Thanks to Intermezzo for providing links to the 'lost' pages on the ROH website that provide news of future productions and when booking starts. This has given Bear an insight into possible exciting productions in the future.
The Spring season includes Dido and Aeneas and Acis and Galatea both with dance accompaniment... After seeing on DVD Ramaeau's 'Les Indes Galantes' recently, dance and opera together feels like a natural pairing and I wish there was more of it. 'Dido and Aeneas' includes the great mezzo Sarah Connelly and my personal favourite at the moment the counter-tenor Iestyn Davies. Meanwhile 'Acis and Galatea' include the sparkling Danielle Di Niese and Paul Agnew (French haute countre). Netrebko reprises her Juliet in Bellini's 'I Capuleti e i Montecchi' but unfortunately without Joyce DiDonato - instead we get Elina Garanca.... a great replacement I am sure but it will not draw me..... there is something about Garanca's tone that really does not set me a fire.... I am sure it will be great but just not for me.
The summer season looks interesting with the challenging 'Lulu' by Berg.... probably worth it for Jennifer Lamore playing Countess Geshwitz and Philip Langridge being part of the production. A 'Traviata' with Renee Fleming and Thomas Hampson seems a solid production and 'the Barber of Seville' looks like being a hot ticket with J-Flo, Simon Keenlyside and Joyce DiDonato. The 'Tosca' looks intriguing with Bryn Terfel as Scarpia along with Debra Voigt as Tosca and Marcello Giordini as Cavadossi.
All in all quite a good year.. the Dido and Aeneas and Acis and Galatea look the most interesting to me and if I feel brave enough I am sure to take in the Lulu (and prepare for aching trauma).
Showing posts with label Covent Garden. Show all posts
Showing posts with label Covent Garden. Show all posts
Tuesday, 4 November 2008
Saturday, 1 November 2008
Bear At The Opera: Matilde di Shabran
The cast of Matilde Di Shabran
Well Bear managed to get one of those hot, hot tickets for Covent Garden's production of Matilde di Shabran with the hottest of tenors today Juan Diego Flórez.
This production has been getting rave reviews but I just don't get it. I do not know Rossini operas at all.... but are they all pantomimes! I know, I know it is a comedy but the comedy is in thick, thick crayon. Don't get me wrong there are some great moments in the opera; some beautiful arias, duets and choruses but it was not for me. It appeared as if everyone of the performers was hamming it up.... excluding Vesselina Kasarova playing Edoardo ... she appeared in the more serious parts of the opera and there really was not anything to 'ham up'. Sure it provided lots of entertainment and was funny (in a preposterous way I thought) but panto!
And that overture - eurgh! I thought when was this ridiculous piece of music going to end. It was like a day out to your local bandstand with some strings thrown in. I heard mutterings about the overture during the interval and was glad that others thought that this should have been cut. It almost made me think twice about getting tickets for the Barber of Seville in the summer season....
Thankfully the rest of the opera did not reach quite that low again.
Essentially this is the story of a blood-thirsty lord, Corradino, violent and vengeful who is changed into a love-sick and forgiving man by the feminine wiles of Matilde. Throw in a sub-plot of the imprisoned Edoardo who escapes his chains and a scheming Contessa determined to undermine Matilde and win the love of Corradino and you get this inconsequential but fairly entertaining opera.
Marco Vinco as Aliprando the doctor gave a solid performance. Alfonso Antoniozzi's Isidoro, the wandering poet/minstrel, was marvellously comic and what was a loss vocally was more than made up for by the witty and charming acting particularly at the start of Act 2 where he fabricates a story of how he alone won the battle... gradually building up the amount of foe he had killed in much the same way as a Shakespearean Falstaff. Of course we had all come here for J-Flo (Juan Diego Florez's nickname, courtesy of OperaNow podcast), playing Corradino.... personally I disliked his performance... too much flopping around being enraged or lovesick or grief-stricken or smitten... the emotions were just writ large. (Maybe I am being harsh as this is Rossini - this is a comedy). Saying that I was impressed by the aria towards the end which was achingly beautiful.
