End of season – Italian style

This summer break seems incredibly short and long at the same time…. Work is keeping me away from London, so I haven’t been to a live performance in what seems like too long already.. Withdrawal never used to be so bad ;-) And looking at the calendar I lulled my conscience with the idea that it will be long enough for me to catch up with the last of the season before the new one starts… I’m no longer sure that will be possible, but sometimes one needs to concentrate on producing the budget that will then be madly spent over the next 10-11 months ;-)

I realised that since the last “real” post I have seen some 10 shows, which makes tying all those loose ends a bit of a headache… I could so take the easy route and just talk about what so perfectly ended my musical year on a high note, but I have decided to exercise discipline for once because I have taken that route way too many times this year. Looking back on the blog over the last 12 months I realised that I have missed out quite a number of things I have seen and heard and that a reader might get a very skewed view of what music is to me. I’ll come back to this in the next post and I don’t want to anticipate too much, but I want to capture for myself as well all that has left an imprint on me, not just some of the steps. After all, trying to hold on to all the millions of seconds of joy and flashes of feelings and insights that I come across in every performance was the reason I started this blog in the first place and I feel I am not really living up to my own expectations.

Enough said about that …on to the ROH Italian season :-)

Rossini, Verdi, Puccini. Il Barbiere, Traviata, Tosca is mostly likely my list of most seen, longest known works. All 3 i am at the sing-along-stage ;-))) I don’t even need to tell you that I overdosed on the Tosca in the last year and got close to doing it in Traviata as well, which is why in the booking i skipped both. Instead I went for a double dose of Ballo, which is one of the few Verdis which I previously knew only from recordings and videos. And of course I fought to get a double package of Barbiere. This is my favourite from childhood and I can honestly say I have a full body soft spot for it!

The two also had at the time of the booking the most attractive casting for me: I could hear Ramon Vargas finally in a full length role and initially the velvet voiced Carlos Alvarez as Renato and then the one in a lifetime all star cast in Barbiere!

But things are never quite as you plan them. First the ROH lost Carlos Alvarez ( who I hope has fully recovered by now) and shortly before the actual kick off of all these performances mayhem hit the ROH casts: firstly Simon Keenlyside had to go off and rest his voice then Deborah Voigt was unwell for Tosca and the flu threatened a number of the ones still standing…. While others unfortunately were soon to be sitting rather than standing.

It surely was exciting in more ways than one! I don’t think the casting team in ROH would want to repeat the experience, but I’d say that given all the last minute crisis music came out as glorious as ever and we got to see some good and some really amazing shows.

photos by Bill Cooper at playbillarts.com

Il Barbiere…

I think had everyone’s expectations riding on it and it was one of those very happy cases of expectations being exceeded. Juandi is Juandi and he is the prince of the Barber ;-) Elegant, funny, charming, riding the coloratura up and down as if it would a fun slide over waves, utterly infectious! Somebody who can put a cheeky smile on your face while doing this is sheer recipe for happiness. He was the desperate count all the way, intelligently riding the edge between endearingly funny and OTT with a firm foot planted on the right side. I don’t know anyone else who can transform excellence into normality with such ease :-)

So how do you make an impression as Rosina when your big entrance happens already well into the show? Easy-peasy! You just call yourself Joyce! DiDonato that is ;-))) And you dish out the coloratura with just as much panache as Juandi and look cute as a button on stage! I’ve seen the Met Barber on video and was looking forward to this, but she is soooo much much better live! I have never heard such colours and such shades and richness of feeling in a Rossini lady ever! I apologise to mine and my friend’s neighbours in the amphitheatre ..we probable left them deaf in a matter of seconds after herUna voce… It was just spontaneous, irrepressible shouting and clapping! I couldn’t and wouldn’t have wanted to stop myself if my life depended on it. I still feel my throat closing in with emotion when I remember that moment! That is how sheer bliss feels like, you just burst with joy from every cell! And as far as I could tell from the overwhelming roar in my ears some 2000 people there felt pretty much the same.

