General Opera News

[Wanderer]

this is not an operatic masterpiece, but a very enjoyable opera with beautiful and tuneful music.

This sums it up really nice. The music is somewhat low-key but very enjoyable and colourful. The DVD is very good - the orchestral playing and Goerne in particular - and the staging, whereas it starts a little weird (science fiction à la Twelve Monkeys' style), is rather enjoyable, too.

The Chailly Tosca is a success due to three things: Chailly and his Concertgebouw, Terfel (and his cat) and Lehnhoff. The end of act I is chilling. The staging is very evocative, ominous and beautiful. One doesn't get sidetracked by the settings, a very important fact considering the action is taking place in specific Roman locales. Malfitano is no Callas (who is) but still a compelling presence (more theatrically than vocally).

Comments on the Copenhagen Ring would be most welcome, Brünnhilde!

[Wendell_E]

45$ ? This is a real bargain. I've paid for this Ring 110$... 

Actually Lis wrote "$45. off the regular price!".  It's $74.97, instead of the list price of $119.98.  Still, not a bad price for a DVD Ring.

[T-C]

Actually Lis wrote "$45. off the regular price!".  It's $74.97, instead of the list price of $119.98.  Still, not a bad price for a DVD Ring.

Sorry. One should read more carefully, and not just the figures... 

Yes, $75 is definitely a reasonable price for a complete Ring.

For the Keilberth Ring that was recorded in 1955 you will have to pay $207...

[Wendell_E]

For the Keilberth Ring that was recorded in 1955 you will have to pay $207...

And you only get the sound, no picture.   

For anyone who's interested in a more traditional procduction, I see that amazon.com also has the Met DVD cycle for the same price.

[Brünnhilde forever]

Goerne in particular -

Goerne was the drawing card for my decision to order Tiefland. This absolutely outstanding baritone voice came to my attention in the Hans Werner Henze opera L'Upupa; he practically carries the entire performance.

The Chailly Tosca is a success due to three things: Chailly and his Concertgebouw, Terfel (and his cat) and Lehnhoff. Comments on the Copenhagen Ring would be most welcome, Brünnhilde!

The Tosca overcomes my distaste for anything Puccini because Nikolaus Lehnhoff is the director! He better was his usual brilliant innovator, or the DVD will go to the amazon Marketplace! 

[T-C]

And another new opera DVD this month with a Nikolaus Lehnhoff production:

Wagner : Tannhauser from Baden-Baden 2008.
The conductor is Philippe Jordan.
The Singers are: Robert Gambill, Camilla Nylund, Waltraud Meier, Roman Trekel, Stephen Milling, Marcel Reijans, Tom Fox.

[Brünnhilde forever]

And the winners is :

Placido Domingo!

http://news.yahoo.com/s/ap/20090220/ap_on_en_mu/eu_sweden_birgit_nilsson_prize

[knight66]

Does this become personal money; or is the winner supposed to use it for arts development? If the former, then it seems very odd. Surely he hardly needs the dosh. A lifetime award with prestige rather than more money for the wealthy seems more appropriate.

Mike

[Brünnhilde forever]

Mike, I think, as with most of those awards monies, it is of course in recognition of the accomplishments, but the lady surely knew Domingo well enough that he would use it for further advancing the state of the arts, mainly opera.

There was this millionaire, whose name I forgot - Pillar? - who had promised millions to the NY Met and I think SF opera and it turned out he didn't have the money. Domingo took over most of the obligations, using his millions.

[knight66]

Well, it still seems to me that it would be better to stipulate the use in some even vague way. Next year it might be someone who hi-tails it with the lot.

Mike

[jhar26]

There was this millionaire, whose name I forgot - Pillar? - who had promised millions to the NY Met and I think SF opera and it turned out he didn't have the money.

Alberto Vilar

[Anne]

Cura follows Alagna in both `Cav' and `Pag' at Met
By RONALD BLUM, AP
posted: 12 HOURS 43 MINUTES AGO
Comments: YORK - Double duty in Leoncavallo's "Cavalleria Rusticana" and Mascagni's "Pagliacci" has become common at the Metropolitan Opera.

Before this year, the only tenors to sing both "Cav" and "Pag" leads at the same Met performance were Kurt Baum, Placido Domingo, Frederick Jagel, Salvatore Licitra, Ermanno Mauro and Thomas Salignac. Now both Roberto Alagna and Jose Cura have performed the verismo doubleheader in the very same month.

