OperaDuets Travel and Living

Turandot, January 21th 2012

2012-01-22T11:11:00.001+01:00

I had come to Zurich to see Jose Cura as Calaf. But he got a serious head cold so he couldn't sing. Johan Botha was to sing instead. It was like Lohengrin singing Calaf, I thought. But his large girth did not prevent him much to be an effective Calaf. He has a big and beautiful, clear voice. He stood and delivered the goods, but his acting consisted mainly of smiling. Those smiles seemed to me to come sometimes at inapprobiate times, but maybe it was another way of telling that Calaf is more of a cad than a romantic hero.

Martina Serafin was Turandot. She was very different from Paoletta Marrocu as Turandot in this production. Unfortunately she had some difficulties in the aria "In questa reggia" where the demands of the role seemed to somewhat beyond her so Botha's voice could easily overwhelm her in the "enigmi sono tre, la morte una". Martina Serafin was an otherwise great Turandot who I am sure will be able to takle all the demands of Turandot in a few years.

I also came to Zurich to see Isabel Rey as Liu. She was great. From a somewhat weak Signore, ascolta in the first act to the most wonderful and greatest rendition of Tu che in gel sei cinta. Wow, that was amazing!!!

Pavel Daniluk was simply an amazing Timur. His voice was grand and demanding.

What can one say abou the production? Partly it is super traditional, and partly modern. The action does happen in China, in legendary times. BUT the unknown prince (Calaf), Timur and Liu is dressed modernly. AND Calaf uses a computer to answer the riddles. The audience laughed when Johan Botha took the computer. In April 2006 (last time I saw this production) they did not laugh when Cura took the computer. But naturally it was silly then and now. But I guess then it was not so strange to see the chorus dressed in modern cloths when Turandot tells that she know the name of the stranger: His name is Love. Then we are in modern Shanghai and Turandot disrobes her traditional dress to the modern one, and Calaf and Turandot can enjoy a champagne, romantic meal served by modern times Ping, Pang and Pong.

LA TRAVIATA by Verdi (only 5 times)

2012-01-15T15:45:00.001+01:00

5x La Traviata 1984-06-20, 1993-01-15, 2002-12-14, 2003-07-31, 2006-03-22

Why have I only seen La Traviata 5 times? Mostly coincidence, and it is not my favorite opera by Verdi even if it is almost every one else favorite opera.

La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. It was originally entitled Violetta, after the main character. (wikipedia)

Giuseppe Verdi, LA TRAVIATA, Paris, Alexandre Dumas, Marie Duplessis, Tuberculosis, demimonde, courtesan

Alexandre Dumas, fils was the original Alfredo Germont (opera) / Armand Duval (play), Père Germont/Duval was Alexandre Dumas père and Marie Duplessis was Marguerite Gautier (play)/Violetta Valery (opera). Naturally the author made himself heroic and naive.

The double standard for men and women. A woman is ruined for life, a man is not.

For reviews from my travels, see www.operaduetstravel.com

Puccini's 5th opera TOSCA

2012-01-15T15:05:00.000+01:00

14 x Tosca 1989-04-06, 1998-10-24, 2001-09-08, 2003-03-17, 2006-07-15, 2007-01-13, 2007-06-09, 2007-11-23, 2009-04-25, 2009-06-20, 2010-09-11, 2010-12-19, 2010-12-28, 2010-12-30

I have seen Tosca 14 times in 23 years. What does that mean? For me it means that this is one of the operas I have seen the most and in general it means that Tosca is one of the most popular operas. Tosca is the safe bet but one needs a great soprano as Tosca, a wonderful tenor as Cavaradossi and a menacing baritone/bass as Scarpia.

TOSCA, Giacomo Puccini, History - Italy - Rome, Napoleon, Battle of Marengo (14 June 1800), Melas, the Roman Republic, History of Italy (1559–1814),

For reviews from my travels, see www.operaduetstravel.com

Easter Parsifal in January

2012-01-13T21:16:00.000+01:00

My first and only Parsifal was 10 years ago. So it is time to see it live sometime somewhere. And it was Placido Domingo as Parsifal on January 12, 2002 in Wiener Staatsoper. Naturally I have the CD with Placido and Jessye Norman. But I want a CD of the radio broadcast of Teatro Real's Parsifal from March 2001 with Placido and Agnes Baltsa. I was in Madrid in March 2001, could not record the radio broadcast because I was trying to get tickets for the performance and I am still angry with Teatro Real for making it so hard and then we tried the people outside the theatre and still, being first meant nothing.

Parsifal is an opera in three acts by Richard Wagner. It is loosely based on Wolfram von Eschenbach's Parzival, the 13th century epic poem of the Arthurian knight Parzival (Percival) and his quest for the Holy Grail, and on Chrétien de Troyes' Perceval, the Story of the Grail. (wikipedia)

King Arthur, Holy Grail. Parsifal is a quasi-Christian story. Kundry was cursed for laughing at Jesus and the cross. Parsifal is innocence that become wise through compassion. Kundry is the cathalyst for the chance but Parsifal does not have compassion for Kundry, a woman, only for Amfortas, a man. Gurnemanz is the voice of wisdom and compassion even towards Kundry.

More links:
A website devoted to Parsifal, Monsalvat.

For reviews from my travels, see www.operaduetstravel.com

10 years since my first Nabucco

2012-01-12T23:10:00.001+01:00

8 x Nabucco 2002-01-12, 2005-07-01, 2007-06-29, 2007-08-11, 2008-02-22, 2008-07-14, 2008-07-17, 2010-01-30

Opera by Giuseppe Verdi. Known as Verdi's 3rd opera and his first great success. Nabucco, 9 March 1842. It has the most famous chorus by Giuseppe Verdi: Va, pensiero. The story is biblical and about the Babylonian King Nabucco.

It has the classical and iconic conversion scene of Nabucco. But I find the opera most interesting because of Abigaille, the supposedly eldest daughter of Nabucco. Unfortunately she is not so loved by her "father" as the "minor" Fenena. Abigaille is as fierce as Nabucco but she is in reality "a daughter of slaves" and therefore nothing more than a slave herself. Even Abigaille's love interest loves Fenena and rejects Abigaille. Abigaille just want to be loved, most of all by her father, Nabucco.

Naturally the opera is the bible plus more love and confusion so that it can it juice music.

For reviews from my travels, see www.operaduetstravel.com

O Fledermaus, O Fledermaus

2012-01-08T18:18:00.000+01:00

5 x Die Fledermaus 1985-07-24, 1989-01-07, 1999-05-12, 1999-05-14, 2007-09-23

Wiener Operette, Johann Strauss II, Die Fledermaus, New Years Eve, Gala, Guests

New Years Eve Gala of Die Fledermaus (called The Bat, in English) with Guest stars as simultanious guests of Prince Orlofskys ball as it guests in the opera house. Wow!!

That can be fun. But what can make it boring. This is an operetta not an opera. It is meant to be like opening up a bubbly Champagne. It should sparkle all the way. Operetta is like superlight fun, but it sparkles best when there is some serious thruth down. Real people with problems but with a sparkling, witty dialogue and the sparkly operetta sound. With the right touch from the director and singers than can do the dialogue just right act 1 and 2 will go like a dream. Actually, even act 3 could be a ball. Unfortunately act 3 even if there is some great music and singing usually makes you want to go home.

Then there is the language. German in German speaking countries, yes, naturally. But elsewhere it is the question: Making it all in German (dialogue, singing), or singing in German, everything else in the native tongue, or all translated.

No wonder I loved it in 1999 in Theater an der Wien with Agnes Baltsa as Orlofsky and Isabel Rey as Adele, naturally it was all in German, and it had a very bubbly, sparkly quality.

But I do hate Frosch and his comedic monologue, don't you, too?

For reviews from my travels, see www.operaduetstravel.com

How will 2012 be for me and this blog?

2012-01-06T21:09:00.001+01:00

Here is my opera plan:

January

2012-01-21 Turandot (Puccini), Opernhaus Zurich

Turandot = Martina Serafin

Calaf = José Cura

Liu = Isabel Rey

March

2012-03-03 Turandot (Puccini), Deutsche Oper Berlin

Turandot = Maria Guleghina

Calaf = Marco Berti

Liu = Manuela Uhl

April

2012-04-28 Macbeth (Verdi), Opera de Monte Carlo

Macbeth = Lado Ataneli

Lady Macbeth = Maria Guleghina

Banquo = Giacomo Prestia

May

2012-05-28 Nabucco (Verdi), Palacio Euskalduna (Bilbao)

Nabucco = Leo Nucci

Ismaele = Alejandro Roy

Zaccaria = Carlo Colombara

Abigaille = Maria Guleghina

June

2012-06-09 Tosca (Puccini), Operan (Stockholm)

Tosca = Emma Vetter

Cavaradossi = José Cura

Scarpia = Fredrik Zetterström

2012-06-12 Tosca (Puccini), Operan (Stockholm)

Tosca = Emma Vetter

Cavaradossi = José Cura

Scarpia = Fredrik Zetterström

July

2012-07-02 Liederabend Jose Carreras, Opernhaus Zurich

Josep Carreras, tenor

2012-07-03 Simon Boccanegra (Verdi), Opernhaus Zurich

Simon Boccanegra = Plácido Domingo

Maria Boccanegra (Amelia) = Barbara Frittoli

Jacopo Fiesco = Carlo Colombara

But it started on January 2nd with an ambulance tour to hospital where I stayed until Wednesday 4th. And now I am tired already. However, on January 21 I am determined to see Turandot in Zurich with José Cura and Isabel Rey (Liù).

My plans for my blog is to read interesting historical books that has something to do with opera, sometimes not much to do with it, and tell what I think about it here on my blog. Naturally I will write my "opera reviews" and travel stories as usual. I have plans but I have my work, my disease and sometimes I have a bit of a fatigue, but I will be here. I hope I will be able to post somewhat regularly.

HAPPY NEW YEAR 2012!!!!!!!!!!!!!!!!!!!!!!

For reviews from my travels, see www.operaduetstravel.com

OperaDuetsTravel Year 2011

2011-12-30T21:31:00.001+01:00

The statistics, from 1981 till 2011, I have seen 267 different performances of Opera, Operetta etc (excluding concerts etc.) of 27 different composers and of 73 different Operas, operettas etc.

2011
Giordano: Andrea Chenier I
Verdi: Stiffelio I
Mascagni: Cavalleria Rusticana IV
Leoncavallo: Pagliacci III
Puccini: Boheme I
Janacek: Jenufa I
Verdi: Nabucco I
Saint-Saens: Samson et Dalila I
Verdi: Corsaro I
Puccini: Villi I
Puccini: La Fanciulla del West I
Puccini: Madama Butterfly
José Carreras Concert I
Verdi: Oberto I
Verdi: Forza del Destino I
Verdi: Otello I
Verdi: Macbeth

7 Verdi Operas: Corsaro, Forza del Destino, Macbeth, Nabucco, Oberto, Otello, Stiffelio.
4 Puccini Operas: Boheme, Fanciulla del West, Madama Butterfly, Villi.

I have seen Agnes Baltsa 2 times, Josep Carreras 1 time, José Cura 10 times, Maria Guleghina 4 times.

In all a happy year for me, even if I was in hospital a few times.

For reviews from my travels, see www.operaduetstravel.com

Vien, Macbetto! (2011-12-27)

2011-12-28T17:04:00.001+01:00

Today is my birthday, and yesterday I was in our wonderful opera house in Oslo. Since it is Christmas Holidays I at my parents home so it was just a bus trip (almost 2 hrs) to Oslo.

The director was Stein Winge with scenography and costumes by Tine Schwab. This production of Macbeth by Verdi was neither a scandal nor a dramatic tragedy. Neither, a sad word. It was good but not great. It was a production that managed the scenes with the witches well but did not manage to make us (or at least me) care about the characters.

The magnificent bass Magne Fremmerlid was Banquo and did a superb job. The young Italian baritone Claudio Sgura was Macbeth. The singing of Sgura was great, his acting too, but he was not given a big palette to draw from. Stein Winge's idea made Macbeth from first note a flawed and weak man, and so he was from beginning to end. Lady Macbeth was sung by Itziar M. Galdos, who started weak but ended with a breathtaking sleepwalking scene. Brava!! But in the first aria of Lady Macbeth Stein Winge made her go from one side of the stage to the other aimlessly, so against the music and the words, not wonder Itziar M. Galdos even sounded unfocused. Luckily from the first aria she was simply better and better. The whole house should have stood up and cheered after the sleep walking scene but then Claudio Sgura was onstage and it was in so many ways Claudio's show. Daniel Johansson was Macduff and his rendition of Macduff's aria was one the best I have ever heard.

What is the problem with Macbeth, the opera of Verdi? Usually one talks of the supernational elements, the witches, and that Verdi was not his best in this elements. But in this production those scenes worked well. Some critics disliked the fact that it was just women in anoraks, but I disliked the laughter of the witches. The main thing was that it worked. The way Stein Winge incorporated the witches and some symbolic in the rest of the opera was exciting. He made us think that some of the women (all) of the royal court was also witches.

The King Duncan is no virtuos man if one is going by the way he imposes himself on the Lady Macbeth and jovially "Macbetto!!" to Macbeth and gives Macbeth a medaille. As all goes to the party, Macbeth remains alone. Why? Because in this production Macbeth is essentially a loner? Or just because the opera has to go on. Macbeth has many of these loner moments, or just laying down passively, or fainting. Who can care for this man? Does the Lady? Is she really the strong one of the two? Who is Lady Macbeth and what is her motivation? The portraits of Macbeth and his Lady are just skin deep, so the opera is boring but the music is glorious. The scene from Macduff comes to wake up the King, the murder and procession of the dead body of Duncan is just glorious. A highlight.

It is sad to see so many opera dirctor is doing the same thing, in Macbeth a refugee choir with their photos of loved ones. I started to think about copyright, whose photos and was permission given to use these photos in this way. Frankly I found it disrespectful. And was there even a need to use photos, no, I think we would have understood the plight of refugees without it.

When I was back again it was already December 28th, and my birthday!!

For reviews from my travels, see www.operaduetstravel.com

Wonderful, wonderful Copenhagen

2011-12-18T20:43:00.001+01:00

Traveling to Copenhagen, Denmark in December. COLD, freezing, too many students also going "Home for Christmas".

The night bus was full. The night bus was full. Really full. So with 2 buses and some maxi taxis all got their chance to come home. Wonderful. I was lucky to find a seat in the first bus. Even luckier in actually getting some sleep there, sitting upright in my sleep. Luck, luck, luck in a really full bus but at least I was not freezing and I got some sleep, how many minutes, hours that I don't know. From Oslo airport bus to Gardermoen airport. Everything went well. And I could have some breakfast there. And it was the normal breakfast, Pizza Vegetar with Pepsi Max. Oh, I meant unnormal, because normally I don't eat.

