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What have you seen recently?

53K views 369 replies 45 participants last post by  eljr 
#1 ·
I can't find a thread on this & apologies if I've missed it.

I'm going to start writing short reviews of operas I see and would love to read other people's reviews.

For starters it's Don Pasquale which I saw a few weeks ago in Wolverhampton.

We had great seats - front row centre of the dress circle.

In this production Don Pasquale is a conductor and Norina an opera singer & the start is very funny. Don Pasquale comes on stage, faces the orchestra & the audience & conducts the overture. One of the musicians makes a well telegraphed 'mistake' & is duly harangued by the 'conductor'.

All the main players were excellent if a bit overwhelmed at times by the orchestra. In fact we enjoyed the arias/duets with minimal accompaniment best & these showcased the singers' skills perfectly.

My main objection however was that it is sung in English. I love Don Pasquale so much & know most of the words & kept feeling irritated that little bits of story had to be changed so words could fit the music. There were several instances of this and the first was in the very first scene. Don Pasquale didn't consult his watch & comment it's 9 o'clock which he should have done. Also he didn't sing that he was expecting babies to appear - which reinforces (in pre-viagra days) the notion that a man in his 70s would be ridiculed for getting married & hoping for children.

This didn't bother my friend at all; he just adores the music & doesn't care about the words.

I must just be picky & apart from the language I would recommend it.
 
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#2 ·
La Fille du Régiment from ROH on Tuesday 25th May.

I went with a friend who had not been to ROH before & knew neither the music nor the story. I had loaned her my copy of the 2007 production but she didn't have time to watch it.



We went to the pre-production talk which was given by Paul Wynne Griffiths, the cover conductor. I was slightly disappointed as all he did was talk about what we were going to see anyway, (and what lots of people had already seen, either in 2007 or on DVD). I could have done with hearing about some behind the scenes stuff as well but my friend found it invaluable.

We had great seats - Stalls Circle centre right.

It is the same cast as the 2007 production with exception of Ann Murray taking the part of La Marquise de Berkenfeld instead of Felicity Palmer.

From quite different perspectives, we both had a wonderful evening. My friend had no idea it was so funny and, knowing the music & story, I could concentrate on the singing (and the amazing acting). Natalie Dessay's comic timing was brilliant and she could surely have a career as a non-singing actress if she wanted to.

Anyway to get to the important bit, I had not seen Dessay live before and I thought she was amazing and as far as I could tell, she nailed everything. I loved the antics & singing-while-you-iron stuff but Il Faut partir! Adieu! really touched me. The audience must have agreed as there wasn't a rustle, cough, sniff - not even a pin was dropped during this.

So much has been written about Juan Diego Flórez and the legendary Ah! Mes amis that I thought it might be a bit of an anti-climax but it was as spectacular as everyone says and with all the applause, cheering, foot stamping, "encore", "bis" it made me think that one day there might actually be an encore at ROH. (If La Scala allowed it…) and the beautiful Pour me rapprocher de Marie got us all sighing!

The rest of the cast were superb as was Dawn French (surtitles in French when she spoke English!)

9 out of 10.

 
#4 ·
Hi I am new to this forum and this is my first post and very much like what I see. I am lucky to live within 45 mins bus ride from the Royal Opera House and attend roughly once a month. The last thing that I went to see was Aida directed by David McVicar and have to admit I was disappointed by the production as McVicar tried to introduce some Guilio Cesare style dancing in the triumphant march and some of the costuming was very much left to be desired. Amneris looked like something you see at Glastonbury at 4.00am.

The singing was a bit rough and ready and I thought that Marianne Cornetti as Amneris was the best on the night. Marcelo Alvarez as Radames was very patcht whilst Michaela Carosi as Aida had no real control.

The best thing about the night was the fantastic playing from the ROH orchestra and the conducting from Nicola Luisotti.

I was meant to see La Fille Du Regiment but have sucumbed to a bug.:( But will report back when I see Salome and Simon Boccanegra.
 
#5 ·
It must be great to live so close to ROH jflatter - it costs me ticket + hotel so I can't go as often as I'd like.

Interesting review of Aida but I'm not surprised. McVicar's work occasionally misses the mark.

Shame you missed La Fille. In my opinion JDF's voice has matured and has a warmth it sometimes lacked before.

My next treat is Boccanegra so we'll compare notes!
 
#6 ·
What a brilliant and interesting thread. This is exactly what I hope for in a forum like this.

I live a life 'alone' in a 'non-classical' enviroment (I must lower the volume for everything I listen to, and I have purchased only one opera DVD, because I am the only one I know who will watch it).:(

This type of thread is a great extension to my life and I am really enjoying it. I don't blame the members of my family, because I cannot really enjoy the 'tunes' that they listen to either.:confused:

Keep the great reviews coming!:D
 
#7 ·
Went to the NZ Opera production of Le Nozze di Figaro last night with my 14-year old daughter. It was great to share my favourite opera with someone who has never seen it (it’s her favourite opera too now). She laughed at all the funny bits – especially Figaro saying that two men must have jumped out of the window and he wasn’t going to comment on things he knew nothing about. She also proffered her expert opinion that Cherubino's "Non so piu" embodied “the unbelievable horniness of 14-year-old boys”:cool:.

