Fierrabras Complete – You Know You're Curious, Go On, Check it Out

Yes this opera has its flaws—most of them dramatic. On the other hand, it has some really nice tunes, and this cast does a great job. While you're at it, you can try to suss out the reasoning behind the giant grand piano. Leave it to Claus Guth to give us something to chew while we listen to the pretty music.

You might be interested in reading my other posts about this production.

La Fanciulla del Wien

Tomasz Konieczny, Nina Stemme, and Jonas Kaufmann in the Wild, Wild West.

Part 1

Salzburger Festspielen – Workouts and Condiments

Luca in Guglielmo's Costumes

According to an article in der Standard in Austria, Franz Welser-Möst withdrew from the Salzburg Festival Cosi Fan Tutte (to be broadcast Saturday, August 24 on Ö1 Radio) due to the singer-unfriendly curtain time of 11 AM (This may not be news to anyone else, but I never heard exactly what his objection was.) Clearly, Herr Welser-Möst has no experience as a church musician. 

Luca Pisaroni is more pragmatic: "When I have to sing at 11 AM...I get up at 7 AM and go to the gym, or run a bit."* 

Gratuitous Luca Pisaroni Post – Rossini: Stabat Mater

photo copyright (c) Pietro Spagnoli

I don't know about you, but I can never get enough of Luca Pisaroni's smooth warm bass-baritone voice. Here are two movements from Rossini's Stabat Mater. This was recorded in concert last year with the Cleveland Orchestra and Chorus, led by Franz Welser-Möst. 

If player does not appear, click here.

Gratuitous Malin Hartelius & Anna Bonitatibus Post – Rossini's Stabat Mater

Because I finally figured a way to embed sound files in my blog posts...

...here is the soprano duet from Rossini's Stabat Mater, with Franz Welser-Most and the Cleveland Orchestra. Heavenly!  

Where in the World are Malin and Luca? In Cleveland. Where Else?

Tristan, getting packed...literally.

Thank goodness Lenny and Tristan keep us up to date on their travels via their Facebook page, because usually they have their Dad along. In case you haven’t been paying attention, their Dad is Luca Pisaroni. They all were in Vienna for Simon Boccanegra last week; and this week, they’ll be in Cleveland.

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.

More Stabat Mater – Hartelius & Bonitatibus sing Rossini

Not singing the Stabat Mater. (This is Cosi Fan Tutte.)

Malin Hartelius and Anna Bonitatibus sing the beautiful Qui est homo  from the recent radio broadcast performance of the Rossini Stabat Mater, with the Cleveland Orchestra and Chorus directed by Franz Welser-Möst. 

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.  

Sunday Brunch – Sull' Aria (Röschmann & Schwartz)

Here is another Sull' aria, this time in the proper language. Unfortunately there is no video here, but some lovely singing. Of course, Dorothea Röschmann is incomparable as the Countess. I’m not familiar with the Susanna – Spanish (!!) soprano Sylvia Schwartz – but she’s a soprano to watch out (and listen out) for, with a smooth, light, lyric voice.

Don Giovanni – Zurich 2006 (Part 2: Never Put Your Hand Inside a Singing Statue)

Simon Keenlyside
as Don Giovanni
as Leporello

As I noted yesterday, I didn't like this Don Giovanni much the first time I watched it. But reading the Earworm's recent reviews encouraged me to revisit the performance. The mirrors and drapes and other nice touches in the production emphasize the ambiguity that one often feels about this opera. Donna Anna sings her Act 2 aria (Non mi dir) supposedly to Ottavio, but she is wearing Giovanni's red velvet jacket, and holding the hand of her dead father (or the hand of a representation of her dead father.) Her heart belongs to Daddy, and she feels obligated to Ottavio, but I think she wants Giovanni. As Ottavio moves towards her, she steps downstage, waves her hand to bring down a curtain behind her, blocking Ottavio. She sings the bravura ending of her aria "in one", downstage in front of the curtain.