I had plans beyond going to the new opera house in Copenhagen that I would also eat, I mean eat out, in restaurants. Well, unfortunately my quest for food started at the BurgerKing in Copenhagen Airport. I thought I was saying CHICKEN BURGER and Pepsi Light, she interpreted it as Cheeseburger Menu. Tiny, tiny cheese burger with a very BLAND taste. And the pommes frites, depressing. Pepsi Light was OK, but I wanted FOOD. I was in the wrong place of course and I am sure if only I had corrected the mistake at once, but I was sleep-deprived, or so I tell myself. The only good thing that happened at Burger King was that I decided to stay at Hilton Hotel in Copenhagen Airport. Then my Quest for Food dozed off while I slept for 2 hrs in my wonderful Hotel Hotel bed.

After buying the 24 hrs tickets for train, metro, buses in the Copenhagen area (70DKK) I took the train to Copenhagen Main Train Station and bus 66 to the Opera. Alas, too early, the opera house was not open yet, so I could not have my dinner there. My phone was almost empty, my mother wanted the phone number for my hotel. So I decided to go back. I took bus 66 back but at the wrong station I was off. Then I took another bus thinking that would take me to the train station but that was a misunderstanding. The bus was slow, the lights turned to red all the time. I asked the driver and he pointed me to another bus. But then I saw a sign that indicated that I could take the metro to the airport. So I did. But the strike made the train stop longer at the Main Train Station, so I had time to get a bit nervous. And the train was so slow. But at least I had a seat unlike on the bus. Then back to hotel room. Just to turn back. Another train to Main Train Station, but TAXI to the opera. NOT CHEAP. Almost the double as the 24 hrs ticket. But I was in time. Luckily I had enough money to buy the program. Met a lot of friends, some new. But my Quest for Food, had been reduced to some tiny, but delicious Chicken Burger at McDonalds. McDonalds, your friend in need.

Thanks to my high (or) minimal survival skills I managed to enjoy the operas.

I enjoyed Cavalleria Rusticana. I actually did enjoy it. Irene Theorin was Santuzza in this production by director Kasper Holten with set designs by Mia Stensgaard and costumes by Anja Vang Kragh. She was on the stage during the whole opera with just a few seconds off. The director was really good in how the actions of Turriddu, Santuzza, Lola, Mamma Lucia and Alfio really reflected the persons' reality. The chorus did not get the individuel treatment. Here the chorus are mostly just a crowd, a menacing group, that acts with cruelty almost all the time. The director is really using the chorus to hammer us with the cruelty of the situation of Santuzza. This is the modern way of opera production: nothing is allowed to be nuanced, not if one can just hammer it down. Still. I enjoyed it. The music was beautifully played. Irene Theorin was close to an ideal Santuzza, even if one could still notice a wide vibrato. José Cura sang one of his best Turriddus. Hanne Fischer was a joy as Lola, what a voice, lush, beautiful, and full. One could actually believe Turriddu to fall for her, and to be so blind to Lola just being so totally self-sentered. Randi Stene was wonderful as Mamma Lucia. The role doesn't give her much to work on, sadly this production makes her even more invisible. Mamma Lucia is here reduced to a woman who almosts begs the people to buy her wine. Fredrik Zetterström was Alfio. Either he had a cold and could not sing out, or the role was simply beyond his vocal means, but as an actor he owned the role.

I also enjoyed Pagliacci. Yes. José Cura was Canio in this production by director Paul Curran with set designs by Mia Stensgaard and costumes by Anja Vang Kragh. There was so much to enjoy in this production but then there was the bafflements. The Church and the church step with the Virgen Mary statue from Cavalleria Rusticana was now bombed and American flags was everywhere. A depressed Italy? after a the war with nurses, wounded soldats (American?) is present but what are they doing to this Pagliacci production? It is just a blackdrop and it is not utilized in any way that I could see. The cast was wonderful with José Cura being the best Canio ever, Sine Bundgaard was a magnificent Nedda, and Michael Kristensen as Beppe and Palle Knudsen as Silvio was two additional beautiful voices. The prologue with Tonio, Fredrik Zetterström was met with a thunderous applause. The poor guy was so close to losing his voice several times during the prologue, but he was so good an actor one could forget almost everything.

When the prologue started we are looking at a stage curtain of the church and churh steps with the Maria statue and Silvio is painting on it. Then they come on the stage, Beppe, Tonio, Canio and Nedda. They are carrying their stuff. Here we see what a life Nedda is suffering. Always asked to carry more than the rest of the guys. Not respected by Canio or really anyone. She is on the bottom in this troupe. It is not Tonio who is last and least important, but Nedda. (But without her who would come to see them.) For the first time I could really feel for Nedda and the duet between her and Silvio made even more on Nedda's side. And then there is her voice.... magic. A great Vesti la giubba by Cura, his whole performance was simply gold. In the end Canio kills Nedda by slicing her throat or something, but it is opera so she could still say SILVIO. Then Silvio is killed by the same method. In the end LA COMMEDIA E FINITA, and Canio kills himself too. 3 deaths, and almost an Otello ending.

José Cura came out after the performance I gave him my photobook of my best Cura photos. He seemed to like it. He complimented me on it. I was totally happy. "I'm in heaven".

Then it was going back again. Tired, hungry, waiting for bus 66, but luckily not alone. Oh happiness, oh friendship. Finally the bus comes. We can sit, be warm, and talk. We both loved it. We both wanted food. So naturally at Main Train Station we found some food. Not an restaurant not really great decent food, actually I missed to have another, or 2 or 3 chicken burgers. Took a bite at my hotel, and no more. 0030 in the hotel. Then up at 0600. Paying. Security, food?. 0815 SAS flight to Oslo. Then finally eating the muffins from Copenhagen Airport's Starbucks. Tried to drink up all the cola zero before Security again. Finally Vegetar Pizza (1 slice) and Pepsi Max in PizzaHut. Then wait. Until 1230. Going to gate. The Take off time 1335 was 1415 then they tell us that most airports are almost impossible to land because of snow. So it could be an round trip to Oslo. But we landed after a few trial rounds at 1515. So now I think I am tired.

Tomorrow is work day with a LONG meeting and up early, travel... SLEEP...

For more reviews from my travels, see www.operaduetstravel.com.
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Anna Bolena with Katia Ricciarelli

2011-12-11T22:33:00.001+01:00

http://www.facebook.com/pages/Gaetano-Maria-Donizetti/15648004806
Anna Bolena - Katia Ricciarelli
Enrico - Evgeny Nesterenko
Giovanna - Stefania Toczyska
Percy - Francisco Araiza
Rochefort - Riccardo Lombardi
Smeton - Elena Zilio
Hervey - Jorge Pita
Conductor - Giuseppe Patane
Orchestra - Wiener Symphoniker
Chorus - Bregenz Festival Chorus
For reviews from my travels, see www.operaduetstravel.com

Happy Birthday, tenors Carreras & Cura!

2011-12-05T20:47:00.001+01:00

For reviews from my travels, see www.operaduetstravel.com

Amazing grace

2011-12-04T21:47:00.001+01:00

About Amazing Grace.

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Adeste fideles

2011-12-04T21:35:00.001+01:00

English

O come, all ye faithful,
Joyful and triumphant!
O come ye, O come ye to Bethlehem;
Come and behold him
Born the King of Angels:

Chorus:
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.

God of God,
Light of Light,
Lo, he abhors not the Virgin's womb;
Very God,
Begotten, not created:

Sing, choirs of angels,
Sing in exultation,
Sing, all ye citizens of Heaven above!
Glory to God
In the highest:

Yea, Lord, we greet thee,
Born this happy morning;
Jesus, to thee be glory given!
Word of the Father,
Now in flesh appearing!

Latin
The following verses are generally attributed to Wade and correspond to the English verses given above.

Adeste fideles laeti triumphantes,
Venite, venite in Bethlehem.
Natum videte Regem angelorum.
Venite adoremus (ter)
Dominum.

Deum de Deo, lumen de lumine,
Gestant puellae viscera.
Deum verum, genitum non factum.
Venite adoremus (ter)
Dominum.

Cantet nunc 'Io', chorus angelorum;
Cantet nunc aula caelestium,
Gloria! Soli Deo Gloria!
Venite adoremus (ter)
Dominum.

Ergo qui natus die hodierna.
Jesu, tibi sit gloria,
Patris aeterni Verbum caro factum.
Venite adoremus (ter)
Dominum.

There are additional Latin verses in various sources. For example:

En grege relicto, humiles ad cunas,
Vocati pastores adproperant:
Et nos ovanti gradu festinemus,
Venite adoremus, venite adoremus,
Venite adoremus Dominum.

(From Wikipedia)

For reviews from my travels, see www.operaduetstravel.com

Andrea Chenier by Umberto Giordano

2011-12-04T14:37:00.001+01:00

I have seen Andrea Chenier 4 times: 1998-10-18, 2004-02-13, 2007-10-17, 2011-01-29.

4 different productions, 4 cities.

Andrea Chenier is a historical person who died during the times of the French Revolution or rather during the terror reign of Robespierre. The love story is fiction, Carlo Gerard is a person that could have existed.

The opera cannot be so easily set in another because it is set so firmly on historical ground. The last Andrea Chenier that I saw in Berlin (2011) was good but making Carlo Gerard to only pretend to be wounded was bad and stupid. From Barcelon (2007) a I remember der whiteness of the scenography and costumes and the falling of the guilliotine after each act. Vienna had a beautiful production very true to history or so it seem, my only regret is that I did not have a better camera. From Zurich (1998) I do not remember much but certainly it was a straight-forward telling of the story and I loved Gabriele Lechner as Maddalena.

For reviews from my travels, see www.operaduetstravel.com

The Question of Regie??

2011-12-03T12:39:00.001+01:00

Regietheater (German for director's theater or producer's theater) is a term that refers to the modern (mainly post-World War II) practice of allowing a director (or producer) freedom in devising the way a given opera (or play) is staged so that the composer's original, specific stage directions (where supplied) can be changed, together with major elements of geographical location, chronological situation, casting and plot. (From Wikipedia)

Sometimes called Modern Opera Productions. But what does one really want from an opera production?

Who creates an opera? We have the composer and the librettist, of course. Then we have the singers, the orchestra and the conductor. The we have the theatre director, the costume designer, the scenographer. Then it all has be backed up by the opera house or theatre and its management.

I have often thought that the perfect opera is when one does not notice the conductor because the music flows so naturally and when one does not notice the director because it all happens so real and natural onstage. And it is perfect when one just simply accept how the stage is without realizing there have to be someone behind it (the scenographer). And the same about the costumes it all seems to be right for the persons and situations.

That idea is simply more for the Tradional Opera Production.

What about the Modern Opera Productions? Does it have to be crap? Offensive?

Crap: Opera directors that superimpose their own ideas unto the opera so that the opera and the actions in the opera are even more stupid than ever. Offensive: Opera director puts a lot of sex, rape, racism etc. into the opera without much thought of how it effects the understanding of the opera. Sometimes too much thought has been on the offensive elements and too little on the rest. Sometime it is just too much, too often.

Does the opera director analyze the opera first? A thorough analysis of the work could have made opera productions even better. Modern of Tradional, who cares? I just want it to be good (??). There are so many elements in an opera. It is really different than straight theatre, but it is THEATRE even if it is OPERA. The text needs to be analyzed, who are the persons, their relation to each other, the time and expectations of that time. The music needs to be analyzed, eg. what does that clarinet solo mean before the tenor sings... Scenography, what needs to be present in that scene so that it can play out. The action in the opera plays out in what time in history, what is important to know in order to be true to the time and the opera.

Updating the opera? How and when, and what time would it be appropriate to put it in? Lazy thinking here, and the opera might just fall flat. Deep thinking and maybe it could be the Greatest Opera Production. Partially updating the opera? Just put modern cloths on, it is cheaper than an 1500th century extravaganza. Could work.

For reviews from my travels, see www.operaduetstravel.com

Roberto Devereux by Donizetti

2011-11-28T17:04:00.001+01:00

I saw Roberto Devereux twice: 2001-05-12, 2002-09-30. And I have seen the video with Montserrat Caballé and José Carreras. I love the music. It is a "historical" opera with historical persons. But how historical correct is it? Was Queen Elizabeth I of England and Robert Devereux, the 2nd Earl of Essex really as portrayed in this opera? Usually the answer is no because historical opera is seldom historical correct.

I have read Treason In Tudor England by Lacey Baldwin Smith

Format: Kindle Edition
File Size: 771 KB
Print Length: 352 pages
Publisher: Vintage Digital (July 8, 2010)
Sold by: Amazon Digital Services
Language: English
ASIN: B004URRV8I
First published 1986.

"Treason in Tudor England" is an interesting book. It is easy to read, yet scholarly. As I was half way into the book I started to feel deceived and thought it would never get to Robert Devereux. The chapters has great titles but nothing in the beginning of the book indicated when is it going to be about Robert Devereux even if approx. half the book is about him. It starts with the story of treason in Tudor England but then suddenly it is about the education system, religion and politics. The subtitle is Politics and Paranoia. And it does show that Tudor England was a paranoid society. Only after reading about education, religion and politics at the court can one start to understand why so many who tried treason did it in such a stupid and backhanded way. Then it is all about Robert Devereux. He became a favorite of Elizabeth because of his fresh way of being. But he was too honest for the court life and his narcistic traits with his evergrowing paranoia made him his own enemy.

Of course the opera is quite another thing. In the opera the downfall of Devereux is more about love. Roberto and Sara was in love. Then came the Irish expedition that Devereux lead. When he came back Sara had become the wife of the Duke of Nottingham (that marriage was willed by the Queen). When Nottingham got suspicious of his friend and wife he suddenly was willing to make the Queen execute Devereux when she was inclined to pardon him.

Historical persons
Queen Elizabeth I of England (Elisabetta)
Charles Howard, 1st Earl of Nottingham (The Duke of Nottingham)
Robert Devereux, 2nd Earl of Essex (Roberto Devereux)
Robert Cecil, 1st Earl of Salisbury (Lord Cecil)

Walter Raleigh (Sir Gualtiero Raleigh)
For reviews from my travels, see www.operaduetstravel.com

I am thoroughly offended by Graham Vick's Otello

2011-11-23T11:10:00.001+01:00

It is not just the most heavyhanded regie of all heavyhanded regie. It is not Giuseppe Verdi's Otello anymore, even as the singing and music was beautiful, it was just too racist. If Vick wanted to say that racism was bad, why all the racist imaginery and no outrage.