It occurred to me what a blessing surtitles have been; when I first started going to the opera you missed all these finer points unless you had a perfect grasp of 18th century Italian or whatever the language was.

I always love the experience of live opera, the camaraderie with the audience (when they are not coming in late, talking or rustling sweetie packets:mad:), the feeling of risk, the glorious rounded 3D sound of the orchestra – I really heard the dialogue between oboe and voice yesterday.

The production was beautiful and simple, making very good use of a set of sliding doors and panels that provided little rooms for the action to take place in. Costumes were denim 18th century (go figure:rolleyes:). The production emphasised the buffa aspect, was well planned, executed and rehearsed, genuinely funny, and the singers paid praiseworthy attention to the recitatives, always essential in Mozart.

The Suzanna and Figaro of the real-life married couple Emma Pearson and Wade Kernot were the standout performers, particularly the light footed and creamy-voiced Pearson, a fantastic soubrette characterisation. Nuccia Focile was the advertised “star”, but was more to be praised for her acting (still the Rosina of Barbiere, if a little depressed) than her singing; her Porgi was particularly strident and she seemed to have real trouble with both line and tone. Can’t think why anyone would want her to sing Mozart. Other singers were competent and involved.

Two funny things: one of the younger and less experienced violinists started panicking as what he was playing was manifestedly different from everyone else, and had to have his place found for him by an exasperated colleague (no credit to da Ponte for that one).

Overheard as we were leaving: Old lady, looking bewildered: “Well, I wonder what happened to the “Figaro, Figaro, Figaro” (to the tune of Largo al factotum):D.
 
#9 ·
Went to the NZ Opera production of Le Nozze di Figaro last night with my 14-year old daughter. It was great to share my favourite opera with someone who has never seen it (it's her favourite opera too now). She laughed at all the funny bits - especially Figaro saying that two men must have jumped out of the window and he wasn't going to comment on things he knew nothing about.
What a great introduction for your daughter. She'll always remember her first Nozze.

She also proffered her expert opinion that Cherubino's "Non so piu" embodied "the unbelievable horniness of 14-year-old boys":cool:.


It occurred to me what a blessing surtitles have been; when I first started going to the opera you missed all these finer points unless you had a perfect grasp of 18th century Italian or whatever the language was.
My German is rubbish so I find surtitles invaluable.

I always love the experience of live opera, the camaraderie with the audience (when they are not coming in late, talking or rustling sweetie packets:mad:), the feeling of risk, the glorious rounded 3D sound of the orchestra - I really heard the dialogue between oboe and voice yesterday.

The production was beautiful and simple, making very good use of a set of sliding doors and panels that provided little rooms for the action to take place in. Costumes were denim 18th century (go figure:rolleyes:). The production emphasised the buffa aspect, was well planned, executed and rehearsed, genuinely funny, and the singers paid praiseworthy attention to the recitatives, always essential in Mozart.

The Suzanna and Figaro of the real-life married couple Emma Pearson and Wade Kernot were the standout performers, particularly the light footed and creamy-voiced Pearson, a fantastic soubrette characterisation. Nuccia Focile was the advertised "star", but was more to be praised for her acting (still the Rosina of Barbiere, if a little depressed) than her singing; her Porgi was particularly strident and she seemed to have real trouble with both line and tone. Can't think why anyone would want her to sing Mozart. Other singers were competent and involved.

Two funny things: one of the younger and less experienced violinists started panicking as what he was playing was manifestedly different from everyone else, and had to have his place found for him by an exasperated colleague (no credit to da Ponte for that one).

Overheard as we were leaving: Old lady, looking bewildered: "Well, I wonder what happened to the "Figaro, Figaro, Figaro" (to the tune of Largo al factotum):D.
Great review.
 
#10 ·
OK just got home from seeing Rigoletto by Welsh National Opera & even though it's been a long day & I'm tired, I'm too hyped up to sleep.

Gwyn Hughes Jones (Duke) was patchy. Annoyingly the show piece arias were good - his Donna è mobile was perfect but he fluffed what I would call easy bits.

Sarah Coburn (Gilda) was a revelation. I'd not heard her before & she was excellent; vulnerable & sparkling.

David Soar (Sparafucile) was sinister & frightening & one of the best Sparafuciles I've ever heard. (He's leaving WNO & I hope to see him in other roles in the future)

Simon Keenlyside (Rigoletto) was spectacular. (I can't find the words to describe this magnificent performance) & outshone the others.

But I hated the production - Rigoletto set in Washington DC in the 1960s just did not work for me. I couldn't help thinking all that talent & hard work was wasted on a story which at times was farcical. I know opera plots are farcical but I don't think the White House employs people with disabilities for their amusement.

Hopefully Simon Keenlyside will do it again with a more traditional production.

Quality not good but I only take photos of the curtain call & even then never use flash.

