Hello, Ragazzi! (Part Four)

I’ve noticed (and no doubt my readers have noticed) that I've been mentioning/referring to Robert Carsen productions frequently in recent posts. This realization made me think. If the Met is going to continue importing some of its “new” productions from other venues (I understand it’s a more economical way to bring in new work than to create every new production from scratch), can we convince them to bring in Robert Carsen’s La Fanciulla del West? Since the Met was the site of Fanciulla’s origin, I think it’s about time we get a new production (or any production for that matter. It’s been 6 years since the last time they presented it.)

Maybe we could cast it with Nina Stemme and Jonas Kaufmann (though I understand he’s travelling outside Europe less due to changes in his domestic life). Alternate tenors: is Brandon Jovanovich ready for this role? He acted a good prince in Rusalka and sang a pretty exciting Florestan in concert a few years ago. How about Anja Kampe or Patricia Racette as Minnie? I am sure there are many other dramatic tenors and sopranos (and barihunks)—who also can act—who could fill out this production. Who would you like to see in a new Fanciulla?

Too Many Leaves; Not Enough Sex

Kwiecien and Breslik in Munich- More (implied) sex; fewer leaves.

So, I just chatted with My Uncle (now that Dad has passed on, we'll be hearing more about My Uncle, who is My Dad's younger brother). My Uncle loves opera, choral music, and music in general. He has a beautiful voice, plays piano wonderfully by ear (doesn't read a note of music), and has a rather surreal sense of humor.

He and my cousins saw Eugene Onegin at the Lyric Opera of Chicago last week. Lyric has a pretty stellar cast (Mariusz Kwiecien, Charles Castronovo, Anna Maria Martinez), and the old Met version: Robert Carsen's production with the leaves. My Chicago relatives are not fond of the "new" productions. They prefer rich costuming and scenery to look at as they take in the lovely singing. 

My Uncle's neighbor (a retired music professor) asked how they enjoyed the performance (she happened to attend the same one). 
My Uncle said, "I'd like to see more sets." 
"More sex?!?!" she asked. 
"Well, that too," he added. 
I guess it just depends on which production you see. Hopefully they'll see more sex in Carmen.

Ready for Rusalka

I am prepping for tomorrow’s Live in HD presentation of Dvorak’s Rusalka. I know the story; I know the Song to the Moon; I know the title water nymph is a signature role for both Renee Fleming and Kristine Opolais; and that’s about all I know. This week, I listened to the official Met Podcast (rather yawn-ful) and the new He Sang, She Sang podcast from WQXR—both available at their respective websites or wherever you prefer to download your podcasts. (I need to write more about He Sang, She Sang—a delightful new and somewhat irreverent effort that helps us understand opera without taking it too seriously and being boring—they also give us some nifty singer interviews (e.g., Luca Pisaroni, Diana Damrau, Kristine Opolais)).

Then, I looked to YouTube to find a full performance. The Schenk/Met performance with RF is there, along with the Czech film (probably worth a later look) and the Carsen Paris production. I started with the Met, but the combination of the awkward set (I kept waiting for someone (or creature) to stumble and fall into the pond) and RF’s rather odd acting choices put me off quite early. I love RF; but honestly, I never would rank her among the world’s top acting singers. So, I decided to head for Paris, also with RF but in a much more interesting production.

I had to laugh at one negative Amazon reviewer (of many nay-sayers) who preferred to see a  “realistic” production. How does one do “realistic” witches, water nymphs, and goblins? I think it’s a bit pedantic and disingenuous* to insist on a “realistic” setting for an opera that is a fantasy based on a fairy tale. Contrary to what some might say, most (if not all) fairy tales are allegories. I love an applause-worthy set as much as anyone, but all the glitz and glam and fancy “realistic” and/or traditional sets can’t make up for a dull performance.