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

October 25, 2016: Lucrezia Borgia in Bilbao

2016-10-25 Lucrezia Borgia (Donizetti), Palacio Euskalduna (Bilbao)

Lucrezia Borgia = Elena Mosuc 
Gennaro = Celso Albelo
Alfonso I d´este = Marko Mimica* 
Maffio Orsini = Teresa Iervolino*
Don Aposto Gazella = Jose Manuel Díaz Ascanio Petrucci = Zoltan Nagy
Oloferno Vitellozzo = Manuel de Diego
Rustighello = Mikeldi Atxalandabaso
Gubetta = Fernando Latorre
Astolfo = German Olvera*
Jeppo Liverotto = Jesús Álvarez* 

José Miguel Pérez Sierra, conductor
Euskadiko Orkestra Sinfonikoa
Coro de Ópera de Bilbao

Scene Director -  Franceso Bellotto
Scenography - Angelo Sala*
Costumes - Cristina Aceti*
Choreography - Martín Ruis*
Light - Fabio Rossi* 
 Director of the Chorus - Boris Dujin 
    
 Production - Torino, Bergamo and Sassari theaters 
    
 *Debuting at ABAO-OLBE

I have started to love Donizetti operas very much. In Bilbao I saw the most perfect Lucrezia Borgia. The production was amazing. The cast was splendid. Elena Mosuc was the most perfect Lucrezia Borgia. Celso Albelo was also stupendous. Marko Mimica was such a great Alfonso.

As Maffio Orsino we heard and saw Teresa Iervolino. Unfortunately her voice which was a lovely mezzo soprano voice was not penetrating the wall of male voices. Elena Mosuc voice would ring through the whole chorus. Teresa Iervolino did not had that power, but I might be wrong after all I was sitting in front row where one sees well but hears maybe not that well.

Another tenor to enjoy besides the Celso Albelo was the wonderful, thrilling tenor voice of Mikeldi Atxalandabaso as Rustighello. A wonderful find!!!

I loved the production so much. It felt historical and real.
Scene Director -  Franceso Bellotto
Scenography - Angelo Sala*
Costumes - Cristina Aceti*
Choreography - Martín Ruis*
Light - Fabio Rossi*
The regie was right, the costumes and scenography was wonderful and singers and chorus alike was acting so it felt real. I even, after a while, liked the choreography by Martin Ruis. The orcs, I mean soldiers of Alfonso was allright. The woman and boy as Lucrezia and young Gennaro worked in the opera even as I do no generally enjoy ballet in opera. The main thing is that it worked and added a dimension that was emotional and after a while felt real. Lucrezia and Gennaro remembers and feels those two and see them in their inner eye. It meant that no longer is there an incestuos meeting but a mother and son that meets. The mother wants her son. The son wants his mother. Alfonso loves Lucrezia and he thinks Gennaro is a rival. In this production Alfonso is ashamed when he finds out that he was gloating over a mother's loss of her child. Wonderful production even if Lucrezia is still poisoning people here she is a mother under all her actions.

I have seen on video the Lucrezia Borgia from La Scala with Mariella Devia, Marcelo Alvarez and Michele Pertusi with Daniela Barcellona as Orsino and I thought nothing could be better than that. This experience in Bilbao was brilliant and at least on par with La Scala but also better. Elena Mosuc, what a voice and her acting was so brilliant. A beautiful voice and not only that every note was enjoyment for the listener and deeply acting not only through her body but voice too. Celso Albelo won me over. A robust voice even in the higher register. He sang ‘T´amo qual s´ama un angelo’. It was so touching. There was changes in the score from La Scala to Bilbao. Equally beautiful but musically I liked the score from La Scala better. Marko Mimica was a stunning, young Alfonso with his Lucrezia. So young and powerful. His voice rang out.

Chorus and orchestra was great under the hands of José Miguel Pérez Sierra.

And so it ended "Era desso figlio mio". Era dessa Lucrezia Borgia!!!! Brava, Elena Mosuc!! Bravo, Celso Albelo! Bravo, Marko Mimica! Bravissimi!

THE END.

OPERA DUETS TRAVEL & PHOTOS

Original blog post

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

September 30, 2002: Roberto Devereux in Vienna

2002-09-30 Roberto Devereux (Donizetti), Wiener Staatsoper

Elisabetta = Edita Gruberova
Nottingham = Renato Bruson
Sara = Enkelejda Shkosa
Roberto Devereux = Josep Bros
Lord Cecil = Cosmin Ifrim
Sir Gualtiero Raleigh = In-Sung Sim

Frédéric Chaslin, conductor



Where you there?
You should have been there...

