On TV : Classica in Italy live (from 17,30 CET time) and for the rest of Europe Arte with a small delay (from 20,45 CET time) On Arte you can also see a video Interview with Emma Dante and read interviews with JK and Erwin Schrott HERE
On Radio: on Rai3 you can stream it live by clicking here (Real Player needed) Though from experience they don't have the best of streams or recordings... Good alternative:
BR Klassik which you can listen to by clicking here or opening this shortcut link from your Windows media player. (According to their program information they will air an interview with Jonas Kaufmann in the 1st interval)
Corriere della sera article with interview with Anita R and JK Two articles from Il Giornale : one on Jonas and the other on Anita and the anteprima La Stampa on the anteprima, funny and interesting article, in spite of the ironic tone i couldn't agree more with the author on the importance of attracting fresh audience to the opera :-)
So before the hall fills up with people let's all wish them In boca al lupo!!!
Thanks to camilla0690 for the video :-) Messa da Requiem Verdi. Teatro alla Scala 18 novembre 2009J.Kaufmann, Dir. D.BarenboimGiuseppe Verdi Messa da Requiem Orchestra and Chorus of the Teatro alla Scala Conductor..............Daniel Barenboim November 20th 2009
Barbara Frittoli, Soprano Sonia Ganassi, Mezzo-Soprano Jonas Kaufmann, Tenor René Pape, Bass
This post has been almost ready for a few days, but I couldn’t resist to dip my finger into the Carmen the other day, so now I am catching up :-)…..
………
So there was this requiem I left you all thinking about :-) And yes, been there done that.. just not as I was planning to or hoping to…
Trip from Alto Adige on two trains, buses and taxis went fairly well, if we ignore Friday double dose of passengers, most of them blasting tunes from their ipods, generously sharing the charts from their …um… headphones. I could have maybe dozed off through that… if it hadn’t been for the constant ringing mobiles! And of course because the ipods were on max volume so were their phones.. otherwise how can one be expected to hear them?? So bum bum bum went the iphones, rrriiiiiiing riiiiing the phones… pronto pronto, blabla bum bum… more riiiing riiing… well, you get the picture. So much for disconnecting from the work week and winding down for some serious music. But then again nobody said there ever was anything divine about travelling ;-)
Taxied from station, washed, fed, dolled up I was ready to celebrate stepping on “sacred” Scala grounds :-) I even got tempted into being unusually stylish and wearing heals…. I should have known that greeting a requiem with an ear to ear smile and unusually high spirits is not the right way to go about it! Proudly showing off my ground floor loge ticket to the ushers I get pointed down a corridor and I walk and walk and finally see the last door and open it… Luckily the heels prevented me from falling on my tush… I turned on said heels and marched back to the ushers with a very convinced: there must be a mistake! But he looked at my ticket and said no no, that is it! I needed more than just a breath of air to make myself march back to that… cave!! I am a bad photographer, but i needed the pics to convince myself that this was not twilight zone I had stepped in. Yes what you see is what I saw sitting down… in the loge BEHIND the orchestra, shaking hands and handing the percussionist his sticks. Second row of course… hanging on to the edge of my chair. Um… stool I should say as it had NO backrest. Imagine a kind of a poncy boudoir chair in red satin, just high enough that when you sit on it you can’t quite reach the RED BRICK floor (no, no carpet), so you are precariously resting your weight on the tip of your healed shoes. Alternatively you can lean you back…side on the edge of the chair and fully step on your feet… but beware the chair may slip away.. Neither alternatives being very appealing, half way through I decided it was safest to stand.
The only clear sound was the percussion, because that reached above the heads of the two people sitting in front of me. The rest passed before the opening of the cave, not really entering it. Which meant that some of the music was difficultly audible… while almost inside the orchestra. As you can admire for yourselves looking into the Scala is quite breathtaking… looking at the backs of the singers is less so… and have them sing a coupe of meters in front of the orchestra towards the hall, therefore away from you is …well, weird to put it mildly. If you think my initial reaction was over the top... think 140 euro ticket…. I never for a millisecond thought about the price until that door opened, all I thought was wow, La Scala, this is kind of celebration, even if late, etc , pat on the shoulder to myself and all that. I’m afraid my respectful and composed mood and my attempt to feel the divine air went up in the flames of hell in a instant… I beat Superman himself in the speed i jumped from the bottomless pit where my heart sank to the pure red rage that exploded into my brain. I’m sure I discovered a new cause for self combustion… It is only basic education that clenched my teeth and kept my mouth shut.
