Friday, November 27, 2009
Sunday, November 22, 2009
La Bartoli at the Concertgebouw!
10/11/2009
Concertgebouw Amsterdam
Il Giardino Armonico, cond. by Giovanni Antonini
Programme (vocally speaking only, the fair amount of musical intermezzos were not listed anywhere and remain unidentifiable)
1. Vinci ‘Cervo in bosco’
2. Broschi ‘Chi non sente al mio dolore’
3. Porpora ‘In braccio a mille furie’
4. Porpora ‘Parto, ti lascio, o cara’
5. Porpora ‘Come nave in mezzo all’onde’
6. Leo ‘Qual farfalla’
7. Araia ‘Cadrò, ma qual si mira’
Interval
8. Porpora ‘Usignolo sventurato’
9. Graun ‘Misero pargoletto’
10. Caldara ‘Quel buon pastor son io’
11. Vinci ‘Quanto invidio la sorte … Chi vive amante’
12. Porpora ‘Nobil onda’
Encores:
13. Handel ‘Lascia la Spina'
14. Broschi ‘son qual nave’
This was my very first Cecilia Bartoli concert and to be honest, I was kind of nervous. Bartoli holds a special place in my musical affections, simply because she was probably the first singer I ever consciously heard and could identify (this may have had something to do with the parental units being fans). At any rate, I was nervous because I was afraid her voice wouldn’t live up to my expectations. I had read it was pretty small, and since my seats were second row all the way to the side (and thus not directly in an optimal area projection-wise), I was kind of afraid I wouldn’t be able to hear a thing. So imagine my joy at discovering that my seats did not turn out to mar my hearing of La Bartoli’s voice at all and that her singing surpassed my expectations!
This may have in part been influenced by the amounts of rehearsal time that had gone into this concert tour: at a certain point, Antonini brought down the volume of the orchestra to almost a mere whisper, which allowed Bartoli to give us a beautiful, audible and sustained pianissimo. This is what I can only call the fruit of perfect collaboration.
The gems of the evening were, to me, the slower pieces. Although the faster arias showcased Bartoli’s technical prowess fully (and that of the castrati the pieces were written for), I tend to find that they, in some cases, display more ‘show’ than ‘substance’. I was, on the other hand, deeply moved by the more slow, sweet and slightly melancholy pieces such as ‘Quel buon pastor son io’ – my personal favourite of the Sacrificium repertoire.
The orchestra also gave us some musical intermezzos while Bartoli was adjusting the wardrobe (we’ll come to that in a minute…), and another highlight of the evening was to be found when Antonini laid down his baton in favour of a flute and performed like he was a rock star!
Speaking of the wardrobe – I absolutely loved it. No fancy designer dresses for La Bartoli here, but costumes that actually matched the theme of the concert. She started out in some sort of cape with hat to match, and removed props as the concert went on, ending up in black trousers, a white shirt with frills and riding boots. That is, until the very end, when she had done a very speedy wardrobe change into something else - an orange peacock-like dress that wasn’t a dress entirely since the black trousers and riding boots were still present. This probably reflected the effeminate image of the castrati, and of course ended the concert with a bang. Anyway, see my photos below for an impression.
So, the concert was absolutely spectacular, one of those rare ‘you really had to be there’ kind of nights. Only after a couple of days did the smile that got stuck on my face because of this concert disappear. So, if Bartoli’s up for an Amsterdam concert again next year (and I’m hoping she is!), I will certainly be there!
Afterwards, there was a signing session with an extremely long line – luckily I found myself in the middle of it, so I did manage to catch the last tram and train. It was really wonderful to see how much Cecilia appreciates her fans. We were told she would not be shaking hands due to H1N1, but when she saw two young fans (early teens), she jumped up and kissed them! I also had a brief chat with her (in English, it’s amazing how well she speaks that language nowadays) and she dedicated my Sacrificium CD to me personally and signed a photograph of her I had brought. Maestro Antonini also signed my Sacrificium CD, and I left for home very much a happy girl.
Rating: 5/5 (if only I could give 6/5)
Cecilia wearing her more masculine castrato costume
Cecilia in her more feminine outfit
About to start singing the Handel encore
Cecilia and Maestro Antonini signing
And my copy of Sacrificium!