 
#11 ·
Simon Keenlyside (Rigoletto) was spectacular. (I can't find the words to describe this magnificent performance) & outshone the others.
Glad SK did the trick - but in the photo he is just too good-looking to be Rigoletto. He needs at least a hump, a silly hat, a pair of tights, a huge false mole and a heap of make-up;).

But I hated the production - Rigoletto set in Washington DC in the 1960s just did not work for me. I couldn't help thinking all that talent & hard work was wasted on a story which at times was farcical. I know opera plots are farcical but I don't think the White House employs people with disabilities for their amusement.
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Honestly you have to tell us more. How on earth did it work? Who was the Duke supposed to be? JFK:eek:?

I mean I can see the point of updating Rigoletto to a period and place where the mores reflect the story - like Jonathan Miller's 50s Little Italy mafioso production at ENO, but this sounds totally ludicrous.
 
#12 ·
To add a bit more: Yes, the President is the Duke & it's set in the early 1960s so I suppose it's JFK. Act II "Ella mi fu rapita!" scene is the Oval Office.

For me though there was a scene in Act I which I didn't like at all. Rigoletto has a disability (polio?) which means he has to wear a leg brace. He is a sort of gopher for the President/Duke rather than a Court Jester. At the end of "Gran nuova! Gran nuova!" all the courtiers/entourage mimic Rigoletto by limping while they dance & then they do a conga around the stage exaggerating one of their legs.

I'm sure 50 years ago people with disabilities were mocked and not just in private, I remember the "DOES HE TAKE SUGAR?" campaign & maybe I'm being too sensitive but people around me were shifting in their seats & I thought the cast looked uncomfortable & embarrassed.

However I'm still very pleased I went. I wish I could describe SK's conviction & passion & skill better. The first duet with Gilda & "Deh, non parlare al misero" had me in tears & his acting is better than anything which has ever won an Oscar. As he tries to get to the door in "Cortigiani, vil razza dannata" his anger gives him such strength he almost overcomes his disability & his tormentors. They fling him across the stage & his "Ah! voi tutti a me contro venite..." is heartbreaking.

"Bella figlia dell'amore" was absolutely superb & I would love to see all the cast (even the patchy Gwyn Hughes Jones) re-united & do this in a traditional setting.
 
#13 ·
I saw the first show in the run of Salome last Saturday at the Royal Opera House. I have noticed that it was very mixed reception from the critics but I have to say that I very much enjoyed it. Angela Denoke was Salome and although there was some slight struggle with the some of the high notes, I thought that she was very convincing. Johan Rueter was very good as Jokanaan. Gerhard Segal was a compelling and sleazy Herod and was vocally in much better form than when I saw him as Mime in the Keith Warner Ring. Irina Mishura was a solid Herodias, whilst some of the best singing came from Andrew Staples Narraboth.

The production seems to be updated to the inter war years and was generally well thought out. The Dance of the Seven Veils has video projections of what appeared to be different parts of Salome's life, this seemed to also infer abuse during Salome's chilhood at the hands of Herod.

Hartmut Haenchen in my view conducted a very account and the orchestra seemed in very good form.

I shall next report on Simon Boccanegra with Placido Domingo, after I have seen it on Thursday.
 
#15 ·
Simon Boccanegra

Simon Boccanegra is my favourite opera & I'd been looking forward seeing it so much. It wasn't perfect but in a way that made it perfect.

First 'imperfection' was announced before the opera started. Ferruccio Furlanetto (Fiesco) was unable to sing owing to illness. He would act the role and John Tomlinson would sing the role from the side of the stage. Me & several others couldn't understand why his understudy just didn't step up but we think it might have been something to do with the fact the performance was being broadcast live to several venues in UK. To be honest it didn't really work & John Tomlinson sounded rusty.

No matter, Plácido Domingo made a fantastic impersonation of a young man, bounding around the stage during the Prologue. I can't describe his voice apart from unique but it was wonderful to hear him & his baritone/and-still-some-tenor which was strong & beautiful. I was even more impressed with his keeling over at the end. He'd obviously had some lessons on how to fall flat safely. He looked very dead but perked up for the curtain calls.

Marina Poplavskaya was a puzzle. She has all the skills but seemed to lack confidence at times. But she made a beautiful and vulnerable Amelia. The reconciliation scene with her father was brilliantly played - she burst into tears which I think is what would happen in real life. I always cry at this scene & this was 100 times worse or do I mean better? [waterproof mascara isn't]

I'd read lots of very positive reviews of Joseph Calleja's Adorno & he was even better than I'd hoped. Calleja is a big handsome guy & his voice is the same & he's ideal in the heroic tenor role. O inferno! Amelia qui! was exquisite & brought huge cheers and applause.

I only took one photo of the curtain call. I can't clap, cheer & take photos at the same time. But I took more later.







Pappano at the top, Domingo at the bottom, spider scrawl in middle Calleja.
Baby spider scrawl top right, stage hand having a laugh with us.

