Frustrating Carmen (Audio Only – That's the Frustration)

I learned today from Michael Fabiano’s Facebook post that the new production of Carmen by Dmitri Tcherniakov at Aix-en-Provence is being broadcast on Arte.tv (but not in the U.S.) and on France Musique radio (via website or phone app* ).

I am listening to it now as I type. I am pleased with the musical performance but perplexed by the production. There is a whole dialog** scene before the overture starts. Tcherniakov (as is his wont) has layered a new concept over the opera, and the visual element (apparently) is not what one usually expects from Carmen.  The point is there is a lot going on that is not music. I want to see what's happening! Hence my Carmen Frustration.

As I listen, I tracked down a few reviews in English, so I now have an idea what I am missing. The idea of enacting Carmen as therapy*** is interesting (though I doubt it would ever catch on over here in the U.S.) and I look forward to seeing the realization. The production also stars a favorite mezzo: Stéphanie d'Oustrac.

I do have a quibble—one that is pointed out by more than one reviewer: apparently Tcherniakov created this new concept because couldn’t really “get into” the traditional bullfighter/gypsy/soldier story. I echo one of the reviewers, wondering why T. accepted the job if he really didn’t “feel” the opera.

Must See Medici TV – Stars in Concert and Staatsoper Lulu

...and speaking of Thomas Hampson, here he is in concert, along with some other singers you may have heard of...

I haven't seen it yet, but it's on my holiday weekend to-do list. 

Watch this at Medici.TV

And now for something completely different, there's this: 

Watch the opera here on medici.tv 

Thanks to MediciTV for sharing this for those of us who missed the live stream on StaatsoperTV. I watched Act 1 on Saturday, but had to give up at intermission. The storm was really messing with my internet connection. What I've seen and heard is impressive. DT's production seems to really suit the expressionist tone of the plot and music. (Lulu is my number-one top 20th century opera!) 

And the cast is doing an exceptional job so far, featuring singers well-known for their Mozart interpretations (including two former Belmontes as Alwa and the Painter!) Watch this blog for a full review sometime soon.

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