I’ve probably watched too much Discovery channel in my life because figure this…. Instead of walking out of there, curiosity got the better of me and I decided to sit thought it, or stand when sitting became too complicated, and literally just see what this would turn out to be. Needless to say emotional connection was not going to happen, but I found it interesting enough to watch every movement made by the percussionist and his neighbours and watch Barenboim conduct the requiem for the hour and a half it lasted. Fascinated to have every note, every shade anticipated in front of your eyes and be able to make a uninterrupted connection between the conductors intention and the music that is then created by every instrument. And to see how few gestures are actually necessary to determine rhythm, intensity, etc. You’d be surprised how much of a team player Barenboim really is. Yes, a leader, but a caring kind of one, who definitely gives the message that this is a team game. Before coming on stage he gave every singer a big hug :-) (The things you see when practically on stage… ;-))) All the way through he smiled encouragingly to them and all the members of the orchestra and chorus individually. In a short break he even worried if they were comfortable and got the tenor to shove his podium aside a bit for the same tenor to have more space. He’s got a kind of fatherly vibe off him, which I guess is very effective in achieving his vision of the piece conducted. I’ve read people say that his restrained conducting might be confusing. Absolutely not, if you’d see him from the other side, face to face, it is clear as if he would spell it out all the way. Of course... he actually sings along! I heard him loud and clear all throughout, louder than in some cases the singers themselves…
It was in a way refreshing to see how the people go about their business playing their instruments, continuously toning them to make sure every sound comes out just the right way, how every pair of eyes is glued to the conductor, how many different kinds of sticks one can use in percussion, etc :-) But seeing too much of the kitchen behind the music somehow takes the magic out of it and you see that it really is work. Fine-tuned, high level and wonderfully skilled kind of work, but work nonetheless. It really is a fine orchestra, no sound was amiss, nothing too much or too little, the percussionist is beyond excellent!! The chorus deserved all the applause and more, absolutely first class really! And it definitely became a pleasure to sit so close and watch how it is done with the certainty that it is the right way to do it. Total concentration from everyone, it was clear this was serious business after all. Barenboim clearly was the one having even more fun than everyone else. His face said just how much he likes the music, which made the sound even more predictable ;-) His face said soft even before the sound came, his brows said forte before the chorus erupted in sound.
Unfortunately, because i sat somehow outside the sound wave I was unable to appreciate all the dynamics, it sounded much quieter than it must have been in the hall itself. Whereas the quiet parts themselves were too close to me to be really quiet. As to the singers themselves, concentrated 100% and sung so close to perfection it was amazing. Barbara Frittoli clearly put all her heart in her singing and it is a pity that her voice suffers from a slight wobble, because the right intention was there all the time. Sonia Ganassi has a pleasant even voice, and she flowed through her registers smoothly and securely and again the gravity of the text came through in every word. I personally might prefer a deeper shade of voice, to create a greater contrast to the soprano, but the execution cannot be faulted in any way. I had never heard Pape before and the opportunity to hear him definitely added to my excitement about the requiem. Not the best first experience to sit behind him, still I was surprised by how relatively light the voice is and at the same time impressed by how melodic and elegant it flows. Endless breath and harmony make his voice so wonderfully pleasant to listen to. In the ensembles it shone even more almost than in the solos. On the few occasions his voice intertwined with Jonas’ I couldn't help but smile at how beautiful they sounded. The youtube video will give you an idea of how Jonas sang his Ingemisco, although it is from the 18th, not the 20th which is the one I saw. He did it even better on the 20th :-) I know I could go on and on and on about his piani, but it is not just the piani in itself, but the use of his amazing dynamic range at just the right time. This Ingemisco was different from the one I heard a year ago in Zurich (conducted by Gatti) and the plea in the Ingemisco was both more humble and more ardent. I know it is Latin and most of us in the audience will not understand every single word, however I had the feeling from all of them that they sang much more than the notes, that everyone truly engaged with the text, in the intention behind it. It felt polished and highly classy and elegant, a requiem thought through and amazingly executed in all details and with infinite refinement. It is definitely true that such complex interpretation, such shaded approach can only be done with an orchestra, a chorus, a conductor and singers who are all exceptionally good, and these all were.