Lucky me to be in Vienna and have a ticket to this performance, a perfect seat, and as it progressed it was the perfect opera evening.

Loved it from the beginning when then conductor (Frederic Chaslin) came and a wonderful ouverture was played. First the chorus and then Sara (Enkelejda Shkosa) sang her aria. How wonderful it was, difficult to top that, one could think, but when the Queen came, Elisabeth I (Edita Gruberova), one knew, it was going to be splendid. "Die Gruberova" sang with heart, head, soul and making this belcanto opera so real, everything she put in her voice was be more a real person. My hands and shoulders started to ache after the first burst of applauds. Divine, this Queen of Opera!

José Bros, the Catalan tenor (Josep Bros), had a real beautiful voice and appearance, and he did well in the different duets. As he played Roberto Devereux, the title role, he was really a man that one could understand all the fuss the women was making about him. The Duke of Nottingham (Renato Bruson) was naturally a great man for this role. This cast was really perfect.

In the end, it was so much applause, and naturally, Brava!, we were all going "slightly mad" over Gruberova et al.

Wiener Staatsoper
montag, 30. september 2002
21. Aufführung in dieser Inszenierung

Roberto Devereux
Tragedia lirica in drei Akten von Salvatore Cammarano
Musik von Gaetano Donizetti

DirigentFrédéric Chaslin
Inszenierung Silviu Purcarete
Bühnenbild und
Kostüme Helmut Stürmer
Choreinstudierung Ernst Dunshirn
--

Ein Vertrauter Nottinghams Hiro Ijichi
Ein Page Hacik Bayvertian
..
Chor und Orchester der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper

Diese Produktion wurde ermöglicht mit Unterstützung von
~ LEXUS

OD Travel + Photos

1983/1984 Madama Butterfly (Puccini), Rådhusteatret (Kongsvinger)

1983/1984 Madama Butterfly (Puccini), Rådhusteatret (Kongsvinger)

Cho-Cho-San (Butterfly) = Anne Bolstad
Suzuki = Siv Sjöberg
B F Pinkerton = Ulf Björkegren
Sharpless = Stig Tysklind
Goro = Bo Johan Leinmark
Prince Yamadori = Lars Martinsson
Bonzo = Kurt Lantz
Kate Pinkerton = Sylvia Harvvell

Ole Wiggo Bang, conductor


Karlstads Teater
Regie - Britt-Marie Schott
Scenography - Bemd Schmigalla

As usual in Kongsvinger, my birth-city, the newspaper is slow to tell about cultural events, football is more important. But since Kongsvinger and Karlstad was friendship-cities we got to see Madama Butterfly with Norwegian soprano as Butterfly the rest, of course, were Swedish opera singers.

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

September 29, 2008: La Fanciulla del West, London

2008-09-29 La Fanciulla del West (Puccini), Royal Opera House, London

Minnie = Eva-Maria Westbroek
Dick Johnson (Ramirez) = José Cura
Jack Rance = Silvano Carroli
Nick = Bonaventura Bottone
Ashby = Erik Halfvarson
Jake Wallace = Vuyani Mlinde
Sonora = Daniel Sutin
Bello = Kostas Smorginas
Happy = Quentin Hayes
Joe = Harry Nicoll
Larkens = Andrew Foster-Williams
Trin = Hubert Francis
Harry = Robert Murray
Sid = Adrian Clarke
José Castro = Jeremy White
Wowkle = Clare Shearer
Billy Jackrabbit = Graeme Danby

Antonio Pappano, conductor

Conductor: Antonio Pappano
Director: Piero Faggioni
Set Designs: Kenneth Adam
Costume Designs: Piero Faggioni
Lighting: Piero Faggioni

Another Fanciulla on Monday 2008-09-29. This performance also started at 19. And as ususal I started with a Pizza (Funghi) at Piazza Cafe, but this time I was inside the cafe and not sitting outside. Another great Pizza Funghi. Lovely.

And then it was opera time. This time I was careful to arrive in good time before the opera starts. Fewer JCx members this time. I got to see the whole opera in my wonderful seat in the orchestra stalls. The only time we get to applaud the conductor Antonio Pappano before the opera starts is before act 3. SO both act 1 and act 2 starts suddenly from blackness to lights and music.

