OperaDuets history Blog

November 25, 2006: Don Carlo in Zurich

2009-11-25T00:00:00.000+01:00

2006-11-25 Don Carlo (G. Verdi), Opernhaus Zurich

Elisabeth de Valois = Joanna Kozlowska
Eboli = Luciana d Intino
Tebaldo = Martina Welschenbach
Stimme von Oben = Eva Liebau
Don Carlo = José Cura
Posa = Leo Nucci
Filippo II = Matti Salminen
Grossinquisitor = Pavel Daniluk
Frate = Tomasz Slawinski
Lerma = Miroslav Christoff

Carlo Rizzi, conductor

Dirigent
Carlo Rizzi

Inszenierung
Werner Düggelin

Bühnenbild
Raimund Bauer

Kostüme
Sue Willmington

Lichtgestaltung
Jürgen Hoffmann

Choreinstudierung
Ernst Raffelsberger

Same production as in 2003. First I am a little bit thinking, why this opera again, or this production. Carlo Rizzi's fault I think or the orchestra, the Prelude doesn't sound quite right, I am not happy. The chorus and the Frate (Tomasz Slawinski) is too weak to make any impact. Jose Cura as Don Carlo is already there prostrate at the monastery. This time he is not twitching as much as Don Carlo, he is almost a normal man. "I'ho perduta" is sung but not with his beautiful voice, he is too throaty, at least in the beginning. Leo Nucci comes in as Rodrigo di Posa. They are usually wonderful together, but I still finds flaws. So things are not starting as well as I wish, but maybe it is not Jose's or Leo Nucci's fault, it is the weak bass of the the Frate and the other monks. They are not setting the mood right. Yeah, that's it.

Next scene. The Queen's Garden. Finally the women is singing wonderful setting the right mood. And then she comes, Luciana d'Intino as Eboli. And finally perfect singing. Much better than in 2003. I still find her voice a bit too low or dark. I miss the lightness of Baltsa. BRAVA, Luciana! Joanna Kozlowska comes in next as the queen, Elisabeth de Valois. She is wonderful as the demure queen. The Grande of Spagna, Rodrigo di Posa, Leo Nucci is announced, he carries a letter from the queen mother, but also a note from Carlo. The trio is wonderful, at least Leo Nucci and Luciana d'Intino can sing and act at the same time. Nucci is very playful. Then Elisabeth and Carlo will meet alone, not the thing done in the Spanish court: Jose Cura and Joanna Kozlowska. Beautiful to it staged in a strange way. The King Matti Salminen come and sees his queen all alone... But her wonderful aria "Non pianger, mia compagna" is however beautiful sung not really sung or acted with any understanding of the moment, her best / only friend is being banished from the court, when the king finds the queen alone, humiliating his queen in public. First the aria starts with a quick walked to the other side of the stage with the Countess of Aremburg, but this is nonsensical, and while her friend is crying, this queen looks at the ceiling, it is very awkward. After having insulted his wife, this King Filip II Matti Salminen wants to talk to his Grande de Spagna, Rodrigo de Posa, Leo Nucci. Great duet, but this Posa is really crazy talking like that to his king, difficult to understand why Filip is so understanding. But the singing and acting was superb.

Act 2. Scene 1. A perfect wonderful scene, with Don Carlo Jose Cura believing Eboli Luciana d Intino is Elisabeth. Then Eboli find out, rages, and Rodrigo Leo Nucci tries to save Don Carlo. Absolutely gorgeous singing and acting.

Act 2 Scene 2 Auto-da-fe scene. Wonderful singing acting but really already worn out since 2003, no real shock here for the audience, so somebody is going to be burnt alive, nope, no feeling there. Don Carlo is threatening his father, no nothing there either. They even forgets to arrest Don Carlo, who almost killed his father. No, no, maybe it is our war of terror that are making an auto-da-fe just the everyday thing.

Intermission

Act 3. The great Matti Salminen as Filip II, what could be better. Unfortunately he is getting old and his voice is not really heavy enough any more. Not saying he sang "Ella giammai m'amo" perfectly and acted very well. The when the Grand Inquisitor Pavel Daniluk came, it really never was a doubt who would win this duel / duet. Daniluk had the bigger voice, and Salminen had no chance. Then when Elisabeth Joanna Kozlowska came in and there was another duet. Good, but not great as in 2003 with Colombara and Prokina. Then Elisabeth faints and in burst Posa and Eboli. The duet between Elisabeth and Eboli is wonderful singing. But there is too little acting from Kozkowska and too much from d'Intino. But when Luciana d Intino is left solo, there is another triumph for her, "O don fatale" is a smash hit.

Act 3 Scene 2. Don Carlo is in prison and Rodrigo comes to visit. Rodrigo's death. Filip II come to let Carlo out of prison, and finds out that the wrong man has been executed. The people rebels, want the Infante, Don Carlo free from prison. Inquisitor and Filip quells the rebellion and all is prostrate. Don Carlo Jose Cura, Posa Leo Nucci, Filippo II Matti Salminen, Grossinquisitor Pavel Daniluk are all doing great in this scene.

Act 4. Finally Joanna Kozlowska is redeeming herself and making some wonderful singing and acting. The duet with Jose Cura is wonderful. And they both somehow "survive" (monastery) when Filip and Gran Inquisitore want's a double sacrifice.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 24, 2007: Elektra in Budapest

2009-11-24T00:00:00.000+01:00

2007-11-24 Elektra (R.Strauss), Magyar Állami Operaház

Klytämnestra = Agnes Baltsa
Elektra = Nadine Secunde
Chrysothemis = Bátori Éva
Aegisthos = Gulyás Dénes
Orestes = Perencz Béla
Orestes nevelője - Cser Krisztián
Klytemneistra bizalmasa - Balogh Tímea
Uszályhordozónő - Polyák Valéria
Fiatal szolga - Megyesi Zoltán
Öreg szolga - Szegedi Csaba
A felügyelőnő - Kukely Júlia
1. szolgáló - Balatoni Éva
2. szolgáló - Érsek Dóra
3. szolgáló - Mester Viktória
4. szolgáló - Fodor Beatrix
5. szolgáló - Wierdl Eszter

Kovács János, conductor
Magyar nyelvű feliratok / Hungarian textMesterházi Máté
Rendező / DirectorKovalik Balázs
Díszlettervező / stage designer Antal Csaba
Jelmeztervező / costume designerBenedek Mari
Karigazgató / Chorus MasterSzabó Sipos Máté

It is Premiere of Elektra and the opera house is wrapped in red on this occasion. Only two things bothered me: that my seat got very uncomfortable after 70 min's plus of Opera, real pain in my ..., and the end where Orest kills both his sisters with a machine gun, so totally unnecessary.

Nadine Secunde was great as Elektra (no surprise there), Eva Batori was wonderful as Chrysothemis. Agnes Baltsa was magnetic as Klytämnestra.

The production: Modern and set in a bath. It started startlingly with the opera house completely dark and then suddenly some light and the thunder of Straussian music. And unlike the Vienna production we could see the people and different types and real human being. The very self-assured über-type of woman, from the more submissive one. But to be onstage without shoes, naked but for some bathrobe or just a towel wrap round the bodies, I would guess they look forward to get dressed again. Some nakedness occurred, only male, and for a short time. Elektra had a black dress (dressed as widow), Chrysothemis in white (dressed as a bride). Klytämnestra also had black dress and a white fur robe. Orest dressed very formally but with sunglasses. Aigist had only a white bathrobe which made him very self-conscious when taking the bow at the end.