Concertgebouw Amsterdam
Il Giardino Armonico, cond. by Giovanni Antonini
Programme (vocally speaking only, the fair amount of musical intermezzos were not listed anywhere and remain unidentifiable)
1. Vinci ‘Cervo in bosco’
2. Broschi ‘Chi non sente al mio dolore’
3. Porpora ‘In braccio a mille furie’
4. Porpora ‘Parto, ti lascio, o cara’
5. Porpora ‘Come nave in mezzo all’onde’
6. Leo ‘Qual farfalla’
7. Araia ‘Cadrò, ma qual si mira’
Interval
8. Porpora ‘Usignolo sventurato’
9. Graun ‘Misero pargoletto’
10. Caldara ‘Quel buon pastor son io’
11. Vinci ‘Quanto invidio la sorte … Chi vive amante’
12. Porpora ‘Nobil onda’
Encores:
13. Handel ‘Lascia la Spina'
14. Broschi ‘son qual nave’
This was my very first Cecilia Bartoli concert and to be honest, I was kind of nervous. Bartoli holds a special place in my musical affections, simply because she was probably the first singer I ever consciously heard and could identify (this may have had something to do with the parental units being fans). At any rate, I was nervous because I was afraid her voice wouldn’t live up to my expectations. I had read it was pretty small, and since my seats were second row all the way to the side (and thus not directly in an optimal area projection-wise), I was kind of afraid I wouldn’t be able to hear a thing. So imagine my joy at discovering that my seats did not turn out to mar my hearing of La Bartoli’s voice at all and that her singing surpassed my expectations!
This may have in part been influenced by the amounts of rehearsal time that had gone into this concert tour: at a certain point, Antonini brought down the volume of the orchestra to almost a mere whisper, which allowed Bartoli to give us a beautiful, audible and sustained pianissimo. This is what I can only call the fruit of perfect collaboration.
The gems of the evening were, to me, the slower pieces. Although the faster arias showcased Bartoli’s technical prowess fully (and that of the castrati the pieces were written for), I tend to find that they, in some cases, display more ‘show’ than ‘substance’. I was, on the other hand, deeply moved by the more slow, sweet and slightly melancholy pieces such as ‘Quel buon pastor son io’ – my personal favourite of the Sacrificium repertoire.
The orchestra also gave us some musical intermezzos while Bartoli was adjusting the wardrobe (we’ll come to that in a minute…), and another highlight of the evening was to be found when Antonini laid down his baton in favour of a flute and performed like he was a rock star!
Speaking of the wardrobe – I absolutely loved it. No fancy designer dresses for La Bartoli here, but costumes that actually matched the theme of the concert. She started out in some sort of cape with hat to match, and removed props as the concert went on, ending up in black trousers, a white shirt with frills and riding boots. That is, until the very end, when she had done a very speedy wardrobe change into something else - an orange peacock-like dress that wasn’t a dress entirely since the black trousers and riding boots were still present. This probably reflected the effeminate image of the castrati, and of course ended the concert with a bang. Anyway, see my photos below for an impression.
So, the concert was absolutely spectacular, one of those rare ‘you really had to be there’ kind of nights. Only after a couple of days did the smile that got stuck on my face because of this concert disappear. So, if Bartoli’s up for an Amsterdam concert again next year (and I’m hoping she is!), I will certainly be there!
Afterwards, there was a signing session with an extremely long line – luckily I found myself in the middle of it, so I did manage to catch the last tram and train. It was really wonderful to see how much Cecilia appreciates her fans. We were told she would not be shaking hands due to H1N1, but when she saw two young fans (early teens), she jumped up and kissed them! I also had a brief chat with her (in English, it’s amazing how well she speaks that language nowadays) and she dedicated my Sacrificium CD to me personally and signed a photograph of her I had brought. Maestro Antonini also signed my Sacrificium CD, and I left for home very much a happy girl.
Rating: 5/5 (if only I could give 6/5)
Cecilia wearing her more masculine castrato costume
Cecilia in her more feminine outfit
About to start singing the Handel encore
Cecilia and Maestro Antonini signing
And my copy of Sacrificium! Saturday, November 21, 2009
Ah, the Elisir at DNO
DNO – Het Muziektheater
Attended: 6/11/2009
Adina – Valentina Farcas
Nemorino – Dmitry Korchak
Belcore – Tommi Hakala
Il dottor Dulcamara – Lucio Gallo
Gianetta – Renate Arends
Nederlands Kamerorkest, cond. Daniele Callegari
Directed by: Guy Joosten
I was always convinced that it is extremely difficult, if not entirely impossible, to ruin a Donizetti opera. Now, that faith had been rather extremely shaken last January, when I witnessed two singers of some stature break down in an opera house of, well, some stature as well (i.e. Villazon and Netrebko in the Met Lucia di Lammermoor). Anyway, that’s beside the point. The actual point that I’m trying to make here is that a production such as this promised to be a crazy travesty. Just have a look at the trailer:
But you know what, it was an absolutely GREAT travesty that actually worked! I really enjoyed it from the first minute to the very last. The focus of the production – Dulcamara as some sort of slick salesman straight out of a RAI studio, attended by showgirls and boys – actually worked. It was recognizable, yet crazy, and somehow really resonated with what we know from various shopping channels etc. We started to understand how the entire village comes to believe in the powers of a bottle of bordeaux. The important thing, however, is that the glitter and glamour didn’t constantly take up the scene: there was certainly plenty of room (and relative calm) for developing the Adina-Nemorino love story more or less credibly.