Don Giovanni – Zurich 2006 (Part 1: The Music and The Mirror)

After reading the Earworm's recent review(s) of this performance, I decided watch it again. The first time (seems like ages ago, but was only a few months), I had trouble finding a way into the director's concept. I just didn't care that much. It's still not a top favorite Don Giovanni, but I like it better and I understand more of it now.

Schubert's Fierrabras – Father Knows Best?

Don’t get this disc for Jonas Kaufmann. Yes he’s in it, and yes he’s good, and yes he plays the title character. But don’t get this disc for Jonas Kaufmann.  Fierrabras’ minor role in his own opera is noted by director Claus Guth throughout the production. Fierrabras makes sure Schubert knows he feels about the size of his part, and the quality or at least tone of the music he is given to sing. (Check his non-verbal feedback to the composer in his—one—aria.) Fierrabras is not very happy about having to be so noble. He clearly would rather do away with Eginhard so he could marry Emma himself.

Sunday Brunch – Cosi Fan Tutte: Ah Guarda Sorella

Throughout Act 1, Dorabella and Fiordiligi carry around matching journals. They sketch, scribble, and keep important thoughts in these books.

These two sisters are feisty and ready for fun and are certainly not wallflowers (They are ready for “fun”, too.) Malin Hartelius and Anna Bonatatibus offer sisters who seem a bit more worldly wise than the average Cosi girls. At the same time they’re ready to commit to their men. Or are they?

Sunday Brunch – Schubert: Fierrabras (Finale)

And speaking of Fierrabras (well, I was speaking about Fierrabras in yesterday's post), here, to round out our JK weekend, is the finale of Act 2. The choral, solo, and orchestral writing is lovely. It's too bad it never goes anywhere dramatically. 

Gratuitous Friday – Kaufmann, Strehl, & Banse in Fierrabras

Eginhard, King Karl, Fierrabras,
Schubert, and Roland

The passion isn't very passionate, the drama isn't very dramatic, and the conflicts aren't very conflicted. Sadly, this opera doesn't have much going for it beyond the typically lovely song stylings of Schubert. And the music is indeed quite lovely.

Director Claus Guth addresses this lack of dramatic interest by inserting the composer into the action. It seems Schubert is still writing this opera as it's being performed, and in doing so, he is working out some of his own issues with his father. Note that four of the male characters (Eginhard, Roland, Fierrabras, and Brutamonte) are dressed just like Schubert – in case you weren't confused already.

Sunday Brunch – Emily Magee & Genia Kühmeier sing Strauss

I found another clip from the recent Vienna production of Richard Strauss' Arabella: The exquisite duet from Act 1:

Aber, der Richtige

Richard Strauss: Arabella – Zurich, 2007: It's Different for Girls



Fleming as Arabella and Kleiter as Zdenka

Arabella is sometimes considered a poor relation to Strauss’ Rosenkavalier and, to some extent, Capriccio. The title soprano part is actually very similar in character to the Countess and the Marschallin, and most sopranos who sing one of these roles, usually sing the other two, also.  The plot is light: Arabella wants to marry der Richtige (loosely translated as Mr. Right) and her parents want her to marry for wealth, as they are in dire financial straits. Arabella’s sister Zdenka is disguised as a boy Zdenko—because the family cannot afford to formally “present” two daughters to society. Of course, Zdenka is in love with Matteo, Arabella’s most ardent suitor, but cannot admit it since everyone thinks she’s a boy. Confusion and a scandal ensue, and ultimately there is a happy ending. 

Sunday Brunch – Emily Magee is Arabella

I watched two different versions of Arabella this weekend; while looking for clips to go with the reviews, I found this on YouTube. 

Emily Magee recently has become another object of my fanboy affection (See Tosca and Ariadne reviews). Tomasz Konieczny looks like a baritone worth following, too. I hope I can track down this entire performance, especially since it also features Genia Kühmeier and Michael Schade.             

 
               Final scene from Arabella