Vesselina Kasarova's Edoardo brought the only serious twist to the story but these moments only served as being strangely dark interludes between the pantomime. I felt she was holding back a little on the first aria but this soon changed in Act 2 with a keening aria after he escapes... in fact it was the only time I was touched by anything in this opera. But this was sadly marred by an odd trombone solo in the middle. Ugly, ugly, ugly. It is an odd role in this opera and this role seemed strangely detached from the rest of the piece. I imagine it is there to contradict the almost slap-stick of the rest of the opera but for me it did not work and I got the impression that maybe even Kasarova thought so as well.
Alfonso Antoniozzi, Aleksandra Kursak, Juan Diego Florez, Vesselina Kasarova,Marco Vinco
The night I think went to Aleksandra Kurzak's Mathilde with a great portrayal of a woman determined to woo Corradino through her womanly wiles. I would have preferred a more Les Liaisons Dangereuses style but it was well played. Whilst Kurzak started off a little shrill she definitely settled down and indeed surpassed J-Flo's performance. Starry.... When Matilde returns from the dead to sing 'Do you love at last?' we are given the performance of the night. Singing 'the proud trumpet falls silent' her voice truly sounds like a trilling trumpet. If you had come to here the mercurial Juan Diego Florez you would have been sure to have left with the sweet tones of Kurzak ringing in your ears.
Aleksandra Kursak
Juan Diego Florez
Juan Diego Florez, Vesselina Kasarova,Marco Vinco, Enkelejda Shkosa
Here is a little taster of Vesselina Kasarova performance.
Matilde de Shabran at Covent Garden - 31st Oct 2008
Aliprando Marco Vinco
Isidoro Alfonso Antoniozzi
Corradino Juan Diego Florez
Edoardo Vesselina Kasarova
Matilde di Shabran Aleksandra Kursak
Contessa d'Arco Enkelejda Shkosa
Conductor Carlo Rizzi
Director Mario Martone
Note: Having acquired the ticket in the Amphitheatre whilst waiting in the returns queue.... definitely lots of horse-trading going on.... I thought I was getting a great seat. Sure the sound and the view of the stage was magnificent but ROH do pack you in. I was uncomfortable throughout.... so if you do get tickets for the Amphitheatre go with some close friends so you can 'huggle' up together. Oh and a word of advice from some fellow opera-goers.... be prepared for bad sound quality in the Amphitheatre if you are beyond the arch way... which is probably the 6th to 8th row back. The archway deadens the sound apparently.... maybe something else ROH should look at to improve the place along with getting rid of those irritating pub lighting sconces.
Saturday, 18 October 2008
Bear At The Opera: La Calisto
Curtain Call - (l to r) - Giove (Umberto Chiummo), Calisto (Sally Matthews), Diana (Monica Bacelli), Giunone (Veronique Gens), Linfea (Guy de Mey)
This is a first outing for Francesco Cavalli at Covent Garden, and what an evening. This production first aired in Munich a year or so ago and hopefully will see a resurgence of interest in Cavalli. David Alden's direction certainly emboldens the spirit and brings out the more bawdy aspects - a very different interpretation than Raymond Leppard's back in 1971.
I heard this synopsis by Sally Matthews who plays Calisto on Tom Service's programme for Radio 3 - Music Matters - it was so succinct I just had to transcribe it.
I am a very chaste nymph. I'm one of Diana's followers and I am desperately in love with her. Giove comes down and takes advantage of me; dressed up as Diana, seduces me, gets me pregnant. I spend the rest of the opera pining for Diana because she spurns me because of course she never slept with me in the first place; it was Giove in disguise. The Giunone, Giove's wife, spurns me; turns me into a bear.
This has been promoted as a sexual comedy, not for sensationalism but because that is what it is - what with Gods and Goddesses messing with the lives of mortals - seducing, deceiving, and manipulating. It has all the hallmarks of a Shakespearean comedy - think 'A Midsummer's Night Dream' set to music and you would not be far off the mark. This was an immensely enjoyable, ribald and racy affair.
As befits a tale of Gods and mortals the set and costumes were particularly adventurous; fabulous beasts and outrageous decoration. The main set was a lurid striped affair which put me in mind of some 1930s Hollywood movie (you know the one - all singing and dancing, no plot and flocks of dancing, plumed women). There was even an Art Deco lift that brought the Gods down from the heavens. Unlike some other reviewers I loved the decadence of the set - after all this is theatre.