It truly hit me in the Ingemisco and only got more evident with every note.. I didn’t regret being there , no, but I felt robbed. Like a child that you sit in front of the shop-window of a candy store, but who will not get any candy. I heard them all sing, but especially Pape, and extra-specially Jonas and my mind went… God, listen to this, just listen to how they sing, how so much more than good, listen to what they are able to do with their voices and how much they are putting of themselves in each word… And then being out of reach and only hearing some kind of leftovers of sound… it hurts, plain and simple. Or it could have been just my feet that were killing me (I would have gladly walked back barefoot to the hotel, had it not been too cold. So much for suffering for beauty, definitely not for me!)… or the thirst drying my throat! I wore a nice new blouse, short sleeved, but covered up with a jacket thinking that it is winter after all! Well not inside the Scala, more like hot as hell, ready to sit in your bikinis! So I leaned on the brick wall, parched throat and all, shooting green arrows of envy at a certain tenor’s back who sat on a nice, comfy plastic chair (with backrest!!), and who was calmly sipping from a glass of water every now and then….
Short sidetrack --> I’m sorry to say I am to this day still plagued by the green monster as I also realised later looking at the Carmen dates that the certain tenor would also get the chance to see the Domingo special gala where he will be singing, yes the Walkure act, with oh yes!! Nina Stemme herself! An the wonderful, amazing Stemme will also sing Isolde’s Tod I think (Barenboim also conducting). Since the certain tenor obviously has the night off on the day I can bet he will be there enjoy the treat…. So you see, more reasons for “green” thoughts…. (well, maybe because he was poorly for the anteprima I’ll control the green monster and wish him good health, in bocca al lupo for Monday and loads of fun on the Domingo gala on the 9th instead ;-)))
Back on track and back to the requiem -->
Of course I am reasonable and realise that a seat somewhere at the back of the hall on the 4,5 level will naturally have better acoustics…. However, I also think it is absolutely unacceptable in a concert such as this, that for seats like I had, there is no notice of the fact that orchestra arrangement will place you behind the action. Or that with such impaired visibility and especially acoustics no reduction of the full price is made… Of course they get away with it because they can, demand for tickets at La Scala will almost always exceed the available tickets, especially in such events. But that does not make it right or fair or respectful to their customers. Were such a thing to happen at the ROH (unthinkable, but if…) I would demand a full refund and an apology for false advertising.
With the Scala all I can say is beware of how you spend your money, visibility is only decent in first rows of loges or downstairs, loge’s second and third rows have only chairs with no backrests and for 1st row it is always full price you pay. There is little split in terms of price categories as it is, and also expect to pay 20-24 euro just handling fee on top of the price of your ticket, even when buying on the internet from the site of the house itself. It is what it is….. On the upside it is a good orchestra and acoustics are also generally good.
I guess I am only one of many more who see their admiration of the theatre’s past and the enjoyment of current shows somewhat thwarted by the definite feeling of being ripped off and not being respectfully treated. Of course it would matter much less if I didn’t think of la Scala as being LA SCALA, if you know what I mean…. It is silly I haven’t been able to throw away the ticket, although I never keep any, but I still get that buzz looking at that logo, that I would be able to recognise in my sleep… But I don’t think the institution these days should bank too much on my operatic nostalgia and sentimentalism. I don’t actually travel for past history ( not that I wouldn’t give an arm and a leg to travel to the past to hear Corelli and Callas and Bastianini sing live on stage :-)) but for current enjoyment and on the long run I’d rather not have the little that I can do of all that is out there further impaired by pesky “non-musical” matters. Then I will take my business, insignificant as it is, somewhere where the joy is multiplicated rather than diminished. But I could write a whole book about the constant conflict between the attraction to what happens on stage and how the institutions sell it and the shocking things we are willing to put up with as customers….
So, yes, a beautiful requiem, with some singing that was close to divine, but unfortunately heard at an earthly distance which kind of took away the spine tingle and the goosebumps I had been looking forward to. …….