The changing of color lighting the stage was very well done. So naturally it got to be very red during some parts of the Elektra/Klytämnestra scene. The symbolism when Klytämnestra was killed was perfectly. No such symbolism for Aigist.

In the end after the murders:Chrysothemis was first greeted by Orestes people as Princess and goes out to dress herself as a new Klytämnestra. Elektra also changes out with the old puff, and a white robe is over the old black. But Elektra is not ready for the happiness, she struggles with the Agamemnon tree to Klytämnestra's bed, the power lies in the bed. She is clearly exhausted. But instead of having her die in the bed of mental exhaustion Orest has her killed with a machine gun. Two shots is heard, so when Orest is supposed to kill Chrysothemis with his second bullet, all Eva Batori can do is to drop dead with no sound.

The end ruined it, when Orest kills his sisters that does not make it a Real Greek Tragedy, but if his two sisters died just of exhausted minds when Orest should celebrate his triumph. THAT WOULD BE Greek Tragedy.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 23, 2007: Tosca in Vienna

2009-11-23T00:00:00.000+01:00

2007-11-23 Tosca (G.Puccini), Wiener Staatsoper

Mario Cavaradossi = José Cura
Floria Tosca = Amarilli Nizza
Baron Scarpia = Marco Vratogna
Cesare Angelotti = Boaz Daniel
Der Mesner = Lars Woldt
Spoletta = Benedikt Kobel
Sciarrone = Clemens Unterreiner
Ein Schließer = Goran Simic

Paolo Carignani, conductor

Tosca with José Cura as Mario Cavaradossi.

Tosca no 517:
Inszenierung Margarethe Wallmann
Bühnenbild und Kostüme: Nicola Benois

I missed a great Scarpia, Ruggero Raimondi is always great as Scarpia. Amarilli Nizza was Ok as Tosca. Liked her Vissi d'arte. José Cura and the conductor was not always in agreement. Cura wanted to be faster. He was also acting in a way inconsistent with the times, Neapolitan time. This was a very traditional Tosca with beautiful settings. It was a beautiful E lucevan le stelle. The end duet Tosca/Cavaradossi was great (good). But Nizza could not help herself when she leaped from the castle one might have thought this was one of the first Tosca's in this production, very old fashioned (at least from the -50s). One arm raised....

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 22, 2008: Juanjo Cura in Berlin

2009-11-22T00:09:00.001+01:00

2008-11-22 Juanjo Cura, Kammermusiksaal Philharmonie (Berlin)

Juanjo Cura, tenor
Javier Tucat Moreno, piano
Malys Im, double bass
Guillermo Destaillats, bandoneon
??, percussion

First impressions of Juanjo Cura in Berlin

It was cold in Berlin. And it was even a bit cold in Kammermusiksaal Philharmonie Berlin. It is a special concert room with a small plattform in the middle, just the right size for a small group of people with instruments. For 5 people, it was perfect.

Juanjo Cura seems to have more than just Argentinians on his side as fans of him and of tango, it was quite a lot of Germans there too. The concert hall was not full but it seemed to be more more than half full. I sat in the front row, in the best seat of the room. I bought my 3rd Juanjo Cura CD there, Pasional. He talked in German during the concert and we had no program, all our information was from Juanjo himself in his German. Since I am not German myself but understand German and speak a little myself I still had a little problem since his German was good but it was an Argentinian speaking German... But it was still very impressive to do that.

My other disadvantage is my not knowing too much about Argentinian Tango. For so many there they knew the music already and loved it already. I am more of the classical person. Juanjo Cura is more approaching the music like a Jazz singer would, being very free with the notes. But Juanjo Cura's voice is a true tenor voice. Personally I will always regret that he did not choose the more classical path but Juanjo seem to enjoy more the explosive passion of the tango. And he really acts it out. Nobody can say that he just sings because he doesn't just sing he is every tango and song he sings. But sadly it reminds me of why I "hate" Jazz and LOVE Classical music. I will always love more the correct attack to the notes that are the Classical way and dislike most of the loose attack that is Jazz. But I don't regret using my money to go to Berlin just for this concert. I don't regret that at all. I loved his singing "Dein ist mein ganzes Herz" from Lehar's Das Land des Lächelns. His singing My Way in German. And some of the tangos/boleros/songs that he sang as nicely as he does on his CD's.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 21, 1988: Madama Butterfly in Oslo

2009-11-21T00:00:00.000+01:00

1988-11-21 Madama Butterfly (Puccini), Den Norske Opera (Oslo)

Cio-Cio-San = Keiko Kamegawa
Suzuki = Marit Osnes Aambø
Kate Pinkerton = Gro Hundvin
B.F. Pinkerton = Caj Ehrstedt
Sharpless = Jan Sødal
Goro = Rorald Rørvik
Prince Yamadori = Knut Gullerud
Uncle Bonzo = Svein Carlsen

Per Åke Andersson, conductor

How irritating it is to hear/see this heart-wrenching opera and to have people sitting there finding it ludicrous the marriage contract for 999 years. But poor Butterfly she is going to die because she takes it seriously love, marriage but Pinkerton see every thing Japanese as a joke as this custom of leasing houses for 999 years. The clash West/East.

That bloody Pinkerton. Even the American consul who is normally quite cold-blooded tries to warn Pinkerton.

This is a great opera!

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 20, 2004: Jose Cura interview in Vienna

2009-11-20T16:35:00.002+01:00

Many members of JCx (José Cura Connexion) were in Vienna for Stiffelio already and so when Marlene told us about the public interview in Theater Akzent we got our tickets.

First the technical problems. And José had to take a photo of that:

And then on the left we see the translator, José Cura, and on the right the interviewer.
In the end it needed a technichian.

It was interesting to hear Cura explain his views about this and that in opera. And a point in the interview he got visibly red after too many compliments.

That was cute.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 19, 2004: Stiffelio in Vienna

2009-11-19T00:04:00.000+01:00

2004-11-19 Stiffelio (Verdi), Wiener Staatsoper

Stiffelio = José Cura
Lina = Hui He
Stankar = Renato Bruson
Raffaele = Cosmin Ifrim
Jorg = Johannes Wiedecke
Federico = Peter Jelosits
Dorotea = Ǻsa Elmgren

Marco Armiliato, conductor

Breakfast. Free time in Berlin. Afternoon-flight to Vienna. Just an hour before the opera started was I in the Staatsoper, naturally I had skipped visiting my hotel first. So all my luggage in Staatsoper. Relaxing and meeting friends before the opera started. I had bought the Viennese newspapers on the airport Schwechat and
looked through it on the train to Vienna City. I usually am quite drowsy when I get into the opera houses after my traveling, not this time. Unfortunately it didn't get that much interesting on the stage.

The ouverture was well played with the orchestra conducted by Marco Armiliato. And the young bass as Jorg was quite good. But he was a young man playing an older man, not utterly convincing. I was ready to admire the soprano Hui He as Lina first I was a bit put off by the painting of her face as too white, reminded me of Chinese opera, it was a visual disturbance that I would have learned to live with. But this very beautiful large voice was simply too weak in the piano. You need the hear the voice even it should sound piano.