The others were just as good! Corbelli should be knighted for his singing praise of the Italian language, there just aren’t any many singers where the joy of music and text compliment each other so well. Spagnoli was so much more than a replacement, his Figaro was natural and intelligent and all round secure and his interaction with his colleagues placed him firmly at the centre of the action, probably much more so than most people would have expected.

Pietro Spagnoli and Juan Diego Flórez photos by Bill Cooper at playbillarts.com

And I will never ever look at Maestro Furlanetto in the same way again!!! There is no way I can reconcile in my mind the image of the utterly mad Don Basilio with that of the regal and powerful kind Filip! So extremely different and yet so amazing … the only thing they have in common is that giant of a voice, warm and dangerous and enveloping at the same time. But I would have never thought he could let himself be so crazy … he didn’t just give it a try he went aaaaaall the way! And produced the creepiest and funniest Basilio I have ever seen :-) I have a completely new level of respect for the artist Ferrucio Furlanetto and am now looking forward even more to his Filip and his Fiesco, surely unmissable!

My only doubt before seeing the show was if Pappano and Rossini were two flavours that went well together? Well, it was like chocolate and orange, strawberries and cream..juuuuuuuuust delicious!!!! Turns out delicate, witty and playful Rossini is exactly the thing for Pappano, he was incredibly at home in the music and so obviously enjoyed it… just as much as the singers did singing it, the orchestra playing it and us listening to it :-)

Jennifer Rhys-Davies, Juan Diego Flórez and Joyce DiDonato photos by Bill Cooper at playbillarts.com

Of course there was the unfortunate broken leg and I’m afraid we will be also be left without the DVD recording of this performance…. Sadly so… and if that really were the case all I can say is that as far as I can see there is no real reason why it shouldn’t be a DVD! In fact, it would probable make for a best seller :-) It was definitely the kind of performance you would tell you grandchildren about….

Angela Marambio as Amelia and Ramón Vargas as Riccardo Photo from http://www.operatoday.com/

Un ballo…

The first time round was the very next afternoon after the Barbiere first night. In many ways a bad idea… that kind of buzz cannot be repeated easily, it was a lazy Sunday afternoon and poor Ramon Vargas was off sick; Roberto Aronica had a bad allergic reaction and the orchestra had a bit of a tired day, maybe the aftermath of the Barbiere. All in all more one of those “better miss it” performances.

Luckily, the second time things improved significantly in spite of an even earlier matinee. Main plus point: Senor Vargas was back on, sounding very well, in spite of lingering cold and he was also looking sharp and surprisingly younger than at the start of the season in Don Giovanni. He delivered exactly what he promised in an earlier interview in musicalcriticism I wish we heard more of him at the ROH, because he is one of those who know what they sing and why they choose a role and who sing at the kind of level where you can appreciate all the details the composer built into the music. If I were to think of an adjective to associate to his voice and style of singing it would probably be elegance :-) He definitely energised the stage in an otherwise pretty dull production. The ball and it’s audience reflecting mirror is definitely the best of it, with some beautiful period costumes otherwise gracing the stage and little else.

Dalibor Jenis portrayed Renato convincingly both physically and vocally, in the first evening I saw him he definitely provided one of the better moments of the performance. His “Eri tu” got well deserved applause each time, it was well delivered and managed to touch the listener. Angela Marambio has a strong and nicely coloured voice, but I fear that the part might be a little heavy for the voice at times as high notes turned harsh too often. The early hours of the second performance also didn’t favour most of the singers.