Now to the performances. Sally Matthews' Calisto was amazingly tragic as the seduced, and spurned nymph. Her real-life pregnancy did not effect her performance in any way (frankly I did not notice) and if anything it was more poignant. Umberto Chiummo's Giove was wonderfully treacherous - especially the seduction scene where he disguises himself as Diana (Chiummo mimes the vocal lines whilst the warm-toned Monica Bacelli sings the role in the orchestra pit). His disguise is later discovered and Giove is forced to sing a falsetto to great comic effect - a marvellous touch by the director David Alden.
As befits a tale of Gods and mortals the set and costumes were particularly adventurous; fabulous beasts and outrageous decoration. The main set was a lurid striped affair which put me in mind of some 1930s Hollywood movie (you know the one - all singing and dancing, no plot and flocks of dancing, plumed women). There was even an Art Deco lift that brought the Gods down from the heavens. Unlike some other reviewers I loved the decadence of the set - after all this is theatre.
Now to the performances. Sally Matthews' Calisto was amazingly tragic as the seduced, and spurned nymph. Her real-life pregnancy did not effect her performance in any way (frankly I did not notice) and if anything it was more poignant. Umberto Chiummo's Giove was wonderfully treacherous - especially the seduction scene where he disguises himself as Diana (Chiummo mimes the vocal lines whilst the warm-toned Monica Bacelli sings the role in the orchestra pit). His disguise is later discovered and Giove is forced to sing a falsetto to great comic effect - a marvellous touch by the director David Alden.
Sally Matthews
Umberto Chiummo, Sally Matthews, Monica Bacelli
The highlight vocally was Lawrence Zazzo's Endiomone - another mortal whose live is torn apart by a Godess - this time by Monica Bacelli's richly voiced Diane. Tragic and beautiful. A great pairing.
Lawrence Zazzo
Dominique Vissi's raunchy goat Satirno and Guy de Mey's nymphomaniac follower of Diana, Linfea brought the majority of the comedic moments and the most lewd and ribald..... great entertainment.
Dominique Visse
This was a wonderfully spectacular night. Alden's direction was inventive and spirited and I certainly enjoyed every single minute. Chatting to a few people in the interval, everyone seemed to be enjoying the production.... sadly, the ROH was not sold out (even for a first night). More fool those who missed an amazing theatre experience. I hope that this does not stop Covent Garden from showing other operas by Cavalli; according to Ivor Bolton, the conductor, and David Alden there are about 10 other Cavalli operas worthy of attention. Maybe I am in the minority but I would love some more!
Hear this production of La Calisto on BBC Radio 3 on Saturday 25th October.
Hear this production of La Calisto on BBC Radio 3 on Saturday 25th October.
Umberto Chiummo
Conductor (Ivor Bolton)
La Calisto - Royal Opera House, London - 23rd September 2008
Calisto Sally Matthews
Satinino Dominique Visse
Eternity/ Giunone Veronique Gens
Destiny / Diana Monica Bacelli
Giove Umberto Chiummo
Linfea Guy de Mey
Endimione Lawrence Zazzo
Director David Alden
Conductor Ivor Bolton
Calisto Sally Matthews
Satinino Dominique Visse
Eternity/ Giunone Veronique Gens
Destiny / Diana Monica Bacelli
Giove Umberto Chiummo
Linfea Guy de Mey
Endimione Lawrence Zazzo
Director David Alden
Conductor Ivor Bolton
Monday, 6 October 2008
Bear At The Opera: Joyce DiDonato In Conversation
I was lucky enough to attend one of the special events that Covent Garden have put on to compliment their season of opera. Having just seen Joyce DiDonato as Donna Elvira in Don Giovanni (see previous post) I was looking forward to hearing what this great mezzo-soprano had to say about her role and her career. For the last four months or so I have been following her career via her upbeat blog (http://yankeediva.blogspot.com); hearing about the challenging roles like Romeo in Bellini's Il Capuleti and her preparation for Don Giovanni......