Cosmin Ifrim as Raffaele was charming. And Hui He and Cosmin Ifrim was a nice couple of singers. Renato Bruson (Stankar) was not, in my opinion, in great form. Even though Jose Cura acted the role very well, I felt that even he was not in such a great form. The Moshinsky production is wonderful but without a great Stiffelio,
Lina & Stankar it could not stand on it own. How I longed for Leo Nucci as Stankar and Emily Magee as Lina, they sang so well in Zurich I wished they came to Vienna too. Really, the test for this opera is the ending of it. "Allor Gesu..." and PERDONATA!!, the adulteress is forgiven in the Bible and in Opera, and I felt
nothing. Big applause to Hui He and Renato Bruson from the house but not from me. I really wished that I could feel that Jose Cura did another great performance. ´Maybe it was the weather?

Anyway, after the performance, applause and backstage, I found my hotel pension Haydn and had another good nights sleep.

PS. I feel like I disagree with myself now 4 years later. That Jose Cura sang well, and that Hui He was a great Lina. But I still let it say this. It was what I felt that time.DS

Stiffelio
(32. Aufführung in dieser Inszenierung)

Dirigent: Marco Armiliato
Inszenierung: Elijah Moshinsky
Bühnenbild: Michael Yeargan
Kostüme: Peter J. Hall
Lichtregie: Paul Pyant
Choreinstudierung: Ernst Dunshirn

Stiffelio: José Cura
Lina: Hui He

Beginn: 20.00

For more reviews from my travels, see www.operaduetstravel.com
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November 19, 2001: Italiana in Algeri, Vienna

2009-11-19T00:00:00.000+01:00

2001-11-19 L'Italiana in Algeri (G. Rossini), Wiener Staatsoper

Mustafà = Simone Alaimo
Elvira = Milagros Poblador
Zulma = Stella Grigoriau
Haly = István Gáti
Lindoro = Robert Nagy
Isabella = Agnes Baltsa
Taddeo = Alfred Sramek

Frédéric Chaslin, conductor

On November 19th, I saw Agnes Baltsa when she came to the Vienna State Opera, and when she went from the State Opera. And naturally I was there when she sang Isabella in Italiana in Algeri.

To wait for Agnes Baltsa just inside the Operahouse in the room before the Portier at the stage entrance. It was freezing outside. Meeting people who are equally admirers of Agnes Baltsa and talking to them while waiting. Other people was outside with flowers and waiting and freezing. At last she came. Her arms became soon full with flowers and goodwishes, I tried to give her the Gift for the fanclub (the list of good wishes for her birthday), she had to take the flowers inside, but she promised to come out after the performance in the same room.

Italiana in Algeri. Nobody does Isabella better than her. I think she was not completely recovered form the bronchitis that prevented her from singing at the Aidsgala in Berlin earlier this month. But still she communicated enjoyment and it was wonderful. Maybe the others get a more vocally competent Agnes Baltsa, but to be there when She is singing her favorite role on her Birthday was soo special that I wont regret it no matter what.

AND in the end of the performance the Chorus sang HAPPY BIRTHDAY to Agnes Baltsa, and the house almost fell down.

Then I waited for her after the event, and she was sitting in the portiers signing and I could at last give her the GIFT. And I must say Agnes Baltsa looked wonderful. I wish I could have stayed to see the rest of her Italianas.

A GREAT DAY! HAPPY BIRTHDAY to the Diva!

Wiener Staatsoper
montag, 19. november 2001
49. Aufführung in dieser Inszenierung

L' I taliana in AIgeri
Drama giocoso per musica in zwei Akten von Angelo Anelli
Musik von Gioachino Rossini

Musikalische Leitung Frédéric Chaslin
Nach einer Inszenierung
und in der Ausstattung von Jean-Pierre Ponnelle
Chorleitung Ernst Dunshirn

Lindoro, ein junger Italiener,
Lieblingssklave des Mustafà Robert Nagy*

Ort der Handlung Algerien
Orchester und Chor der Wiener Staatsoper

Die Aufführung basiert auf Azio Corghis kritischer Ausgabe
der Fondazione Rossini Pesaro in Zusammenarbeit mit G Ricordi, SPA Milano

* Rollendebüt i1n der Wiener Staatsoper

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 18, 2001: Gianni Schicchi in Vienna

2009-11-18T00:06:00.000+01:00

2001-11-18 Gianni Schicchi (G. Puccini), Wiener Staatsoper

Gianni Schicchi = Alberto Rinaldi
Lauretta = Tatiana Lisnic
Zita = Nelly Boschkowa
Rinuccio = John Nuzzo
Gherardo = Cosmin Ifrim
Nella = Ingrid Kaiserfeid
Betto = Janusz Monarcha
Simone = Walter Fink
Marco = István Gáti
La Ciesca = Stella Grigorian
Gherardino = Wiener Sängerknabe
Spinelloccio = Alfred Sramek
Amantio = Wolfgang Bankl
Pinellino = Hiroyuki ljichi
Guccio = Michael Kuchar

Michael Boder, conductor

Double-bill: Boring, depressing opera (Jakobsleiter) before a Comic Opera (Gianni Schicchi)

New in the Staatsoper, now they have VILAR subtitling system, unfortunately it is still better to be prepared and not use the subtitles. Opera is more enjoyable that way.

But Schönbergs Jakobsleiter is not possible to enjoy. We all needed the fun from the Comic opera by Puccini in order to go happily home. The staircase on the stage for Jakobsleiter was used in Gianni Schicchi. It was really a comic relief. Wonderful production.

15. Aufführung in dieser Inszenierung
Gianni Schicchi
Oper in einem Akt von Giovacchino Forzano Musik von Giacomo Puccini

Musikalische Leitung Michael Boder
Inszenierung u Bühnenbild Marco Arturo Marelli
Kostüme Dagmar Niefind-Marelli

Lauretta, seine TochterTatiana Lisnic*

Orchester der Wiener Staatsoper
Bühnenrechte Universal Edition AG, Wien, für BMG Ricordi Milano
* Rollendebüt an der Wiener Staatsoper

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 18, 2001: Jakobsleiter in Vienna

2009-11-18T00:00:00.000+01:00

2001-11-18 Der Jakobsleiter (Schönberg), Wiener Staatsoper

Gabriel = Franz Hawlata
Ein Berufener = Torsten Kerl
Ein Aufrührerischer = Michael Roider
Ein Ringender = Wolfgang Bankl
Der Auserwählte = Peter Weber
Der Mönch = Heinz Zednik
Der Sterbende = Kirsten Dene
Die Seelen = Milagros Poblador, Ileana Tonca

Michael Boder, conductor

Double-bill: Boring, depressing opera (Jakobsleiter) before a Comic Opera (Gianni Schicchi)

New in the Staatsoper, now they have VILAR subtitling system, unfortunately it is still better to be prepared and not use the subtitles. Opera is more enjoyable that way.

But Schönbergs Jakobsleiter is not possible to enjoy. We all needed the fun from the Comic opera by Puccini in order to go happily home. The staircase on the stage for Jakobsleiter was used in Gianni Schicchi. It was really a comic relief. Wonderful production.

Wiener Staatsoper
sonntag, 18. november 2001
12. Aufführung in dieser Inszenierung

Die Jakobsleiter
Oratorienfragment von
Arnold Schönberg
Fassung von Wilfried Zillig

Musikalische Leitung Michael Boder
Inszenierung u. Bühnenbild MarcoArturo Marelli
Kostüme Dagmar Niefind-Marelli
Choreinstudierung Ernst Dunshirn
..,

Eleve der Ballettschule der Wiener Staatsoper
Orchester und Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper
Bühnenrechte Universal Edition AG, Wien

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 16, 1984: Aida in Oslo

2009-11-16T00:00:00.000+01:00

1984-11-16 Aida (Verdi), Den Norske Opera (Oslo)

Re d'Egitto = Carsten Harboe Stabell
Amneris = Mirjana Dancuo
Aida = Hilde Nora Veidahl
Radames = Maurice Stern
Ramfis = Svein Carlsen
Amonasro = Knut Skram

Per Åke Andersson, conductor

My mother didn't like this production, I did. I guess she found it too dark and not Egyptian enough. But I really believed in it all. I loved it...

