Cosi fan Luca (and Martin and Gerald)

Thanks to the YouTuber who posted the opening sequence from last year's Salzburg revival/reworking of Sven-Eric Bechtolf's "don't drink the blue (in this case green) kool-aid" Cosi. Maestro von Eschenbach received generally bad reviews for this performance, but this bit seems to go well. (Note that the action begins before the overture ends.)

Speaking of the blue kool-aid, I notice there is more byplay with beverages in this opening scene than before. There seems to be some foreshadowing that Alfonso is gonna get it this time. 

Also note the nightgown exchange...already the boys are having trouble remembering which sister is his girlfriend. I must find the rest of this broadcast!

Gratuitous Friday Double Feature – The Merry Widow Waltz

I said I wanted to hear more from Stéphanie d'Oustrac; and this clip is one of the first I came across. Of course she's sung a lot of real French music, and a lot her performances can be found on YouTube. But here is something that couldn't be much more different than her recent appearances as Orphée. Duetting with her is the (unknown to me) tenor Philippe Do, who sounds like he's worth searching out, too. 

Singing the Merry Widow outdoors seems to be a very European thing to do. Right on the same page as the above video (thank you, YouTube, for being one of the biggest time sinks in my life) is this performance from Hanna-Elisabeth Müller (seen recently in Munich with very big hair as Servillia) and Martin Mitterrutzner (noted previously in this blog.) Could they be any more charming?

Salzburg 2013 Cosi Finally on Ö1 Radio. Hooray!

© Michael Pöhn

Guess why Ferrando and Guglielmo are jumping for joy? 

Tonight, Austria's Ö1 Radio is finally broadcasting the Salzburg Festival Cosi Fan Tutte! The broadcast is at 19:30 (which is about 1:30 PM Eastern Time), and it should stay in the archive for about a week on (the amazing and handy) 7 Tage Ö1 (A week of radio when you want it!)

The performances did not garner glowing reviews (the Maestro seems to have been lackluster at best). But the singing must be at least semi-stellar. I mean, look at this cast list:

Malin Hartelius – Fiordiligi

Marie-Claude Chappuis – Dorabella

Martina Janková – Despina

Martin Mitterrutzner – Ferrando

Luca Pisaroni – Guglielmo

Gerald Finley – Don Alfonso

Konzertvereinigung Wiener Staatsopernchor

Wiener Philharmoniker

Christoph Eschenbach

Recorded in the Haus für Mozart in August as part of the Salzburger Festspiele 2013

Everything's Different, Nothing's Changed – Salzburg Festival "Cosi"

© Michael Pöhn

SN: Sie haben alle Da-Ponte-Opern in Zürich inszeniert.... Stimmt, was Intendant Alexander Pereira versichert: In Salzburg wird alles ganz und gar neu?

Bechtolf: Das weiß ich noch nicht.* 

Now we know. The answer to the burning question (well, my burning question) is here. What did Sven-Eric Bechtolf do to upgrade his 2009 Zurich Cosi fan tutte for the 2013 Salzburg Festival?

Good Friday – Rossini’s Stabat Mater: Sancta mater, istud agas

Abstract Pieta ©2013 ~lanestonecyper

At the height of his fame, Rossini walked away from opera and set the sorrows of the Virgin Mary to music. 

Rossini's setting is perhaps a bit bouncier than one might expect on a Good Friday, and it doesn't really match the solemnity of the text. At the same time, you might consider Rossini is focusing on standing beside Mary in solidarity, faith, and love.

Or, you could simply appreciate this quartet as pure, beautiful, virtuoso, vocal music. As you look over the soloists listed below for this recording, you will discover another reason I really love this recording.

Insurance Companies Make Medical Decisions, and the INS Makes Artistic Decisions

Apparently one reason we don't see certain musicians performing in the U.S. much, if at all, has to do with the immigration folks who issue travel visas. While googling one of my new favorite tenors, I came across a reference in a blog called The City and the World, to this article from the New York Times, dated March 16, 2010 (bolding is mine): 

Recently the Cleveland Orchestra’s application for Martin Mitterrutzner, an acclaimed young Austrian tenor, was denied for reasons that left the orchestra perplexed: the report from immigration officials said, among other things, that the scheduling of Mr. Mitterrutzner’s performances did not indicate prestige, since he was booked for matinees, not evening performances. After two denials, the orchestra retained a lawyer and got the decision reversed in the nick of time — but only after considerable expense.

The Dangers of Listening to Rossini While Driving

About a week ago the Earworm hosted a brief discussion about the dangers of listening to classical music while driving. I now have practical living proof that it is at least inconvenient, if not downright dangerous. So, I was listening to this track while driving to the airport to pick up my Dad. Tenor Martin Mitterutzner is a new name and voice to me, and I listened thoughtfully as he sang.

BBC 3 Offers Mass Gratuitousness – Rossini’s Stabat Mater

My colleague Eyesometric, over at The Eyes Have It, has been watching out for me. Franz Welser-Möst (left) and the Cleveland Orchestra are presenting a series of four programs on BBC 3 this week. (Yes, we have to listen to British radio to hear the Cleveland Orchestra in concert.) 

That's nice to know, but the truly awesome part is that today, the Cleveland Chorus joins the orchestra to perform Rossini’s Stabat Mater, with soloists:  

[Dramatic Pause]  

• Malin Hartelius 
• Luca Pisaroni
• Anna Bonitatibus (Dorabella to MH’s Fiordiligi at Zurich)
• and (last because I don’t know who he is…yet) Martin Mitterutzner.