La Traviata at Lincoln Center

Last night Meridita and I saw La Traviata screened in HD outside Lincoln Center.

Verdi's music and the singing were fantastic. Really beautiful. I even considered getting an album. The story was simple and very dramatic. What really made it work was the intense acting of the three leads, particularly Natalie Dessay as Violetta. I really felt the intensity of her love and desire. Her lover Alfredo was sung by Matthew Polanzani, and his father was Dmitri Hvorostovsky; both wonderful.

Less wonderful however was the avant-garde minimalist set. The stage was a grey dome featuring a clock to symbolize how little time Violetta has left. During one scene they used what looked like a bunch of Ikea couches. The stark and bleak contrasted with the lush music and powerful emotions. It looked hokey and was really a disappointment. I would have preferred more color and pomp.

Tosca!

Last night Meridita and I saw Tosca in HD outdoors at Lincoln Center.

It was wonderful! We had sandwiches from 'Snice and delicious wine and cookies.

I enjoyed the story, the intensity of Tosca's emotions, and the beauty of the lead singers' voices. But somehow I didn't feel as emotionally drawn is I wanted to be. Gorgeous and tragic, it left me dry-eyed.

This was a new Met production that premiered last season. The set was actually booed! I'm not sure what the audience's issue was. I didn't have a problem with the stark fortress like structure, although the design choices for the interior of the castle seemed off to me, and I couldn't figure out what era the piece was supposed to be taking place in...

Karita Mattila sang Tosca, Marcelo Alvarez was AMAZING as Cavarodossi, and George Gagnidze sang the villainous Scarpia. Joseph Colaneri was the conductor.

Armida (Live in HD at BAM)

I saw Armida this afternoon at BAM (live in HD) with Meridita and Odetta.

As much as I love Renee Fleming, who stars in Armida, I have to say I had mixed feelings about this opera.

All the performances (six tenors and Fleming) were wonderful, and there were some stunningly beautiful moments (particularly at the end), but the story wasn't that interesting and the production (Mary Zimmerman) was rather weird and confusing. Something just seemed off to me about the costumes and the sets and the use of the chorus. For instance, the cat-like demons that the sorceress Armida commands seemed both creepy and comical at the same time. The wood nymphs, played by the chorus, had cheap little wings affixed to their backs that looked like they came off of bumble-bee costumes from Woolworth's.

There was a long and interesting ballet in the second act which I enjoyed a lot, but which didn't seem to fit in stylistically with the rest of the opera. It seemed to have a different tone than the rest of the piece. The ballet was interesting though, and I very much enjoyed watching it.

The lead tenor was sung by Lawrence Brownlee, and he was amazing. Other tenors included Barry Banks, who sang two roles, and who Meridita and I have seen in at least one other Met production this season.

The live HD screening included interviews with the performers that I enjoyed -- they give you a glimpse into the professionalism and artistry of the singers.

All in all, Armida was the weirdest opera I've ever seen.

Der Rosenkavalier (Live HD screening at BAM)

Jenn and I found an agitated Diana sitting in the lobby at BAM. “I tried to save us seats. We’ll be craning our necks but I did the best I could do. It’s packed. Oh, and by the way, we are by far the youngest people here.“

Thank goodness for Diana’s early arrival and seat saving. It got ugly – a near brawl erupted right behind us over seats just as the curtains were about to open.

Couple 1 (in the isle): “What do you mean you had no idea we were sitting there?"
Couple 2 (in the seats behind us): “Well, there was no one here.”
Couple 1: “Why do you think we left our things on the chair? We were in the restroom.”
Couple 2: “We didn’t know.”
Couple 1 (with increasing volume and agitation): “Just give us our coats…”
Down parkas handed down the isle.
Couple 1 (louder): “And hats.”
“And gloves…”
“And purse…”
“And scarf.”
Man beside couple 2 (with deep disgust): “You aught to be ashamed.”
Couple 2: “We didn’t know.”
Man beside: “Well, you do NOW.”

Yeah, and so does everyone else!

And now -- Der Rosenkavalier (Composer: Richard Strauss
Libretto by Hugo von Hofmannsthal)

I was more than a bit hesitant about a 5 hour German opera experience. And while this production has done nothing to increase my appreciation of the sound of German, I really loved this opera! The story was complex, relevant and deeply moving.



Renée Fleming was superb. Her singing is elegant and powerful, but what most compelled me was her evocative and complex acting. The rest of the cast was top notch but for me it was all about Ms. Fleming.

Fleming, who is renowned for her interpretations of the Marschallin in Der Rosenkavalier, elaborates on the role: “She’s endlessly fascinating. And I think I’m performing it now with more strength, less sentimentality, and I think that enables the audience to feel more.”

A really great part of the HD experience is that during intermission they film back stage. Watching the sets go up, interviews with the stars and staff as well as a tour and interview in the set/props department (my favorite part) really deepens ones appreciation for the level of the production and craft at The Metropolitan Opera.

Der Rosenkavalier (Live HD at BAM)

OMG, yesterday I saw the live HD screening of Der Rosenkavalier at BAM and it was fucking awesome.

I was blown away.

I was pretty wary of it after watching the DVD with Te Kanawa a couple of weeks ago. There were parts of it I liked okay, but basically I thought it was "tough" and I was worried about sitting through four hours and forty five minutes of it again. Yes, I said FOUR HOURS AND FORTY FIVE MINUTES.

That's a lot.

But it didn't matter. This Met Opera production with Renee Fleming and Susan Graham pretty much flew by. I was completely engrossed the whole time and deeply, deeply moved by Renee Fleming's portrayal of the Marchaline. She had a lovely and subtle emotional range that just brought tears to my eyes practically every time she opened her mouth. She also had the best words of the opera, all the dramatic depth came from her character. After the opera I had my ladies poker group and I ended up quoting her a few times. She says at one point that you live oblivious to time and then suddenly it's everywhere and all you think about. She is hands down my favorite character in opera so far.

Kristinn Sigmundsson played Baron Ochs with a wonderful maniacal intensity.

I can't remember the soprano who played Sophie, but her performance was the least compelling.

Official Converts: Madama Butterfly on HD at Lincoln Center, September 2009

Written at the time: Last night a couple of friends and I went to Lincoln Center to watch an outdoors High Definition screening of Madama Butterfly on a huge screen.

This was the first full opera I ever watched, and I loved it. Loved it. I was riveted. I had read the synopsis on line before, and the production included subtitles, which was very helpful. And I just got so caught up in the beautiful music and emotion. It was a wonderful evening.

Patricia Racette played "Cio-Cio San" (Madama Butterfly), and her performance was amazing. She had to carry the whole show.

I think I'm now officially an opera convert!

Addendum: Marcello Giordani was a wonderful, beautiful, arrogant Pinkerton

_________________________________________________________

Great things are happening, signorina

(Also in HD at the MET the week before: Il Barbiere di Siviglia )

FIGARO Great things are happening, signorina.
ROSINA Indeed?

FIGARO Gran cose, signorina.
ROSINA Sì, davvero?

Vado, vado, non gridate.
Meridita
(9/2/09)