Cid in Zurich

2008-02-03 Le Cid (J. Massenet), Opernhaus Zurich

Rodrigue = José Cura
Chiméne = Isabelle Kabatu
L'Infante = Isabel Rey
Don Diège = Andreas Hörl
Le Roi = Massimo Cavalletti
Le Comte de Gormas = Cheyne Davidson
St. Jacques = Tomasz Slawinski
1 envoyé Maure = Kresimir Strazanac
Don Arias = Miroslav Christoff
Don Alonzo = Reinhard Mayr

Michel Plasson, conductor

Finally in Zurich to see Le Cid with Jose Cura as Rodrigue. A new singer as The King. His debut. Massimo Cavalletti did well.

Difficult music in act 1+2, almost no help in orchestra for the singers. Mass scenes are wonderfully sung.

Did not like the scenery in this production. If you sat in the middle or high up you could see everything. But for those on the sides very much up the opera was not to be seen because of 2 decorative walls. So how could the L'Infante Isabel Rey see Chiméne Isabelle Kabatu when she came from the right, not at all. Stupid.... Just like Isabelle Kabatu was looking out in the audience when she "saw" Rodrigue Jose Cura. (stupid).

Michel Plasson directed the orchestra and so he must be blamed for the slow and boring "Pleurez mes yeux" from Isabelle Kabatu. Kabatu was in excellent form especially in acts 3+4, but she was boring and having heard Montserrat Caballe singing this opera means that one know how wonderful and exciting it can be.

The great and wonderful aria from LE CID "O souverain, o juge, o pere" was not such a jewel in the opera version. The concert version is so much more wonderful, the opera has the chorus interrupting and St. James singing to Rodrigue. Very disappointing.......

The costumes was somewhat extreme "historic" idiocy. Jose Cura in soldier's uniform was great. Otherwise the production was a half-way: modern in scenography and "traditional" in costumes, and Regie was not great. Did Chiméne have to act like a silly teenager? Stupid. Luckily Isabel Rey was wonderful, acting a dignified L'Infante.

Andreas Hörl was a wonderful Don Diego. The arrogant Count of Gormas was sung by Cheyne Davidson.

Isabelle Kabatu and Isabel Rey sound perhaps too alike to make the duet great. I wound have wanted more music for L'Infante and Isabel Rey. A duet with Rodrigue Jose Cura would have been great.

I found the libretto somewhat weak and the music unexciting.

Le Cid - Massenet
with German subtitles


Supported by the Georg and Bertha Schwyzer-Winiker-Foundation


Conductor
Michel Plasson


Producer/production
Nicolas Joel


Set design
Andreas Reinhardt


Costumes
Andreas Reinhardt


Lighting
Jürgen Hoffmann


Choir rehearsal
Jürg Hämmerli


With
Isabelle Kabatu (Chiméne), Isabel Rey (L'infante); Jose Cura (Rodrigue), Andreas Hörl (Don Diège), Massimo Cavalletti *role debut (Le Roi), Cheyne Davidson (Le Comte de Gormas), Tomasz Slawinski (St. Jacques), Kresimir Strazanac (1 envoyé Maure), Miroslav Christoff (Don Arias), Kresimir Strazanac (Don Alonzo)

OD Travel + Photos

# Le Cid in Zurich 2008, February 3
# Finally Zurich and Le Cid

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

December 16, 2006: Werther in Munich

2006-12-16 Werther (Massenet), Bayerische Staatsoper, Munich

Werther = Marcelo Alvarez
Albert = Christopher Maltman
Le Bailli = Christoph Stephinger
Schmidt = Kevin Conners
Johann = Franz-Josef Kapellmann
Brühlmann = Marc Pujol
Charlotte = Sophie Koch
Sophie = Adriana Kucerova
Käthchen = Anaik Morel

Daniel Oren, conductor

Werther
Jules Massenet
Edouard Blau, Paul Milliet,
Georges Hartmann after Johann Wolfgang von Goethe


Conductor Daniel Oren
Production, Set, Lighting Concept
and Costumes Jürgen Rose
Production Staff Franziska Severin
Lighting Michael Bauer
Children Chorus Stellario Fagone
Dramaturgy Ingrid Zellner

Werther Marcelo Alvarez


The Bavarian State Orchestra

And then in the evening another Premiere with Marcelo Alvarez, in 2004 I was in Bayerische Staatsoper for the premiere of Romeo et Juliette... What can I say? Sophie Koch has a beautiful mezzo soprano voice and was wonderful as Charlotte. Marcelo Alvarez was a passionate Werther. The production that I had heard was wonderful, I did not like it. Luckily act 3 and 4 was great enough. Not that the production was bad, it was just not good enough, it made me yearn for the Vienna production which had better ideas. Sophie was in this production just a silly girl, I though we had evolved from that. Sophie is much better, more relevant if she is near Charlotte in age (almost said height) and light-hearted but not silly... The scenography, why update Werther, silly...

