Aria Code – Redial and Review: Ah fors'è lui...Sempre libera

I finally listened to the first installment of  Aria Code, the new podcast coproduced by WQXR and the Met. Each podcast addresses just one aria, giving it in-depth thought and consideration. Based on this episode, they don't just consider the music or explain the plot; they delve into how the music reflects the character's thoughts and feelings in relation to the story.  

This episode is a refreshing glimpse into the mind of the singer and character as Diana Damrau narrates Violetta's big Act 1 finale. She discusses how the music reflects Violetta's thoughts and emotions. I felt like I was being let in on the musical process, as well as Ms. Damrau's thought process as an actor/singer.

Host Rhiannon Giddens, who studied opera at Oberlin before embarking on a folk music career, called on two additional commentators to reflect on the cultural setting of the opera and the mindset of a woman in Violetta's position: Cori Ellison is the company dramaturg for Santa Fe Opera; and Brooke Magnanti, a writer and former escort (yes, that kind of escort).

The discussion is insightful, thoughtful, and informative; and it’s not overly scholarly or "arch," as some of the official Met podcasts can be. It feels more like a personal analysis than “this is high art” musicology or someone simply describing the plot (which most of us already know, anyway.)

Maybe best of all, this episode concludes with a complete performance of  Ah fors'è lui...Sempre libera by Ms. Damrau. (Each podcast will feature a complete peformance of the aria under discussion.) The only quibble I have with the whole production is the "title" of the episode, which (maybe in my own snobbery) I think: (1) is inaccurate, because Violetta seems classy already; and (2) unnecessarily cheapens the podcast's image. But that is a very minor quibble.

So, I finally listened, and I am glad I did. And now I cannot wait for the next episode. Take a half hour (plus or minus) and check out this wonderful podcast!

Five Flute Friday (Magic Flutes, that is!)

ROH, 2008

Salzburg, 2006

Royal Concertgebouw, 1995
Act 1

Act 2



Hamburg Oper, 1971

Kenneth Brannagh Film, 2006
Act 1

Act 2

The Lieder Board - Recitals from Schwarzenberg and Schwetzingen

Benjamin Appl, Baritone

On Austrian Radio Ö1 from Schwarzenberg – available for 7 days after the (first broadcast):

Diana Damrau (June 29)

**Benjamin Appl (July 1)

And later this summer:

Luca Pisaroni (August 26)

The Schwetzinger SWR Festspiele – archived for about a year (and you can also herunterlauden (download) many of them):

Christian Gerhaher 

Christiane Karg (All Baroque – not Lieder, per se)

Krassimira Stoyanova

Philippe Jaroussky (from 2014)

Of course, in Schwetzingen, there's lots more than lieder. They have choral music, solo instrumental recitals, and chamber music programs, too.  

Here is the full 2015 archive list.

**Update 7/3/15 - I was just starting to think I really wasn't into Lieder anymore. But after listening to Herr Appl's recital twice and a half, I am totally back in! Don't miss this programme!

Lucia di Lammermoor Webcast from the Bayerische Staatsoper – February 8, 2015

Tune in to Staatsoper.TV on Sunday, February 1 8 to see the new Bayerische Staatsoper production of Donizetti's Lucia di Lammermoor starring Diana Damrau and Pavol Breslik. 

While we are waiting, check out the Staatsoper podcast (auf Deustch, natürlich), which contains some musical excerpts, including a bit of the mad scene (with glass harmonica!)

Updated 01/26/2015 per below note from Barbara. Thanks Barbara! 

Watching the Radio – Vocal Treasure from Ö1 Radio

Among the vocal fun on Austria's  Ö1 Radio this week:

Weber’s Oberon, in a recording from 1996, featuring youthful performances by a few familiar singers:

Vesselina Kasarova (Fatime)

Peter Seiffert (Hüon von Bordeaux)

Bo Skovhus (Scherasmin)

Deon van der Walt (Oberon)

Inga Nielsen (Rezia)

Conducted by Marek Janowski

And Monday’s episode of Apropos Musik is 50 minutes of operetta, Broadway, and film music sung by your favorite opera stars. Slumming? No, not at all! It's kind of fun to hear lighter tunes (particularly the operetta) sung by such wonderful voices. The program features: Diana Damrau, Piotr Beczala, Anna Netrebko, Rolando Villazon, Elina Garanca, Renée Fleming, and others. (Well, perhaps AN's voice is not quite so operetta-friendly any more; but still, it's a nice little program)

P.S. "Lied der Eliza aus dem Musical "My fair Lady" is Ich hat getanzt heut' Nacht (gesungen auf Englisch– and DD pulls it off rather well, except for a little odd back-phrasing.)