From the moment I saw the desk on stage and understood that Otello would be onstage during the chorus singing during the "storm" that they see the sail of Otello's ship I knew it would be bad. But I still did not think it that bad. Then as Otello was seated at his desk, he blackened his face in a military vein, but the chorus found themselves suddenly blackened from the palm of their hands too so they went mad. All this happened while singing Verdi's music and Boito's text that certainly was about something else, stupid and offensive in so many ways... "Esultate! L'orgoglio musulmano" when Otello walking from the desk and to the microphone and of course a text window the words "Esultate l'orgoglio musulmano sepolto in mar" repeated over and over again. Then it is Jago and Rodrigo talking. Of course offensive posters come and go during the whole opera... "Fuoco di gioia" the people sing it naturally with video of fire destroying oil fields, houses etc, planes with deadly cargo and white people singing about the joys of fire (destruction). And we are still just a few minutes into the opera... I wanted off this madness, but it had just begun.

So "Roderigo, beviam" starts with a tanks coming onstage. New idea, not. The tanks has Cassio and Monna Bianca making out. And naturally almost all the other people onstage is engaged in something slightly sexual. Old idea, yes. Rodrigo makes Cassio drunk with a drinking competion. OK. Then of course Montano comes and Cassio is goaded into fighting. Then Otello comes out and stops it. One thing that was good in this production and with Thomas Hampson as Jago was that one could see why Otello trusts Jago. Hampson makes Jago a man who on the surface is a friendly man, and of course Otello can see only skin deep. Except one thing that hampers this production is that no matter how great an Otello Jose Cura is in this production he is a white man so why do people call him a moor?

Desdemona comes out still in her white wedding dress. But everybody is dressed in white except Cassio, Rodrigo and other military men, Otello wears white too. Finally it is time for the love duet. Fiorenza Cedolins is Desdemona, but although she is Italian and the opera is in Italian it is very hard to understand what she is singing. All the others poses no such problem. Cedolins is a fine actress but I don't feel she is a Desdemona yet.

Would the second act be better? No. Instead of a tank on stage now it is an burnt-out car and a few palm trees for the garden of Desdemona. Jago talks to Cassio, and then Jago's Credo. Naturally with children, 6 boys, possibly muslem boys. Why? Modern directors distrusts monologues. Stupid and offensive use of children, and it does not even make sense why they are so obedient and how do they know what to do. Then naturally everything goes as Jago plans, even Otello comes in the right moment. Desdemona with children and adults singing her praise, while Emilia takes photos of Desdemona with various muslem people, they are behind barbed wire. Are we in Iraq or in Cyprus? Vick seems to be in Iraq, Verdi in Cyprus. I choose Verdi and declare that Vick does not make sense. Luckily the interaction between Jago and Otello is believable and the quartet between Otello, Desdemona, Jago, Emilia is also great interaction and singing. Jago manages to make Otello believe in Desdemona's guilt.

After the interval back to Vick's Otello. Act 3 a video camera, different big flags, and a tribune for the people to sit on. A table with wine and glasses, a white sofa, a white chair. Otello in white military suit. Jago in a very formal and black militar suit, he almost looks like a general. The camera man is dismissed when Desdemona comes in, Desdemona and Otello each gets their playing with the camera. Desdemona playful in the beginning of the duet, Otello sinister later on. I think this was good acting.

Then "that awful word". The stage hands brought in a big poster of two white hands clasping, peace. The poster of peace was there to hide Otello so that he could see and listen to Jago and Cassio without Cassio noticing. Then the back was turned to Otello, in this production a White Man, on that space it said "nigger". Not only was it there, but it was only reacted on by Otello and for such a short time. Nobody on stage reacted. Jago did not blink, the stage hands. Had Graham Vick taken all the other offensive ideas and posters and left that word, still that word sinks the whole work. Why such an offense without at least some outrage about the racism? Why? If Vick wanted to make a statement and making Otello anti-racist he managed just the opposite.

Then the stage is set for videotaping of Lodovico giving Otello the letter from the Venetian Doge. So Otello's nasty asides to Desdemona while he on microphone, it makes sense? And then "A terra e piangi" where Desdemona instead of walking nobly and firmly to the indicated spot Cedolins chooses to almost faint. Otello sits on the sofa and eats the letter from the Doge, yes he is now mad. Then he shouts " all out" and Jago can gloat who will prevent me from killing him. Ecco il leone, indeed.

4 act is really mostly like all Otello's except there is no bed.

Offensive and stupid I am glad I never have to see this again. To all who was offended by this production I say I AM SO SORRY. This was racist shit but it was not Shakespeare, Verdi or Boito's fault. You know who I blame.

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Parigi, o cara, noi lasceremo

2011-11-22T13:08:00.001+01:00

How was Paris? I saw the Eiffel tower from afar, so don't tell me I was no tourist.
:-)
Downloaded the Paris Metro app, so how did you like it? I liked it, after all I was down into St. Lazaire metro station, but I went up again because my French was lacking. I love Paris Taxis, spent my money on them.
So, only opera, did not see much then? I walked in Paris for 3 hrs at one time. I walked down Rue de Rome many times, and I found Hotel Westin where I managed to give the concierge the photobook so that he could give it to Maria Guleghina. So my stay was not uneventful, but to say it was the usual tourist stay in Paris would be wrong.

I like Paris so I think I will come back. Next time I hope I will have better time to play the tourist. I saw the Louvre from one of my taxi rides, and that was enough. Since I love Verdi's Don Carlos I would love to see Fontainebleu.

And now the full story of my Paris stay.

Saturday November 19, 2011

Arrive in Aeroporte d'Orly. It was close to 11 when finally the baggage came. Never have it been so confusing to find the baggage reclaim. Walking, walking, stairs, and then where? Finally there. After finding my baggage, I found me a taxi and so soon I was in my hotel. And before 12 I was in my hotel room. It was lovely. I rested in my room. 1430-1730 walking in Paris, found Hotel Westin and the concierge could give my book to Maria Guleghina.

Soon it was time for Oberto by Verdi in Theatre des Champs-Elysee. Concert version. From the first notes of the ouverture it was definitely Verdi. The first opera by Giuseppe Verdi, so of course it was young Verdi that some times sounded a bit like the older opera composers. Valter Borin sang Riccardo as Fabio Sartori was unwell. He sang Riccardo's two arias beautifully. In Oberto the tenor (Riccardo) is the villain and the bass (Oberto) is the hero.

Maria Guleghina with blond hair and glasses, she looked wonderful. Unfortately she was not well so sometimes the planned execution of notes did succed, but she was still able to make this Leonora a special treat. For those that simply does not like Maria Guleghina even tried to pin the the cutting of caballettas to the soprano, but it was more Radio France etc.

Ekaterina Gubanova sang the role of Princess Cuniza. The mezzo-soprano was in great shape and showed the noble Cuniza in all her glory.

Michele Pertusi was Oberto, father of Leonora and the enemy of Riccardo. Oberto is obsessed with honour. For modern eyes Oberto is too into himself and his own feelings to think what actions would mean for his daughter. Riccardo on the other hand only realize how wrong he has acted after he kills Oberto. Michele Pertusi was wonderful as Oberto, naturally.

After the concert I was invited backstage to the artists room. I was too starstrucked to speak two words with Maria Guleghina, but she liked the photobook so I was more than content.

Before midnight I was back in my hotel.

Sunday November 20, 2011

Il Marchese di Calatrava = Mario Luperi
Donna Leonora = Violeta Urmana
Don Carlo di Vargas = Vladimir Stoyanov
Don Alvaro = Marcelo Alvarez
Preziosilla = Nadia Krasteva
Padre Guardiano = Kwangchul Youn
Fra Melitone = Nicola Alaimo
Curra = Nona Javakhidze
Mastro Trabuco = Rodolphe Briand

Philippe Jordan, conductor

Stage director - Jean-Claude Auvray
Sets - Alain Chambon
Costumes - Maria Chiara Donato
Lighting - Laurent Castaingt
Choreography - Terry John Bates
Chorus master - Patrick Marie Aubert
Paris Opera Orchestra and Chorus
COPRODUCTION WITH THE GRAN TEATRE DEL LICEU, BARCELONA

If only La forza del destino at Opera Bastille started in the evening then I could have time to play the tourist in Paris. But the opera started 1430. I had read a review of it so I was prepared for a minimalistic version. I was surprised it was very colourful and vivid. I was also prepared for perhaps Marcelo Alvarez would not be singing. But he sang. And he was great as Don Alvaro. I was prepared to be underwhelmed by Violeta Urmana as Leonora, but she was amazing. Vladimir Stoyanov was also much better as Don Carlo di Vargas than the review said.

The production had a lot that was good. The biggest surprise was that it did not start with the ouverture this time the opera started in the Calatrava castle. After this scene came the ouverture, one of the best performances of the iconic piece. The only thing I would critize Urmana is her use of her arm to show despair, 3 times the same gesture and it gets old. Nadia Krasteva was a wondeful Preziosilla but unfortunately her role was vulgarized by the director. That Preziosilla would walk off with "Pereda" after the scene in the taberna, was not to my liking and not how I understood Preziosilla. Nicola Alaimo was Fra Melitone, too comic and extreme, maybe. Kwangchul Youn was simply wonderful as Padre Guardiano. Mario Luperi was a fine Marchese di Calatrava.

I loved it, even if it had some weakness. After the opera I waited at the stage door, and I saw Kwangchul Youn, Violeta Urmana, Marcelo Alvarez and Nadia Krasteva.

After the opera I was hungry and so I made a mistake of choosing American Atelier near Opera Bastille and ordered a cheese burger. I should have chosen the Italian restaurant near my hotel, Hotel Opera Batagnolles.

Next day off to Zurich.

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My first Oberto by Verdi

2011-11-19T23:55:00.001+01:00

Oberto is a great opera by Verdi. A bit confusing with its honour, duels, and becoming a nun in stead of marrying the man one loves. Valter Borin sang the two great tenor arias beautifully and with passion. The first aria comes right after the ouverture, the second almost ends it. The last aria was breath-taking. Maria Guleghina sang Leonora, her arias are grest, difficult, but did a wonderful job. Both Borin and Guleghina suffers from coughs, both in the audience (loud) and their own (discrete). Michele Pertusi was great as Oberto. The two mezzo-sopranos Ekaterina Gubanova (Cuniza) and Sophie Pondjiclis (Imelda) was also briliant. Carlo Rizzi was a great conductor. - and now I have a head ache. November 19, 2011 Paris.

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30 years OperaDuets Travel 1981-2011

2011-11-18T12:46:00.001+01:00

On May 22, 2011 it was 30 years since my first OperaDuets Travel. I was not yet OperaDuets because no internet. But it was still Travel because we, my parents and I, had to travel to Oslo to see Die Csardasfürstin, operetta by Emmerich Kálmán, in Den Norske Opera (The National Opera of Norway, sic). Den Norske Opera lived in the Opera Passage and was a former cinema became theatre and then Opera.

From 1981 I went regularly in the opera. First it was mostly once in a year. Then it became more often. I was 13 years in 1981. So in the beginning I needed my parents to go with me, and they did. Already in 1982 we went to Stockholm on a small holiday travel and used the opportunity to see Der Rosenkavalier in the Opera House there. In 1985 we went to Vienna for our summer holiday and saw two operettas. In 1987 I insisted that we should go to Bad Ischl, Austria, because it had a Franz Lehar Operetta Festival, so we saw Der Graf von Luxemburg.

1989 was my first big opera year with 12 performances and my dad and I went to Edinburgh because of the Edinburgh Festival to see zarzuela and Montserrat Caballé. 1990 was the first time I saw Josep Carreras live. In 1992 my parents and I went to St.Johann in Tirol, Austria for our summer holiday and while we were there I managed to get a ticket for a concert with Josep Carreras in Innsbruck. My mother got real stressed out but I got a wonderful concert on my own. In 1993 I lived in Bergen, so I got 2 operas there, and a C hristmas Concert with Carreras in Oslo. In 1995 I Carreras 3 times, 2 concerts and 1 opera.

Although 1996 only had 3 performance it was one of the best years because I got Samson et Dalila with Baltsa and Carreras, and 2 three tenors concerts. In 1997 there was disappointment during summer holiday in Vienna since Carreras did not sing Stiffelio, a wonderful opera gala in Hamburg with Agnes Baltsa, Josep Carreras and Isabel Rey, then the opera Fedora with Agnes Baltsa and new tenor José Cura where my choice of a cheap seat will alway be a regret.

With 1998 I really do OperaDuets Travel. May 1998 weekend travel to Zurich for Carreras, to Vienna for Agnes Baltsa and Plácido Domingo. October 1998 a whole week in Zurich with a short visit to Vienna in order to get 2 times Fedora with Agnes Baltsa, José Cura is Loris in Vienna, Carreras is Loris in Zurich. In 1999 it was to travel in May for Agnes Baltsa in Fledermaus, in November Agnes Baltsa sang Fides in Le Prophete.

From the year 2000 my years are so filled with wonderful memories. Samson et Dalila with Agnes Baltsa and José Cura on June 10, 2000 is a special memory. Carreras Gala in Vienna 2004 + Verdi Gala in Parma 2004. Agnes Baltsa in operas like Carmen, José Cura as Stiffelio etc. Maria Guleghina as Abigaille, Tosca, Turandot etc.

For reviews from my travels, see www.operaduetstravel.com

Soon off to... Paris

2011-11-14T17:31:00.001+01:00

Paris, France, a new city for me...

What do I need to know?
Mostly where, when and how...

Aeroports de Paris
Paris by train
WikiTravel - Paris

Wow, I am starting to feel overwhelmed already.

OrlyVal to Paris ...

Metro Map...

Opera Bastille

Opéra Bastille

120 Rue de Lyon, 75012 Paris, France

+33 1 43 47 13 22 ‎

Theatre des Champs-Elysees

Théâtre des Champs-Elysees

15 Avenue Montaigne, 75 008 Paris, France

+33 1 53 23 99 19 ‎ ·

GOOGLE MAPS
For reviews from my travels, see www.operaduetstravel.com

New biographies: Katia Ricciarelli & José Carreras

2011-11-05T18:57:00.000+01:00

I read Katia Ricciarelli's self-biography first. It is in Italian but I could still understand most of it. My understanding of the Italian text was made easy by having a subject I knew something about, opera, and by my reading of the libretti alongside listening to operas (I would read the English, French, German and Italian text side by side and get some insight from that).

"Altro di me non saprei narrare" starts with Katia Ricciarelli's musings about how to write an honest biography about oneself. She is very honest in her book but it is not a gossip biography. She tells how she met José Carreras and that they had a relationship but that it ended, she is sad, but accepts it and still hold José Carreras in high regard. Similarly her marriage with Pippo Baudo and their divorce is not opened for the gossiper, she has too much respect for herself and her ex and family to do that. Still this is a very open person telling herself as far as she can just like the title promises.