DEN NORSKE OPERA
Friday 1984-11-16

AIDA
Opera in 4 acts by Giuseppe Verdi
Libretto: Antonio Ghislanzoni
Conductor: Per Ake Andersson
Regie: Giancarlo del Monaco
Decor: Dominik Hartmann
Costumes: Bernd-Dieter Muller
Choreography: Lise Eger

19.00 - ca. k1. 22.15

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 13, 1999: Le Prophete in Vienna

2009-11-13T00:00:00.000+01:00

1999-11-13 Le Prophète (G. Meyerbeer), Wiener Staatsoper

Fidès = Agnes Baltsa
Jean de Leyde = Janez Lotric
Berthe = Simina lvan
Le Comte d'Oberthal = lstvan Gati
Zacharie = Peter Köves
Mathisen = David Cale Johnson
Jonas = Torsten Kerl

Marcello Viotti, conductor

Le Prophete. The Anabaptist revolt, because of the unfair conditions that the country people live under. Their Overlord is harsh and unfriendly. The sect of the Anabaptist, is against the Church. Unfortunately the violence remains. In this situation we find Berthe, an orphan, and Count of Oberthal decides instead of accepting that Berthe can marry Jean, he wants her himself. The mother of Jean, Fides, who has come to fetch Berthe, is also seized. Jean finds out about Berthe, in his hatred he becomes the Prophet...
This was the second time I saw Le Prophete, and Hans Neuenfels ideas about this opera, irritated me even more. Agnes Baltsa was great. Janez Lotric was brave to sing this role after Plácido Domingo. Simina Ivan was a good Berthe. The three Anabaptist were weaker than before.
But Giacomo Meyerbeer's music is still GREAT no matter what the director does.
Only one thing I want to tell the opera directors, let opera unfold to tell the story. Just open it up, new and fresh. (like one did with La Juive)

Wiener Staatsoper
samstag, 13. november 1999
15. Aufführung in dieser Inszenierung

Le Prophète
Oper in fünf Akten von Eugène Scribe Musik von Giacomo Meyerbeer

Musikalische LeitungMarcello Viotti
InszenierungHans Neuenfels
Bühnenbild und
Kostüme Reinhard
von der Thannen
ChoreinstudierungErnst Dunshirn
Einstudierung der TänzeRenato Zanella
., .

OffizierAlexander Pinderak
Bürger Johannes Gisser
Anabaptist Martin Thyringer
BallerinaPatricia Sollak
., .
Orchester der Wiener Staatsoper
Bühnenorchester der Wiener Staatsoper Wiener Staatsopernballett Eleven der Ballettschule der Wiener Staatsoper Amadeus Knabenchor Bewegungschor

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 12, 1999: La Juive in Vienna

2009-11-12T00:00:00.000+01:00

1999-11-12 La Juive (L. Halèvy), Wiener Staatsoper

Eléazar = Neil Shicoff
Rachel =Soile Isokoski
Prinzessin Eudoxie = Regina Schörg
Kardinal Brogni = Alastair Miles
Léopold = Zoran Todorovich
Ruggiero = István Gáti
Albert = Janusz Monarcha

Simone Young, conductor

Neil Shicoff in the role of his life as Eleazar.
La Juive, Christians and Juive separated in one city. The production shows the segregation with colors, White for Christians, Black for Jews. The colors are not saying that the Christians are innocent in the hatred and violence. The stage is also segregated. It is beautiful music and a production that make you think.

Only one thing I want to tell the opera directors, let opera unfold to tell the story. Just open it up, new and fresh. (like one did with La Juive)

Wiener Staatsoper
freitag, 12. november 1999
6. Aufführung in dieser Inszenierung

La Juive
Oper in fünf Akten Textbuch von Eugène S'cribe
In französischer Sprache mit deutschen Übertiteln
Musik von Promental Halévy

Musikalische Leitung, Simone Young
Inszenierung Günter Krämer
Bühnenbild und
Kostüme Gottfried Pilz und
Isabel Ines Glathar
Choreinstudierung Ernst Dunshirn

1 Bürger Hacik Bayvertian
2 Bürger Martin Thyringer
OffizierMartin Müller
-
Orchester und Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper Eleven der Ballettschule der Wiener Staatsoper

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 9, 2002: Jose Cura Opera Concert in Aalborg

2009-11-09T00:00:00.000+01:00

2002-11-09 Opera Concert, Aalborg Kongress & Kultur Center

José Cura, tenor & conductor
Giuseppina Trotta, mezzo
Aalborg Symphony Orchestra
Fernando Alvarez, conductor

CONCERT WITH THE TENOR JOSÉ CURA
with AALBORG SYMPHONY ORCHESTRA under the baton of Fernando Alvarez. Guest soloist: mezzosoprano GUISEPPINA TROTTA in Aalborghallen, Aalborg Kongres & Kultur Center, at 20hrs.

PROGRAM
Giuseppe Verdi
LA FORZA DEL DESTINO - Ouverture, Cura conducts
He still thinks conducting is about the exact notes. So this ouverture is not alive, his excact movements, makes it fuzzy.
Il CORSARO - Ah si, ben dite - Tutto parea sorridere Cura sings
He sings wonderfully, but he does have a cold. He moves too much, what was cute in the DVD Passion for Verdi is not cute in Aalborg.
IL TROVATORE - Madre, non dormi Duett: Cura/Trotta
The mezzo is to young to give Azucena the drive she needs, but she tries to be real even if this is a concert. Cura is his usual Manrico

Pietro Mascagni
CAVALLERIA RUSTICANA- Voi lo sapete, o Mamma Trotta
This aria is like exam for the mezzo, does Trotta pass the Santuzza test. Well, there is a great promise in her rendition.

Amilcare Ponchielli
LA GIOCONDA Cielo e mar Cura sings
A wonderful rendition of Cielo e mar.

Giacomo Puccini
MANON LESCAUT Intermezzo Cura conducts
He starts the intermezzo by nodding to the cellist, and slowly he builds up this intermezzo, and what a wonderful building it is. BRAVO Cura and Aalbirg Symphony Orchestra

Giacomo Meyerbeer
L'AFRICAINE O, paradiso Cura sings
This time Cura sings it better, but still the prononciation could and must be improved
Cura speaks.Oh new world you belong to me Cura (Vasco da Gama) sang in L'Africaine, and in Aurora, the new world have got it freedom.
Hector Panizza
AURORA Cancion de la Bandera Cura sings
Spendid rendition of this Argentine aria

Intermission

Camille Saint-Saëns
SAMSON ET DALILA Bacchanale Cura conducts
Cura conducts a wonderful bacchanele
Mon coeur s'ouvre à ta voix Trotta / Cura
When Cura comes and sings the Samson lines, it is perfect

LE CID O souverain, o juge, o père Cura sings
Wonderful aria sung perfectly

Georges Bizet
CARMEN Prelude Cura conducts
Wonderful prelude by Cura and Aalborg, going directly to the Habanera. Trotta is going onto the stage during the predude
Habanera Trotta, Cura conducts
Cura conducts Trotta, and Trotta sings Carmen. She is not a full-borne Carmen, yet.
La fleur que tu m'avais jetée Cura sings
A magical Flower-song by Jose Cura
Entr'acte, act 4
Alvarez conducts the Entr'acte, wonderful
C'est toi, c'est moi Trotta / Cura
Wonderful and dramatic Carmen Duet.