Boo Who, Part Two (The Awkwardness of La Traviata at La Scala)

*Speaking of Act 2, Scene 2, DT seems unsure of what to do with the two (generally superfluous—these have got to be tough for any director to make sense of in a modern production) party choruses. In this performance, the chorus is not masked, and their performances are focused mockingly on Alfredo; they chase him around during the Gypsy and Toreador choruses. Then he exits quickly at the end of the second chorus; only to immediately reappear so the chorus can sing, “Alfredo! What are you doing here, and where’s Violetta?” If this was all meant to be symbolic, the symbolism flew right past me. (And I try pretty hard to “get” this stuff.)

Boo Who? – Awkward La Scala La Traviata (Part 1)

Piotr Beczala shouldn’t be cranky about his buuhs; he should be cranky about this whole new La Scala production of La Traviata. For me, this is the kind of show that gives Regieoper a bad name. It’s so freakin’ awkward. Does Tcherniakov have lousy ideas, is he just lousy at Personenregie, or what? I’ve already complained about his handling of the chorus, and presenting Alfredo as impetuous, immature, and petulant has worked in other productions, but it’s not working here. Diana Damrau and Mr. Beczala are not bad actors, and they’re pretty darned good singers! I hate to go over to the “other side,” but I have to say it: This production was a waste of nearly everyone’s time. (Although, a radio broadcast of it would be nice and mostly satisfying.)

La Scala La Traviata on La Arte La-ive Web

Now we can see for ourselves what all that kerfuffle was about at La Scala. (If you want to cut to the chase, Intermezzo posted part of the curtain call, where Mr.Beczala got three—count 'em, three—boos; the rest were reserved for the Regisseur, Mr. Tcherniakov.)

For those of us who want to find out why they were booing the director, we have about three weeks to see the entire opera at Arte Liveweb. So go see and listen for yourself. 

Did Piotr Beczala deserve boos ? I think not, and though it's hard to take rejection, I hope he puts it all aside and moves on. Did Dmitri Tcherniakov deserve boos? Maybe, but probably not. But the loggionisti do so love to hear themselves go "Booooooo!" 

Meanwhile, I think Diana Damrau is a divine Violetta. What do you think about the performance?

Meanwhile, Back at La Scala with Piotr and Diana...

Things are looking pretty good to me! It seems that Mr. Beczala surely didn't deserve his buuhs!  And neither did Mr. Tcherniakov. I think the loggionisti just like to hear their own voices. Diana Damrau not only sings the heck out of Violetta, she deserves kudos for the way she rocks that cigar! Here's La Scala's official La Traviata trailer:

Here's The New York Times Review

And here are a handful of captures from the live broadcast:

Piotr Peeved with La Scala's Loggionisti

He's not smiling tonight!

Posted by Piotr Beczala on Facebook about 2 hours ago:

"My last production in La Scala... I think They should engage only Italian singers ... Why I spend my time for this" schmarrn" ... Arrivederci ..."

I hear he and Diana Damrau both were booed at their La Scala Traviata this evening. I'd be annoyed too. But don't the loggionisti boo pretty much everyone?

The production was staged by Dmitri Tcherniakov. Maybe that had something to do with the audience reaction! Meanwhile Mr. Beczala's fans are reacting with sympathy.

Related Posts:

Meanwhile, Back at La Scala with Piotr and Diana...

La Scala La Traviata on La Arte La-ive Web

Boo Who? – Awkward La Scala La Traviata (Part 1)

Boo Who, Part Two

Monday Mozart – Ach Belmonte! Ach mein Leben!

This is Christof Loy’s interpretation of Mozart’s Die Entführung aus dem Serail. Loy’s visions don’t always work for me (sometimes they just look low budget), but this performance does work on several levels. I also like the HIP feeling from the Ivor Bolton and the orchestra.

This quartet is the finale of Act 2  (and one of my favorite parts of the opera—it’s almost a little opera by itself), when the lovers are reunited for the first time. We know Konstanze has mixed feelings about seeing Belmonte again (as usual). She starts to go to him, then goes past him; he has to catch her. It seems Belmonte may not be too far off the mark when he asks if she’s in love with Selim. Pedrillo and Blonde seem to be on better terms, and they make up quickly (Pedrillo seems a lot more contrite than Belmonte). Meanwhile, Konstanze is not happy with Belmonte, even as they sing "Viva Love!"

La Traviata from The Met – Only 3 More Days of the Radio Broadcast Archive

If you missed the Met's direct webcast of this year's La Traviata, then zoned out last Saturday and missed the radio broadcast (like I did), BBC Radio 3 is giving you one more another chance! There are still 3 days left to hear this performance. 

Violetta Valery...........Diana Damrau
Alfredo Germont...........Saimir Pirgu
Giorgio Germont..Placido Domingo
And a host of others…plus

The Chorus and Orchestra of The Metropolitan Opera, New York

Yannick Nezet-Seguin, conductor. 

La Traviata – Duet from Debut of Damrau and Domingo

Diana Damrau and Placido Domingo debuted Thursday night as Violetta and Germont pére, and some enterprising opera lover captured some of the live audio stream. 

Mike Silverman of the AP said Damrau "was nothing short of sensational," and Domingo's "portrayal of the stern father was unusually tender and melancholy."