"Aus vollem Herzen" is a biography of José Carreras with Marius Carol. The text shifts from Carreras talking to Marius Carol telling the stories. Unfortunately Marius Carol seem to be too much of a fan of the man Carreras to give deep insight into Carreras. But then Carreras had probably veto right on what stays in the book. Carreras is a very private man so the affair with Katia Ricciarelli is not there, not even in one sentence. Nothing about Mercedes, his first wife, except what a great mother she was and how supportive of Carreras. Nothing about the divorce, one sentence maybe. And about Jutta, his wife today, not much about her except she is a wonderful person, wonderful wife, mother. I understand, it is private. His mother is the only woman who gets a more full treatment. But Katia Ricciarelli, Montserrat Caballé & Agnes Baltsa: Katia is mostly ignored, Caballé and Baltsa both gets his lack of approval in being temperamental diva. And they are the three most important operatic partners for Carreras. He does adore Montserrat Caballé, she gets her own chapter almost, except that her brother Carlos Caballé get in it, too. Did I learn more of Carreras from this new book? Yes, but I prefere the old self-biography: "Singing with from the soul"

For reviews from my travels, see www.operaduetstravel.com

Back to work, blog and interests

2011-11-03T18:54:00.000+01:00

I am feeling better and finally back on my blog.

OPERA
you are probably not surprised this is one of my chief interests.

BOOKS
I love reading, and I love the idea of books as learning pools. Academic books are important but so is fiction books. Above all is important word QUALITY. Neither type of books should use facts lightly, it should never falsely claim to know something if you have not studied it or lived it.

LIBRARIES
I am a librarian, and I think libraries are important. Why? Because knowledge is important. Although I work in an academic library I think that public libraries are even more important because to be able to get real knowledge is (or should be) a human right. Public libraries are important because there all sort of people can get knowledge. So it must be free to use the public libraries, easy access to a public library for all, and the public libraries need to have all sorts of books and today it is important to have an internet connection. All libraries around the world should participate in making it possible to get the book or information wanted whether the request is from Soweto or Oslo.

HUMAN RIGHTS
I am a human, I have rights. But I have also privileges. The privileges that I have are mine because not all get their human rights as they should. In a just world all would have their human rights (like freedom, nutrition, schools, possibilities) and no one would have privileges that are not shared with the rest of world. Yes, I am a dreamer, but wouldn't it be wonderful? It would be hard for the privileged people but great for the rest.

ANIMALS
I watch Animal Planet. The program is diverse but I don't agree with all of it. Why should people think it is OK to own Exotic Animals as Pets, it is not OK, it is almost as bad as EcoCrime. We rob the animals of habitats, we create dog and cats that would die if they were to give birth by themselves. Ego drives us. Animals are animals, not human babies. You don't really become the animals mother, father or sibling. They are not human, but they still need your understanding their real needs. They don't need human food, they need food that are right for that particular species etc. If you own animals you must understand that you must go to a veterinatian when they are hurt. If you don't have money to care proper care to your pets, then you should not have them. Don't just kill them but see if you can find someone that can give them a real home.

For reviews from my travels, see www.operaduetstravel.com

Living la vida loca

2011-10-20T18:08:00.001+02:00

Yes, you guessed it: I am sick again. I got a severe cold in Vienna. I worked on Monday, I probably shouldn't have done that. I have been out in the cold to fetch me some medicine and something to drink and eat, too. Strangely one needs to feed and drink even if one is sick.

WOW, was I tired when I was on the last leg of the journey home. Finally new ostomy equipment came to my door. I will try Convatec moldable again, instead of my beloved Hollister. I hope this will prevent any new mini disaster when I am off again.

Parigi, o cara. I think I will be well enough for my Paris travel in November. Maria Guleghina, Verdi's Oberto, Marcelo Alvarez, Verdi's Forza del Destino and PARIS. Then my train will go to Zurich, Verdi's Otello and José Cura.

But now I have to rest, I have an OD Travel to be well for...

For reviews from my travels, see www.operaduetstravel.com

Program Liebe und Leidenschaft, Konzerthaus Wien 14.10.2011

2011-10-19T19:36:00.000+02:00

1 El Sombrero de Tres Picos - Danza final 6:21 Conductor David Gimenez

Falla, Manuel de (1878 - 1946)

2 ALMA DE DIOS - Cancion Hungara 4:40 José Carreras

Serrano, José (1873 - 1941)

3 EL NINO JUDIO - De Espana vengo 5:25 Sylvia Schwartz

Luna, Pablo (1879 - 1942)

4 Festeig 2:49 José Carreras

Toldra, Eduard (1895 - 1962)

5 Canco de Grumet 2:17 José Carreras

Toldra, Eduard (1895 - 1962)

6 LA BODA DE LUIS ALONSO - Intermedio 5:52 Conductor David Gimenez

Jiménez, José Alfredo (1926 - 1973)

7 LA DEL SOTO DE PARRAL - Ya mis horas felices 4:44 José Carreras

Soutullo, Reveriano (1880 - 1932) y Vert, Juan (1890 - 1931)

8 EL BARBERO DE SEVILLA - Me llaman la Primarosa 4:23 Sylvia Schwartz

Jiménez, José Alfredo (1926 - 1973)

9 EL DUO DE LA AFRICANA - Duo y Jota 5:55 Sylvia Schwartz, José CarrerasFernández Caballero, Manuel (1835 - 1906)

INTERVAL

10 Era de Maggio 2:50 José Carreras

Costa, Pasquale Mario (1858 -1933)

11 La Serenata 3:03 José Carreras

Tosti, Francesco Paolo (1846 – 1916)

12 Il Bacio2:53Sylvia Schwartz

Arditi, Luigi (1822 – 1903)

13 Passione 3:22 José Carreras

Valente, Nicola (1853 - 1939)

14 Tu ca nun chiagne 2:35 José Carreras

de Curtis, Ernesto (1875 - 1937)

15 L'AMICO FRITZ - Intermezzo 4:46 Conductor David Gimenez

MASCAGNI, Pietro (1863 - 1945)

16 Non ti scordar di me 3:09 José Carreras, Sylvia Schwartz

de Curtis, Ernesto (1875 - 1937)

17 Les filles de Cadiz 3:35 Sylvia Schwartz

Delibes, Leo (1836 - 1891)

18 Coren'grato 3:09 José Carreras

Cardillo, Salvatore (1874 – 1947)

EXTRA NUMBERS

19 Chitarra Romana 2:17José Carreras

20 GIANNI SCHICCHI - O mio babbino caro 2:48 Sylvia Schwartz

PUCCINI, Giacomo (1858 - 1924)

21 Extra JC 2:46 José Carreras

22 GIUDITTA - Meine Lippen sie küssen so heiss 5:26 Sylvia Schwartz

Lehar, Franz (1870 - 1948)

23 LA TRAVIATA - Libiamo ne' lieti calici 3:07 José Carreras, Sylvia Schwartz

VERDI, Giuseppe (1813 - 1901)

For reviews from my travels, see www.operaduetstravel.com

Carreras in Vienna 2011-10-14

2011-10-15T00:14:00.001+02:00

What a day? Headache, pain in abdomen but mostly pain in my lower back. Luckily I can sit down and my pain is almost gone.

2011-10-14 Gala-Abend mit Startenor Jose Carreras, Konzerthaus Wien

Josep Carreras, tenor
Sylvia Schwartz, soprano

David Gimenez, conductor
Orchester der Volksoper Wien

It was Spanish zarzuela and Italian songs. Carreras started softly with Cancion Hungara from Alma de Dios in the first part and ended the second part with full power in Coren'grato. Sylvia Schwartz is a young soprano with a nice voice. She was most impressive when she sang duets with Carreras, especially in El Duo de la Africana. She got to sing some of the best soprano arias from zarzuela and operette, still I was often left cold. The Guiditta aria in the extras was her best. Carreras sang with his soul and mine responded. David Gimenez was a wonderful conductor. Neither singer nor conductor had their notes in front of them, only the orchestra had notes. That was impressive. The orchestra responded well to David Gimenez.

Naturally Carreras two children was there. His son Alberto has grey hair and looks exactly like his father, daughter Julia still with beautiful black hair and her stunning Carreras looks. They were sitting on front row together with more Carreras family member, I think.

Tomorrow, back home...

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2011-10-13 Madama Butterfly in 1-2-3

2011-10-14T12:34:00.001+02:00

On the 13th day of the month October the number 3 will appear and Madama Butterfly will be in 3 acts.

I was confused the placard said Butterfly was a japonese tragedy in 2 acts and I remembered that Puccini and his librettist had changed Belascos drama into 3 acts. But strangely enough I was right, and Wiener Staatsoper was wrong. Only one intermission after act 1. In a dramatic sense it makes sense to have act 2+3 together. But it was not really that great for me since I was having my third (3) leak of my pouch system.

It felt like a Friday 13th, but it was Thursday. First on my flight from Zurich to Vienna I had to change my whole system in that tiny toalett of a plane. It went well, but no well enough. By the time of the intermission at the opera I needed to change it all again. For the second time it went well but not well enough. In acts 2+3 I hoped, struggled and then I felt it fail during wonderful Puccini music and the drama of Butterflys suicide. It just couldn't handle it. I felt it was wrong to just to go after such a great opera performance, but I needed to handle my crisis. Luckily my hotel was close to Staatsoper. Well, 3 is the number for luck, not to mention to have a big room and time to really get it right without stress, is good.

Madama Butterfly, Wiener Staatsoper 1930-2215

Patrick Lange | Dirigent
Josef Gielen | Regie
Tsugouharu Foujita | Bühnenbild
Tsugouharu Foujita | Kostüme

Daniela Dessi | Cio-cio-san, genannt Butterfly
Marian Talaba | B.F.Pinkerton
Eijiro Kai | Sharpless
Juliette Mars | Suzuki
Herwig Pecoraro | Goro
Peter Jelosits | Yamadori
Jeanine De Bique | Kate Pinkerton
Alexandru Moisiuc | Onkle Bonze
Marcus Pelz | Der kaiserliche Kommissär
Martin Müller | Der Standesbeamte
Arina Holecek | Mutter Cio-Cio-Sans
Denisa Danielová | Base

I really liked Eijiro Kai as Sharpless. Marian Talaba was even from front row a weak Pinkerton. He struggled with the singing. He was clearly not at ease. He was a great Stewa in JENUFA so why not in Madama Butterfly. Daniela Dessi was really good in act 2+3, I guess maybe it took me almost the act 1 to get it. The love duet was almost all Dessi, Talaba was too weak.

I loved my seat and that I could see what happened in the orchestra. They seemed to enjoy themselves, those men and women in the orchestra. I loved to watch the female first violinist. It gave depth to my understanding of the music of Giacomo Puccini.

Wiener Staatsoper also released an app for IPad and IPhone on this day, October 13, 2011.

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Neue Hosen in Zurich, La Fanciulla del West 2011-10-12

2011-10-13T15:32:00.001+02:00

Well, ain't that swell. After a long bus ride in the night to arrive at Oslo Gardermoen airport to go to the wc thinking all is well and then loose all the indominable content of my pouch onto my cloths. And I had thought I did not need another pair of trousers on this trip. But I had my stylish pyjamas that looked more like the real thing than many tights etc that looks like pyjamas. So I was content with my look. But I had to find a bag to have my dirty laundry in so it would not pollute the contents of my luggage.

But in Zurich airport I got some "neue Hosen", Lacoste denim dark blue that I could use in the opera instead of my Italian black denim. Love my new trousers. So in the evening still one can use the expression "neue Hosen" for Claudio Sgura who sang instead of Ruggero Raimondi the role of Sheriff Jack Rance. New for the Zurich production, he is not new for the role, he did it before in London etc.

I would not be surprised to hear that it was the production itself which induced Ruggero Raimondi to withdraw. In the Zurich production no stage is plain and straight. It makes it hard to walk especially as one is supposed to be natural. And it is the biggest drawback to this production and does not seem to serve any meening. Too bad otherwise it could have been perfect. I like the way it uses movie to enhance the drama.

Emily Magee as Minnie was in a fantastic voice and her acting ditto. And I had not been bored by this opera before Minnie (Emily Magee) came into it nor later even as I had a severe head-ache going on all the time. It was Claudio Sgura who really came to be the Jack Rance when Minnie came. I loved him in this role. He reminded me so much of the young Silvano Carroli in the 1983 DVD from Royal Opera House. Jose Cura was Dick Johnson with heart and soul, he voice was beautiful, clear and his acting was superb.

I sat in 1. Rang and third row so I could see the whole stage except when the heads of people in row 1 and 2 hindered me. I also had a head-ache. After the opera a few friends meet at the stage entrance but we gave up on seeing Jose Cura, Emily Magee and Claudio Sgura. It was an amazing opera evening but then it was time to rest. I needed to sleep for I was going to Vienna. And wouldn't you believe it I had to change my system on the plane's wc. That went well, naturally, but one gets nervous after things like that.

Next stop: Madama Butterfly in Wiener Staatsoper. I'll think I will eat first.

- Posted using BlogPress from my iPad

October 10, 150 years since Fridtjof Nansen was born

2011-10-10T17:55:00.000+02:00

Thank you, Google for reminding me of Fridtjof Nansens 150 celebration.

On October 10th, 1861 Fridtjof Nansen was born. The Norwegian scientist was best known as an explorer. The Fram explorations etc.

But the most important was he work as a statesman for the independence of Norway and as a humanitarian for the many displaced persons after the First World War and the Russian Revolution. His work as High Commissioner for Refugees and the development of the Nansen Passport was important parts of his legacy.

Fridtjof Nansen may not have been the perfect husband etc, but by the time he died in 1930 he had changed the world to the better.

Viva Verdi! (Buon compleanno, maestro Verdi) Giuseppe Verdi, born October 10, 1813. Composer and humanitarian.

