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?

Herheim and Cenerentola – Yes, Please!!

Stefan Herheim's staging of Rossini's La Cenerentola at the Norwegian National Opera. Was it broadcast/streamed? Will it be broadcast/streamed? 

Herr Herheim may not be everyone's cup of tea; but I want to see everything he's touched! He is a director who works from and with the music; and he doesn't have a bad singing voice, either. Fingers crossed that this will appear in some video form (if not already). Meanwhile, let's enjoy this teaser video (as found at The Opera Platform).

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.

Met in HD and Dinner Chat

Holy Moly! Was my last post really in December? Well a few things have happened since then, so I really do need to catch up. 

1. I was really drawn in by L'amour de Loin. I do have a few things to say about it, so I will try to get together and post about that soon.

2.  Nabucco was boring as unbuttered toast from a staging standpoint. But rather well sung. I enjoyed it in spite of myself. And in spite of the obligatory encore [insert eye roll] of the famous chorus. It's pretty but…ditto about posting.

3. I am now a superfan of Diana Damrau, Vittorio Grigolo, and Gounod's Romeo et Juliette...and Elliot Madore. Ahem. (Spoiler alert: they all die.) This is one I will probably have to spring for if/when it appears on DVD.  It's the same production seen in Salzburg a few years ago (the unit set is not as convincing to me in the Feldreisenschule as on the Met stage.) I will try to get around to saying more on that soon, too.  

Meanwhile, tonight at dinner...
My cousin: We saw a Met Eugene Onegin, but I'm not sure who was in it. 
Me: Were there a lot of leaves?
My cousin's wife: Yes!! I remember the leaves!
I guess most of us (whether fans of Robert Carsen (or not)) could name the leads in that performance!

P S. I hope this iPhone-created post looks ok. I tried to add a photo. Safari and Google simply do not play well together! I just didn't want to wait till I get home to put this up. My "fans" (?) already have waited too long to hear from me.