The singing was amazing, and the surprise of the evening came in the form of Dmitry Korchak (Nemorino). It wouldn’t surprise me in the least if he is on his way to a very successful career in opera. His una furtiva lagrima was really as great as one could hope – even his long-held pianissimos just soared through the hall. Now to the other cast members: I had heard Romanian soprano Valentina Farcas (Adina) last year in die Fledermaus (Adele) and I have to say that her singing is almost palpably getting better and better. She treated us to some amazing singing (and the Adina attitude to match!), so only praise here as well. Lucio Gallo (Dulcamara) also deserves nothing but praise. Certain Youtube material from very long ago (heck, it stars the man singing Dulcamara to Pavarotti’s Nemorino) had me sort of worrying: the voice sounded tired and strained. But whatever that was, it luckily seems to have passed away, for Gallo really brought down the house. Unfortunately, Gallo won’t be here for the second run of Elisir in June/July, but he will be singing Jack Rance in La Fanciulla del West next month (an entirely different role, which I hope he will pull off as successfully as he did this one). Tommi Hakala did his job very well, but didn’t shine as much as the others did (although he certainly did not drown). Renate Arends also did well, but Gianetta is such a small role that it’s difficult to really comment on. The only problem that does need some attention is that maestro Callegari was out of sync with the singers early on in the opera, and some tempi simply went a bit awry.
So, if anyone were to ask me whether or not they should go to L’Elisir in June/July, I’d definitely say ‘YES’. Heck, I’ve even got my July tickets at the ready!
Rating: 4/5
My reviews of La Bartoli (WOW!) and Salome (er…yeah) will be coming shortly!
Adina (Farcas) and Nemorino (Korchak) post-Nemorino's sip of the elisir.
Attended: 6/11/2009
Adina – Valentina Farcas
Nemorino – Dmitry Korchak
Belcore – Tommi Hakala
Il dottor Dulcamara – Lucio Gallo
Gianetta – Renate Arends
Nederlands Kamerorkest, cond. Daniele Callegari
Directed by: Guy Joosten
I was always convinced that it is extremely difficult, if not entirely impossible, to ruin a Donizetti opera. Now, that faith had been rather extremely shaken last January, when I witnessed two singers of some stature break down in an opera house of, well, some stature as well (i.e. Villazon and Netrebko in the Met Lucia di Lammermoor). Anyway, that’s beside the point. The actual point that I’m trying to make here is that a production such as this promised to be a crazy travesty. Just have a look at the trailer:
But you know what, it was an absolutely GREAT travesty that actually worked! I really enjoyed it from the first minute to the very last. The focus of the production – Dulcamara as some sort of slick salesman straight out of a RAI studio, attended by showgirls and boys – actually worked. It was recognizable, yet crazy, and somehow really resonated with what we know from various shopping channels etc. We started to understand how the entire village comes to believe in the powers of a bottle of bordeaux. The important thing, however, is that the glitter and glamour didn’t constantly take up the scene: there was certainly plenty of room (and relative calm) for developing the Adina-Nemorino love story more or less credibly.
The singing was amazing, and the surprise of the evening came in the form of Dmitry Korchak (Nemorino). It wouldn’t surprise me in the least if he is on his way to a very successful career in opera. His una furtiva lagrima was really as great as one could hope – even his long-held pianissimos just soared through the hall. Now to the other cast members: I had heard Romanian soprano Valentina Farcas (Adina) last year in die Fledermaus (Adele) and I have to say that her singing is almost palpably getting better and better. She treated us to some amazing singing (and the Adina attitude to match!), so only praise here as well. Lucio Gallo (Dulcamara) also deserves nothing but praise. Certain Youtube material from very long ago (heck, it stars the man singing Dulcamara to Pavarotti’s Nemorino) had me sort of worrying: the voice sounded tired and strained. But whatever that was, it luckily seems to have passed away, for Gallo really brought down the house. Unfortunately, Gallo won’t be here for the second run of Elisir in June/July, but he will be singing Jack Rance in La Fanciulla del West next month (an entirely different role, which I hope he will pull off as successfully as he did this one). Tommi Hakala did his job very well, but didn’t shine as much as the others did (although he certainly did not drown). Renate Arends also did well, but Gianetta is such a small role that it’s difficult to really comment on. The only problem that does need some attention is that maestro Callegari was out of sync with the singers early on in the opera, and some tempi simply went a bit awry.