For reviews from my travels, see www.operaduetstravel.com

LA FANCIULLA DEL WEST - Photos and video

2011-10-09T16:16:00.001+02:00

Opernhaus Zurich 2004-05-07
Minnie = Sylvie Valayre
Dick Johnson = José Cura
Jack Rance = Juan Pons

Opernhaus Zurich 2004-05-09
Minnie = Sylvie Valayre
Dick Johnson = José Cura
Jack Rance = Juan Pons

Royal Opera House 2005-09-15
Minnie = Andrea Gruber
Dick Johnson = José Cura
Jack Rance = Mark Delavan

Royal Opera House 2005-09-18
Minnie = Andrea Gruber
Dick Johnson = José Cura
Jack Rance = Mark Delavan

Deutsche Oper Berlin 2006-09-24
Minnie = Sylvie Valayre
Dick Johnson = José Cura
Jack Rance = Marco Chingari

Royal Opera House 2008-09-26
Minnie = Eva-Maria Westbroek
Dick Johnson = José Cura
Jack Rance = Claudio Sgura

Royal Opera House 2008-09-29
Minnie = Eva-Maria Westbroek
Dick Johnson = José Cura
Jack Rance = Silvano Carroli

Den Norske Opera & Ballett (Oslo) 2009-12-12
Minnie = Paoletta Marrocu
Dick Johnson = José Cura
Jack Rance = Jason Stearns

Den Norske Opera & Ballett (Oslo) 2009-12-14
Minnie = Paoletta Marrocu
Dick Johnson = José Cura
Jack Rance = Jason Stearns

Opernhaus Zurich 2010-11-20
Minnie = Emily Magee
Dick Johnson = José Cura
Jack Rance = Ruggero Raimondi

For reviews from my travels, see www.operaduetstravel.com

The Girl of the Golden West, by David Belasco

2011-10-08T19:25:00.002+02:00

I have now finished reading the novel by David Belasco called The Girl of the Golden West. I read it on my Ipad Kindle. And it would have been a much more enjoyable read if it was not littered with slurs like injun, greaser etc.

The Indians Wowkle and Billy Jackrabbit are stereotyped and are never allowed to have an agency of their own. The Girl (Minnie), who are 90 % of the time called only Girl ("Hello, Girl!" / "Hello, boys!") has Wowkle as her servant, calls her "my squaw" and does not think much of her other someone to talk to, mostly give orders. Minnie does not see Wowkle as a full human being. Of course, it is "mighty Christian" of her to insist that Wowkle and Billy should marry as they have a small child together. Wowkle has naturally "full hips" etc. and Billy Jackrabbit is in the habit of stealing whiskey and sigars etc. Who has to sing the homeland hymn about the Pilgrims in the Academia? Wowkle and Billy Jackrabbit "in their high-pitched voices" and as they sing about how the Pilgrims took their native lands, the miners comes with their comments, no sympathy for Indians here.

The greaser, I could not understand who or what the word meant. But Kindle on Ipad means a push and you can find out that it is US offensive for Mexican. Wow, I am not Mexican but I hated it whenever it came in the text (and that was often). Luckily the word injun did not come up that often, but I detested it. And then why is Sheriff Jack Rance called a china man.

Even without the slurs, it is still a bucket full of stereotypes. To be American that is Good, anything else is less. Minnie is a natural beauty with blue eyes and golden hair. But every time she talks we are reminded that she is not well educated and she is called just Girl all the time in the text. It is not before Johnson asks her name in her cabin that we learns her name is Minnie. Other times it is Girl, Girl, Girl. And I am thinking she is a bar owner so she is most probably no longer a girl but a grown woman. Her name is MINNIE, not Girl.

Dick Johnson, the road agent, has a Spanish father and American mother. How pleased she was when she heard that he had an American mother. Then he was not only good-looking but also half good (half American). That was in the beginning of the novel when they met and that set the tone. Not my favorite tone. Naturally the Mexicans are so exotic when they are not just robbers etc.

Still, I enjoyed the read despite all that was wrong. The racism, the slurs and that no character was really well developed. I guess I should say except Minnie and Dick Johnson. But still. Set against the novel the opera LA FANCIULLA DEL WEST by Puccini is actually better and one feels more for the characters than in the novel. If only Puccini and the librettists had just cut out Wowkle and Billy Jackrabbit, then some of the worst stereotypes and racism would be cut out, too.

For reviews from my travels, see www.operaduetstravel.com

October 2011 Belasco, Puccini and Carreras

2011-10-01T20:33:00.001+02:00

2 Belasco/Puccini operas: La Fanciulla del West in Zurich and Madama Butterfly in Vienna. AND Carreras in Konzerthaus Wien. That is on the menue for me in less than 14 days.

So I have decided to read the original Girl from the Golden West by David Belasco on my Kindle. Not only that but that I should be finished reading it by October 12 when I see the opera in Zurich.

Ruggero Raimondi, Opernhaus Zürich 2010-11-20.

Since Ruggero Raimondi suddenly decided to quit, Claudio Sgura will sing Jack Rance. I saw him in London and I liked him then. Dick Johnson aka Ramirez will be José Cura, as usual. Emily Magee will be the Girl.

For reviews from my travels, see www.operaduetstravel.com

3 times Placido Domingo

2011-09-29T18:53:00.000+02:00

Plácido Francisco Domingo Ferrer (8 March 1907 – 22 November 1987),
Zarzuela singer, baritone

José Plácido Domingo Embil (21 January 1941), Operatic tenor and conductor etc.

José Plácido Domingo Ornelas (1965) Composer and singer.

For reviews from my travels, see www.operaduetstravel.com

Zarzuela: LA ROSA DEL AZAFRAN - Berganza!!

2011-09-29T17:44:00.000+02:00

La rosa del azafrán
by Jacinto Guerrero
libretto by Federico Romero and Guillermo Fernández Shaw.

Synopsis in English. Some song texts in Spanish and English

Libretto (Cantables) on PDF. About the Zarzuela in Spanish.
© 1957, Alhambra (Lp)
Teresa Berganza, Manuel Ausensi, Julita Bermejo, Gerardo Monreal y Gregorio Gil. Coro Cantores de Madrid, dir.: José Perera. Orquesta Sinfónica, dir.: Nicasio Tejada. ® BMG-Music (CD)

Teresa Berganza is Sagrario, Manuel Ausensi is Juan Pedro, Julita Bermejo is Catalina and Gerardo Monreal is Moniquito.

Cancion del Sembrador ("Cuando siembro voy cantando" sung by Juan Pedro) and "No me duele que se vaya" sung by Sagrario are the most famous pieces. And the CD is worth it even if it is just 50 minutes of music. I bought the CD from FNAC.

LA ROSA DEL AZAFRAN - Preludio - Aunque soy de la mancha 4:06 Julita Bermejo, Manuel Ausensi 1 av 14
LA ROSA DEL AZAFRAN - Cuando siembro voy cantando 3:54 Manuel Ausensi 2 av 14
LA ROSA DEL AZAFRAN - Ama, lo que usted me pide - Manchega, flor y gala de la llanura 3:38 Manuel Ausensi, Teresa Berganza 3 av 14
LA ROSA DEL AZAFRAN - Como soy nena mía pastor de ovejas - Hoy es sábado y no quiero dormir en la quintería 3:25 Un pastor, Manuel Ausensi 4 av 14
LA ROSA DEL AZAFRAN - Dos por dos son cuatro 2:38 Chorus, Gerardo Monreal 5 av 14
LA ROSA DEL AZAFRAN - De mondar mucha rosa - Me casé con un sastre 3:51 Chorus, Teresa Berganza, Julita Bermejo 6 av 14
LA ROSA DEL AZAFRAN - Si quieres que te lo diga 5:33 Chorus, Manuel Ausensi, Teresa Berganza, Custodia 7 av 14
LA ROSA DEL AZAFRAN - Pero ven acá 2:32 Gerardo Monreal, Julita Bermejo 8 av 14
LA ROSA DEL AZAFRAN - Y agora ¿qué vas a hacer? 4:34 Chorus, Caccacuca, Gerardo Monreal 9 av 14
LA ROSA DEL AZAFRAN - No me duele que se vaya 3:35 Teresa Berganza 10 av 14
LA ROSA DEL AZAFRAN - Esta mañana mu tempranito 3:55 Chorus, Julita Bermejo 11 av 14
LA ROSA DEL AZAFRAN - Bisturí, bisturí 3:55 Manuel Ausensi, Teresa Berganza 12 av 14
LA ROSA DEL AZAFRAN - Tengo una angustia de muerte 4:11 Manuel Ausensi, Teresa Berganza 13 av 14
LA ROSA DEL AZAFRAN - Final 0:30 Chorus 14 av 14

For reviews from my travels, see www.operaduetstravel.com

The Carmen duel - Baltsa vs Berganza

2011-09-28T17:46:00.000+02:00

It used to be so easy. I just loved Agnes Baltsa as Carmen, but now I am starting to really listening to Teresa Berganza... I love her, I mean both...

Then it was Don José who was always Carreras for me. But with Teresa Berganza Plácido Domingo is just wonderful as Don José.

GEORGES BIZET

Carmen

Berganza · Domingo · Milnes
Cotrubas · Kenny · Nafé · Lloyd
Ambrosian Singers
George Watson's College
Boys' Chorus
London Symphony Orchestra
Claudio Abbado

Int. Release 01 Feb. 2005

2 CDs / Download

GEORGES BIZET

Carmen

Baltsa · Carreras
Ricciarelli · van Dam
Choeurs de l'Opéra de Paris
Berliner Philharmoniker
Herbert von Karajan

Int. Release 05 Sep. 1983

3 CDs / Download

It is Deutsche Grammophon against itself. Carmen with Baltsa, Carreras, Ricciarelli and van Dam, or Carmen with Berganza, Domingo, Contrubas and Milnes.

In the edition with Teresa Berganza and Plácido Domingo you got two singers in excellent form and the singers are doing their own dialogue which is a plus. Especially since the dialogue does tell so much about who this Carmen is.

Unfortunately Karajan never trusted Agnes Baltsa and José Carreras (etc.) to do their own dialogue so the dialogue Carmen is a vulgar woman but Baltsa's Carmen is nothing like that. The dialogue Don José has no backbone which Carreras' Don José certainly has.

My dream Carmen would be Baltsa, Carreras, Ricciarelli and Ruggero Raimondi. Or Berganza, Domingo, Ricciarelli and Ruggero Raimondi. Or Berganza, Carreras, Ricciarelli and Ruggero Raimondi. Or Baltsa, Domingo, Ricciarelli and Ruggero Raimondi. (with the singers doing their own dialogue)

For reviews from my travels, see www.operaduetstravel.com

Zarzuela: Placido Domingo & Teresa Berganza

2011-09-18T23:47:00.002+02:00

Is this not a beautiful cover and the music on this CD is just as fantastic.

LA DOLOROSA / LOS CLAVELES - L. A. Garcia-Navarro
LA DOLOROSA
Dolores - Teresa BERGANZA, Nicasia - Dolores CAVA, Rafael - Placido DOMINGO, Prior - Ramon CONTRERAS, Perico - Jose MANZANEDA, tenor (jota) - Jose RUIZ, Fray Lucas - Juan PONS
Coro di solistas líricos, Orquesta Sinfónica de Barcelona
Conducted by L. A. García-Navarro
(Alhambra WD 71588)

LOS CLAVELES

Rosa - Teresa Berganza, Fernando - Placido Domingo, Jacinta - Dolores Cava, Goro - José Manzaneda
Coro de solistas líricos, Orquestra Sinfónica de Barcelona
Conducted by L.A. García-Navarro
(BMG Alhambra WD 71588)

LA DOLOROSA - Preludio act 1 0:53 Conductor Garcia Navarro 1 av 13

LA DOLOROSA - La roca fría del Calvario (Relato de Rafael) 4:25 Plácido Domingo, R. Contreras, Juan Pons 2 av 13

LA DOLOROSA - Ya verás cuando me ponga (Acto I Duo Comico) 3:13 Dolores Cava, José Manzaneda 3 av 13

LA DOLOROSA - Duerme, mi tesoro - Camina, camina, llorosa (Acto I Ana y escena) 1:26 Teresa Berganza, Plácido Domingo 4 av 13

LA DOLOROSA - ¡Rafael! - Ten piedad, Señor, para la infeliz (Acto II Duo de Dolores y Rafael) 5:34 Teresa Berganza, Plácido Domingo 5 av 13

LA DOLOROSA - Me da mucho que pensar - La mujer que fue mi vida (Acto II Romanza del Prior. Jota y Confesion) 9:53 R. Contreras, Plácido Domingo, José Ruiz 6 av 13

LA DOLOROSA - Dejo tu sombra, santa mansión (Acto II Final - Rafael y Dolores) 3:37 Plácido Domingo, Teresa Berganza 7 av 13

LOS CLAVELES - Anímate, Irene, que el negocio es bueno 2:46 Dolores Cava, Teresa Berganza 8 av 13

LOS CLAVELES - Goro del alma, ven junto a mí (Duo Comico) 2:48 Dolores Cava, José Manzaneda 9 av 13

LOS CLAVELES - Tenga muy buenas tardes (Duo de Rosa y Fernando. Obreras y Empleados) 3:21 Teresa Berganza, Plácido Domingo 10 av 13

LOS CLAVELES - ¿Qué te importa que no venga? (Romanza de Rosa) 3:45 Teresa Berganza 11 av 13

LOS CLAVELES - ¡Mujeres! (Monologo de Fernando) 3:09 Plácido Domingo 12 av 13

LOS CLAVELES - ¿Por qué vuelve la cara la más hermosa de las mujeres? (Duo de Rosa y Fernando) 3:41 Plácido Domingo, Teresa Berganza 13 av 13

I began my search after this CD since I loved the zarzuela duet with Berganza and Domingo on one of my old LPs. I wonder if I bought this CD from Amazon.com.

Maybe I should also put CARMEN with Berganza and Domingo on my Ipod even if it is soon full.

I just wish to have more Zarzuela duets from Teresa Berganza and Plácido Domingo (together, please!!).

About LA DOLOROSA and LOS CLAVELES.

For reviews from my travels, see www.operaduetstravel.com

Zarzuela: La Chulapona

2011-09-18T14:13:00.000+02:00

I loved LA CHULAPONA by Federico Moreno Torroba when I saw it in Edinburgh in 1989. Naturally I did not understand much since I don't speak Spanish. But the music was wonderful, I loved it so much.

I have been wanted the whole zarzuela on CD since I heard Teresa Berganza sing Como soy chulapona on LP. There is nothing quite like it, to hear Teresa Berganza sing zarzuela.