OD Travel + Photos

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

October 2, 2004: Werther in London

2004-10-02 Werther (Massenet), Royal Opera House London

Werther = Marcelo Alvarez
Charlotte = Ruxandra Donose
Albert = Ludovic Tézier
Sophie = Sally Matthews
Le Bailli = Jonathan Veira
Schmidt = Gilles Ragon
Johann = Darren Jefffery

Antonio Pappano, conductor



One week after my travel to Berlin/Zurich, which came out very differently because of trouble with airplane and then trouble with Norwegian air-space. This time I went to London by Ryanair, so this was also from Sandefjord Torp, both ways... I felt more familiar this time. And everything went smoothly. The London Airport was Stansted,
and I took the Stansted-express both ways.

And in London I decided never to go somewhere (esp. London) without a hotel reservation. I was first looking around Paddington station, either it was full or the room was I felt not safe enough. Then I went to King's Cross where I was lucky to get a room that was OK, 50 pounds, but as I later discover the breakfast was not up to par. English breakfast but I think the English would object to that.

As I went out of the tube at Covent Garden it had started raining, I believed it was a flood from the Heavens. Quite wet was I when I walked into the Opera House, standing in a line to get my ticket, then browsing in the Opera store there. And then the rain stopped. I went out of the building believing to have forgotten my memory card
for my camera, I started looking around. Having some hours before the opera it wasn't that stressful... But when the doors opened in Royal Opera House I found that I had my memory cards with me. Relieved I went inside and left my jacket and my umbrella at the wardrobe. I went to the bar and had something to eat. Then it was opera-time.

Massenet's opera Werther is one of my favorite operas but not one I have had the pleasure of seeing often, first time was actually in Zurich in 2000 with Francisco Araiza and Carmen Opriseanu. This was the full Werther with all the small characters in Schmidt & Johann, Brühlman & Käthchen. And Marcelo Alvarez was an ideal Werther, and Ruxandra Donose was great as Charlotte. Reading the critics saying about this production made you believe things that were not true. One critize the age of the children, the same age he thought. Not so where I sitting but that Sophie and Charlotte was some years older than the younger siblings and why not, having children with a minimal time in-between was not unusual at the time of Goethe / Werther.
Charlotte having the same dress all the time, not so. That Sophie was a boring character, not in this production. That the background on the stage did not change during the whole opera, not so.

So how was it. Brilliant... From the prelude to Werther's death. Wonderful sung and acted from the whole company. A classic. The light setting, the setting. I think this production can live on for many years. But you need a great Werther, vocally who can act too and the same for Charlotte. And if a Werther should be really great you need
a Sophie who can make you understand that there is depth in this characters who is often reduced to just happy girlish girl. But she is smart, caring for her father, her sister and her other siblings, and she is truly in love with Werther, so this is a tragedy for her too. But Sophie has decided to see the good and happy thing in all. This Sophie had depth. And of course we were lucky to have Ludovic Tezier who made Albert an almost interesting and sympatric character.

After the opera I was at the stage door, and Marcelo Alvarez and Donose and Tezier all came out and talked and photographs being taken. "Sophie" was there too probably but no one recognized her.

And then back to my hotel. And when I came to Liverpool street (in th morning), the Stansted express was replaced by buses. I don't know why. When in Norway, Sandefjord Airport Torp I could get an earlier bus to Oslo. Probably because of a bunch of Italian students who were going to Oslo. Anyway that only meant more hours to wait in Oslo for my night bus home.

Director:
Benoit Jacquot

Set Designs:
Charles Edwards

Costume Designs:
Christian Gasc

Lighting:
Charles Edwards




Co-production
with Opéra de
Monte Carlo

OD Travel + Photos

September 22, 2003: Herodiade in Vienna

2003-09-22 Herodiade (Massenet), Wiener Staatsoper

Herodiade = Agnes Baltsa
Herode = Philippe Rouillon
Jean = José Cura
Salomé = Barbara Haveman
Phanuel = Ferruccio Furlanetto
Vitellius = Markus Nieminen
Oberpriester = Janusz Monarcha
Eine Stimme = Cosmin lfrim

Jun Märkl, conductor




Wiener Staatsoper
Montag, 22. September 2003
31. Aufführung in dieser Inszenierung

Herodiade
Oper in dreizehn Bildern von Paul Milliet, Henri Gremont und Angelo Zanardini
Musik von Jules Massenet

Dirigent Jun Märkl
Szenische Konzeption
und Gestaltung Richard Bletschacher
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
Chorleitung Ernst Dunshirn


Eine Stimme Cosmin lfrim*

Tempeltänzerinnen und Schwerttänzer Corps de ballet
Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Balletteleven der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper

* Rollendebüt an der Wien er Staatsoper

Cura is sick (he has a fever), but he is a fantastic Jean this night!