Only other 'imperfection' had nothing to do with the performance. I had an Opera Bore of the worst kind sitting right behind me. He'd obviously been classically trained as his voice would have reached the upper slips. It was over & over "OF COURSE I SAW DOMINGO'S (insert nearly every role) AND HE WAS MAGNIFICENT" (my thought - well he's singing the Doge tonight) "BOCCANEGRA IS NOT MY FAVOURITE OPERA BUT OF COURSE ONE HAS TO SEE DOMINGO" (my thought - well SB is my favourite opera no matter who sings the role). But the worst was during the applause for Calleja's O inferno! Amelia qui, OB shouted "OF COURSE DOMINGO SUNG THIS ROLE AND HE WAS MAGNIFICENT" I turned round & gave him a filthy look. I wanted to say "I KNOW HE DID BUT CALLEJA'S SINGING THE ROLE TONIGHT AND HE'S MAGNIFICENT" in other words 'shut the bleep up'. Perhaps he read my mind because he did after that!
 
#16 ·
Only other 'imperfection' had nothing to do with the performance. I had an Opera Bore of the worst kind sitting right behind me.
You have my sympathy... We had a woman sitting behind us when we went to see Manon I think had visited every opera house in the universe probably including some they haven't built yet. She spoke very poor French thanking couple who stood up to let her get to her seat despite the fact they were obviously ITALIAN! The culmination was that between act three and four it became apparent that she had no idea who the soprano (Anna Netrebko) was, how to pronounce her name or how many acts there were... I could go on, but clearly you have already met her brother :D
 
#17 ·
I too saw Simon Boccanegra at the ROH last Thursday. As Sospiro stated Ferrucio Furlanetto was struggling with an ailment but did not appear at all for the performance I attended. The Georgian bass Paata Bucherladze, whose name I have not heard in long time took over the role of Fiesco and I have to say did very well. His voice was strong and baleful and he dramatically was very convincing. Placido Domingo was excellent as Boccanegra and although he was a tenor sining the baritone role he was utterly compelling both vocally and dramatically. I thought Joseph Calleja sang well as Adorno. I have to say I am unsure with Marina Poplavskya as a Verdi soprano. She sounded she would do more justice to her voice in other reportoire, although I recall I have seen her sing Elisabetta twice in Don Carlo and the second time she sang with Jonas Kaufmann she was powerful. However sometimes I feel her voice lacks the warmth for Verdi roles. The minor roles were taken very well and the chorus as ever was wonderful voice. The conducting as as ever with Pappano and Verdi was top notch and the orchestra as has been the case in recent months has maintained its wonderful form.

The evening began with a small speech from Antonio Pappano paying tribute to Charles Mackerras who died the night previously. He will of course be a man much missed by those who love classical music and attend concerts and operas in the UK.

For the purposes of this thread. My next review will be a concert performance of Act 2 of Tristan at the Proms in period instruments by the Orchestra of the Age of the Enlightenment conducted by Simon Rattle. After that I am going to a semi staged version of Tristan conducted by Essa Pekka Salonen at the Festival Hall.
 
#18 ·
Anyone lucky enough to have seen Plácido Domingo's Simon Boccanegra at the Royal Opera House will recall that the Doge's lingering death scene is concluded abruptly and somewhat scarily. Instead of sinking safely to his knees, the 69-76 year old baritenor crashes convincingly to the floor. It's a wonder he doesn't break anything. Of course he rises unharmed a couple of seconds later to remind us that it's all showbiz.
I wasn't the only one then to admire Plácido's falling flat safely skills. :D

For his semi-staged Proms performance - baking in full sofa-upholstery costume in sweltering conditions that had already sent a few Prommers into a faint - naughty Plácido went one step further. Down he went - smack! And there he lay, motionless, as the seconds ticked on. The concern on Marina Poplavskaya's face spread to Joseph Calleja, then Tony Pappano and a few in the orchestra. We wondered whether he'd ended his career on stage in South Kensington. But then, proving you're never too old for a sick joke at other people's expense (the best kind!), up he popped, laughing.
I was listening to it but the commentator never mentioned this. The Prom was amazing though & wish I'd been there.

http://intermezzo.typepad.com/intermezzo/
 
#19 · (Edited)
Apologies for the late review. However I saw Act 2 of Tristan und Isolde at the Proms on 1 August 2010. It was a concert staging with the Orchestra of the Age of the Enlightenment conducted by Simon Rattle. Ben Heppner was Tristan, Violeta Urmana was Isolde, Sarah Connolly was Brangane and Franz-Josef Selig as King Marke.

If anyone who saw Ben Heppner as Tristan at the Royal Opera's production in October will know that he had serious problems with his voice. This sadly has continued and you do wonder if it will return to its glory days. Covent Garden must be worried about engaging him in Peter Grimes next summer. The problem for much of this performance was lack of power and struggling with the high notes of the love duet.

Violeta Urmana was a confident Isolde and did well in the love duet as well as her opening scene with Brangane. Sarah Connolly was an excellent Brangane but in the opening scene with Isolde and during her moving warnings during the love duet.

However the best singing of the evening was Franz-Josef Selig as King Marke. This was a performance of the highest quality. Selig was able to convey the absolute agony of Marke in his humiliation but vocally and dramatically, despite it being a concert performance.