EXTRA
Addio, fiorito asil (MADAMA BUTTERFLY) Cura
Seguedilla (CARMEN) Trotta / Cura
Nessun dorma (TURANDOT) Cura

When Cura errs in Nessun dorma it only makes
this opera night more magical.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 7, 1992: Carmen in Bergen

2009-11-07T00:00:00.000+01:00

1992-11-07 Carmen (Bizet), Opera Bergen

Carmen = Petra Malakova
Micaela = Lynda Russell
Don Jose = Mario Carrara
Escamillo = Anooshah Golesorkhi
Zuniga = Knut Jørgen Moe
Frasquita = Kirsten Landmark Mæland
Mercedes = Tone Kvam Thorsen
Remendado = Svein Erik Sagbråten
Dancaire = Oddbjørn Hanto
Morales = John Magnusson

Vladimir Giaurov, conductor

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 6, 2005: Le Villi in Vienna

2009-11-06T00:02:00.000+01:00

2005-11-06 Le Villi (Puccini), Wiener Staatsoper

Roberto = José Cura
Anna = Krassimira Stoyanova
Guglielmo Wulf = Franz Grundheber

Simone Young, conductor

Le villi
(6. Aufführung in dieser Inszenierung)

Dirigentin: Simone Young
Inszenierung: Karoline Gruber
Ausstattung: Johan Engels
Licht: Patrick Woodroffe
Bewegungsregie: Beate Vollack
Choreinstudierung: Ernst Dunshirn

Karoline Gruber makes this opera into a kitchy Tirolean story. Very much about women doing the housework and men drinking beer. Luckily it is not totally ruined thanks to Cura, Stoyanova and Grundheber. One good idea the use of the Villis is very effective. Puccini's music is much better than this so-called inszenierung makes it.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 6, 2005: Osud in Vienna

2009-11-06T00:01:00.000+01:00

2005-11-06 Osud (Janacek), Wiener Staatsoper

Zivný = Jorma Silvasti
Míla Válková = Cornelia Salje
Mílas Mutter = Anja Silja
Poet/Dr. Suda/Ingenieur = John Dickie
Lhotský/Verva = Adrian Eröd
Konecný = Georg Tichy
Fräulein Stuhlá = Ǻsa Elmgren
Frau Major = Regina Knauer
Ein Student = Robert Maszl
Eine alte Slowakin =
Waltraud Winsauer
Frau Rat = Janina Baechle
Eine junge Witwe = Eliza Zurmann
Erster junger Mann = Jeong-Ho Kim
Zweiter junger Mann = Ion Tibrea
Doubek als Student = Terry Wey
1. Dame/Pacovská/
Fanca/Soucková =
Ileana Tonca
2. Dame/Kosinská = Simina Ivan
1. Gast = Dritan Luca
2. Gast = Michael Wilder
Ein Ober = Wolfram Derntl
Hrazda = Cosmin Ifrim
Zán = David Prochazka
Nána = Michaela Marhold
Pianistin = Raluca Stirbat

Simone Young, conductor

6. November 2005

OSUD
(6. Aufführung in dieser Inszenierung)

Dirigentin: Simone Young
Inszenierung: David Pountney
Bühne: Stefanos Lazaridis
Kostüme: Johan Engels
Licht: Rudolf Fischer
Regieassistenz: Nicola Raab
Chorleitung: Ernst Dunshirn

AN OPERA about a composer writing a opera. A sort of opera in a opera. Or is this ... Without Jorma Silvasti as the composer this opera would no doubt fail.

Pountney has some point in his regie, it took some time grabbing it, but then I understood the opera better.

Thanks to Agnes Baltsa I have heard Jánácek music before in the opera Jenufa (Wiener Staatsoper 2002). That naturally meant that I had an easier time dealing with the music than I would have had without. But where Jenufa is a more straight forward kind of opera, it is more linear story and you get to know the persons more in a straight way. Osud, Destiny, is a peculiar opera, more operatic than most operas, starts with a chorus containing more of just feelings of sunniness than of sun.

Anja Silja as the mother of Mila. Die Silja is of course famous for her many roles, and is especially known for her Jánácek roles. So here was an expectation that she would as important as Emily Marty in the Macropolous Case or as the Küsterin in Jenufa, two roles that are really her own. But there is not such a big role for her. Of course Anja Silja did it well but I couldn't help to think that Agnes Baltsa would in this role spring much more excitement and be more of a "can't take one's eye of her". Some magnetism was lost. But this was not Anja Silja's opera.

The role of Mila was much more as long as it lasted. And Cornelia Salje was great in this opera. From the moment she appeared it was her show. All other singers faded except Jorma Silvasti as her lover Dr Zisny. Cornelia Salje sang and acted her role as no other could have created this dysfunctional woman, was it the experience with Zisny that have made her such or was it her mother's fault , or...

OSUD is an opera that stands or fails with the tenor singing Dr Zisny. Jorma Silvasti was certainly the chief motor in holding it all together. Where as the role of Laca Klemen in Jenufa never allowed him to show the full extent of his voice and acting ability. The longer one get into the opera one realizes that it is not being realistic is Dr Zisny's opera in the making that we see. Everything is maybe in the composers head. The opera is about the torment of a composer making an opera out of his own experiences. David Poutney makes it possible to see this opera for what is probably is, the working process of an opera seen from the composers view.

One important person in the opera is Doubek, the son of Mila & Zisny. He is in many ways the reason why it all happened. Zisny wants his small son and finds his old love of Mila being as it was new. They live together unhappily with Mila's mother who is demented. When an unfortunate accident kills both Mila and her mother, Zisny is finally able to write an new act. Then Doubek grows up. Zisny decides that the opera is going to be on a stage finished except that 3rd act is missing. When he tells the students about the opera/his life is is almost finished up thinking to hear Mila's voice and a sort of forgiveness/cleaning up the mess happens, and when Doubek helps his father up, Zisny take a bow to the audience, and is like that before our eyes we have seen the 3rd act take shape. It is an opera inside this opera.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 6, 2004: La Forza del Destino in London

2009-11-06T00:00:00.002+01:00

2004-11-06 La Forza del Destino (Verdi), Royal Opera House London

Don Alvaro = Salvatore Licitra
Leonora = Violeta Urmana
Don Carlo di Vargas = Ambrogio Maestri
Padre Guardiano = Ferruccio Furlanetto
Preziosilla = Marie-Ange Todorovitch
Fra Melitone = Roberto de Candia
Marchese di Calatrava = Brindley Sherratt
Mastro Trabuco = Peter Bronder
Curra = Liora Grodnikaite
Alcalde = Jonathan May

Antonio Pappano, conductor

The Royal Opera 2004 - 2005
La forza del destino
Giuseppe Verdi

NEW PRODUCTION

16 October at 6pm
18 | 26 | 29 October at 6.30pm
1 | 3 November at 6.30pm
6 November at 6pm

Sung in Italian with English surtitles
Running time: 3 hours 45 minutes

Supported (2004) by The Jean Sainsbury Royal Opera House
Fund

La forza del destino reappears in the Royal Opera repertory after nearly 30 years. When Leonora's elopement with her lover Don Alvaro is interrupted by her father, the result is death and a curse: and so begins a fate-driven story of unknown identities, accidental reunions and dark confrontations.