First a man came out pronouncing that José Cura is still going to sing Jean, but he has fever, hope for understanding of the audience.

Then the opera starts. Jun Märkl is really good conductor today, the orchestra wonderful. The chorus singing and acting in the opera is not improved and the dancers is not doing very well, at least in the beginning. From the moment Ferrucio Furlanetto appears, it is a much better opera than on the 19th. First of all the members of the chorus and statists is reacting to the coming of Phanuel (Ferruccio Furlanetto) in the right moment. It is logical and natural. Unlike Friday, so I wondered if the chorus had been told anything.

Barbara Haveman sang the aria "Il est doux!" splendidly. She was a wonderful Salome. Philppe Rouillon sang Herode better this day, but he chose just this day when Jose Cura was feverish and sick to be quite brutal with Jean (José Cura) in leashes. I feared very much that Cura would fall, and not be able to continue singing. Agnes Baltsa was a wonderful Herodiade, the interaction between Herodiade and Salome in the end of the opera was quite magic. Since señor Cura was sick, probably because of the heat and being long at the stage door on Friday the 19th, and then coming out in the relatively colder weather outside the opera house after 1,5 hour in the heat, Agnes Baltsa decided to go out to greet her fans, but she (being wise) wanted to do the autographing and such outside. Thank you, Agnes Baltsa!!!

Everybody was better this day. Even José Cura, who no doubt was sick and should have been in bed. But lucky for us, opera-goers, he was on stage, singing and acting wonderfully the role of Jean. But I saw his eyes, the sweat, and his uncompromising force to stay on his two feet, to stay in the role of Jean. His eyes seemed to sparkle, but it was probably the fever. He never touched the walls, or chairs unless it could be musically valid. In the big last act aria, he walked and walked even as if was clear he needed to sit down, to rest, but he would not compromise the role of Jean, by letting the weakness win. And many times he took the audience Bravos, and frenzy. When the opera was over, he came out the stage door. Jose Cura said "I am going straight to bed!". I got to say "Get well !!!" to Jose Cura. BRAVO, Jose Cura!!!

OD Travel + Photos

September 19, 2003: Herodiade in Vienna

2003-09-19 Herodiade (Massenet), Wiener Staatsoper

Herodiade = Agnes Baltsa
Herode = Philippe Rouillon
Jean = José Cura
Salomé = Barbara Haveman
Phanuel = Ferruccio Furlanetto
Vitellius = Markus Nieminen
Oberpriester = Janusz Monarcha
Eine Stimme = John Nuzzo

Jun Märkl, conductor



Wlener Staatsoper
Freitag, 19. september 2003
30. Aufführung in dieser Inszenierung

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

Dirigent Jun Märkl
Szenische Konzeption
und Gestaltung Richard Bletschacher
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
ChorleitungErnst Dunshirn

., .
Tempeltänzerinnen und Schwerttänzer
Corps de ballet

Orchester der Wiener Staatsoper
Chor der Wiener Staatsoper

Balletteleven der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Give this opera OMO color

This is the 3rd time I saw this opera in this production. Unfortunately the production just a little less then 10 years old is weary. The colors needed brightening up, some of the scenography definitely needed a new touch. But worst of all was the lack of timing and a director to strengthened the drama and give the tension the drama needed. A more traditional approach would have helped, especially the costumes.

If the conductor had not taking some seconds here and there, when it did not need it. It felt like patched up, like listening to an opera on a cd-player, who put 1 second air between each track.

Just tighten the drama, it is a very dramatic opera, French, yes, but it does have drama even if this an opera for the beautiful voices.

Luckily Jose Cura as Jean, not bothered by the production, he sang out, clear and ringing being the Prophet Jean. The opera rose up every time Jose Cura was there.

Agnes Baltsa as Herodiade was wonderful, but the partnership of Philippe Rouillon gave her no support. Her voice found her strength, her acting was perfect. And when with Phanuel (F. Furlanetto) and Salome (B. Haveman), her ability shone out. Wonderful in the ensembles.

Ferruccio Furlanetto as Phanuel was great, he was better in 1995, when Herodiade was almost new. But growing in stature all the time.