The only difference from Friday 26 to Monday 29 is the singer that is Sheriff Jack Rance, Silvano Carroli, the original Rance from 1977. So 31 years after this production was first played he is back, he also sang in the same production in 1978, so this was also 30 years celebration. And in 1982 it was taped on video with Placido Domingo as Dick Johnson, Carol Neblett as Minnie and Silvano Carroli as Rance, conducted by Nello Santi.

So how was he compared with himself almost 3o years ago or compared to our other Rance, Claudio Sgura. He was much older and somewhat lacking in force especially in act 1, in act 2+3 he was better. Anyway the opera changes a bit when Jack Rance is young and dashing (Claudio Sgura) or if he is more of an old rogue (Silvano Carroli 2008). Comparing 1982 performance with 2008 is almost impossible, it is to compare younger, domineering to older, domineering.

Many said this was the best performance of Silvano Carroli and the cast. It was certainly musically good. After a long wait at the stage door we finally met Jose Cura and his family and Eva-Maria Westbroek. I did not see Silvano Carroli. José Cura was still there talking when I left for my hotel. After all I was going home the next day.

Original blog post
OD Travel + Photos

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

September 29, 2002: Carmen in Vienna

2002-09-29 Carmen (Bizet), Wiener Staatsoper

Carmen = Agnes Baltsa
Don José = Fabio Armiliato
Escamillo = Tom Fox
Micaëla = Ildiko Raimondi
Frasquita = Simina Ivan
Mercédès = Songmi Yang
Zuniga = Janosz Monarcha
Moralès = Yu Chen
Remendado = Helmut Wildhaber
Dancairo = Markus Nieminen
Lillas Pastia = Hacik Bayvertian

Vjekoslav Sutej, conductor



3 months ago I was on my first Carmen in Vienna with Agnes Baltsa as Carmen, I saw two in June (23 & 26), so I knew what to expect in a way. But I must say this was a much better show yesterday. For one thing, the conductor was great, and the orchestra played with an unusual warmth. The Chorus was also moving and acting better, especially the men had improved, the woman did need much improving, so they were great this time too.

Sutej, the conductor did not move much in, but he was always very clear about what he wanted from the orchestra. He know that the Wiener Philharmoniker is a great orchestra, so he knew when to let go, and when to be obvious to the musicians what he wanted, at which beat they should play. This time the trumpeter at the stage for the change of the guard, did no false notes. But there was some small incidents of unclear playing from one of two instruments, but I was not able to hear which one it was, but I think it was a wind-instrument.

The singers: Agnes Baltsa singing her CARMEN, her voice is no longer always perfect in the arias, especially was the Habanera showing that she had some difficulties. But Carmen is not about belcanto it is about a woman who can make men to her toys. She was beguiling and splendid, fascinating and a mystery. I do not regret coming to Vienna for another of her Carmen's. DON JOSE Fabio Armiliato was wonderful in singing and acting. Very truthful, and obviously he was a Don Jose that this Carmen liked, what a chemistry, he was under the Baltsa spell. MICAELA Ildiko Raimondi has a sweet and warm soprano voice, she was perfect as Micaela, maybe a traditional Micaela, but I liked her. ESCAMILLO Tom Fox, I could almost see in Baltsa's face a torment of listening to him singing the Toreador Song, well, it certainly was a torment for me. Baltsa is a professional, and did not go out of her role, but she really preferred Fabio to Tom. And then I must mention Frasquita and Mercedes, Simina Ivan and a stipendiate from Karajan Center, and it was the new Mercedes that impressed me very much, beautiful voice and perfect onstage. Yu Chen was a splendid Morales.

Wiener Staatsoper
sonntag, 29. september 2002
109.Aufführung in dieser Inszenierung

Carmen
Oper in vier Akten von Henri Meilhac und Ludovic Halévy nach einer Novelle von Prosper Mérimée
Musik von Georges Bizet

Dirigent Vjekoslav Sutej
Inszenierung und
Bühnenbild Franco Zeffirelli
KostümeLeo Bei
Choreographie Rafael de Cordova
Chorleitung Ernst Dunshirn
" .
Carmen Agnes Baltsa
Don JoséFabio Armiliato
Escamillo, ToreadorTom Fox*
Micaëla Ildiko Raimondi