This grand and traditional production is presented at Covent Garden with an exciting cast of singers both familiar with and new to this staging. Salvatore Licitra makes his House debut as the ill-fated Alvaro, the most difficult of tenor roles, opposite Violetta Urmana as the tragically cursed Leonora. Ambrogio Maestri makes his House debut as Don Carlo di Vargas, Leonora's brother who unwittingly rescues Don Alvaro, the man he has sworn to kill. With the returns of Ferruccio Furlanetto (Padre Guardiano), Marie-Ange Todorovitch (Preziosilla) and the Company debut of Roberto de Candia (Fra Melitone), Verdi's high melodrama is once more set to thrill.

Conductor:
Antonio Pappano

Staging:
Patrizia Frini

Lighting:
John B Read

Based on a production from
La Scala, Milan

WOW, the ouverture of Forza was extremely well played and conducted by the ROH Orchestra and Antonio Pappano. Unfortunately the high quality was not continuing the whole opera. Just simply to operatic, this opening of the curtain and the Marquis of Calatrava in freeze position until the opera singing started. Wrong, this opera starts
with us seeing what in a middle of a scene of a father and daughter together talking. The opera starts when the father is going from his daughters room. (not a BIG fault, you know, but irritating). Violeta Urmana is singing and at time also acting Leonora wonderfully, but she look too solid and not young enough as I see Leonora. The father
looked younger than his daughter. Luckily Salvatore Licitra as Don Alvaro saves act 1 from being a complete bore. Heavy-built Licitra with his energy and this man can also run so you can believe that he can be a brave soldier and handsome seducer. Wonderful tenor voice, sometimes it seems strained. Salvatore Licitra seem to be a very good-natured man, as Don Alvaro a man destiny hates, it seems strange mix.

I think it was totally wrong to use ballet dancers into Forza. All those posing, making the dancing and musicality of the chorus moments into strange things put into the opera and they did not seem to belong there. With less obvious choreography and more real people like chorus members etc singing and dancing and not those skinny
ballet dancers and it would have been more a natural integrated part of the opera, the dancing in the tavern, in the open... This Preziosilla, Marie-Ange Todorovich, acted and sang wonderfully, but the voice looses against the orchestra and I don't hear a true mezzo/alto voice as I longed for. Knowing that Ambrogio Maestri is singing Don Carlo means that you know that the student is Don Carlo, he is just so big and tall. He is not a bad Don Carlo but he is not a great Don Carlo, you can easily forget him, only a big man, the physical shape of Maestri remains.

But Ferruccio Furlanetto as Padre Guardiano was wonderful. Wonderful sonorous voice, commanding presence. Fra Melitone was too much, to much bass, too little humor.

This production from La Scala, or based on it, yes it was a traditional production but as it seem to be asking for realism, it forgot to be truthful to realism, that need real people doing thing thing to real reasons. It was too operatic, stupid even. Why was Fra Melitone so heavy-handed in humor, if Melitone had been considered as a
real human being and not a caricature, the humor would have come through much more efficiently, I think.

I think the radio viewers was much more lucky than us, even though Roberto Alagna and his wife Angela Gheorghiu was there. BBC radio 3 was lucky they could he a wonderfully sung Forza and see the perfect performance in their imagination. In stead of La Scala production with its promises never to be met.

Loved Salvatore & Ferruccio, not La Scala's Forza....

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

November 3, 1995: Carreras/Caballe in Oslo

2009-11-03T00:00:00.001+01:00

1995-11-03 Opera Gala, Oslo Spektrum

Josep Carreras, tenor
Montserrat Caballé, soprano
Norwegian Radio Orchestra
David Giménez, conductor

01. IL BARBIERE IN SIVIGLIA - Ouverture / Kringkastingsorkesteret, David Gimenez
02. TOSTI: Apri / José Carreras
03. Vieni sul mal / José Carreras
04. HERODIADE - Il est doux, il est bon / Montserrat Caballé
05. L'AFRICANA - Mi batte il cor / José Carreras
06. CIRO IN BABILONIA - Vorrei veder lo sposo / Montserrat Caballé
07. LA FORZA DEL DESTINO - Ouverture / Kringkastingsorkesteret, David Gimenez
08. LA TRAVIATA - Brindisi / Montserrat Caballé, José Carreras
09. CAVALLERIA RUSTICANA - Intermezzo / Kringkastingsorkesteret, David Gimenez
10. ADRIANA LECOUVREUR - Io son l'umile ancella / Montserrat Caballé
11. Coren'grato / José Carreras
12. Musica Proibita / José Carreras
13. Me llaman la primarosa / Montserrat Caballé
14. EL ULTIMO ROMANTICO - Bella enamorada / José Carreras
15. LA BODA DE LUIS ALONSO / Kringkastingsorkesteret, David Gimenez
16. EL DUO DE LA AFRICANA / Montserrat Caballé, José Carreras
17. Granada / José Carreras
18. GIANNI SCHICCHI - O mio babbino caro / Montserrat Caballé
19. O sole mio / José Carreras
20. La Paloma / Montserrat Caballé
21. DIE LUSTIGE WITWE - Lippen schweigen / Montserrat Caballé, José Carreras

5 extras

Radio NRK P2
Carreras/Caballe first concert together in Scandinavia.
It was wonderful to see them dancing a bit to Lippen Schweigen.

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

October 26, 2001: I Capuleti ed i Montecchi in Oslo

2009-10-26T00:00:00.000+01:00

2001-10-26 I Capuleti ed i Montecchi (Bellini), Oslo Konserthus

Giuletta = Patrizia Biccirè
Romeo = Ingebjørg Kosmo
Capellio = Carsten Stabell
Tebaldo = Salvatore Fischiella
Lorenzo = Magne Fremmerlid

Elizabeth Norberg-Schulz (Norway), sick (child)***
Replaced by Patrizia Biccirè, Italian Soprano

a wonderful replacement, wonderful Giulietta. Passionate singing, making Giulietta come forward as a person. Ingebjørg Kosmo, a wonderful mezzo, her voice was velvety, sometimes she was lacking in strength, but Bellini is demanding for the voice. Magne Fremmerlid was a big-voiced Lorenzo. I just couldn't believe he was Norwegian. Carsten Stabell as Capellio was a disappointment, weak voice and little presenza. SALVATORE FISISCHELLA was a magnificent Tebaldo.

Romeo's big scene in the end of the opera, was a HIGHLIGHT, and so touching when Giulietta wakes up. I almost cried. Kosmo and Biccire was top class!!

***Luckily as far as I know her child is now well after fighting Leukemia***

October 25, 1998: Fedora in Zurich

2009-10-25T00:00:00.000+02:00

1998-10-25 Fedora (Giordano), Opernhaus Zurich

Fedora Romazoff = Agnes Baltsa
Loris Ipanoff = Josep Carreras
De Siriex = Philippe Duminy
Olga Sukareff = Sona Ghazarian
Boleslao Lazinski = Thomas Grabowski
Dr. Boroff = Rolf Haunstein
Baron Rouvel = Emilio Ruggiero
Grech = Giuseppe Scorsin
Cirillo = Rudolf A. Hartmann
Désiré = Miroslav Christoff
Nicolas = Arno Weinländer
Sergio = Peter Kálmán
Dimitri = Judith Schmid
Dr. Lorek = Damon Nestor Ploumis

David Gimenez, conductor

1.act : A room in Vladimir's house in St. Petersburg. The servants drinking, and playing cards. Then the great Fedora (Baltsa) come in. This was so special, that I got tears in my eyes. Never experience something quite like this. Great acting-singing everyone. Great Cirillo.