Cura, as heard on Monday night, was far more effective in both roles than Alagna had been at the March 19 opening of the revival, adding sizzle along with heft of voice to a pair of roles that need both.

Alagna, who made his role debut as Turiddu in this run, is more lyric tenor than spinto and his voice strained when full-out singing was required in both roles. That he did well, if not spectacularly, is a testament more to his training and ability than to the size of his voice. But he lacked true squillo, the necessary ringing sound on sustained high notes.

Cura is not ideal but is far closer, with a baritonial timbre but a big bright side. He combined for thrilling duets with mezzo-soprano Ildiko Komlosi (Santuzza) in "Cavalleria" and soprano Nuccia Focile (Nedda) in "Pagliacci." His "Vesti la giubba" was more penetrating than Alagna's, although conductor Pietro Rizzo sped up the tempi near the end, clashing with the drama.

Komlosi took over from Waltraud Meier and sang with sharper mezzo determination, but she lacked Meier's acting ability and flowing passion. Baritone Alberto Mastromarino (Alfio), mezzo Jane Bunnell (Mamma Lucia) and mezzo Ginger Costa-Jackson (Lola) were effective constants.

The moonfaced Focile also repeated her impassioned, sweet-voiced account of Nedda and was joined by dashing baritone Vasili Ladyuk, who took over from Christopher Maltman as Silvio. Mastromarino (Tonio) and Tony Stevenson (Beppe) also repeated.

Rizzo, making his Met debut in this run, had another shaky night in the pit, conducting what sounded more like segments than flowing arcs.

Franco Zeffirelli's 1970 production generally holds up well, but the backdrop for "Cavalleria" looks warped in spots to the point where the Met should refurbish it.
—

[Lilas Pastia]

Thanks for the article, Anne. I suspect Alagna should leave Canio aside, but on the face of it, Turiddu should have suited him to a T. Maybe he prepared too much for Canio (the obvious challenge) and neglected T, which would be a natural for him - although not at the Met, maybe: the Italians knew better when they designed their theatres. Unless I'm mistaken, all the traditional italian venues have been left intact in terms of space and size. After all, operas were  written for 19th century singers and theatres, not 20-21 C masses.     

Cura is a singer I'd like to hear (and see) in those roles. He has the bulk, the chops, the voice size, chest hair and animal excitement - natural ingredients that cannot be imitated.

[Anne]

You're welcome!

[Brünnhilde forever]

Exciting news in this month's issue of Opera (London): Last December Zürich Opera presented a brand new Tristan und Isolde I can't wait to see - on DVD of course -which has been rated by the magazine's reviewer Horst Koegler as the best Wagner he has seen for many a season. Klaus Guth is the director and he eliminated the ship, Cornwall and Kareol and sets the opera in Wesendonck's Villa. Now why hasn't anybody thought of placing Tristan und Isolde in this locale before? It's the perfect setting. There is Richard Wagner (Tristan) and Mathilde Wesendonck (Isolde) with Otto Wesendonck as König Marke, perfect!

Zürich usually is very good at producing the DVD of their performances, maybe I won't have to wait too long to see this one. 

[T-C]

And at the Komische Oper Berlin, started this week a new production of Gluck's Armida.

Here are a few pictures.

Lis, can you identify the stage director name?

Hint: he is one of yours favorites... 

[Brünnhilde forever]

If it's Die Komische Oper it's conducted by Barenboim and, as great a conductor he is, his 'sense of humour' borders on risque, which points to the director Señor Calixto Bioito!

No? Wrong answer? I got it: Otto Schenk on leave from the NY Met! 

[The new erato]

Looks like Gluck is out of luck.

[T-C]

If it's Die Komische Oper it's conducted by Barenboim and, as great a conductor he is, his 'sense of humour' borders on risque, which points to the director Señor Calixto Bioito!

Actually, the conductor is Konrad Junghänel (Barenboim works with the Staatsoper Unter den Linden).

But you are definitely right about the director: Calixto Bieito.


Barenboim is now conducting a new production of Lohengrin at the Staatsoper where director Stefan Herheim treats the protagonists as puppets on a string...

[Anne]

News from the Met

http://www.popeater.com/article/brewer-withdraws-from-ring-villazon/400801?icid=sphere_newsaol_inpage_popeater