Zigeunerinnen
Frasquita Simina Ivan
Mercédès Songmi Yang*A

Zuniga, Leutnant Janosz Monarcha
Moralès, Sergeant Yu Chen

Schmuggler
Remendado Helmut Wildhaber
Dancairo Markus Nieminen

Lillas Pastia Hacik Bayvertian
Tänze Rita Kommentisch
Rudolf Wächter
Christoph Wenzel
und das Corps de ballet

* Rollendebüt an der Wiener Staatsoper
A Stipendiatin des Herbert von Karajan Centrums

OD Travel + Photos

September 29, 1988: L'Elisir d'Amore, Oslo

1988-09-29 L'Elisir d'Amore (Donizetti), Den Norske Opera (Oslo)

Adina = Ingjerd Oda Mantor
Nemorino = Kjell Magnus Sandve
Belcore = Terje Stensvold
Dulcamara = Svein Carlsen
Gianetta = Inger-Lise Walseth

Antonio Pappano, conductor



It was a very enjoyable evening with Kjell Magnus Sandve as Nemorino, and Ingjerd Oda Mantor as Adina. Wonderful!

OD Travel

September 28, 1989: Barbiere di Siviglia in Oslo

1989-09-20
General Rehearsal

Tuesday, September 28
DEN NORSKE OPERA
BARBEREN I SEVILLA (Il Barbiere di Siviglia)
by GIOACCHINO ROSSINI



1989-09-28 Il Barbiere di Siviglia (Rossini), Den Norske Opera (Oslo)

Rosina = Itziar Martinez Galdos
Almaviva = Neill Archer
Figaro = Trond Halstein Moe
Bartolo = Enzo Florimo
Basilio = Johann Tilli
Berta = Torill Carlsen
Fiorillo = Ulf Øien

Carlo Felice Cillario, conductor

Loved Itziar Marinez Galdos and Torill Carlsen as Rosina and Berta

OD Travel

September 26, 2008: La Fanciulla del West, London

2008-09-26 La Fanciulla del West (Puccini), Royal Opera House, London

Minnie = Eva-Maria Westbroek
Dick Johnson (Ramirez) = José Cura
Jack Rance = Claudio Sgura
Nick = Bonaventura Bottone
Ashby = Erik Halfvarson
Jake Wallace = Vuyani Mlinde
Sonora = Daniel Sutin
Bello = Kostas Smorginas
Happy = Quentin Hayes
Joe = Harry Nicoll
Larkens = Andrew Foster-Williams
Trin = Hubert Francis
Harry = Robert Murray
Sid = Adrian Clarke
José Castro = Jeremy White
Wowkle = Clare Shearer
Billy Jackrabbit = Graeme Danby

Antonio Pappano, conductor

Conductor: Antonio Pappano
Director: Piero Faggioni
Set Designs: Kenneth Adam
Costume Designs: Piero Faggioni
Lighting: Piero Faggioni


I went to Covent Garden with the tube, and I ate the most wonderful Pizza Funghi at the Piazza Cafe. But then it had taken forever to get the pizza and even though I had had a quick look at my opera ticket I never saw that it was 19 pm and not 1930 as I had convinced my self. Pizza was still good but it cost me 15 minutes of the beginning of the opera, it is not that bad, Minnie and Dick Johnson had not arrived at the stage yet. I was lucky, the staff in ROH let me in and decided that I could see the opera live from a balcony box. Not that lucky was that is was on wrong side of much of the Johnson/Minnie action. Looking at a TV relay would have been better. But Act 1 was really special, balcony box. But too many people had their head far out of the boxes and I was naturally in the second row but I could enjoy the chair and the music and singing.

ACT 1

Lost 15 minutes. But it was OK I had after all seen this production in 2005.

Jack Rance = Claudio Sgura. New Sheriff in town. Loved him even if he seemed a little too young, but he was like a young and attractive Silvano Carroli. He really reminded me of SC of ROH video/DVD.

Ashby = Erik Halfvarson. So unlike Robert Lloyd's more elegant Mr Ashby. This was a man who was drinking from his bottle all the time.

Minnie = Eva-Maria Westbroek. This is her favorite opera and her dream role but I find her too ... over-acting. She made me miss Andrea Gruber as Minnie. And wondering what would have happened if Sylvie Valayre had been ROH's Minnie. SV was a wonderful Minnie in Zurich 2004 and Berlin 2006.