I have to admit to being apprehensive before this concert as I was concerned about Tristan working on period instruments. However my fears were allayed and the OAE's rendition of the score was of the highest standard and they helped by Rattle's even paced conducting.
 
#20 ·
If anyone who saw Ben Heppner as Tristan at the Royal Opera's production in October will know that he had serious problems with his voice. This sadly has continued and you do wonder if it will return to its glory days. Covent Garden must be worried about engaging him in Peter Grimes next summer. The problem for much of this performance was lack of power and struggling with the high notes of the love duet.
Yikes. I'm scheduled to see him as Lohengrin at the Los Angeles Opera in December. Now you have me a bit worried.
 
#24 ·
Il Guarany from Antonio Carlos Gomes

I can't find a thread on this & apologies if I've missed it.

I'm going to start writing short reviews of operas I see and would love to read other people's reviews.
Great idea. I plan to be a regular contributor to this thread.

I had posted the review below in another thread - "what you've been watching" - but it is much more appropriate here, so, I copied it and will past it below:

-------

Relatively obscure Brazilian composer, his style is very close to Verdi's (who respected him). I have just finished listening to his most known opera Il Guarany, with Placido Domingo (available commercialy on 2 CDs with the libretto in Italian, translated into English, French, and German). Here is what I thought:

Beautiful overture (Sinfonia)

Nice start with the chorus of the 'cacciatori.' It does sound like Verdi. Quality without originality, I see.

Wow, this is very beautiful, Cecilia's second aria (after a very brief and tuneful pollaca) is very good, with a very effective choral punctuation. Deh! Riedi... deh riedi!

Antonio's Ave Maria is beautiful too. Salve, possente Vergine.

All these arias turn to ensembles and the effect is impressive.

Now I got to the gorgeous duet Sento una forza indomita. Excellent!

End of first act. Homogeneously good. A+

Act II starts with a scena and a nice Pery aria, Vanto io pur superba cuna, majestic. Wow, this is a really good opera!

It is followed by a rather theatrical scene full of action, then a dramatic duet - Serpe vil. The steady high quality continues. We're getting to a chorus piece now - Udiste? - L'ore è un ente sì giocondo. Verdian again.

What a nice, tuneful waltz-like rondò follows - Senza tetto, senza cuna, Canzone dell'Avventuriere!

Now, Cecilia's ballata, Oh, come è bello il ciel! - C'era una volta un principe. Delicate orchestration with guitar sounds, light, with beautiful opportunities for the soprano to work the musical lines and do some coloratura. Very lyric, very romantic. I like it!

Here, in a Brazilian production (nice soprano!):

http://www.youtube.com/watch#!v=GRXK...eature=related

The duet between Cecilia and her assailant Gonzales is very dramatic, with a good dose of pathos.Donna, tu forse l'unica

Some more good theatrical action, and we get to the finale of Act II. Majestic and impressive ensemble, in two parts, the second one start with the attack of the Aimorès and is appropriately solemn with a moment of frozen fear, then everybody jumps to the arms and prepares for the fight. Good Verdian orchestration.

Poor Carlos Gomes, if only Verdi hadn't done it before him! I mean, if only he had Verdi's creativity as well and weren't just a copycat...
Regardless, even if it's a copy, it's a pretty good copy and Act II earns from me another A+.

Act III now. Opens with a ballet - which unfortunately I can't see. But I can look at it on YouTube later.

http://www.youtube.com/watch#!v=8L0Q...eature=related
http://www.youtube.com/watch#!v=aHEt...eature=related

Chorus piece, Aspra, crudel, terribil, pretty good, finishing by a rather effective line, Ferro e fuoco (steel - or rather, iron, and fire).

Next, the chief Aimorè indian sings a bone-chilling aria, it does feel salvage and evocative of the fierce tribe's warring ways (the Aimorès historically were very bellicose indians). He turns more mellow and romantic as he sees the beautiful face of his prisoner and falls in love with her, addressing her more gently. The change in tone is striking. Well done, Gomes!

Then, we get to a big gaffe from the Italian librettists, I don't know why a genuine Brazilian like Carlos Gomes didn't correct it. The Cacico calls Pery 'the desert tiger.' What desert, and what tiger??? LOL, the Rio de Janeiro surroundings at the time in 1560 were a luxurious subtropical forest, no desert in sight for thousands of miles, and tigers were not part of the Brazilian fauna. A metaphor, sure, but how would the chief Aimorè even know about these things to be able to formulate such metaphor??? [laugh]

Another quite dramatic and theatrically rich scene, when the Cacico is calling for Pery to be killed and eaten, Cecilia pleads for him, etc. Pery's line is exquisite and plaintiff, Ah! tu me vedrai morir! (Ah! You'll see me die!).

The theme of the overture comes back briefly to a beautiful effect. The Cacico grants to Pery and Cecilia a moment alone to express their love for each other before Pery is killed.

Then, a duet between the two protagonists, pungent and tearful. Superb! Ebben, che fu - Perché di meste lagrime. A+ quality material.