The other significant upside of the second round was the orchestra and Maurizo Benini himself. No sleepiness in sight and they delivered Verdi with elegance and precision. I’ve heard Benini recently again conducting L’Elisir in Glyndebourne and I liked and appreciated the same things about him: it might not be the most exhilarating and creative sound, but it is smooth and balanced, with all the right shades in all the right places. It may sound funny, but for my ears he simply made Verdi sound like Verdi and Donizetti like Donizetti , which is highly enjoyable and more than can be said about many conductors and orchestra’s. I would always trust him with a true Italianate sound.

Bryn Terfel and Angela Gheorghiu photo from www.classicalsource.com

Tosca …

Drama, drama, drama…. No more comments ;-))) Now, Tosca i have seen enough times this year and this will be no means be for me a memorable one, nor among my favourites this year. It was curiosity that got the better of me on the opening night. I really wanted to hear Bryn Terfel again and singing Scarpia and was curious about Mrs Gheorghiu’s Tosca, since I had missed it a couple of years back.

The backpain induced by my amphitheatre chair might have been partly at fault. But I didn’t come out floating.. Then again in the Barbiere I never noticed the same backpain…. Don’t get me wrong, it was a good performance, well sung, well conducted, but it took a while to really get rolling and didn’t reach some chords within at the expected level of intensity. Angela sounded good and I get why Tosca can be more on the feminine side, but it was a bit of an undecided portrayal, missing oomph in parts and displaying them in others. Until the last act, when Scarpia was no more, there was definitely more stage chemistry between her Tosca and Bryn’s Scarpia then between her and Marcello Giordani, her Mario that night. I loved Bryn’s Hollander and I like him as an artist a lot, but that night something was not quite there, perhaps he was too charming???

Angela Gheorghiu as Tosca and Marcello Giordani as Cavaradossi photo C Ashmore at http://www.musicweb-international.com/

The whole thing did click where I expected it least, in the last act, and although I thought the “E lucevan” would not really get me because of my preference for intimate delivery here, that was not the case. Giordani managed to show what he hadn’t that much the rest of the night, ie that he can sing in softer tones, that he can be creative and that being an experienced artist can mean more than just correct delivery. Again, a case of well deserved applause for an aria that was something more than the usual thing.

Jacques Lacombe brought the passion in his Puccini conducting but at time I felt he run away with it and it all was too loud in many places, sometimes almost covering the artists, which should not have been the case.

The Tosca had it’s moments and I’m glad I went, but I wouldn’t have gone again.

Renée Fleming (Violetta) and Joseph Calleja (Alfredo) photo C Ashmore at http://www.musicweb-international.com/

Traviata…

This also never made my to do list for the season, in spite of being one of my favourites. I decided to see the one in Munich instead, but as some of you might remember, the Verdi in the pit there left me longing for the “real stuff”…

Then there had always been the temptation of Hampson doing Germont. It’s no secret that he is an artist I have favoured for some years now, I know his voice is not to everyone’s likening but in both lieder and on stage I find him compelling and interesting. And who better to give me the “real Verdi” than Pappano ;-)))

Weak heart as I am, I ended up seeing this Traviata not once, but twice! Standing! And this is one choice I don’t regret.

I’m sorry to say the Diva of the night, Mrs Fleming has never been my cup of tea and sadly my opinion after two Traviatas has not changed significantly. Too much distortion in the sound for my taste, not enough emotional connection. It might be just my personal reaction, but it is what it is. Around the same time I saw and heard Ermonela Jaho sing Violetta from Lyon … now that was a Traviata where I cried buckets! Always a good sign with such a well known opera I think :-)))))

Calleja on the other hand I heard live for the first time in a full length opera and I was more than pleasantly surprised! Quite a development from when I have heard him in a TV documentary a number of years ago. More please! I will be looking forward to catching the Met broadcast of his Hoffmann… which is sure to be a challenge in his repertory.

He was energetic and daring enough to outshine the Diva in the middle of her big first act aria with his high note ;-))) He made for an Alfredo who’s energy on stage seemed sometimes barely contained. It did seam at times however that he was almost too thrilled to be singing on this stage to concentrate more on portraying Alfredo’s struggle with his feelings for Violetta. The pleasure in hearing him sing however outweighed the sometimes lack of chemistry with Renee’s Violetta.