Dick Johnson = José Cura. WOW, even better actor and absolutely wonderful.

Jake Wallace = Vuyani Mlinde. THANK YOU, ROH: no black-face-painted as AL JOLSON, just a black man in his own skin. BUT, I never saw him in the line-up at the front for the applause in the end of the opera. WHY: Jake Wallace is a short role but really important to be able to show our appreciation for his art. He was not just a part of chorus or ensemble. As important as Trin or some of the other miners (all white persons, by the way) that got their own line-up. He should have been up there with Cura, Westbroek, Sgura, Bonaventura Bottone, Erik Halfvarson.

(I just hope somebody will say I am wrong, he was there, I must just have missed him. And for the record I don't believe this is necessary racism, but it might just be a blind spot at the ROH.)

ACT 2

I am so GLAD that Wowkle (Clare Shearer), Billy Jackrabbit (Graeme Danby) managed to made some of their UGH into something less offensive (ah, eh, oh). That made this act better for me. Westbroek and Cura was really good together. And Sgura was just perfect.

What was wrong? The roof of the cabin, if you lived with kind of roof you would have snow inside. Another snowy issue. All the opening of the door, Wowkle exclaiming "it is snowing" (a blizzard, you know) and then Johnson also IT IS SNOWING. BUT no snow was seen from the opened door, it should have been snowing inside so that we understood why Johnson needed to stay in Minnie's cabin, you know, because of the blizzard. And how heartless it was that earlier Wowkle with her little baby on her back was made to go out by Minnie and later Johnson kicking her out when she hesitated because of the SNOW. The snow that never was...

ACT 3

GREAT. Great aria: Ch'ella mi creda. Minnie was really good.


AND of course I met a lot of friends from the Jose Cura connexion. We waited at the stage door. Cura, Westbroek, Sgura came, and probably others that I did not know.

0030 Norwegian time in my hotel---

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OD Travel + Photos

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

September 26, 2004: Stiffelio in Zurich

2004-09-26 Stiffelio (Verdi), Opernhaus Zurich

Stiffelio = José Cura
Lina = Emily Magee
Stankar = Leo Nucci
Raffaele = Reinaldo Macias
Jorg = Günther Groissböck
Federico di Frengel = Martin Zysset
Dorotea = Margaret Chalker

Stefano Ranzani, conductor




Sunday, 26. September 2004
For the first time in Opernhaus Zürich
Sung in Italian with German surtitles
Stiffelio
Dramma lirico in 3 Acts by Giuseppe Verdi (1813-1901)
Libretto by Francesco Maria Piave after the Drama
«Le Pasteur ou L'Evangile et le foyer» (1849) by
Emile Souvestre and Eugène Bourgeois
First performance:
Trieste, Teatro Grande, 16 November 1850

Conductor Stefano Ranzani
Regie Cesare Lievi
Scenography Csaba Antal
Costumes Marina Luxardo
Chorus Ernst Raffelsberger





First time I saw Stiffelio was in 1997 when Brazilian tenor Antonio Lotti sang instead of Carreras.

ACT 1

Track 1: Stiffelio : Overture (ca. 09:57)
The conductor Stefano Ranzani conducted the Overture/Sinfonia in an OK way. This is one of Giuseppe Verdi's best opera-opening-pieces.


Track 2: Stiffelio : "Oh santo libro" (02:30)
Günter Groissböck (Jorg) sat at the table with a big book. For me it was obvious that it is the Holy Bible as he sang (santo libro = holy book). Jorg was alone, then Jose Cura (Stiffelio) came with Lina, his wife and his followers behind him. Stiffelio seemed to be immersed in himself, hand-shaking with his friends or sect members not in a way of man who cares and have longed for his friends. (He has been on missionary trip). His meeting with Lina (Emily Magee) is awkward, they don't seem to be able to touch each-other of be close, they want to but they can't. Dorotea, Lina cousin (Margaret Chalker) a bit gossipy, tells of a man who wanted to speak to Stiffelio. It is Walter, a boatman who has recently seen something strange.


Track 3: Stiffelio : "Di qua varcando"/"Son quanti giorni?" (02:13)
8 days ago Walter saw a young man and a young woman, they were in distress. In the end the young man jumped into the water, but he lost some papers. It was Raffaele, the young nobleman (Reinaldo Macias) who lost Lina's love letters. It is quite typical that Stiffelio thinks he has the right to tell this people what Walter has seen, since Walter did not forbid it. But I would think that the priest should know that Walter is not the one who is at stake here it is the young couple. Jose Cura and the orchestra is not entirely together here, when the aria becomes an ensemble it gets together again quite beautifully.