Barbara Haveman was great as Salome. Good in the beginning, fantastic in the end of the opera.

Philippe Rouillon as Herode, was a disappointment, his acting bad, even his voice was good enough.

Markus Nieminen as Vitellius was good in the ensemble and elsewhere. High Priest: Januszch Monarcha, a good voice.

The Voice, John Nuzzo, was not in a beautiful voice.

(This is only my opinion of the performances, not THE TRUTH, but my opinion at the time)

OD Travel + Photos

September 1, 1995: Herodiade in Vienna

1995-09-01 Herodiade (Jules Massenet), Wiener Staatsoper

Jean = Josep Carreras*, tenor
Hérode = Juan Pons
Hérodiade, seine Gattin = Dolora Zajick
Salomé, ihre Tochter = Eliane Coelho
Phanuel = Ferruccio Furlanetto
Vitellius, römischer Feldherr = Istvan Gati*
Oberpriester = David Cale Johnson
Eine Stimme = Ruben Broitman

Marcello Viotti, conductor
Szenische Konzeption und Gestaltung - Richard Bletschacher, Hermann Nitsch
Bühnenbild und Kostüme - Hermann Nitsch
Chorleitung - Dietrich D. Gerpheide


Freitag, 1. September 1995 STAATSOPER
9 Aufführung in dieser Inszenierung

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

Musikalische Leitung Marcello Viotti
Szenische Konzeption
und Gestaltung Richard Bletschacher,
Hermann Nitsch
Bühnenbild und Kostüme Hermann Nitsch
Chorleitung Dietrich D. Gerpheide


Kaufleute, Palastwachen,
jüdische und römische Soldaten,
Priester und Volk
Tempeltänzerinnen und
Schwerttänzer Corps de ballet

Balletteleven der Österreichischen Bundestheater
Bühnenorchester der Österreichischen Bundestheater

Die Handlung spielt im Jahre 27 n. Chr. in Jerusalem

* Rollendebüt an der Wiener Staatsoper


This is a wonderful opera. The music of Massenet is just so beautiful, very musical. And this is a happier Salome opera than Richard Strauss, where Salome is a strange girl. In Massenet's opera is no longer teen-age, she certainly is not mad, she has lost her mother, is looking for her mother in Jerusalem, and Jean is the prophet she loves and that she follows. The other big differences is that Jean is a tenor role, and not baritone as in Strauss (Jochaanan). And Jose Carreras has found another perfect role.

In Strauss Herode(s) is also lusting for Salome, but in Massenet he doesn't know that Salome is Herodias (Herodiade)s daughter. Herodiade is missing her daughter who she left behind when she followed Herode. When Phanuel tells her that Salome is her daughter, her jalousie gets the better of her.

Massenet's Jean (John the Baptist) is a man who first denies the love he feels towards Salome, but in the end when execution awaits him, accepts this love as something God has given him.

The wonderful cast that heads with Jose Carreras as Jean, Juan Pons as Herode, and Ferruccio Furlanetto as Phanuel, and that have Eliane Coelho as Salome, and Dolora Zaijck as Herodiade, makes it really great night at the opera. My Favorite Tenor, My Favorite Baritone and My Favorite Bass is do their parts so well. Eliane Coelho makes Salome very enjoyable, and Dolora Zaijck is a great mezzo.

OD Travel

June 28, 2005: Werther in Turin, Italy

2005-06-28 Werther (Massenet), Teatro Regio Torino

Werther = Roberto Alagna
Charlotte = Kate Aldrich
Albert = Marc Barrard
Sophie = Nathalie Manfrino
Bailli = Michel Trempont
Schmidt = Leonard Pezzino
Johann = Armando Gabba
Brühlmann = Alessandro Inzillo
Kätchen = Ivana Cravero

Alain Guingal, conductor



Werther

Libretto di Édouard Blau, Paul Milliet e
Georges Hartmann
dal romanzo Die Leiden des jungen Werther
di Johann Wolfgang Goethe

Musica di Jules Massenet


Gli altri figli del borgomastro, voci bianche
Stefania Costa, Fiammetta Fanari,
Roberta Nobile, Miriam Schiavello,
Giulia Voghera, Carlo Alberto Italia,
Alberto Occelli, Giulio Sanna


Direttore d’orchestra Alain Guingal
Regia e scene David Alagna e Frédérico Alagna
Costumi Louis Désiré
Maestro del coro Claudio Marino Moretti
Orchestra e Coro del Teatro Regio

Elementi del Coro di voci bianche del Teatro Regio e del Conservatorio
“G. Verdi”

Nuovo allestimento Teatro Regio.

