As Seen on Facebook – Devil, Dogs, and Discomfort

The devil you say!

Just when you thought Luca couldn't get any hotter.
(In Faust at the Houston Grand Opera.)

It's a dog's life.

Lenny and Tristan chillin!

This looks like it will be a dramatic and appropriately uncomfortable rendering of Mozart's problematic opera (though probably not as icky as the Bieito production!) After all, the it's not the Rescue from the Seraglio, it’s the Kidnapping (abduction is too romantic a word). This blogger looks forward to a video!

Pavol Breslik "rescues" Olga Peretyako in the new
Zurich production of Die Entführung aus dem Serail.  

Wozzeck aus dem Opernhaus Zürich mit Herr Gerhaher

© Monika Rittershaus

I haven’t had a chance to watch/listen to this new performance of Wozzeck yet—I did do a quick random click-through just to get a taste. But I wanted to call attention to this performance on concert.arte.tv. It looks very interesting—almost a Punch and Judy-like setting. Based on the cast, it should be very well sung.

What is it about Wozzeck that attracts fine Lieder singers?

P.S. Sorry. I couldn't disable the accursed auto-play for this post, so I am settling for posting this link.

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.

Sunday Brunch – Vesselina Presents Malin with “The Rose”

I just noticed that of my gratuitous idols (at the top of the page), Malin Hartelius is one post behind the others. Well! I just had to do something about that! And Vesselina Kasarova is a great bonus in this clip. This Zurich performance is at least seven years old. I wonder if MH will be taking on the Marschallin soon. Maybe not for a few years…

I love how Octavian has to coax Sophie out of the cupboard! I’ve not seen this entire performance, so I’m not sure who the cadaverous dude is who seems to get so much screen time. Ignore him and enjoy the bliss that is MH’s Sophie.  Himmlische indeed!

Just Another Manic Monday Mozart – Liliana Nikiteanu is Dorabella

It's fascinating to see how various directors/producers treat Dorabella in Mozart's Cosi fan tutte, especially in her rather over-the-top first act recitative and aria. In this 2000 Zurich Oper performance conducted by Nikolaus Harnoncourt, Liliana Nikiteanu really puts the drama in Drama Queen. This recording also stars Cecilia Bartoli as Fiordiligi and Agnes Baltsa as Despina. One reviewer complained that it's too many mezzos. Is there really any such thing as too many mezzos?

More about Vesselina in São Paulo (another Stream-of-Consciousness Post)

I pointed out a blog post about Vesselina Kasarova's concerts in São Paulo the other day. Well, Bela went back to hear the concert the second night! And over at SmorgZone, you now can find two arias from that program. Isn't the internet cool? 

While browsing VK's website, I found photos of her debut as Eboli (right) in Don Carlo last year in Zurich. The production is by Sven-Eric Bechtolf, and gee, don't those trees look familiar. (Do you remember what other opera we've seen them in?) I do admire the Zurich Opera's recycling program. I wonder if anyone has ever tracked their reuse of sets and set pieces (like the doors from the restaurant in Ariadne reused in Arabella.) But, I digress. 

Parsifal – Zurich, 2007 (Great Singing, Dull Staging)

Etch-a-sketch?

It seems that in Zurich, it’s often feast or famine. It’s probably like this with other opera houses, too. Zurich (fortunately) makes a lot of its productions available on video (and I tend to look for them), so perhaps that’s why it's their productions in particular seem so uneven to me.

This Parsifal is strong musically, but like the Zurich Arabella production of the same season, it’s dramatically dull and visually cheap. Notes on back of the DVD call the setting “austere” and that’s being generous. It doesn’t look deliberately sparse; it looks like they had no budget for scenery or props. The most interesting aspect is the tables that emerge from the floor. The flower maidens carry some “magic” acrylic panels that just look silly. Seriously, I think a junior high drama department could come up with something better.

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?

Thursday Extra – More Reviews of Sale

MH is feeling low

Thanks to the blog Definitely the Opera, we have links to a few more reviews (one actually in English – YAY!) plus some bigger photos. I direct you there for more detail. 

O gods of opera videos, please grant us a glimpse this odd but interesting-looking production. 


Sale - The First Post
Sale Part 2 - A review

Sale – Handel, Marthaler, Zurich Opera – Part 2

We found one review, of Marthaler's "new" Handel opera via the blog Welt der Oper neu.

Unfortunately, but not surprisingly, the review is in German. Since it's late on election night, I'm not going to try to make a sensible (logical and in standard English) translation just now. 


With a strong reading comprehension of German, you'll get more detail than I did. However, with Google translate's literal translation, we can get some idea of how the evening went. 

Sale – A Handel Project by Christoph Marthaler, Zurich Opera

ASvO left; MH right, at top of escalator.

It appears that Sale – A Handel project by Christoph Marthaler is going to be another Baroque pastiche along the lines of the Met's Enchanted Island. Of course, since Christoph Marthaler has conceived the plot and production, I am sure it will be much weirder.

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. 

(Do I need a) Nom de Blog? (also Fierrabras' Aria)

So, I have noticed that very few people use their real names on their blogs. I find this interesting, and feel slightly naive that I have never come up with a cute, clever, or fanciful pseudonym under which to air my lofty opinions. Also naive because it didn't occur to me that it might be safer, yea even necessary, to remain more anonymous.*  

DVD Extras – The Making of...

I know a composer who is reluctant to provide program notes, feeling that the work should speak for itself.  In so many cases, art does speak for itself. But sometimes art needs a little help, especially when it comes to Regieoper. 

Kušej does not, in fact, tell us why
the Three Ladies are blind. Sigh.

Personally, I am a firm believer in program notes. I don’t need a step-by-step walkthrough of the piece, but a little background would be nice so the audience isn't going in blind. 

The Otterphile – Sogno Barocco Promo Video (and other stuff)

This post had a point when I started. Now it is a potpourri of information all vaguely linked by our favorite Mezzo, Ms. Anne Sofie von Otter (ASvO). Fasten your seat belts!

Anne Sofie von Otter has always had an interest in early music,and she seems to be exploring it more and more now. Here is a sampler from her latest album:

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. 

Puccini: Tosca – Zurich 2009 (Part 2: Art is Life)

Thomas Hampson’s Scarpia is a man who keeps his cool and is used to being in charge. He is a perfect bad guy: refined, handsome, smooth, and suave.  He doesn’t look bad, evil, or scary. In fact, his evilness is scarier because he looks so smooth. (When the typical Scarpia makes his entrance, you think, “Ew, yuck, bad man!!” But this Scarpia makes you think, “Wow, he’s handsome!”) As the opera progresses, Scarpia’s nastiness emerges. He is not used to being questioned, defied, or inconvenienced. He taunts Tosca with the fan, he shouts at people, he eats dinner, he has Mario tortured, and he is annoyed that his dinner keeps getting interrupted.