So, if anyone were to ask me whether or not they should go to L’Elisir in June/July, I’d definitely say ‘YES’. Heck, I’ve even got my July tickets at the ready!
Rating: 4/5
My reviews of La Bartoli (WOW!) and Salome (er…yeah) will be coming shortly!
Adina (Farcas) and Nemorino (Korchak) post-Nemorino's sip of the elisir. 
Il Dottore's (Gallo) entrance!
Friday, November 6, 2009
Strauss' Salome with a happy end?
I received a letter in the mail today, from DNO, concerning their Salome I bought tickets for months ago. For the record, DNO never sends letters about their upcoming productions. So why this letter?
Well, apparently, "the world's most friendly and advanced audience" [meaning the Dutch], will get to see "something spectacular" by German director Peter Konwitschny, who happens to be "world-famous and respected everywhere". Konwitschny "objects to the male gaze-ifying of this one woman", and has, with that in mind, come up with something "never seen before". Through the newspaper, we were also informed that Konwitschny has been battling severe depression for 4 years now, and that this is his first 'comeback production'.
So...what's up with Konwitschny's Salome, then?
Well, Jochanaan doesn't get decapitated. Instead, he falls in love with Salome, and she with him, and in the end, they walk away very much the happy couple.
WOT? This is really going to be the most insane stuff DNO has ever done.
So why the letter? Is this meant as a pre-emptive strike against booing? Against angry mobs asking their money back? Even the most lenient and friendly audience must have its limits, right? And why does the newspaper article dwell on the director's depression? Why do we have to know that? Again a pre-emptive strike against booing? Pity the director, he's been through so much?
Personally, I'm torn between curiosity (how do you even reach a happy end without some serious libretto twisting? Will people get angry?) and affront (seriously, my first live Salome should be a proper Salome, decapitation and all - and how far can you go in redoing the operas we know and love? What's next? A Traviata that has Violetta living and stabbing both Germonts in an avid attempt to avoid objectification by males?).
I really didn't like the 'revised' ending of I Puritani last year that much - Arturo returned, but got shot by Riccardo and died as Elvira went back to being mad. But at least that only concerned the final 5 minutes of an opera that - let's be honest - has a less-than-credible end to start with. What are we going to have to experience/endure with such a much more revised Salome?
Salome will premiere next Tuesday (10 November), and I've got tickets for Friday 13th....
Well, apparently, "the world's most friendly and advanced audience" [meaning the Dutch], will get to see "something spectacular" by German director Peter Konwitschny, who happens to be "world-famous and respected everywhere". Konwitschny "objects to the male gaze-ifying of this one woman", and has, with that in mind, come up with something "never seen before". Through the newspaper, we were also informed that Konwitschny has been battling severe depression for 4 years now, and that this is his first 'comeback production'.
So...what's up with Konwitschny's Salome, then?
Well, Jochanaan doesn't get decapitated. Instead, he falls in love with Salome, and she with him, and in the end, they walk away very much the happy couple.
WOT? This is really going to be the most insane stuff DNO has ever done.
So why the letter? Is this meant as a pre-emptive strike against booing? Against angry mobs asking their money back? Even the most lenient and friendly audience must have its limits, right? And why does the newspaper article dwell on the director's depression? Why do we have to know that? Again a pre-emptive strike against booing? Pity the director, he's been through so much?
Personally, I'm torn between curiosity (how do you even reach a happy end without some serious libretto twisting? Will people get angry?) and affront (seriously, my first live Salome should be a proper Salome, decapitation and all - and how far can you go in redoing the operas we know and love? What's next? A Traviata that has Violetta living and stabbing both Germonts in an avid attempt to avoid objectification by males?).
I really didn't like the 'revised' ending of I Puritani last year that much - Arturo returned, but got shot by Riccardo and died as Elvira went back to being mad. But at least that only concerned the final 5 minutes of an opera that - let's be honest - has a less-than-credible end to start with. What are we going to have to experience/endure with such a much more revised Salome?
Salome will premiere next Tuesday (10 November), and I've got tickets for Friday 13th....