LP: Teresa Berganza singt Zarzuela (some of the best zarzuela arias by the best singer)

EL ULTIMO ROMANTICO - Lucimos hoy todas las mujeres 4:07 Teresa Berganza 1 Soutullo, Reveriano (1880 - 1932) y Vert, Juan (1890 - 1931)
LOS CLAVELES - Que te importa que no venga 3:42 Teresa Berganza 2 Serrano, José (1873 - 1941) 1994
EL ANILLO DE HIERRO - Pasion del alma mia 5:29 Teresa Berganza 3 Marqués, Miguel (1843 - 1918) 2011
CLAVELITOS - Clavelitos 1:45 Teresa Berganza 4 Valverde Sanjuán, Joaquin (1875 – 1918)
LAS HIJAS DE ZEBEDEO - Carceleras 4:39 Teresa Berganza 5 Chapí, Ruperto (1851 - 1909) 1988
LA CHULAPONA - Como soy Chulapona 2:58 Teresa Berganza, Pilar Lorengar 6 Moreno Torroba, Federico (1891 - 1982) 1994
LA DOLOROSA - Duerme, mi tesoro 1:26 Teresa Berganza 7 Serrano, José (1873 - 1941) 1987
LA ROSA DEL AZAFRAN - No me duele que se vaya 3:35 Teresa Berganza 8 Guerrero, Jacinto (1895 - 1951) 1957
EL ANILLO DE HIERRO - Lagrimas mias 3:33 Teresa Berganza 9 Marqués, Miguel (1843 - 1918) 2011
LA TEMPRANICA - Sierra de Granada 8:26 Teresa Berganza 10 Zarzuela Giménez, Gerónimo (1854 - 1923) 2011

But then I found a shop on the internet: fnac.es and then I could buy LA CHULAPONA with Teresa Berganza, Pilar Lorengar and Carlos Fagoaga as the protagonists.

Conducted by Rafael Frühbeck de Burgos. WD71977 Alhambra BMG.

Synopsis etc in Spanish about LA CHULAPONA.
Argumento y Cantables (the whole sung zarzuela in Spanish, PDF-file)

Synopsis in English.

La chulapona (Torroba)

Pilar Lorengar, Teresa Berganza, Carlos Fagoaga. Orfeón Donostiarra, Orquesta Sinfónica, c. Rafael Frühbeck de Burgos
BMG Ariola España WD 71977
A terrific account of Torroba's nostalgic evocation of the great days of the Madrid zarzuela. Street songs, dances, barrel organs and romantic dúos make for a heady mix, delivered with aplomb by Frühbeck and his superb team, with Fagoaga as José María far from outfaced by the stellar casting of the two ladies in his life. The lack of any form of notes or plot summary beyond bare track listings is a drawback in the current reissue, and the considerable cuts - originally made to fit the score onto one LP - are frustrating; but to be honest they're no bar to enjoying what's there. (from Zarzuela.net)

For reviews from my travels, see www.operaduetstravel.com

La Zarzuela !!!!

2011-09-17T16:31:00.000+02:00

If you love Zarzuela or want to know more you can go to www.zarzuela.net (English and Spanish) or to lazarzuela.webcindario.com (Spanish, use Google translate if you don't understand Spanish)

I can recommend buying Grandes Exitos de Zarzuela Vol. I which I bought on itunes as 24 Grandes Exitos de Zarzuela. Of course I also bought Volumes 2 on itunes. This is the list of tracks as far I have been able to verify it.

Grandes Exitos de Zarzuela Vol. I

LA REVOLTOSA - Preludio 5:01 Conductor Ataúlfo Argenta 1 av 12 Chapí, Ruperto (1851 - 1909) 2010
EL BARBERILLO DE LAVAPIES - Canción de la Paloma 2:52 Teresa Berganza 2 av 12 Asenjo Barbieri, Francisco (1823 - 1894) 2010
LA GRAN VIA - Tango De Menegilda 3:27 Nati Mistral 3 av 12
Chueca, Federico (1845 - 1908). 2010
CHATEAU MARGAUX - Romanza De Angelita 2:57 Montserrat Caballé 4 av 12 Fernández Caballero, Manuel (1835 - 1906) 2010
LA VERBENA DI PALOMA - Una Morena y Una Rubia (Seguidillas) 3:30 Miguel Ligero 5 av 12 Bretón, Tomás (1850 - 1923) 2010
LA VERBENA DI PALOMA - Preludio 4:00 Conductor Ataúlfo Argenta 6 av 12 Bretón, Tomás (1850 - 1923) 2010
LA BODA DE LUIS ALONSO - Intermedio 5:30 Conductor Rafael Frühbeck de Burgos 7 av 12 Giménez, Gerónimo (1854 - 1923) 2010
LA REVOLTOSA - Duo De Felipe Y Mari Pepa 6:05 Ana Maria Iriarte, Manuel Ausensi 8 av 12 Chapí, Ruperto (1851 - 1909) 2010
GIGANTES Y CABEZUDOS - Introduccion Y Disputa 3:21 Chorus 9 av 12 Fernández Caballero, Manuel (1835 - 1906) 2010
LA CORTE DE FARAÓN - Coro de Viudas (Cancion Babilonica) 2:55 Coros Cantores de Madrid 10 av 12 Lleó, Vicente 2010
EL BARBERO DE SEVILLA - Me llaman la Primarosa 4:59 Montserrat Caballé 11 av 12 Giménez, Gerónimo (1854 - 1923) 2010
EL BATEO - Preludio 3:19 Conductor Rafael Frühbeck de Burgos 12 av 12 Chueca, Federico (1845 - 1908). 2010
EL TAMBOR DE GRANADEROS - Preludio 5:17 Conductor Rafael Frühbeck de Burgos 1 av 12 Pastor, Emilio Sanchez 2010
LA GENERALA - Cancion Del Arlequin 3:21 Pilar Lorengar 2 av 12 Vives, Amadeo (1871 - 1932) 2010
LA CANCIÓN DEL OLVIDO - Cancion De Leonello 3:38 Manuel Ausensi 3 av 12 Grandes Exitos de Zarzuela Vol. I Serrano, José (1873 - 1941) 2010
DOÑA FRANCISQUITA - Por el humo se sabe donde está el fuego 4:42 Giacomo Aragall 4 av 12 Vives, Amadeo (1871 - 1932) 2010
EL HUÉSPED DEL SEVILLANO - Canto A La Espada 2:32 Plácido Domingo 5 av 12 Guerrero, Jacinto (1895 - 1951) 2010
LA LEYENDA DEL BESO -Acto 2 Intermedio 4:47 Conductor Benito Lauret 6 av 12 Soutullo, Reveriano (1880 - 1932) y Vert, Juan (1890 - 1931) 2010
LA MARCHENERA - Preludio 4:55 Conductor Federico Moreno Torróba 7 av 12 Moreno Torroba, Federico (1891 - 1982) 2010
LOS DE ARAGON - Cuantas veces solo 4:12 José Carreras 8 av 12 Serrano, José (1873 - 1941) 2010
LUISA FERNANDA - Mazurca De Las Sombrillas 4:48 Mª Rosa del Campo 9 av 12 Moreno Torroba, Federico (1891 - 1982) 2010
LA DOLOROSA - Relato De Rafael 4:23 Plácido Domingo, Ramon Contreras, Juan Pons 10 av 12 Serrano, José (1873 - 1941) 2010
LA CHULAPONA - Chotis (¡Ay, Madrileña Chulapa!) 3:29 Chorus 11 av 12 Moreno Torroba, Federico (1891 - 1982) 2010
EL TRUST DE LOS TENORERIOS - Te quiero, morena 2:29 Alfredo Kraus 12 av 12
Serrano, José (1873 - 1941) 2010

Grandes Exitos de Zarzuela Vol. II

EL BARBERILLO DE LAVAPIES - Preludio Instrumental 4:21 Conductor Ataúlfo Argenta 1 av 12 Asenjo Barbieri, Francisco (1823 - 1894) 1994

LA VERBENA DI PALOMA - ¿Donde Vas Con Mantón de Manila? 4:07 Manuel Ausensi, Inés Rivadeneira, Ana María Iriarte, Selica Pérez Carpio, Dolores Pérez, Miguel Ligero 2 av 12 Bretón, Tomás (1850 - 1923) 1994

MARINA - Brindis 5:51 Giacomo Aragall, Víctor de Narke 3 av 12 Carrión, Miguel Ramos 1994

LA GRAN VIA - Chotis De Eliseo 3:04 Victoria De Los Angeles 4 av 12 Chueca, Federico (1845 - 1908). 1994

LA BRUJA - Jota 5:01 Alfredo Kraus 5 av 12 Chapí, Ruperto (1851 - 1909) 1994

LAS HIJAS DEL ZEBEDEO - Carceleras 4:59 Montserrat Caballé 6 av 12 Chapí, Ruperto (1851 - 1909) 1994

EL DÚO DE LA AFRICANA - Coro De La Murmuracion 2:21 Chorus 7 av 12 Fernández Caballero, Manuel (1835 - 1906) 1994

AGUA, AZUCARILLOS Y AGUARDIENTE - Pasacalle 2:25 Conductor Odón Alonso 8 av 12 Chueca, Federico (1845 - 1908). 1994

LA ALEGRÍA DE LA HUERTA - Pasacalle 2:00 Conductor Ataúlfo Argenta 9 av 12 Chueca, Federico (1845 - 1908). 1994

EL NIÑO JUDIO - De España vengo 6:38 Montserrat Caballé 10 av 12 Luna, Pablo (1879 - 1942) 1994

EL GATO MONTES - Pasodoble 2:51 M.Peinado, Banda De La Union Musical Liria & Federico Chueca 11 av 12 Penella, Manuel (1880 - 1939) 1994

LA TABERNERA DEL PUERTO - No puede ser 3:01 José Carreras 12 av 12 Sorozábal, Pablo (1897 - 1988) 1994

DOÑA FRANCISQUITA - Por el humo se sabe donde está el fuego 3:53 Alfredo Kraus 1 av 12 Vives, Amadeo (1871 - 1932) 1994

LA CALESERA - Pasacalle De Los Chisperos 3:11 Pilar Lorengar, Teresa Berganza 2 av 12 Alonso, Francisco (1887 - 1948) 1994

LOS GAVILANES - Mi aldea 7:31 Chorus, Antonio Blancas 3 av 12 Guerrero, Jacinto (1895 - 1951) 1994

EL CASERÍO - Preludio Del Segundo Acto 5:41 Conductor Ataúlfo Argenta 4 av 12 Guridi, Jesús (1886 - 1961) 1994

LA PARRANDA - Canto A Murcia 3:18 Manuel Ausensi 5 av 12 Alonso, Francisco (1887 - 1948) 1994

LOS CLAVELES - Romanza De Rosa 3:42 Teresa Berganza 6 av 12 Serrano, José (1873 - 1941) 1994

DON GIL DE ALCALÁ - Habanera 2:20 Lina Huarte, Teresa Berganza 7 av 12 Penella, Manuel (1880 - 1939) 1994

LUISA FERNANDA - De este apacible rincón de Madrid 3:10 Plácido Domingo 8 av 12 Moreno Torroba, Federico (1891 - 1982) 1994

LA CHULAPONA - Como Soy Chulapona 2:58 Teresa Berganza, Pilar Lorengar 9 av 12 Moreno Torroba, Federico (1891 - 1982) 1994

LA DOLOROSA - Duo 5:30 Teresa Berganza, Plácido Domingo 10 av 12 Serrano, José (1873 - 1941) 1994

LA ZAPATERITA - Cancion Del Espejo 2:50 María del Carmen González, Josefina Meneses 11 av 12 Alonso, Francisco (1887 - 1948) 1994

EL TRUST DE LOS TENORIOS - Jota 2:33 Plácido Domingo 12 av 12 Serrano, José (1873 - 1941) 1994

For reviews from my travels, see www.operaduetstravel.com

Today: Birthday of Ramon Vargas etc.

2011-09-11T15:44:00.000+02:00

Ramón Vargas (born 11 September 1960) is an award-winning Mexican operatic tenor. Since his debut in the early '90s, he has developed to become one of the most acclaimed tenors of the 21st century. Known for his most expressive and agile lyric tenor voice, he is especially successful in the bel canto repertoire. (Wikipedia)

My photo of Ramon Vargas in Vienna 2009-02-09

I saw him as

Gustav III (UN BALLO IN MASCHERA) 2009-02-09

Nemorino (L'ELISIR D'AMORE) 1999-05-15

ROBERTO DEVEREUX 2001-05-12

Births

1711 – William Boyce, English composer (d. 1779)
1825 – Eduard Hanslick, German music critic (d. 1904)
1836 – Fitz Hugh Ludlow, American author (d. 1870)
1885 – D. H. Lawrence, English novelist (d. 1930)
1885 – Herbert Stothart, American song writer, composer (d. 1949)
1891 – William Thomas Walsh, American author (d. 1949)
1895 – Vinoba Bhave, Indian human rights advocate (d. 1982)
1925 – Alan Bergman, American lyricist, song writer
1925 – Harry Somers, Canadian composer (d. 1999)
1933 – William Luther Pierce, American author and activist (d. 2002)
1934 – Oliver Jones, Canadian jazz pianist
1937 – Queen Paola of Belgium
1938 – David Higgins, British composer and conductor
1940 – Brian De Palma, American film director
1945 – Gianluigi Gelmetti, Italian conductor and composer
1945 – Leo Kottke, American guitarist
1946 – Dennis Tufano, American singer
1948 – John Martyn, English musician (d. 2009)
1953 – Renée Geyer, Australian jazz, soul and R&B singer
1953 – Tommy Shaw, American musician and singer
1956 – Tony Gilroy, American screenwriter and director
1957 – Brad Bird, American director and animator
1961 – Virginia Madsen, American actress
1962 – Kristy McNichol, American actress
1967 – Harry Connick, Jr., American singer
1978 – Ben Lee, Australian musician and singer
1982 – Shriya Saran, Indian actress

For reviews from my travels, see www.operaduetstravel.com

Lies, damned lies, and history

2011-09-10T22:37:00.000+02:00

The Untainted History of...

Does it exist? Untainted, unbias history does it exist?
Can a human be unbiased? Can we go outside our experiences and then go into other people realities and see it clearly as it is? Without our experiences can we be humans, and truly alive?

I would be interesting in reading the Untainted History of Colonization and of the Discovery of America. So I have these two apps on my Ipad but I have not started to read it because I started to think about the Untainted History. Of course they don't have the headline Untainted but they are described as such. Are they untainted by science, by other people's views. Would those people who participated in the Colonization / Discovery of America be absolutely truthful and not try to make themselves and others like them look good, is that even possible? Unless one understand your taint, your bias, you would never work to counter them.

Is it possible to go around in our lives and see people and not imagine knowing something about them? We would have to work hard then to be ever present in our head to stop any ungrounded belief. Ex: A person do not smile to us. What happens? We imagine a history about that person and why the person doesn't smile to us. Usually something negative. We humans are simply better at making negative stories. Positive stories are much harder work.

I love Historical Novels. I hate Historical Novels. If the author has done a great job in getting the Historical background as right as it is humanely possible, then I LOVE it. I love History made easy to remember. But only if it contains truth. I hate it when I have loved a story and it has imprinted itself in my brains only to be Lies, damned lies, and "history".