All right. Pery drinks poison. Why does opera like poison so much?[laugh]

Now a chorus with the Cacico and his tribe. The overture theme comes back in full force while the indians kneel and pray to their gods. The effect is very solemn and the orchestration is very beautiful. The choral piece is gorgeous, followed by a short finale to ACT III when the Portuguese come to the rescue.

Did I mention that it all deserves an A+? LOL

Act IV

Very beautiful orchestration again with elements from the overture (different ones) into which the voices of the coro di avventurieri melt; wavy music, again it starts well.

Another gaffe from the libretto - Pery is alive - what happened to that poison?!? Ah, OK, it is explained later that he got antidotes from forest herbs, how convenient.[eyes]

Beautiful aria for Gonzales, In quest'ora suprema.

Good dramatic scenes continue, there is the baptism scene, this is turning more into theater than music, Act IV seems dramatic enough but less musical so far, they're having to pack too much action into a short span and there is no space for good arias. A pity, it's the first downside so far of his entire opera.

OK, Pery's soaring aria (although short - can't really call it an aria, it's more like a short arioso) when he converts *is* beautiful, so, never mind.Al Dio che in me regenera.

Beautiful display by Cecilia.Che sento? Ed io dividermi

Now, for the Gran scena e terzetto finale ultimo. Spectacular! Don Antonio gets to be a suicide bomber 450 years before they became fashionable[laugh] and it literally ends with a bang, with the overture theme returning for a - er... - bombastic finale. Goosebumps!

A+ all around. Excellent opera. I wonder why in the hell this is not part of the repertoire. Not very demanding, not too long, full of dramatic potential, beautiful orchestration, some outstanding arias, duets, and ensembles... A winner from beginning to the end.

The only way to explain its failure to endure is the fact that it is, note by note, done in the exact style of Giuseppe Verdi, and it was composed by an obscure South American composer.

But while not matching a Don Carlo or Aida in terms of majestic impact, or Il Trovatore which is stylistically closer, if only we got Verdi out of our mind and just listened to this opera, we'd easily see that it is extremely good, and certainly much better than I Lombardi which gets staged fairly often.

I'd like to know its history of performances.

Folks, if there is anybody reading this long post about an obscure opera composer's least obscure work, get this one.
 
#25 · (Edited)
Gounod's Faust

A warning / disclaimer - unlike most, when I write a review I'm mostly reviewing the opera itself, not the production or the singing (although about this one, I touch on it at the end). These reviews for me are ways to create a ranking of my favorite operas and I try to concentrate on the strenghts and weaknesses of the music (score, voice) and the theatricality of the scenes, and to curb myself from overestimating the opera if the production is good, or underestimating it if it is not (hard to do because I'm human, but I try). So, I'm not exactly reviewing this DVD, but rather trying to review Gounod's Faust.

I offer no guaranties about the names of the arias I write down when I'm reviewing from a DVD that lacks its insert (as is the case today - it's a Netflix rental). I just try to copy them down as I get them, and sometimes I don't get them right and the "official" name of the aria is different.

---------

1985 production from the Vienna State Opera. Erich Binder conducts. Ken Russell (!) directs (and makes a mess).
Francisco Araiza is Faust, Ruggero Raimondi is the Devil, and Gabriela Benackova is Marguerite.



Starting soon.

Overture - ominous music to start with. Getting more melodious now. Still, so-so. Too long. B-

Rien! En vain j'interroge - Faust's first arioso/recitatif mix. I don't care for it very much. B-

Le ciel pallît - more forceful and haunting than the preceding one - better. Faust prepares himself to commit suicide. Two choruses are heard - girls, harvesters, good people but Faust is not moved. A good scene. B+

Faust curses God. Vocal lines and orchestration are both sort of overdramatic and the orchestration feels conventional. B-

Me voici - d'où vient ta surprise? The Devil comes up.

Faust asks for la jeunesse - À moi les plaisirs. The devil replies, Fort bien! The dialogue continues and is interesting. B+, spinning, merry rhythm and melodie, the best part so far.

End of Act I. B- overall.

---

Act II brings up six choruses, supposed to be lively and joyful. The first one is a drinking song, not very good. the ones that follow are not any better. The orchestration is pallid. C+. Then at the end they merge and it gets a little better. B-. This doesn't seem to be Gounod's forte. I've seen much better.

O sainte médaille - a solo by a soldier. Very short. Started well but then ended abruptly. Not enough for a score.

Avant de quitter ces lieux - this is above what we've had so far but nothing extraordinary. B+

Another drinking song, a little better than the first one, with some drôle d'histoires told by members of the crowd. The devil comes to interact with people. B

Le veau d'or - the first really good piece. A

Mephistopheles makes a mess in the plaza - rather uninteresting scene. C+

De l'enfer qui vient - pretty good piece. B+

Ainsi que la brise legère - pleasant waltz. Not bad at all. A-

Ne permettez vous pas la belle demoiselle - a lyric duet. It's an OK one. B

the waltz comes back and ends the act.

Overall - B+

-------

Act III

Interesting prelude. B+

Faites-lui mes aveux - OK. B

Quel trouble unconnu me penètre - Salut, demeure chaste et pure - OK, now we're in business, finally a really good piece. A+. It was about time.