Well, at least my home-improvement project is progressing. After 12 hours travels back from Italy I deeply inhaled the welcoming wafts of oily paint. My builders had been hard at work as interior designers and they favoured open spaces in the sitting room , as in just a sofa to sit on and cosy in the bedroom with 2 tables, 3 stands of drawers plus two nightstands and two wardrobes neatly squeezed in. But you know us women! It is all about redecorating, redecorating, redecorating. So I proceeded to dump my suitcase in the bathtub (free space generously left available) and to take all drawers out of various pieces and drag them around to the sitting room, where I also decided I’d rather eat then in the bedroom so maybe table was preferable to carpet. At some point close to midnight I made a comfy pile of the curtains pulled down in a dusty cloud and put my feet up on the sofa… only to realise I couldn't get myself kinked out of the L shape my back now favoured…. Ups! That meant that I could not play puzzle as planned with my wardrobe, who’s inner walls had been conveniently stacked together and piled on top of the drawers, ready for my spare time puzzle fun… It is almost as if they had a crystal ball that told them how much fun I had hammering together another similar piece of furniture from Ikea more than a year ago in Edinburgh. And no, that wasn’t new either, the wardrobe just decided one day that it preferred horizontal to vertical. Which is when I bought my well beloved Bosch electric screwdriver (God bless them!) …sadly after I had blisters to all fingers from some 10 screws and more nails..
About 10 days later I am back to vertical myself ! The stretching and balancing on toes on the edge of the chair while doing push-aways from the wall to rehang the cleaned curtains did the trick! And I saved the money for the physiotherapist and can now splash it on Xmas presents, isn’t that grand? And looking forward to attack the wardrobe with the Bosch next! :-) After which more aerobics to hang a new lampshade are scheduled… and I think I should take up plumbing after that as the flush in the loo has developed a bad temper …
PS You should try and listen to opera while doing housework, definitely increases productivity, I tell ya! More on my current playlist soon ;-)
PPS Also a special thanks and a big hug are in order for a good friend who put a .. gourmet touch on Milan ;-))))
Conductor Daniel Barenboim Staging and Costumes Emma Dante Sets Richard Peduzzi Lights Dominique Bruguière
Cast Carmen Anita Rachvelishvili Don José Jonas Kaufmann Escamillo Erwin Schrott Micaëla Adriana Damato Mercédès Adriana Kučerová Frasquita Michèle Losier Le Dancaïre Francis Dudziak Le Remendado Rodolphe Briand Moralès Mathias Hausmann Zuniga Gabor Bretz
As most of you already know the premiere is on the 7th of December and many lucky ones will be able to watch it live in the cinemas (some over 200 of them world wide in some 25 countries, plus everyone who is ale to receive ARTE TV). There is an amazing degree of media attention in the Italian press, but not only :-) So here are some bits and bos for you, all in Italiano :-)
And HERE on Sky Italia a short video interview with all of the above, Sky Italia will also air the premiere live on TV.
And you can google.it for much much much more...
Then there are of course the photos :-) Enjoy!
First, the models of the stageing
Then ... Jose meets Carmen... And she throws him La fleur....
Si tu ne m'aimes pas, je t'aime; Si je t'aime, Prends garde à toi!
Parle-moi de ma mère! (photo from Reuters)
La taverne de Lillas Pastia
Then there was Escamillo ... Et que l'amour t'attend. Toréador, l'amour, l'amour t'attend
La raison c'est qu'en ce moment ... .....Je suis amoureuse. et voila... le Dragon :-) Je vais danser en votre honneur Et vous verrez, seigneur, Comment je sais moi-même accompagner ma danse, Mettez-vous là, Don José, je commence. La la la la la la la la la la la la …
JOSÉ violemment: Tu m'entendras! Oui, tu m'entendras! Je le veux, Carmen, tu m'entendras!
Pour t'emparer de tout mon être, Ô ma Carmen. Et j'étais une chose à toi. Carmen, je t'aime! Mais.. Le ciel ouvert, la vie errante, Pour pays tout l'univers Pour loi ta volonté, Et surtout la chose enivrante: La liberté! La liberté!
And the last ones (finally an Escamillo to put the right balance to Jonas' Jose :-)!) ..A ce jeu de couteau /Je suis trop fort pour toi. ... Tout beau. Ta vie est à moi, mais en somme J'ai pour métier de frapper le taureau, Non de trouer le cour de l'homme...
And because at the end of the day it is all about the music, let's indulge! I know you all want to hear this :-))))
On TV : Classica in Italy live (from 17,30 CET time) and for the rest of Europe Arte with a small delay (from 20,45 CET time)
And she throws him La fleur....
Then there was Escamillo ... Et que l'amour t'attend. Toréador, l'amour, l'amour t'attend
La raison c'est qu'en ce moment ...