No disconnect whatsoever in Hampson’s Germont! It is what I so admire about him, the ability to portray the character, to tell his story and get the public to engage with it to the point where you don’t notice the notes he is singing, but rather the emotions he transmits. Which doesn’t mean at all that you stop hearing the refinement of his singing! I am really glad we got an extra dose of Hampson in the concert with Pappano and although he is very busy with his projects in the US I hope he will be back at the ROH sometimes soon :-)

And I have to say a very big Thank you! to Tony Pappano for reconnecting me emotionally to the Traviata score… now that was Verdi! What a relief, I had thought I was slowly growing tired of it, but not a chance… now, with the right kind of sound in my ears, I’m actually looking forward to some Traviatas during the next season ;-))

And that was us, arrivederci from the ROH until September, when we kick off with some more Donizetti and Verdi :-)

5-a-day post (Jonas & Caecilie, DiDonato, artists & fans)

I'm travelling and it is always hard to go from an overflow of live music which I love to death, to nothing or to something as sterile as music played on ones work laptop. So I compensate by digging through the internet or replaying memories in my ear.

Today somebody found this on Itunes: You know Jonas Kaufmann CD Romantic Arias? Well click in the pic and have a 2nd look at the track list! Yes, it is Caecilie!! And a version thereof of his, that i have not heard before. It is a full blown version with full orchestra backing.

Extremely interesting and very different from the Lieder CD. It is very powerful but in a very unique way. After i heard it a couple of times i found that this one and Martha probably best represent Jonas energy in live singing. I like the rest as well, but these come the closest to the empowering emotions of hearing the voice live. And you can feel so much joy in the singing.
The orchestra sound is somewhat unexpected and reminds me of the American Song book, it has that type of almost dancing flow. The voice is warm and integrates well, although the singing remains in full Lied mode. Interesting combination, but a successful one i think. The range and colour of the voice are amazing and it reaches amazing depth in both the upper and the lower register. Watch out for the warm deep embrace of it in the beginning up to the flying highs towards the end. Wow!!!

Treat yourself to this Caecilie and let his voice take you on a soaring trip of sheer musical joy.


And talking about joys.... this is one Joyce i would have liked so much to hear today!! A lucky few are probably just now enjoying a nice chat with the charming DiDonato at the ROH.


I hope somebody will be kind enough to share the experience with the ones of us who couldn't be there. I wish i knew what music pieces Joyce chose for the conversation...


On artists and fans I am going to add some thoughts later today, in connection with ROH Don Giovanni :-) I did go again and i will not bore you with more drooling over the experience, but there are other thoughts i want to share which were triggered by this event.

Ctd'

Anyone here who has an artist’s autograph raise a hand. Anyone who has a picture of themselves with an artist raise the other hand. Thought so! I’m gonna put mine down so that I can make this confession :-)

Until not so long ago I used to think that people who gathered at stage doors where a little bit crazy and that the artists on the receiving end were either poor suffering lambs or egocentric divas. Glups, mea culpa! Of course neither is true, but you have to live the phenomenon to understand what it is all about, and it is neither crazy nor does it have anything to do with the size of one’s ego.

Most of the times as an operagoer you are content with having watched and heard a good performance and having shown your appreciation by a reasonable amount of clapping. Then it is off to the tube and your own bed, chapter closed.