Bravo Roberto Alagna!!!!!
Bravi David & Frederico Alagna!!!
Bravi tutti!

Even, bravi dog and horses!!!

First time in Torino for me. The Alagna brothers made this production a feast for the eye and ear. And with Roberto Alagna, their big-brother as the star of the evening it was absolutely magic. Schmidt and Johann visited the home of the Bailiff with a real dog. The dog acted admirably even when the singing was near. Naturally the dog was in a leash and all took care of the big dog. The carriage was with a real horse that took Charlotte and Werther to the ball and back. When Sophie came to the church she was on horseback, not the same horse that had carried the carriage. And was it disturbing the opera in any way? No. It was all perfectly done.

Roberto Alagna et al. was wonderful in their singing and dancing. The children, too. The sets and costumes was beautiful and totally right for Werther. Roberto Alagna was perfect as Werther. Kate Aldrich was totally convincing as Charlotte, which was wonderfully sung. Sophie was also quite marvelous as were Albert. This production with its use of red lightning at special moments in Werther was truly amazing and wonderful...

The perfect Werther!

OD Travel + Photos

June 26, 2006: Werther in Vienna

2006-06-26 Werther (Massenet), Wiener Staatsoper

Werther = Marcus Haddock
Albert = Morten Frank Larsen
Le Bailli = Janusz Monarcha
Charlotte = Elina Garanca
Sophie = Ileana Tonca
Schmidt = Benedikt Kobel
Johann = Clemens Unterreiner

Marco Armiliato, conductor



Werther (Massenet), Wiener Staatsoper
Dirigent: Marco Armiliato
Inszenierung: Andrei Serban
Bühne: Peter Pabst
Kostüme: Peter Pabst, Petra Reinhardt
Choreinstudierung: Ernst Dunshirn


Beginn: 19.30
The tenor Marcus Haddock looked quite like Marcelo Alvarez and acted as him too. His singing was not at the level as Marcelo Alvarez. The costumes looked false on him, and I could not understand how anyone could fall in love with him. I am sure Alvarez would have made one forget the costumes which was OK for all the others but Werther. Elina Garanca has the most gorgeous mezzo soprano voice. She was absolutely wonderful. Ileana Tonca sang Sophie also wonderfully, Albert was great. But then it was the direction which I think really made this Werther production something I cannot like. It was the Postmodern Ironie. Werther is an idiot, he should more be poetic. Charlotte was just a BIG EGO, she should really care for the children, instead she is more looking in the mirror, making her make-up perfect. Sophie is the one really tending the children, but she should be the second care-taker of the children. There is too many children in that household.

The singing was wonderful, but the REGIE was just about reading WERTHER the false way. Here you have great singers that can act well but chose to make most of what people say into falsehood. It was really depressing. This opera doesn't need that kind of help.

OD Travel

June 25, 2000: Werther in Zurich

2000-06-25 Werther (J. Massenet), Opernhaus Zurich

Werther = Francisco Araiza
Albert = Alfred Muff
Le Bailli = Rudolf A. Hartmann
Charlotte = Carmen Opriseanu
Sophie = Dawn Kotoski

Jacques Delacôte, conductor



Musikalische Leitung JACQUES DELACÔTE
Inszenierung nnd Bühnenbild MARCO ARTURO MARELLI
Spielleitung CLAUDIA BLERSCH
Kostüme DAGMAR NIEFIND-MARELLI
Lichtgestaltung ROBERTUS CREMER
Chor JÜRG HÄMMERLI


KINDER CHOR DES OPERNHAUSES ZUSATZCHOR OPERNHAUS ZÜRICH STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Solocello Claudius Herrmann
Solovioline Ada Pesch
Musikalische Assistenz
und Einstudierung KELLY THOMAS, HERVE MAHE
Organisation und
Betreuung der Kinder SUSY SIEGRIST, CHRISTINE KRISZUN
lnspizienz SUSANN ZAHLER
Souffleuse URSULA MORI
Verlag. Editions Heugel, Paris
Sonntag, 25. Juni 2000UBS-Abo
Pause nach dem 2. Akt
Beginn: 14.00 Uhr Ende: ca. 16.30 Uhr

Opernhaus Zurich, Werther, Francisco Araiza, Carmen Opriseanu
Act 1 - Spring
Act 2 - Summer
Act 3 - Autumn
Act 4 - Winter.
Another version of Werther, some persons was deleted from the opera, only the principals remained, (deleted: Schmidt, Johann, Brühlmann and Kätchen). Colorful production.

OD Travel + Photos