Il était un roi de Thulé - charming. B+. However it spots the plot dead on its track, and is rather useless.

Ah! je ris de me voir - The Jewell Song. Lovely, A+

Seigneur Dieu, que vois-je - it starts a good stretch of melodious arioso, and some ensembles in rapid succession.

It leads to a nice quartet: Je ne vous crois pas. A

Il était temps - Mephisto sings his big aria, very impressive, with lots of gravitas. A

Now it's time for a long love duet between Faust and Marguerite in various parts:

Laisse-moi, laisse moi contempler ton visage. He sings, then she sings. Romantic, melodious piece. A. Followed by I'l m'aime, I'l m'aime pas. B.
Then Ô nuit d'amour! Cel radieux! Big time melody, rolling, enticing, serenade style. A+, I like it a lot. Partez, partez, oui, partez vite! Marguerite has a pang of guilt and pushes Faust away. Overdramatic let down. B-.

Divine pureté! comes to close the act. Again, the melody soars, and we get back to A territory, with a nice tune to end it after Mephisto comes back, and Faust and Margueritte exchange some more passionate lines, her back to her room and singing with the window open. Effective. A

This act is far superior to the first two. I give it an A overall. The opera is getting progressively better: from B- to B+ to A. Looking forward to the last two acts to see what the global score will be.

-----------

Act IV

Elles ne sont plus la - it's pungent, but somehow rubs me the wrong way, seems too lachrimose. I'm not impressed. B-. I'm not very much into this sort of thing (this is one of the reasons I don't care much for Madama Butterfly).

Siébel comes in, it all continues in the same style. I still don't like it. There is something missing from this version - according to my synopsis, we're supposed to get a Mephisto aria her, and a pray by Marguerite. Nothing like this in this version.

A march comes in. Deposons nos armes. A bunch of people arrive. By now the entire pace of this thing is pretty much shot. Gounod was unable to maintain what he had achieved in Act III.

But then, Gounod recovers. Next is Gloire Immortelle - pretty good march. A-.

This followed by Vous qui faites l'endormie, by Mephisto. Rather clichéd piece, punctuated by diabolic laughter. B-. The pace continues to suffer and the whole thing feels forced.

Valentin, Faust, and Mephisto get to a trio. Redouble, O Dieu puissant. Again, rather mondaine stuff. B

Lame sword fight ensues, Valentin gets killed. Or dying. As usual, in opera, people sing after they are poisoned, stabbed, or pierced by sword. What he sings is not that enticing, as he keeps insulting his sister. C+.

Long, long, death scene. By now I'm bored. C-

It ends on some tuneful, melancholic orchestration that is actually better than what came before it, B+.

Act IV comes to an end, the weakest of them all so far. B- overall.

-----

Act V now.

OK, now we get Marguerite in a church, trying to pray and Mephisto stopping her from doing it, ballerinas come around for a few seconds (no full ballet in this production, pitty, because I heard that the ballet music in Gounod's Faust is very beautiful), she is arrested. Souvient-toi du passé - the Mephisto aria that was missing before, is now up next. I guess this production switched the order of scenes. It is pretty good. A-.

Seigneur, accuillez la prière - Marguerite sings, very lyrical, beautiful. Again we are in A territory. The scene ends well with the Devil shouting À toi l'enfer!

Sc 2, the ballet, is skipped in this production.

There is a long brass/clarinet introduction to Sc 3, I like it, B+ at least if not A-.

Marguerite is in her prison cell. Faust and Mephisto come along, Mephisto leaves, Faust sings. Oui, c'est toi. Rather good. A-.

Gounod, Barbier and Carré try to move into high drama. I'm not sure if they succeed. It all seems to lack punch, since this love duet is definitely not as good as the one in Act III. B-

A waltz tune comes up while they recall their first meeting. Nice. B+

The orchestra comes alive and comments on the action rather nicely (unlike in most of the opera). It's ending well, and moving back into an A for this scene.

Marguerite's melody, helped by the orchestra is actually quite beautiful and gets an A+. Le diable drags Faust away. Marguerite is about to be beheaded. Jugée... sauvée. Some church-like music comes... Paix et félicité, they sing. But then Ken Russell screws up - he changes the ending!!! The guillotine falls. A gory, bizarre scene comes up when we see Marguerita's beheaded corpse raising from her coffin. Whaaaaat? This isn't Gounod's ending. Final curtain.

Act V gets an A.

-----------

So, time for the final judgment of this opera. Five acts. B-, B+, A, B-, A.

The two As cancel the two B-, and we get to an overall B+ score. Seems fair.

A B+ for me means that it doesn't surpasses the threshold to become one of my favorites, but has its merits.

It is hard to understand why this opera is so much more popular than the vastly superior La Damnation de Faust by Berlioz, which shares the same topic and is better in every way we look into it (orchestration, libretto, pace, lyricism, dramatic impact, creativity, effectiveness, duration, etc.).