And then one day, a night comes along when everything changes. You don’t just like it, you live it! The music, the singing, the acting is something you have never experienced before. You can’t take your eyes off the stage, your heart is racing, your ears are tingling, your palms are sweating. The curtain falls and somebody or something suddenly possesses you! You jump up and start shouting Bravooo (the neighbours ears be damned!)), you clap like mad and 10 minutes later your palms are red, your voice is hoarse, but you feel you could just float away and jump up to the moon from so much adrenaline. You grab your stuff and, in a blink of an eye, dash out of the door and with steps as accelerated as your heart beat, suddenly find yourself amidst a crowd of people in front of a door that reads: Stage door.
There is excited chatter, there is a lot of ooohhing and ahhhhhing and wowwwing, there are grinning faces and sparkling eyes. And suddenly the artists step through the glass doors, slightly more tired than a few hours ago, but with smiles on their faces as well. There is a bit of a stampede, but at the end of it you emerge through the doors, retracing the artists steps, floating above ground, clutching the program which now boasts the illegible signatures of the heroes of the night :-)

So what happens in those precious few moments in between? And why the sudden change of heart, why join in the stampede?

Fans probably can't really provide validation to artists, either confirm or inform quality. But i hope seeing somebody's radiant face and hearing their voice still trembling from the emotions felt during the performance, does prove that the artist has touched their heart.

To me at least, that’s what the crowds at stage door are all about. Sometimes clapping just isn’t enough, you feel you owe the artists a bit more than that, or you just need to share the happiness they have brought about with them personally. Yes, they may read critics and they will know if they have done well. But this particular form of art is about interaction, it is about putting yourself out there on stage, with only your body and your voice, about taking huge risks in front of 2000 people and more. Something can always go wrong, or it can be the best night of your life. And the critics will rarely say anything about the emotions, the vibrations transmitted and shared. But fans can do that and that is why I believe that artists are not really bothered by the greeting crowds. If they are in a hurry or simply can’t attend, for whatever reason, there is always a way of avoiding it ;-).

So maybe more of us should bring up the courage to go and say how fabulous we found it, and which bit specifically made us explode with excitement. And who wouldn’t like to be told that today their hard work has made at least one person really happy? And aren’t autographs just our way of trying to capture the moment and the memories? To show them off for years to come and say, remember that night we heard X in Y??? The best version of Y I have ever heard or seen!

I fear sometimes the sharing of this joy is lost in the wordless pushing about of papers and signing and especially in the endless flashing of cameras. This not the moment to share life stories with the artists, but it definitely is the right moment to remember what our mommies have told us about “may I?“, ”please” and “thank you”. No amount of excitement should excuse the lack of manners!

But why not say why you want the autograph, what it means to you, how you liked the performance, rather than just pushing a piece of paper into somebody’s face, for whom you definitely have more admiration and respect than that silent gesture implies? You have received during 3 hours or more of performance the truest and most open form of communication an artist is able to give, why not communicate something back? Aren’t we there to give some caring and admiration back? So why make it into a gesture which only implies taking?

And you might find that the experience is greatly improved by it: you might get a personalised smile, you might see joy in the eyes of the artist, you might even get the occasional booming laugh or if you are really really lucky, even that earth-shattering hug! ;-)

With that in mind, I myself will make a promise not to step on anyone’s feet, breath down anyone’s neck, stick my elbows into anyone’s ribs, permanently blind anyone with my flash! ...and I am hoping at least some people will reciprocate :-)

It is fair to advise though, that I have no control over the drooling, swooning or my vocabulary being reduced to fabulous, fantastic, exciting and other synonyms ;-)))


Thanks to everyone who shared their thoughts about the subject with me prior to this entry being written, to those who joined me at the door and gave me courage to go there ;-) And also thanks to my very patient friend, who I am afraid will never join the crowd, but who always lets himself be dragged there to be the “stuff” holder (pens, camera, handbag, coat, umbrella, programs, etc he juggles everything while taking the most amazing pictures!).

And a very special thanks to Joyce DiDonato, Simon Keenlyside, Kyle Ketelsen, Ramon Vargas, Miah Persson and Sir Charles Mackerras who patiently, kindly, friendly and with loads of humour attended us all on Friday night! You are not only great artists, you are special people as well!