Joyce DiDonato talked about singing techniques, American optimism and Frederica Von Stade amongst other things. I was struck by her humility in the light of such great success; she seems still like 'the girl next door'.... She touched on the role of Donna Elvira and her preparation. The role is normally sung by a soprano but Ms. DiDonato having scrutinized the score found that her voice could handle the range; especially when she found a transposed version of the last aria that Mozart himself had written. The transposition was only by half a step but this made all the difference and allowed her to sing the role comfortably. Indeed she noted that in the trios with Donna Anna and Zerlina or Donna Anna and Don Octavio a third voice of a different quality appeared to add extra colour. She had nothing but praise for the Maestro Sir Charles Mackerras who she thought was 'sunshine'; giving her the structure that she needed to prepare with limited rehearsal time and the flexibility to allow for some changes.
Asked about whether she thought there was a particular mid-western American style of singing (that is where she was brought up) she quickly diverted to expressing that there was an American optimism which often or not is coupled with an arrogance... her train of thought was sliding to the political which she tried to steer away from but not before vaguely bemoaning the intolerance of the Bible belt... I almost wish she had started to talk politics; she obviously had some strong views.
Joyce DiDonato just oozes humility and has none of the American arrogance she mentioned; she dislikes to hear her performances and visiably whinces through the extracts played from her numerous recordings. No wonder her favourite artist is Frederica Von Stade citing her generosity in performing; how Von Stade's work was all 'about giving'. Seeing her in Don Giovanni and during this talk you can tell that DiDonato shares this generosity of spirit.
This humility is highlighted when she talks about here training at Houston's young artist programme; she was brought down a peg or two by her singing teacher Steve Smith who said that if she kept singing like that she would have a very short career; she was was singing 'on youth and muscle'. She described how she spent a year or so 'learning how to sing'.
She still keeps her ties to Houston Grand Opera and will be back there later this month for a role debut in Béatrice and Bénédict. She has kept her ties with her singing teacher Steve Smith - expounding the virtues of technology by solving a tired voice over Skype with him (she is after all the blogger Yankee Diva).
On asked about her eclectic tastes of repertoire - take her Spanish repertoire or some of the obscure elements of her most recent Wigmore Hall appearance she acknowledges her curiosity. The Pasion recording with the pianist Julius Drake came about purely by chance whilst visiting Drake and perusing his record collection; they arranged the recording there and then.
The evening was finished off by a look at her performance in Handel's Hercules - 'Where shall I fly' - a little taster of her upcoming recording Furore, a collection of furious pieces indeed. Out in November in Europe and a definite buy I think.
Joyce DiDonato will be back in London come the spring as Rosina in the Barber of Seville with not so much angst and a whole lot of fun.
Joyce DiDonato talked about singing techniques, American optimism and Frederica Von Stade amongst other things. I was struck by her humility in the light of such great success; she seems still like 'the girl next door'.... She touched on the role of Donna Elvira and her preparation. The role is normally sung by a soprano but Ms. DiDonato having scrutinized the score found that her voice could handle the range; especially when she found a transposed version of the last aria that Mozart himself had written. The transposition was only by half a step but this made all the difference and allowed her to sing the role comfortably. Indeed she noted that in the trios with Donna Anna and Zerlina or Donna Anna and Don Octavio a third voice of a different quality appeared to add extra colour. She had nothing but praise for the Maestro Sir Charles Mackerras who she thought was 'sunshine'; giving her the structure that she needed to prepare with limited rehearsal time and the flexibility to allow for some changes.
Asked about whether she thought there was a particular mid-western American style of singing (that is where she was brought up) she quickly diverted to expressing that there was an American optimism which often or not is coupled with an arrogance... her train of thought was sliding to the political which she tried to steer away from but not before vaguely bemoaning the intolerance of the Bible belt... I almost wish she had started to talk politics; she obviously had some strong views.
Joyce DiDonato just oozes humility and has none of the American arrogance she mentioned; she dislikes to hear her performances and visiably whinces through the extracts played from her numerous recordings. No wonder her favourite artist is Frederica Von Stade citing her generosity in performing; how Von Stade's work was all 'about giving'. Seeing her in Don Giovanni and during this talk you can tell that DiDonato shares this generosity of spirit.