Track 4: Stiffelio : "Colla cenere disperso" (02:25)
The priest Stiffelio decide that the papers is to be burnt. It is open fire on the stage.
Colla cenere disperso
Sia quel nome e quel delitto;
Dio lo disse, Dio l'ha scritto:
Al fratel s'indulger.
The relief is great, and the admiration of the priest's godliness. Lina expresses her will to never sin again. But Raffaele want to meet Lina again, she doesn't want that


Track 5: Stiffelio : "Viva Stiffelio!" (03:22)
The sect members come in to celebrate Stiffelio. Stiffelio wants them only to sing praises of God. Lina is tormented by her sin, and the celebration of Stiffelio status as the great pastor.


Track 6: Stiffelio : "Non ha per me un accento" (01:56)
Stiffelio and Lina is alone. He longs for her to talk to him. But this Stiffelio is not very accommodating, I think. Lina sings of how they met and that she still has trouble calling him Stiffelio. He was called Rodolfo Müller when they met. He used a pseudonym.


Track 7: Stiffelio : "Vidi dovunque gemere" (04:04)
Stiffelio was alone and unhappy when he was away, and everywhere he went he saw the sins of people. Especially that women, who was breaking the holy matrimony.
STIFFELIO:
Le ingenue
Custodi del pudore,
Le donne, rotto il vincolo
Del coniugale amore . . .

Lina believes that Stiffelio has a great heart and would forgive, but no... He says it is not possible... (and they are just discussing the idea of forgiveness at this point)
LINA:
È grande la vost'anima,
Avrebbe perdonato.
(Lina si confonde)

STIFFELIO:
Ah no, il perdono facile
Al core non ferito;
Ma occulto sta nell'anime
Tesoro indefinito,
Che nulla mano infrangere
Impunemente può.

This makes Lina unhappy. The husband tries to comfort her. It is the anniversary. But the ring is missing....


Track 8: Stiffelio : "Ah! v'appare in fronte scritto" (02:17)
Jose Cura as Stiffelio is furious. In a very threatening position he hangs over Lina. Then Stankar comes in, Stiffelio is wanted elsewhere. In a threatening voice, "Soon I will be back!!!"



Track 9: Stiffelio : "Tosto ei disse!" (03:47)
Emily Magee's voice is simply a dream listening too. She is really Lina. In this aria. She tries to decide what to do, to say, to write. Yes, she starts writing a letter to Stiffelio ("Stiffelio, I am no longer worthy of your love")



Track 10: Stiffelio : "Verrà! Dovrò risponder!" (01:32)
Then Stankar, her father comes in. Stankar (Leo Nucci) has been spying on his daughter. He suspect that she writing to Leuthold (Raffaele), but even worse from his side, she is trying to confess to Stiffelio. Where Lina wants forgiveness, Stankar want that the stain on his honor should be unnoticed by the outside world. He forces Lina to give into his plan of never letting Stiffelio know of this.
Track 11: Stiffelio : "Dite che il fallo a tergere" (01:10)
Track 12: Stiffelio : "Ed io pure in faccia agli uomini" (03:07)
STANKAR:
Ed io pure in faccia agli uomini
Dovrò l'ira soffocare,
La vergogna dovrò vincere,
Voi mia figlia ancor nomare;
Voi, l'indegna che disprezzo,
Voi, del padre disonore.

Track 13: Stiffelio : "Or meco venite" (03:10)


Track 14: Stiffelio : "M'evitan" (00:52)
The same book that Jorg was reading in and called "santo libro" is now Klopstock Messiah. Raffaele has just written a note to Lina and locked the book when Federico di Frengel comes in and wants the book. And then a backdrop, drops down. Was it is mishap, or was it supposed to happen.


Track 15: Stiffelio : "Plaudiam" (03:18)
It does strike me as strange that Stiffelio should be sitting a desk looking at a miniature of the church this sect is going to build, looking at architect plans, and that that the chorus is on the galleries. He is mentally not there. Jorg came in, he is not for this kind of parties, but neither can Stiffelio be... Sitting down, I don't get this... Jorg is interested, however in telling Stiffelio about a note in a book, some intrigue, something sinful, no doubt. But since Federico now has the book, he is thought to be the guilty one.