For reviews from my travels, see www.operaduetstravel.com

Lucia di Lammermoor, by Gaetano Donizetti

2011-09-04T17:01:00.003+02:00

I have seen this opera 3 times live.

Lucia di Lammermoor 1989-09-05, 2000-06-22, 2002-06-10

First in Oslo (1989) with Elizabeth Norberg-Schulz as Lucia, and Knut Skram as Enrico. Then in 2000 in Vienna with Edita Gruberova as Lucia. In 2002 in Vienna with Stefania Bonfadelli. The veteran soprano Gruberova seemed to be younger as Lucia compared to the young soprano Stefania Bonfadelli. Stage magic!!

I am currently reading the original story by Sir Walter Scott. But the action in Bride of Lammermoor is so slow... It is slowly, finally getting some sense of maybe the story will go and get some action. We do not live in the age of infinite patience.

I have the DVD with Marcelo Alvarez as Edgardo and Stefania Bonfadelli as Lucia.

DONIZETTI: Lucia di Lammermoor

Teatro Carlo Felice di Genova 2003

Orchestra and Chorus of the Teatro Carlo Felice di Genova, Patrick Fournillier

Picture Format: 16:9 Anamorph
Sound Format: LPCM stereo, Dolby Digital 5.1, DTS 5.1
Running Time: 145 Mins
Region Code: PAL All
Booklet Languages: GB, F, D
Recording Date: June 2003
Cat no.: DV-OPLDIL

On a later occasion will write more deeply about this opera and the novel if I ever get to end of it.

For reviews from my travels, see www.operaduetstravel.com

Outdoor opera in Bergen - Cavalleria / Villi

2011-08-29T14:48:00.003+02:00

In the splendid setting of Bergenhus fortress two operas were performed with a new Regie than the usual. Cavalleria Rusticana by Pietro Mascagni did not agree with the Regie although there were some interesting, new, exciting moments with this Regie. On the other hand the Regie of Le Villi by Giacomo Puccini worked in all moments.

August 28, 2011

Mascagni: CAVALLERIA RUSTICANA

Santuzza - Elena Zelenskaya
Turriddu - Eduardo Villa
Mamma Lucia - Tone Kvam Thorsen
Alfio - Anooshah Golesorkhi
Lola - Sylvia Skeie Vik

The crisp, clear sounds of Cavalleria Rusticana had never sounded more beautiful and true than the orchestra of Opera Bergen played it under its leader Anne Randine Øverby. Beatiful and clear it sounded at the same time it served the drama.

Musically the low-point for me was the Siciliana sung Eduardo Villa. It sounded like it was sung by an old tenor at the end of his career. Is it that the Siciliana (O Lola, ch'ai di latti la cammisa) is so difficult to sing right, or is it just that it is the beginning of the opera. I don't know. I just know that Eduardo Villa convinced me vocally and dramatically later in the evening, especially in the duet between Turriddu and Santuzza.

The evening was an evening of old, seasoned opera singers. They all warmed up or maybe it was me who warmed up to them. But then it was the Regie of young director Rocc that almost ruined Cavalleria Rusticana singelhandedly.

The chorus, who was they supposed to be in this production. Was they drunken teen-agers from a graduation party? Lola and Mamma Lucia seemed to work in this "High School". I imagined Mamma Lucia as the rector. Lola as just one of the teachers. Alfio, her husband, instead of being one of the prominent men of the village seemed to be a traveling beggar.

I mistook Mamma Lucia for Santuzza since she was the first of the principals to present herself and she was even praying. Both Santuzza and Mamma Lucia was had black hair and same age (so it seemed) and they were the only ones who in this production were sincere. In many ways Cavalleria Rusticana was here the story of hypocrites against sincerity. Turriddu was no hypocrite, or was he. And Alfio...

Most of what the chorus did not help the story forward, it confused rather than explain. Was that intentional from director Rocc? But one point was rather good: Instead of the tradional horrendous screaming "Hanno mazzato compare Turriddu" , one of the chorists was given a note and said in the most strange voice this message twice. I think it was THE PROOF of Hypocrisy if we needed it.

Given the material they were given I cannot imagine the principals and chorus could have improved it more. Eduardo Villa was really Turriddu, Elena Zelenskaya was truly Santuzza, I loved Tone Kvam Thorsen's Mamma Lucia (elegant, and so moving), Anooshah Golesorkhi was a solid Alfi, and I disliked Sylvia Skeie Vik (I always dislike LOLA, always, no matter who sings it and especially when they are believable.

And naturally it started to rain in the middle of the opera. Even the weather gods was not loving this opera completely.

Puccini: LE VILLI

Anna - Elena Zelenskaya
Roberto - Eduardo Villa
Guglielmo Wulf - Anooshah Golesorkhi

As I saw Anooshah Golesorckhi dancing to the stage at the notes of Puccini's Le Villi I thought I would also be disappointed by Regie. But this time the opera let itself willingly into Rocc's Regie.

The first part of Le Villi was played as an old play with big gestures and with all having masks. The chorus started out as audience to the play with Guglielmo Wulf as their favorite actor. Then as Anna came onstage, the "audience" fell asleep. Luckily we, the real audience got Anna's wonderful aria "Se come voi piccina io fossi", and then Roberto came and it was a wonderful duet. Suddenly "the audience" woke up at the sound clocks and Roberto was sung off. White cloths for this part by the principals.

As Roberto is off, the chorus is transformed from "audience" to acting Villis. Just as Anna dies of sorrow since it takes so long for Roberto to come back (I know this because I knew the opera from before, for others good luck it getting it from just seeing this production), the audience dies to become Villis. The unhappy father curses Roberto and then asks God of forgiving for invoking the Villis. But they are already ready for Roberto. Gran Scena and Aria for Eduardo Villa. BRAVO!!! Then Anna, the undead, new Villi and the other Villis "dance" Roberto to his death. LOVED IT!!!

For reviews from my travels, see www.operaduetstravel.com

A new Porgy and Bess vs THE HELP

2011-08-27T12:47:00.001+02:00

Two big controversies. Sondheim is against the new Porgy at hands of 3 women. Is it a case of a male being against women? One thing is certain, he is definetely against the revision of this "beloved" classic. PORGY AND BESS is the work of White Men (Heyward and Gershwin) but is about the lives of Black People. Surely this must mean that a revision of such a work "must" be needed. The case against this opera is that it is an opera (or is it) and such in need of making it accessable to the people of today. This the gravest insult for Sondheim and other purists. Besides they are making it a musical for Broadway but still calling it Gerswin's Porgy and Bess but the text is revised and some of the action altered, and a new Happy End. Can one really trust 3 highly competent women with a CLASSIC?

THE HELP is a novel by a White Women that should supposedly be about 2 Black Women that work as Domestic Help for White Women. White Women love it so much that they cannot stand hearing other voices, mainly Black voices, complaining of its inaccuracy and racist framework. "No, you are all wrong, I had a Black Help, and she did love ME more than her own children". It is set in early 1960s before the author was born but she still felt competent to write the story with very little research and no real conversation with some of the Black Women that lived that life in Jackson. Just because the author lived her childhood in Jackson in 1970s and had a Black Help, she feels she can write about the pivotal time of the Civil Rights Movement with almost no research. The novel was rejected 60 times before it was accepted but it contains so many wrongs that a a website is on its tale, with so many profe of cringeworthy wrongs so why, oh why, can so many White Women not see it as the travesty it is.

I guess White People just want to believed that we are GOOD PEOPLE without ever having to look hard at our many privileges and work to overcome our biases, and then WORK for JUSTICE for ALL. We expect praise just for seeing ourselves in the mirror and see what we wish to see. THE HELP is no help to see the ugly realities since it intends to hide it.

The battle is not won. Still domestic worker is abused, sexually and with working hours that never ends for little or no money. THIS HAS TO STOP. Still racism puts people in slums and otherwise in dangerous situation. STOP RACISM, SEXISM, HOMOPHOBIA etc!

- Posted using BlogPress from my iPad

Stefano Ranzani conducts Cavalleria/Bajadser

2011-08-19T23:35:00.000+02:00

From The Royal Danish Theatre, Copenhagen:

“Cavalleria rusticana and Pagliacci are pure Italian passion, both in music and drama.” Kasper Holten, director

Tempers flare under the blazing sun of Southern Italy in two popular operas dealing with hypocrisy and murder. Both are musically and dramatically in tune with Puccini’s Tosca and La bohème and feature such operatic highlights as the ‘Easter Hymn’ in Cavalleria rusticana and the tenor aria in Pagliacci.

One of the world’s leading and highly sought-after opera stars, tenor José Cura, will appear in the first four performances of both operas.

Critically acclaimed designer Mia Stensgaard has creates the captivating sets that invite audiences on a journey to hot-blooded Sicily and its world of seduction and jealousy.

Cavalleria rusticana/I pagliacci is performed in Italian with Danish supertitles | Co-production with Den Norske Opera | José Curas participation is made possible with support from OAK Foundation Denmark | Nykredit is the exclusive sponsor for Cavalleria Rusticana/I pagliacci.

Cast
Gallery
Show dates

DIRECTOR: Kasper Holten | DIRECTOR: Paul Curran | SET DESIGNER: Mia Stensgaard | COSTUME DESIGNER: Anja Vang Kragh | LIGHTING DESIGNER: Bruno Poet

-----------------------------------

And just some days before I finally got my ticket for Cavalleria/Bajadser in Copenhagen I got the video of Opernhaus Zürich production of Cav/Pag with Stefano Ranzani (conductor) and José Cura (Turriddu/Canio).

It was such a pain and a wait till finally the website kglteater.dk was ready to put my ticket in the basket, because for a long time I chose and got nothing in my basket. Really, it was another example of do not try to get into the buying process on the day and time as it is supposed to open, but wait... Naturally one doesn't get the front row or maybe not even a ticket if you wait too long. To make matters worse it took ages for the website to react, ages..., and then suddenly you have extra costs even if you are buying the most expensive ticket, just at the end, an extra cost of 2 times DKK 48,70, so instead of DKK 1250, it is almost 1350. That was the bad surprise, and I am not happy about it. :-(

Stefano Ranzani conducts Mascagni &amp; Leoncavallo
Live Recording from The Zurich Opera, 2009

Leoncavallo:

I Pagliacci

José Cura, Fiorenza Cedolins &amp; Carlo Guelfi

Mascagni:

Cavalleria Rusticana

José Cura, Paoletta Marrocu &amp; Liliana Nikiteanu

Zurich Opera House, Stefano Ranzani (conductor) &amp; Grischa Asagaroff (director)

Set Design by Luigi Perego.

Two timeless stories of love, honour, justice and violence, captured on just one DVD – a highlight for every opera lover.

Pietro Mascagni‘s “Cavalleria rusticana” and Ruggero Leoncavallo‘s “Pagliacci” speak to one‘s heart and soul. They are regarded as the most absorbing tragedies of Italian music theater. Adultery, jealousy and betrayal are leading to passionate conflicts that jointly connect both operas. The impressively embellished stage waives exaggerated decoration to underline the unflattering realistic brutality. Both operas are supported by a musical variety of great arias, short duets and amazing choir passages that add to the unveiled expression of feelings. As a special guest the Argentinian Tenor José Cura stands out with his fascinating singing and acting performance. Besides him Soprano Paoletta Marrocu with her expressive interpretation of Santuzza, Carlo Guelfi as Tonio or Fiorenza Cedolins as Nedda can convince the audience with their great voices. These atmospheric performances directed by Grischa Asagaroff and conducted by Stefano Ranzani are capable to fascinate every opera lover.

Sound Format: PCM STEREO, DD 5.1

Picture Format: 16:9

DVD Format: DVD 9, NTSC

Subtitle Languages: IT, GB, DE, FR, ES, JP

Running Time: 151 mins

FSK: 0

For reviews from my travels, see www.operaduetstravel.com

La Favorite, by Gaetano Donizetti

2011-08-14T21:19:00.002+02:00

LA FAVORITA (in Italian) or LA FAVORITE (in French) by Gaetano Donizetti is about Leonor de Guzman, mistress (favorite) of King Alphonse XI of Castille.

The LESSON from this OPERA is most HISTORY in Opera is mostly bogus.

Leonor de Guzman was a widow before she met King Alphone. They had 10 children together. 10 !!! Ten children!! The Queen naturally hated the situation but she could not do anything about it until the King died and she was free to kill her rival. But Leonor still won. In the end her son became King Henry II of Castille. He became king after killing his half-brother. And that is the true history!!!

2 times La Favorite 2003-03-11, 2006-03-23
2003-03-11 La Favorite (G. Donizetti),Wiener Staatsoper

Léonor de Guzman = Violeta Urmana
Fernand = Giuseppe Sabbatini
Alphonse XI = Carlos Alvarez
Balthazar = Giacomo Prestia
Don Gaspar = John Dickie
Inès = Genia Kühmeier

Fabio Luisi, conductor

Inszenierung - John Dew
Bühnenbild - Thomas Gruber
Kostüme -José-Manuel Vazquez

2006-03-23 La Favorite (Donizetti),Opernhaus Zurich

Leonor de Guzman = Vesselina Kasarova
Fernand = Fabio Sartori
Inez = Jaël Azzaretti
Alphonse = Roberto Servile
Balthazar = Carlo Colombara
Don Gaspar = Eric Huchet

Marc Minkowski, conductor

Inszenierung - Philippe Sireuil
Bühnenbild - Vincent Lemaire
Kostüme - Jorge Jara
Choreographie - Avi Kaiser

For reviews from my travels, see www.operaduetstravel.com

L'Elisir d'Amore, by Gaetano Donizetti

2011-08-14T17:55:00.001+02:00

Live 4 times L'Elisir d'Amore 1988-09-29, 1998-05-21, 1999-05-15, 2001-10-21
Nemorino in 1988 was Kjell Magnus Sandve (Oslo), in 1998 Vincenzo La Scola (Zürich), in 1999 Ramon Vargas (Vienna), in 2001 Niels Harald Sødahl (Nordfjordeid, Norway).

So what lesson can we take from this opera? Maybe something can be learned from the who is who list.

Nemorino, a simple peasant
Adina, a wealthy landowner
Belcore, a sergeant
Dulcamara, an itinerant medicine man
Giannetta, Adina's friend

Nemorino is in love with Adina. As he listens to Adina reading about Tristan and Isolde, he wants an Elixir of Love to win Adina's heart, and he gets one from Dulcamara. But it isn't an Elixir, it is a bottle of Bordeaux wine. He gets intoxicated and wins Adina because as the news of the death of Nemorino's uncle (Nemorino is the heir, gets lots of money). The inheritance news, unknown to both Nemorino and Adina, makes a lot of women want Nemorino and that makes Adina realize that she loves him. LESSONS? Things aren't always as it seems...