This humility is highlighted when she talks about here training at Houston's young artist programme; she was brought down a peg or two by her singing teacher Steve Smith who said that if she kept singing like that she would have a very short career; she was was singing 'on youth and muscle'. She described how she spent a year or so 'learning how to sing'.
She still keeps her ties to Houston Grand Opera and will be back there later this month for a role debut in Béatrice and Bénédict. She has kept her ties with her singing teacher Steve Smith - expounding the virtues of technology by solving a tired voice over Skype with him (she is after all the blogger Yankee Diva).
On asked about her eclectic tastes of repertoire - take her Spanish repertoire or some of the obscure elements of her most recent Wigmore Hall appearance she acknowledges her curiosity. The Pasion recording with the pianist Julius Drake came about purely by chance whilst visiting Drake and perusing his record collection; they arranged the recording there and then.
The evening was finished off by a look at her performance in Handel's Hercules - 'Where shall I fly' - a little taster of her upcoming recording Furore, a collection of furious pieces indeed. Out in November in Europe and a definite buy I think.
Joyce DiDonato will be back in London come the spring as Rosina in the Barber of Seville with not so much angst and a whole lot of fun.
Thursday, 2 October 2008
Bear At The Opera: Don Giovanni
Simon Keenlyside cut-off, Kyle Ketelsen and Joyce DiDonato
Joyce DiDonato as Donna Elvira
This is bears first Don Giovanni but definitely not for the Royal Opera House; this is the revival of the Francesca Zambello production from 2002 (definitely the same set). I had seen some reviews that suggest that this is a tired production with the old set and such but having not seen these I can come at it completely fresh. The set did seem to work - this semi-circle of wall that turned to display different scenes acted as a climbing frame for the athletic Simon Keenlyside, aterrace for Donna Elvira to opine on and a suitable spot for onstage musicians; it certainly led to a dynamic production.
I attended the fourth performance and found that the production had bedded down a little after all the furore of the first night. I was unlucky not to hear Ramon Vargas (due to illness) but Robert Murray from the second cast stepped in to play a very passable Don Ottavio; he sang very sweetly if a little strained at the top. According to my chatty neighbour, who had seen the second performance in the run, Robert Murray could act well and indeed preferred Murray over Vargas.... gracious terms indeed.
Robert Murray as Don Ottavio
Marina Poplavskaya as Donna Anna
Marina Poplavskaya was a suitably wronged Donna Anna but none of her arias stood out to me unfortunately (I just found her Desdemona from Otello on You tube which seemed infinitely better). The young Robert Gleadow proved to be an impressive Masetto; certainly worthwhile to keep an eye on his future performances. Apparently, again according to my chatty neighbour Miah Persson played Zerlina completely differently to her second performance and much improved; as if there was some complete re-think in how to play her. What I saw was a performance with verve and guts. I was impressed especially in the scenes with her bridegroom Masetto - I certainly raised my eyebrows with the forceful renditions of 'Batti, batti, o bel Masetto' (Hit me, hit me, my dear Masetto) ; I even went home to find the libretto to confirm the words..... this is strong stuff and I would have thought that a docile playing of the role would make this scene particularly hard to stomach. I was certainly glad that Persson changed her performance to sound provocative, gutsy and ultimately flirtatious.
Simon Keenlyside's Don Giovanni was impressively physical and gave a solid performance. This role must be like an old pair of shoes for him; he can slip them on and easily wow the ladies! Well that is if it wasn't for that wretched wig - some Michael Bolton hairdo or something out of that dire time of American soft rock- whoever created that wig should have been taken out and publicly shot (you can tell I did not like it). And poor old Kyle Ketelsen playing Laporello had to play his very amusing role in a Baldrick look-a-like wig.... Apart from having to grimace every time I clapped eyes on this duo the wigs could not detract from the enjoyment of watching them milking the more comedic moments. Great fun!
I attended the fourth performance and found that the production had bedded down a little after all the furore of the first night. I was unlucky not to hear Ramon Vargas (due to illness) but Robert Murray from the second cast stepped in to play a very passable Don Ottavio; he sang very sweetly if a little strained at the top. According to my chatty neighbour, who had seen the second performance in the run, Robert Murray could act well and indeed preferred Murray over Vargas.... gracious terms indeed.