Sunday, November 1, 2009
Renée Fleming and RPO at the Concertgebouw
Renée Fleming and the Royal Philharmonic Orchestra cond. by Charles Dutoit
Concertgebouw Amsterdam
Before the concert
After a wonderfully-played Romeo and Juliet overture, Renée Fleming appeared on stage, and started to sing the letter scene from Eugene Onegin. Beautifully done, but horridly drowned by the orchestra. Low notes had to be more or less mentally filled in. Renée's mouth was moving, but my ears just didn't register anything. High notes were more audible, but the overall balance just sucked. Maybe, but unlikely, it was just my part of the hall that was unlucky. I guess the real problem was the lack of rehearsal (or even sound checking) in the hall, and getting the 'feel' of it.
Photographing crowds storming at Renée down in the hall
Renée receiving applause and flowers
Renée signing programmes, cds etc.
Renée signing my sister's cd booklet.
Amsterdam, October 31 2009
Programme:
Tchaikovsky
(1) Romeo and Juliet Fantasy-overture
(2) Letter scene from Eugene Onegin
(3) Polonaise from Eugene Onegin
Leoncavallo
(4) "Musette svaria sulla bocca viva" (La Bohème)
(5) "Mimì Pinson la biondinetta" (La Bohème)
Giordano
(6) "Nel Suo Amore" (Siberia)
Puccini
(7) "Sola, Perduta, Abbandonata" (Manon Lescaut)
Encore:
(8) "O Mio Babbino Caro" (Puccini - Gianni Schicchi)
Interval
Dvořák
(9) Symphony no. 9 "From the New World"
Concertgebouw AmsterdamSo, last night I went to Renée Fleming's concert in Amsterdam. I didn't quite know the programme (it seemed liable to change a lot, so it was something of a surprise what we were going to get), but I was expecting lots of verismo, as that is the title of her latest album. And it really was an amazing concert, if not for two 'buts'. 'But' no.1: Renée didn't sing that much (let alone verismo). 'But' no.2: The Royal Philharmonic and Renée were not entirely 'balanced', with the orchestra at times drowning Renée's voice (especially in the Eugene Onegin letter scene).
Before the concert
After a wonderfully-played Romeo and Juliet overture, Renée Fleming appeared on stage, and started to sing the letter scene from Eugene Onegin. Beautifully done, but horridly drowned by the orchestra. Low notes had to be more or less mentally filled in. Renée's mouth was moving, but my ears just didn't register anything. High notes were more audible, but the overall balance just sucked. Maybe, but unlikely, it was just my part of the hall that was unlucky. I guess the real problem was the lack of rehearsal (or even sound checking) in the hall, and getting the 'feel' of it.
Photographing crowds storming at Renée down in the hallFortunately, the Italian arias required less orchestral 'violence', so they were more audible (and Renée's voice wasn't drowned anymore). First, we got the two arias from Leoncavallo's Bohème. Beautiful gems, but as everyone who has listened to Fleming's verismo album knows, they're very short. Then we got the beautiful 'Nel suo amore', also from the verismo album. Again, beautifully done. Last, we got 'Sola, Perduta, Abbandonata' - this one especially was amazingly done.
Renée receiving applause and flowersI was counting on 2-3 encores, to be honest, because I felt the verismo part of the concert was pretty meagre as it was. I was thinking 'Sì. Mi chiamano Mimì' and Suor Angelica's 'Senza Mamma' at the very least - nothing like closing off a concert with some Puccini hits, right? Well, we got a Puccini hit alright - "O mio babbino caro", amazingly sung. The house fell into an adorational frenzy. Unfortunately, that was apparently all the encore we were going to get. After the interval Fleming had disappeared from sight, and although we got a beautiful New World Symphony, it was a pity the main draw (Fleming) was missing.
Renée signing programmes, cds etc.
But Fleming hadn't left the house yet - she was to have a signing session after the concert. Knowing the Dutch as people who generally don't give a damn about this stuff, I had sort of expected only a small group of hardcore fans to show up at the signing. Boy, was I wrong! It was a complete massacre! I guess almost a bit too insane for my tastes. Nevertheless, it was worth it - I waited my turn and got my programme and verismo cd signed. So did my sister. After about half an hour, the crowds had thinned a bit, and I could take some decent pictures of La Fleming signing.
Renée signing my sister's cd booklet. All in all, a great concert, but too short when it came to its main draw (Fleming), and not 'balanced' enough volume-wise. But don't mistake me - I had a very good time and would go again if I could. I'm just hoping next time Renée will sing a bit more.
Next up: Friday 6th L'Elisir d'Amore, Tuesday 10th Cecilia Bartoli (I'm pretty sure she has had enough time to really balance things out with Il Giardino Armonico, and that she will sing the amount of arias the main draw of a concert is supposed to sing - so, very much looking forward to it!), Friday 13th Salome.
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