Track 16: Stiffelio : "Cugino, pensaste al sermone?" (02:06)
Dorotea is asking Stiffelio (or Federico),are you thinking about the sermon, Federico answers, that they will all be there and ask Stiffelio what will be the subject. Judas, the traitor.
STIFFELIO:
Non solo all'iniquo ch'ha il Maestro venduto,
Ma a quanti tradiscon m'udrete imprecare
A lui che s'insinua, che simula astuto,
Che insidia, che macchia il domestico lare;
Che stende la mano all'uomo ingannato,
E infame poi vanta l'onore involato! . . .
A lui per anatema fia sol ch'io ripeta
Il carme ispirato del grande poeta . . .

He is so furious, Stiffelio, that all is taken aback, especially Federico who doesn't know why he is singled out.


Track 17: Stiffelio : "Oh qual m'invade ed agita" (03:02)
Stiffelio takes the book from Federico. Of course it was Dorotea who told that Lina has the key to this book. And suddenly, Stiffelio is getting very insecure about what is going to happen.



Track 18: Stiffelio : "Nol volete" (02:49)
Stiffelio opens the book with his bare hands. The letter flies out. Stankar almost leaps to get the note. Stiffelio is beside himself of fury. Stankar and Raffaele is going to meet at the church yard.




ACT 2

Track 1: Stiffelio : "Oh cielo! dove son io" (03:40)
Suddenly Lina sees her mother grave, she is devastated.


Track 2: Stiffelio : "Ah, dagli scanni eterei" (03:43)
Lina sings that her mother must intercede, so that she can be forgiven. This is one of the most beautiful soprano arias that Verdi wrote, and Emily Magee sings it wonderfully....


Track 3: Stiffelio : "Perder dunque voi volete" (02:40)
Then there is a duet with Raffaele. Somehow in this production I do not get so a confused Lina as Malfitano in the Moshinsky production. Here Lina's feeling is that she is definetely through with Raffaele. All she want him to do is to give back her letters, the ring and other incriminating thing. And that he would not destroy her life, her marriage. He doesn't want to back out.



Track 4: Stiffelio : "Io resto"/"Qual rumore" (03:07)
Lina's father is there, she must go. Finally after many insults, Stankar gets Raffaele in the dueling mode. Then Stiffelio comes.




Track 5: Stiffelio : "Santo è il loco" (02:21)
Stiffelio reminds them that they are on holy ground.
Santo il loco che sì profanate . . .
I sepolcri col piede premete,
Sopra il capo la croce vi sta!

It is the minister talking. They are not willing to stop now. Then Stiffelio asks Raffaele as the younger to give up the sword. They shake hands, Stankar is outraged, taking the hand of the man you have deceived. And now Lina comes.
Grazia! Grazia! Rodolfo!

It was Lina & Raffaele.



Track 6: Stiffelio : "Ah no, è impossibile" (03:09)
Jose Cura, in the photos in the program we see him hold the sword egg with his bare hand, but there is some rag in between. on the premiere, nothing protects his hands... And I am not sure he noticed it because we was so much Stiffelio.



Track 7: Stiffelio : "Dessa non è" (05:05)
Stankar reminds Stiffelio that she is not the only guilty one, now the priest is an outraged husband who want to duel with the seducer. Raffaele seem to have a change of mind, is willing to take his penalty but not to fight his minister. Jorg comes out. Reminds Stiffelio that he is a priest after all, and there is a sermon...

STIFFELIO:(come in delirio)
Me disperato abbruciano
Ira, infernal furore,
Tranquilli la man gelida
Voi mi gravate al core . . .
Ah fate prima ch'ardermi
Le vene cessi il sangue,
E la virtù che langue
Sar più forte in me! . . .
Lasciatemi, lasciatemi . . .
Tutto il mio cor perdé.
...
JORG:(sale sui gradini)
Da questa croce agli uomini
Ha Cristo perdonato . . .

Stiffelio faints with his hands round the cross, his bloody hand makes mark on the tree. It almost look like STIGMATA.


ACT 3
Track 8: Stiffelio : "Ei Fugge" (02:45)
This is Leo Nucci's great scene. And the only truly thunderous applause of the day is for Leo Nucci. He is simply stunning as Stankar. Stankar has decided for suicide since Raffaele has runaway. Death for Stankar. He is really sorry for himself.