2. act : Fedora's house in Paris. Ballroom. A great ballroom, nice dresses. When Carreras came into the stage, my heart almost stopped. So good-looking, in god form. Singing like a god. Baltsa was great, but she was overwhelmed by Carreras. Amor ti vieta, was a dream. The high-charge duets, was gorgeous.

3. act : Love-nest in Switzerland. A great act, with overwhelming duets.
Never was Fedora's death so moving.

Musikalische LeitungDAVID GIMÉNEZ
InszenierungGRISCHA ASAGAROFF
BühnenbildANDRZEJ MAJEWSKI
KostümeJAN SKALlCKV
BeleuchtungJAKOB SCHLOSSSTEIN
ChorJÜRG HÄMMERLl

Bedienstete, Ballgäste
und PolizeiagentenANNA-MARIA JOURVELIN*O,
JENNIFER M. CHUNG*o, KARIN FRIDH*o,
CHRISTA RATZENBÖCK*o,
.,FRANCISCA BEAUMONT*o, SIMON JAUNIN*o,
DANIEL DIMITROV*o, ANDREW COSTELLO*o,
KENNETH ROBERSON*o, ARNO WEINLÄNDER*o
STATISTENVEREIN AM OPERNHAUS ZÜRICH
Ein SavoyardeJUDITH SCHMID*
Chor der BäuerinnenZUSATZCHOR OPERNHAUS ZÜRICH
* Rollendebüt
0 Mitglied des Internationalen Opernstudios
ORCHESTER DER OPER ZÜRICH
,Sonntag, 25. Oktober 1998Wiederaufnahme, Freier Verkauf
Pausen nach dem 1. und 2. Akt
Beginn: 20.00 Uhr

And after a fantastic evening at the opera.
Signierstunde in the Opera Foyer.

My photos

October 24, 1998: Tosca in Zurich

2009-10-24T00:00:00.000+02:00

1998-10-24 Tosca (Puccini), Opernhaus Zurich

Floria Tosca = Daniela Dessì
Mario Cavaradossi = Neil Shicoff
Baron Scarpia = Ruggero Raimondi
Cesare Angelotti = Jacob Will
Il Sagrestano = Martin Zysset
Sciarrone = Rolf Haunstein
Un carceriere = Peter Kalman

Marcello Viotti, conductor

Daniela Dessi was a superb Tosca, everything, her acting, her voice was great.I was really swept away with this great actress-singer. Neil Shicoff was Cavaradossi, he too was good. Ruggero Raimondi was a great Scarpia.

Musikalische Leitung MARCELLO VIOTTI
Inszenierung ULRICH PETER
Ausstattung HUBERT MONLOUP
Lichtgestaltung JAKOB SCHLOSSSTEIN
Chor JÜRG HÄMMERLI

Hirt NATALIE ZAGODA, REBECCA RÜEGGER
CHOR DES OPERNHAUSES ZÜRICH ZUSATZCHOR OPERNHAUS ZÜRICH KINDERCHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OPERNHAUS
ORCHESTER DER OPER ZÜRICH
Violoncello-SoloCLAUDIUS HERRMANN

Ort und Zeit der Handlung: Rom, Juni 1800

Musikalische Assistenz
und Einstudierung KELLY THOMAS, HERVE MAHE,
LODOVICO ZOCCHE Abendspielleitung und
Regieassistenz ULRICH SENN
Organisation und
Betreuung der llinder SUSY SIEGRIST
Inspizienz RUDOLF BUDAV ARY
Souffleur ADRIANO
Technische Leitung WERNER HUBER
Beleuchtung JÜRGEN HOFFMANN
Leiter des Ausstattungswesens BRUNO STUCKI

Samstag, 24. Oktober 1998Samstag-Abo
Pausen nach dem 1. und dem 2. Akt Beginn: 19.30 Uhr
Ende: ca. 22.15 Uhr

October 23, 2005: Rigoletto in Nordfjordeid

2009-10-23T00:00:00.000+02:00

2005-10-23 Rigoletto (Verdi), Opera Nordfjord

Monterone = Knut Skram
Rigoletto = Thorbjørn Lindhjem
Gilda = Trude Helen Binderø
The Duke = Gardar Thor Cortes
Maddalena = Anna Einarsson
Sparafucile = Trond Gudevold
Borsa = Gunnar Domstein
Marullo = Morten Kvaal
Count Ceprano = Bjørn Gisle Seter
Countess Ceprano / The Page =
Ann Magritt Bjørnsen
Giovanna = Solfrid Bjørkum

Michael Pavelich, conductor

First time as opera director, famous Norwegian actor Toralv Maurstad is making his debut with the tragic opera Rigoletto by Verdi in Opera Nordfjord. In my opinion this must be one of the most successful productions of this opera. With two veteran baritones Thorbjørn Lindhjem as Rigoletto and Knut Skram as Monterone, no wonder it works out well. This Monterone is truly impressive, and this Rigoletto is very dramatic and real. Soprano Trude Helen Binderø as Gilda is more than just a beautiful voice. Duke of Mantua is sung by tenor Gardar Thor Cortes from Iceland, a great promise with not only beautiful voice but perfect diction, and a great actor, too. The Swedish mezzo-soprano Anna Einarsson sang Maddalena and what a great mezzo voice it was, very impressive. Trond Gudevold as hired murderer Sparafucile was another great find. How wonderful to find people who can act in such a natural way, that is sometimes missing in the Sparafuciles of the world. Also Gunnar Domstein as Borsa impressed me much, imagine that he is not a professional opera singer. Marullo sung by baritone Morten Kvaal did not impress me in the same degree but then Marullo is not often marked upon when you see this opera. Bjørn Gisle Seter as Count Ceprano was vocally underpowered and not always quite there as an actor. Ann Magritt Bjørnsen who sang both Countess Ceprano and the Page did a good job though I did not quite agree on the interpretation of Countess Ceprano but that must be the director's fault, or maybe it is just my impression.

The known scenography and costume designer John Kristian Alsaker was responsible in making this RIGOLETTO such a great success.

And conductor Michael Pavelich lead this Rigoletto to a successful end. Strangely this time the orchestra was not together all the time as yesterday. But that is just blue-berries.

www.operanordfjord.no

***On an earlier post about Rigoletto someone tried to tell me that I wrong about feeling that either Morten Kvaal or Bjørn Gisle Seter was not great (which was my impression) or that I was wrong in state that one of them was even singing. Well, what can I say, I only have the role list from Opera Nordfjord and no one told me about a change in casting.***

Of course, I am interested in knowing who really sang what, but to just say I am wrong or even rude when I personally find such or such singer underpowering, that is a bit too much, isn't it?