About this production - meh. Rather weak staging with outrageous betrayal of the opera's ending, and some stage director gimmicks (come on, Ken Russell!) that didn't work at all (Marguerite is depicted as a nun). So-so singing. Gabriella and Ruggero did fairly well, but Francisco was subpar. But I don't think what I'm saying about this opera has to do with the production. Of course this opera can be made better by more talented singers and better stage directing, but it won't ever be as good as Berlioz's.
 
#26 ·
Hey Almaviva, thanks for the reviews.

Just for the record, this thread is usually for live opera that you have attended in person:).

We usually put DVD reviews on the Opera on DVD threads.

I don't think we've got a CD reviews thread, maybe you could start one for your next CD review?
 
#27 ·
Oops... darn, in this case I won't be a regular contributor to this thread, since like I said, I live in a small metropolitan area with 3-4 productions per year.

It is true that in late October I'm going to New York City and will attend in person Don Pasquale with Anna Netrebko and Boris Godunov with René Pape, so, I'll be able to post then.

But like I said, I'm not exacting reviewing the DVD. I'm reviewing the *opera* itself. It's actually one of the main reasons I joined - that I would be able to discuss the merits and demerits of the *operas* themselves in terms of the vocal music, the orchestration, and the theatricality. I'm more interested in this kind of discussion than on whether a given production is good or bad (which of course has its merits too, it's just that I'm less interested in that - it's nice to have recommendations for good DVDs and stuff, but I find more stimulating to discuss the works themselves). So, what thread do you recommed for this kind of discussion, or should I create one with this focus?

PS - should I delete my two reviews above?
 
#33 · (Edited)
Went to see Tristan und Isolde last night at the Royal Festival Hall in a concert performance with video imagery from Bill Viola. Also during a lot of the opera and particularly in Acts 1 & 2, much use was made of the whole auditorium with the singers performing in the boxes, gallery, and when Tristan and Isolde reunited in Act 2 they walked through the stalls to meet each other. I thought that this was a good way of keeping the concert performance fresh. Peter Sellars was the artistic force behind this and it showed. The video projections were not entirely satisfactory and sometimes you felt that they were distracting rather than anything else, particularly in Act 3. There was a male and female nude scene in Act 1 which did shock some audience members. However when the love potion was taken the imagery was at its best when the two actors in the images jumped in the water seemingly free to love. Musically I thought the performance was of the highest order. The Philharmonia Orchestra under the baton of Esa-Pekka Salonen played absolutely superbly, displaying some of the finest Wagner playing I have been lucky to witness in a live performance. Salonen was very singer friendly which can be difficult for conducters to be with this type of work. The singers were also very good. Violeta Urmana was a strong yet beautiful Isolde. Gary Lehman was a heroic Tristan and got through this draining part very well. A singer I don't associate with Wagner, Anne Sophie von Otter was superb as Brangane, whilst Jukka Rasilainen was good as Kurwenal. Matthew Best was an imposing King Markeand the minor parts were taken very well.

All in all a fine night of Wagner music.

If you are curious to see a glimpse of the show see the following link.

http://www.philharmonia.co.uk/thesoundexchange/backstage/features/tristan/
 
#34 ·
I hope someone can give a review of Bellini's ' La sonnambula'.



I really like the story, the setting and the incredibly good ending :), but have never heard of this opera before today.:(

Also, would someone please translate the following for me?

The phrase "Ah! non credea mirarti / Sì presto estinto, o fior" from the aria "Ah! non credea mirarti" of La sonnambula is inscribed on Bellini's tomb inside the Cathedral of Catania, Sicily.

Thanx much for any help. I think I must have this opera! Chuck
 
#37 ·
I love opera... what has everyone seen recently.


My home town (Houston) recently had Madamme Butterfly and it was great! A beautiful piece couldn't have been done so well.


What did you see recently and how did you like it?
 
#38 ·
Hi kingtim

There's a thread on this already (Personal opera reviews) but your title makes more sense than mine :D so I've asked admin to merge them if they can & keep your title.

I am so jealous you've seen that Madama Butterfly. I'm a big fan of Joseph Calleja & the reviews have been fantastic (I put some in 'Opera News')

I go when I can - saw Boccanegra with Domingo, Furlanetto & Calleja at ROH which was out of this world. Going to see Rigoletto with Hvorostovsky next Tuesday.
 
#39 ·
saw Boccanegra with Domingo, Furlanetto & Calleja at ROH which was out of this world.
Ditto.... and I agree with your review!

I was lucky enough to be at the opening night of WNO's Meistersinger this summer, to see Bryn Terfel's debut as Sachs. A magnificent occasion, boosted to dizzier heights by superb performances - especially from Mr T himself, Christopher Purves as Beckmesser, and the remarkable WNO Chorus & Orchestra pulling out all the stops under Lothar Königs in the pit.

More recently, I saw Radamisto at ENO (Lawrence Zazzo on fine form), and Ariadne auf Naxos in Cardiff - another winner for WNO as an ensemble, superbly conducted by Lothar Königs once again, with Sarah Connolly mesmerising as "The Composer".

Next up, it's Tannhäuser at Covent Garden in December. Can't wait!
 
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