Track 9: Stiffelio : "Lina, pensai che un angelo"/"Ah, si finisca" (03:47)
But the Jorg tells that Raffaele is back. What a joy....


Track 10: Stiffelio : "In questo tetto uno di noi morrà" (02:15)
A change to kill Raffaele, and sort of redeem his honour. (nonsense)
Great applaud for Leo Nucci


Track 11: Stiffelio : "Dite ai fratei che al tempio"/"Inevitabil fu questo colloquio" (02:43)
Raffaele who expect revenge is simply asked what would you do if Lina was free. But Lina is told that this marriage is breakable since Stiffelio called himself Rodolfo at that time.


Track 12: Stiffelio : "Opposto è il calle" (04:55)
I guess Stiffelio think he is generous, a divorce, Lina can marry Raffaele, the man he thinks she loves. She is not given any chance to tell what happen, or why, nor is he reflecting FORGIVENESS.



Track 13: Stiffelio : "Non allo sposo volgomi"/"Egli un patto proponeva" (04:03)
LINA:
Il vo'!
Non allo sposo volgomi,
Ma all'uom del Vangelo.
Ei fino dal patibolo
A' rei dischiude il cielo . . .
La donna più non supplica,
Qui la colpevol sta .

STIFFELIO:
Lasciatemi . . . lasciatemi . . .

LINA:
Ministro, confessatemi . . .

Lina ask of the evangelic minister to confession. It was not love, she was deceived. But what happens, Stiffelio jumps up for revenge, not forgiveness. And then her father comes out, with bloody arm. Raffaele is dead. Killed.

Jorg reminds of the church is waiting.



Track 14: Stiffelio : "Ah, sì, voliamo al tempio" (02:17)
STIFFELIO:
Ah sì, voliamo al tempio,
Fuggiam le inique porte,
Delitto solo e morte
Qui l'uomo vi stampò.
Ai seduttori esempio
Rimanga questo tetto . . .
Iddio l'ha maledetto,
D'infamia il fulminò.

LINA:
A dunque non v'ha in terra
Conforto al mio dolore! . . .
D'involontario errore
Perdono non avrò!
Clemente Iddio disserra
Di tua piet il tesoro,
Col palpito t'imploro
D'un cor che non peccò!


ACT 3

Track 15: Stiffelio : "Non punirmi, Signor" (04:48)
CORO, DOROTEA, FEDERICO:
Non punirmi, signor, nel tuo furore,
O come nebbia al sol dileguerò!
Miserere di me, piet, Signore,
Miserere, e tue glorie canterò.

STANKAR:
Se punii chi m'ha tradito
Nell'onor ch' tuo dono,
Come a Davide pentito,
Dio, concedimi il perdono.

LINA:
Confido in Te,
Signor, pieta
Non nieghi a me
La tua bonta

The organ plays, The congregation sings a miserere. Stankar is asking for forgiveness is his limited way. Lina is confiding in God's eternal mercy.



Track 16: Stiffelio : "Stiffelio!" "Eccomi" (03:37)
Stiffelio confused, doesn't recognize his wife. And the he starts reading the BIBLE, it is the famous meeting of Jesus and the adulterous woman.
STIFFELIO:
"Allor Gesù rivolto
Al popolo assembrato
Mostrò l'adultera
Ch'era a suoi piedi e così disse:

LINA:
(Oh, ciel!)


STIFFELIO:
'Quegli di voi che non peccò
La prima pietra scagli.'

JORG:
Che parli?

LINA:
(E non finisce?)

STIFFELIO:
E la donna, la donna
Perdonata s'alzò."


LINA:
Gran Dio!

JORG:
Che fai, Stiffelio?

STIFFELIO:
"Perdonata, perdonata."

Iddio lo pronunziò.


CORO:(Tutti ripetono)
"Perdonata! Perdonata!" Iddio lo pronunziò.



LINA:
Gran Dio!

In Zurich, the congregation was reenacting this scene, they were ready to "stone" Lina. But then stopped by the word, the one who has not sinned can throw the first stone. And then a quiet, and Jose Cura reads on, "And the woman stood up forgiven".
GOD HAS SPOKEN

AT LAST FORGIVENESS.


Can there be a greater opera with a more human message than this!!!!!!!!!!!!!!!!!!!!!!!!1


BRAVI TUTTI!

Thank you Giuseppe Verdi and the librettist PIAVE.

OD Travel + Photos