October 22, 2005: Rigoletto in Nordfjordeid

2009-10-22T00:00:00.000+02:00

2005-10-22 Rigoletto (Verdi), Opera Nordfjord

Monterone = Knut Skram
Rigoletto = Thorbjørn Lindhjem
Gilda = Trude Helen Binderø
The Duke = Gardar Thor Cortes
Maddalena = Anna Einarsson
Sparafucile = Trond Gudevold
Borsa = Gunnar Domstein
Marullo = Morten Kvaal
Count Ceprano = Bjørn Gisle Seter
Countess Ceprano / The Page =
Ann Magritt Bjørnsen
Giovanna = Solfrid Bjørkum

Michael Pavelich, conductor

On my OperaDuetsPhotos site I wrote (earlier) that I traveled to Nordfjordeid to see Knut Skram as Monterone.

Not really... but when Knut Skram came into the stage it was a truly operatic occasion. A thunder, unbelievable wonderful moment that almost in itself foretold that this Rigoletto production was a well-crafted and sure in detail. Was it the director Toralf Maurstad or was it the world famous Norwegian baritone Knut Skram that made the crucial impact. (Probably both...)

Maybe better start from the beginning. On this next to last opera performance for the season, the house was full with people. The scenography it self told of a wonderful opera performance to expect (and the newspapers had had raves for reviews). The Opera intendant Kari Standal Pavelich welcomed us the Rigoletto, one interval after act 1. Then the conductor Michael Pavelich came. And for me I noticed immediately that the responds conductor and orchestra was well-tuned. I did not like the updating and silly dancing in the beginning of act 1, and having a Icelandic tenor singing Questa o quella in Norwegian seemed like a gamble. But to sing the Duke is never easy, and Norwegian would have been hard even for a Norwegian-speaking tenor. He did well, Thor Gardar Cortes, fought bravely with our Norwegian vowels, and even managed to act as the Duke. I think that that all managed very well to sing in Norwegian, having a theatre man as director must have helped a lot. Having Thorbjørn Lindhjelm's Rigoletto meant that bel canto lines were few, mostly a few with Gilda, but opera is not just about singing it is about DRAMA, and here was it high drama, true acting. Having quite a few limitation in his voice and voice production meant that every ounce of opera experience was drawn out to make this Rigoletto stand out as a real human being. When Monterone came in the sonorous voice of Knut Skram, one almost though they should have swapped role, but then the high drama would have suffered. Having a true force of nature as Monterone is so right, and why should poor Rigoletto with his such a life to live in this kind of society sing beautifully, there is no delight in Rigoletto's life than Gilda....

Another wonderful thing in this production is really how the scenography is just working perfectly, so that when Rigoletto is going home and meet the hired assassin Sparafucile it is totally believable. And the one have Trond Gudevold's Sparafucile. Great wonderful acting by both men. A bass that is absolutely perfect and wonderful acting. And then finally Gilda, Trude Helen Binderø, what a warm wonderful soprano voice. It is so seldom that Gilda is sung with such a warmth in color. Those perfectly rounded tones. I think maybe it is because of her special quality of voice that it was often difficult to hear the Norwegian words she sang. There I think the cold and often hard tone of voice of many sopranos that sings Gilda would be more easily to hear the diction. Again our Rigoletto is heroically using his registers to make the father/ daughter duet a beautiful duet. Lindhjem knows how to manipulate his voice in the dramatic right way. The acting is as it was all night perfect. Solfrid Bjørkumas Giovanna was also in every inch the role, very good interaction with Rigoletto, Gilda and the Duke. I did not need to worry about the duet Gilda and the Duke. I am still amazed that it worked so well with the Norwegian lyric. After such love duet, no surprise that Caro Nome was excellently sung by Trude Helen Binderø. And that when the noblemen came to rob Gilda from Rigoletto there was no surprise that the chorus with Marullo, Borsa and Count Ceprano did very well as they did all the evening. It is a joy to have such a believable scene being so well acted and sung.

In the interval I had the pleasure to talk a bit Kari and Michael Pavelich. It is some of nicest features of Opera Nordfjord, you get so close the action and people. It is like a local mega-event.

Act 2 Thor Gardar Cortes sang a wonderful Ella mi fu rapita-Parma veder le lagrime. Something funny must have happened on the stage when the chorus was coming in telling the Duke about Gilda's abduction. There was laughter, and I have no idea what really happened. Anyway, Possente Amor mi chiama was potently sung. And the another "highlight" Rigoletto's Cortigiani...where I longed for more beautiful singing but the drama was there and that is more important. Then it was the duet father/daughter. What can I say, more than fantastic.

Act 3 could it be better, yes. What a quartet, La donna e mobile. And I loved the Swedish mezzo as Maddalena, Anna Einarsson. And the Death scene so moving......

BRAVO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

From fingers and baton of Michael Pavelich and every single person a Thank You and 3 Cheers!!!

October 21, 2001: L'Elisir d'Amore in Nordfjordeid

2009-10-21T00:01:00.000+02:00

2001-10-21 L'Elisir d'Amore (Donizetti), Opera Nordfjord

Nemorino = Nils Harald Sødahl
Adina = Cecilia Lindwall
Dulcamara = Anders Vangen
Belcore = Espen Langvik
Giannetta = Synnøve Nordvik

Michael Pavelich, conductor

I was at the last performance!
First time in Nordfjordeid, I stayed at the Hotel Nordfjord, where they had opera buffé. I came late the evening before, and I choose to have my dinner (opera buffé) since I was hungry, I had to wait until the guests came from their overa experience. Absolutely fabulous!

Because of the timetables in Sogn og Fjordane, it was not possible for me to come in time for Saturday's performance, and that was completely sold out by the time I remembered Opera Nordfjord, but I was in time to get some of the few tickets that was left on Friday. Thursday I had suddenly seen a page on the net about this opera, I thought about it, found out I had time, last performance Sunday, came home after work, and phoned the hotel to find out about the opera-package, was it available, did they have room. They had only 2 rooms, so I booked it right-away, didn't ask for the prize. And in my lunch-pause at work, I went to the post office to get ticket. Got it! Saturday, bus ride to Nordfjord. Found my hotel, I was rainy and cold in the evening. Nice atmosphere, many pictures from opera performances on the wall. NICE!!

Sunday, started with breakfast (obvious I woke up first, got dressed....). I have two pictures from my last opera travel, one picture of Carreras and one of Bavaj in Stavanger 22.9.2001, so I had to finish my film. My new location was Nordfjordeid, some great photos, some Ok and some relatively bad photos from my walk in the center of Nordfjordeid.

Then came the time, 1400, I took a taxi from the hotel 1330. And it was really crowded in Fjordane folkehøgskule. CROWDED. I met my college from work and her husband. Many people from Western Norway, many from Bergen, or so it seemed. Luckily I got a better seat than I had bought with the help of the nicest person in the hotel, or most opera mad. (Somebody had chosen to stay home?!). They sang Donizetti's music in Norwegian, luckily I know the Italian text well from the CD-libretto. "Venti scudi" became "fire tusen" (4000 NOK). A well known revue/cabaret artist from Norway had done the Norwegian text, it was a nice job. But, however, it will always be hard to hear the words when the top notes are sung, so knowing the original well was an advantage. Professional singers and orchestra, an amateur chorus. I liked the production. I liked the conducting, very vibrant. The tenor was best and the baritones were very good too. Maybe the aula was not given the right acoustic to the sopranos. The Swedish Adina sang well, and was very good in Norwegian. Only when I talked to her after the performance, was it obvious that she was from Sweden. The Norwegian Giannetta seemed vocally weak and she need to stand out from the other voices.

Back to the hotel, I found out that orchestra and soloists all lived in my hotel. Just before I went to take the bus home, I got the chance to talk to Cecilia Lindwall and get her autograph.

I think I will make this an annual tour.