Robert Murray as Don Ottavio
Marina Poplavskaya as Donna Anna
Marina Poplavskaya was a suitably wronged Donna Anna but none of her arias stood out to me unfortunately (I just found her Desdemona from Otello on You tube which seemed infinitely better). The young Robert Gleadow proved to be an impressive Masetto; certainly worthwhile to keep an eye on his future performances. Apparently, again according to my chatty neighbour Miah Persson played Zerlina completely differently to her second performance and much improved; as if there was some complete re-think in how to play her. What I saw was a performance with verve and guts. I was impressed especially in the scenes with her bridegroom Masetto - I certainly raised my eyebrows with the forceful renditions of 'Batti, batti, o bel Masetto' (Hit me, hit me, my dear Masetto) ; I even went home to find the libretto to confirm the words..... this is strong stuff and I would have thought that a docile playing of the role would make this scene particularly hard to stomach. I was certainly glad that Persson changed her performance to sound provocative, gutsy and ultimately flirtatious.
Simon Keenlyside's Don Giovanni was impressively physical and gave a solid performance. This role must be like an old pair of shoes for him; he can slip them on and easily wow the ladies! Well that is if it wasn't for that wretched wig - some Michael Bolton hairdo or something out of that dire time of American soft rock- whoever created that wig should have been taken out and publicly shot (you can tell I did not like it). And poor old Kyle Ketelsen playing Laporello had to play his very amusing role in a Baldrick look-a-like wig.... Apart from having to grimace every time I clapped eyes on this duo the wigs could not detract from the enjoyment of watching them milking the more comedic moments. Great fun!
Joyce DiDonato as Donna Elvira
Praise has to given to Joyce DiDonato's Donna Elvira who convincingly slowly unravels; at one point vengeful and protective, later conflicted and confused. Her last aria 'Mi tradi quell'almaingrata' (that ungrateful soul betrayed me) shows just how torn between his betrayal and her love for him she is. This for me stood out as the highlight aria... the truly heart-wrenching moment.
All in all an enjoyable night. Well, who couldn't enjoy a night where a huge fiery hand comes swinging from the the rafters to finally polish off Don Giovanni ... (well I laughed really). A great, if somewhat preposterous ending to the production.
Don Giovanni - Royal Opera House, Monday 15th September
Synopsis
Cast
Leporello Kyle Ketelsen
Donna Anna Marina Poplavskaya
Don Giovanni Simon Keenlyside
Commendatore Eric Halfvarson
Don Ottavio Robert Murray
Donna Elvira Joyce DiDonato
Zerlina Miah Persson
Masetto Robert Gleadow
Director Francesca Zambello
Conductor Charles Mackerras
Notes on standing, restricted view at the Royal Opera House
As an aside, Bear saw this production from the cheap-skate, standing places in the balcony. Sometimes if the seats are not all occupied you can sneak out and get better seats after the lights go out. Unfortunately this was a sell-out performance (even on a Monday night). The view was very restricted; hence the poor photos I managed to take at curtain call. And curses on those light sconces which blocked my meagre view. I might try my luck in the left balcony next time.
All in all an enjoyable night. Well, who couldn't enjoy a night where a huge fiery hand comes swinging from the the rafters to finally polish off Don Giovanni ... (well I laughed really). A great, if somewhat preposterous ending to the production.
Don Giovanni - Royal Opera House, Monday 15th September
Synopsis
Cast
Leporello Kyle Ketelsen
Donna Anna Marina Poplavskaya
Don Giovanni Simon Keenlyside
Commendatore Eric Halfvarson
Don Ottavio Robert Murray
Donna Elvira Joyce DiDonato
Zerlina Miah Persson
Masetto Robert Gleadow
Director Francesca Zambello
Conductor Charles Mackerras
Notes on standing, restricted view at the Royal Opera House
As an aside, Bear saw this production from the cheap-skate, standing places in the balcony. Sometimes if the seats are not all occupied you can sneak out and get better seats after the lights go out. Unfortunately this was a sell-out performance (even on a Monday night). The view was very restricted; hence the poor photos I managed to take at curtain call. And curses on those light sconces which blocked my meagre view. I might try my luck in the left balcony next time.
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