Belcore thinks he is Paris, the most handsome man on earth, and that all women must love him. He is wrong. LESSON: Believing you are someone all should love does not make it so.

Dulcamara is smart enough to milk all he can out of any situation. LESSON: Be aware of advertisement that sound too good.

Adina thinks she can just go from man to man, promise but never give. But all the time it was Nemorino she really wanted. LESSON: No, in reality it is OK to be single (not in Opera, of course).

Poor Giannetta - Rich Adina won again.

For reviews from my travels, see www.operaduetstravel.com

Bias, Compassion and Truth

2011-08-14T15:54:00.001+02:00

Many people think they have no bias. But we all have bias because we are human. Some people think that only people belonging to a group have bias. They talk about Gay Bias, or about the Non-White Bias. But we all have our own biases because we all belong to several groups of people and because we all have our own Ideas. Our biggest and most persistent bias is the Confirmation Bias. We all like our beliefs confirmed and are willing to search for a long time to get any kind of confirmation and the Internet will likely find a place where you will get your confirmation. But it still does not make our BIAS = TRUTH.

We are not likely to find our biases unless we are searching for them. We don't search because we like to believe we are above bias.

Why should we work to unearth our biases? Because our BIAS makes it hard to come to the place of COMPASSION and TRUTH. Unfortunately there is no way to automate this process. You have to be on the Alert of Bias, and be willing to do the work towards Compassion and Truth.

Be willing to understand that you can be wrong even if you believe strongly in it. Remember Compassion, cultivate compassion and Empathy inside you. Open your eyes... Search for the Truth, even when it scares you because it might just tell you that you have many more big, bad biases that you still need to work on.

Do not search only confirmation for your ideas and meanings, search for evidence that you are wrong, too. When you meet a person and think you know so much about that person, ask yourself "what did I really see, and how did I interprete it?". Remember empathy, don't ask that person too intimate questions just because you are curious. Most of this work should be done inside your brain first.

For more reviews from my travels, see www.operaduetstravel.com

Carmen, by Bizet

2011-08-07T16:22:00.004+02:00

18 times Carmen 1985-05-03, 1991-05-06, 1992-11-07, 1998-10-21, 2000-02-05, 2000-06-25, 2002-05-15, 2002-06-22, 2002-06-23, 2002-06-26, 2002-09-29, 2003-06-27, 2003-06-30, 2003-07-29, 2003-08-23, 2004-09-25, 2008-05-24, 2009-10-10

So what can one possible say about this one of the most popular operas. Georges Bizet's CARMEN. Almost no note of the opera has not been played on the radio even if we are just talking about pieces of opera played. Every note is so famous that one hardly know which tune is when in the opera. Carmen is so much the standard opera that it is hard to say something new. It is based on CARMEN by Prosper Mérimée. In the novella it is all told by Don José to the writer.

Anyone who knows me would not be surprised that I recommend the DVD from Met (also Deutsche Grammophon) with Agnes Baltsa and José Carreras, and the CD box set from Deutsche Grammophon with Agnes Baltsa and José Carreras. The highlight version from DG is also great for any one who has too many Carmen's already.

http://youtu.be/8gGuK5XPmgQ
http://youtu.be/mu_klHYSbHw
http://youtu.be/Gnbv4G2QwRo
CARMEN - G. BIZET
Carmen - TERESA BERGANZA
D. José - PLACIDO DOMINGO
Escamillo - RUGGERO RAIMONDI
Mikaela - KATIA RICCIARELLI
Director - PIERRE DERVAUX
L `OPERA DE PARIS
1980

I vaguely remember that I have another CD boxset with Carmen, also Deutsche Grammophon, with Teresa Berganza and Plácido Domingo, and not to forget the DVD of the movie with Plácido Domingo and Julia Migenes. Also a DVD from Wiener Staatsoper with Domingo and Elena Obratszova, I have it but I still haven't watched it from beginning to end.

A point that is often overlooked when one talk about the opera Carmen is that it is different versions of the dialogues and recitatives. I am on the fence in regard of whether I prefer dialogue to recitatives. But often the dialogue are cut so much that it is harder to understand the action if one did not know the whole dialogue from before. Then there is the cut in the duel duet between Don José and Escamillo, I don't like the cut.

LESSON FROM THE OPERA: I think one has to be careful not think that one knows what Spain and Andalucia is about from this opera. Even more care must be taken in thinking you know what "Gipsy" life is about in Spain and elsewhere. We are too ignorant as it is about the truth of that people. Much has been done to romanticize the reality and too make them seem dangerous. More truth is needed not more fantasy. http://en.wikipedia.org/wiki/Romani_people_in_Spain

Read more: http://www.unionromani.org/pueblo_in.htm

For more reviews from my travels, see www.operaduetstravel.com

Mefistofele, by Boito

2011-08-07T15:26:00.004+02:00

1997-06-24 Mefistofele (Boito), Wiener Staatsoper

Mefistofele = Egils Silins
Faust = Keith Ikaia-Purdy
Margherita/Elena = Michele Crider
Marta/Pantalis = Nelly Boschkowa
Wagner/Nerèo = Ruben Broitman

Michael Halász, conductor

Spielleitung - Lorenza Cantini, Diana Kienast
Choreographie - Antonella Agati
Choreinstudierung - Dietrich D. Gerpheide

So in 1997 I saw this opera in Wiener Staatsoper. This opera is just like Gounod's Faust taking its story from Goethe's Faust. The problem with Boito's opera is that it tries to take everything, it has a Prologue, Opera and Epilogue. It is too much and so it does not have the same strong focus as Gounod's opera has. And therefore we don't care so much. Plus Gounod has better tunes. On my "review" I mention that it has some glorious music, but I don't remember anything from it.

From my iTunes:
MEFISTOFELE - Giunto sul passo estremo 3:03 José Cura 6 av 12 Aurora : opera arias - José Cura BOITO, Arrigo (1842 - 1918) 2002
MEFISTOFELE - Dai campi, dai prati 2:33 Rolando Villazon 4 av 15 Cielo e mar - Rolando Villazon BOITO, Arrigo (1842 - 1918) 2008
MEFISTOFELE - Giunto sul passo estremo 2:38 Rolando Villazon 12 av 15 Cielo e mar - Rolando Villazon BOITO, Arrigo (1842 - 1918) 2008
MEFISTOFELE - Giunto sul passo estremo 2:44 Plácido Domingo 4 av 10 Domingo conducts Milnes, Milnes conducts Domingo BOITO, Arrigo (1842 - 1918) 1972
MEFISTOFELE - Dai campi, dai prati 2:09 José Carreras 13 En Romanza Final - Julian Gayarre BOITO, Arrigo (1842 - 1918) 1986

Dai campi, dai prati from Act 1 Scene 2
Giunto sul passo estremo from the Epilogue

LESSONS FROM THE OPERA: Better focus = the better opera. And naturally don't believe the devil.

Possible reading: Goethe's Faust, or just biograhies of Goethe.

For more reviews from my travels, see www.operaduetstravel.com

I Puritani, by Bellini

2011-08-07T15:02:00.001+02:00

My Puritani dates 1995-09-02, 2004-02-28, 2005-06-22.

All 3 in the same production, 2 in Wiener Staatsoper and one in Deutsche Oper Berlin.

Regie - John Dew
Scenography - Heinz Balthes
Costumes - Jose Manuel Vasquez

Video from another production with Edita Gruberova as Elvira

Place: England during the English Civil War
Time: 1640s

Queen Henrietta Maria, 1609-69 (In the opera Enrichetta ´di Francia) was married to King Charles the First 1600-1649 who was beheaded on 30 January 1649 (he was sentenced to death on 27 January 1649)

Wikipedia article on Charles I
Biography on the official website of the British monarchy
King Charles' speech from the scaffold
The Death Warrant of King Charles I - House of Lords Record Office

The role of Enrichetta ´di Francia is a small one but important for the story. Lord Arthur Talbot is a follower of Charles I and wants to save the Queen (Henrietta Maria, known as Queen Mary in England) from the same end as her husband. So as he is about to marry his love of his life, he instead helps Enrichetta to escape England. This is in a way a double treason, treason to Elvira and to his country. Then he comes back some months later he comes back. Little does he understand how she has suffered and that she has "gone mad". The stupid man with some glorious singing, that's Arturo.

The opera could have had an happy ending but Sir Riccardo Forth, the Puritan leader in love with Elvira, did not want that so he kills Arturo, even as Arturo has been pardoned by Oliver Cromwell. At least, that is what happened in the Puritani production I have seen.

When I first saw the opera in 1995 I had big problems in finding out who is who and where is the tenor, and what happens here and there. And it could have been Plácido Domingo who was conducting as he was the original conductor to this production. It is hard to know who to cheer when they are both men in dark cloths, one in dark green, the other in dark blue, and the stage is darkly lit and one does not even know how the tenor or baritone look like. But I think I enjoyed it even in 1995.

In 2004 and 2005 I knew the story and I really wanted a happy end. In 2004 in Vienna it was Stefania Bonfadelli who sang Elvira, in 2005 in Berlin it was Edita Gruberova. Both with tenor Joseph Calleja as Arturo.

I don't have any complete recording of I Puritani myself so I can't recommend any, but on my ITUNES I have this.

I PURITANI - Son salvo, alfin son salvo 15:38 Marcelo Alvarez, Ying Huang 6 av 10 Bel Canto - Marcelo Alvarez BELLINI, Vincenzo (1801 - 1835) 1998
I PURITANI - Introduzione 3:25 Conductor Plácido Domingo 1 av 10 Domingo Live - Recordings 1967-1999 (Wiener Staatsoper) BELLINI, Vincenzo (1801 - 1835) 1994
I PURITANI - A te, o cara, amor talora 3:33 Marcelo Alvarez 13 av 16 The Tenor's Passion - Marcelo Alvarez BELLINI, Vincenzo (1801 - 1835) 2004

LESSONS from the opera: Never leave a bride at the altar and think you can come back and that nothing has changed.

HISTORY: Read about The English Civil War (1642–1651)

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I Capuleti ed i Montecchi, by Bellini

2011-08-03T20:24:00.000+02:00

I have experienced this opera live, but only in concert. That was in Oslo Concert House in 2001. I recommend the opera on CD with Edita Gruberova as Giulietta and Agnes Baltsa as Romeo.

Both the video from Youtube and the CD recording is from The Royal Opera House, Covent Garden (London) 1984. The singing is superb!!!!!!!!!!!!!

Lessons from the opera: Don't try to get your daughter to marry the one you like in stead of the one she LOVES. If the daughter's lover is the son of your enemy you should try to get to know him.... And naturally the final lesson ONLY IN OPERA is Death Beautiful and with wonderful singing.

You should buy the CD. The music is great.

For more reviews from my travels, see www.operaduetstravel.com

Norway - A narcissist attacks on 22.07-2011

2011-08-01T23:06:00.000+02:00

Norway, Friday 2011-07-22. A man with a bomb to crush the Norwegian democracy in Oslo and with guns to kill the young generation of politicians. He wants a crusade against Islam in Europe.

But most of all he wants to be known as a hero. What a coward!! A 1500 pages long manifest, mostly copy and past eitt some of his own words inserted. But more than politics, it is mostly about himself how smart etc he is. Everywhere lies to make himself look better.

Coward!!!!

HEROES: all that survived Utøya killings or the Oslo bombings. All the helpers are also Heroes.

Rest In Peace, all our dead heroes, may you always inspire us to be better persons and to make Norway even better, more open and even more democratic and a warmer place!!!!!!!!

Elisabeth de Valois - Isabel de la Paz

2011-07-24T16:55:00.002+02:00

Who was Elisabeth de Valois?

From Wikipedia: Elisabeth of Valois (also known as Elizabeth of Valois; French: Élisabeth de France or Élisabeth de Valois, Spanish: Isabel de Valois; 2 April 1545 – 3 October 1568) was the eldest daughter of Henry II of France and Catherine de' Medici.

From Verdi's opera Don Carlos she is the unhappy wife of King Philip II of Spain, and in love with Don Carlos, Infante of Spain, their heir of the Spanish throne. It is true that it was initially Don Carlos who was to be her husband, but then the King decided to marry her himself. For a political marriage it was a happy one. Philip loved his young wife and doted on her. He who usually was a stern man, hard to please, was as transformed when with Isabella.

The love story between Don Carlos and Elisabeth de Valois is not true. No faithful daughter of France would act so unworthy. The wild child Don Carlos was someone who would like sometimes to rebel against his father, but towards his stepmother only tenderness. Carlos and Elisabeth was the same age and died in the same year. Elisabeth de Valois who was of a tender nature naturally felt tender and rather motherly feelings towards the unhappy Don Carlos.

In the opera Elisabeth de Valois is portrayed as someone opposed to the harsh politics in the Netherlands but in reality she was as Catholic as Philip II and wanted to crush the rebels of the faith as much as the king. Don Carlos on the other hand, would be willing to question faith and to be sympathetic to the Protestant movement something that to Philip and Elisabeth was nothing less than treason, treason to Faith and to Monarchy.

No ordinary prison cell for the Prince of Asturias (Don Carlos) but his bedroom void of all dangerous materials. Guarded by Philips chosen men. Philip II did not kill his son as it became popular to tell in the Protestant countries, but he was perhaps helped to die earlier. That was made easier by the fact that the Prince was prone to excesses. When he ate, it was in excess and when he fasted it was also done in excess. Such things would make the frail condition of a young man come to an early end. To the King the Prince death came with the Prince acting as a true believer of the Catholic Faith. This comforted the conflicted King.

But then a few months later also his Queen, the beloved Isabel de la Paz of the Spanish people, also died from childbirth together with their newborn son.

To read a Great Historian telling all about Philip II, Elisabeth de Valois, Don Carlos:

History of the Reign of Philip the Second, King of Spain, Vols. 1 and 2 [Kindle Edition]

William Hickling Prescott (Author)
For more reviews from my travels, see www.operaduetstravel.com

CAV/PAG in Zurich 2011-06-19

2011-07-19T18:29:00.003+02:00

2011-06-19 Cavalleria Rusticana (Mascagni), Opernhaus Zurich

Santuzza = Agnes Baltsa
Turiddu = José Cura
Alfio = Cheyne Davidson
Mamma Lucia = Cornelia Kallisch
Lola = Katharina Peetz

In 2009 it was Paoletta Marrocu who sang Santuzza. This production paints a detailed portrait of Santuzza and her surroundings. The acting was in fine detail. But now 2 years later the details are more fuzzy. Still Agnes Baltsa made a wonderful Santuzza. As the singer is now over 60 it is not suprising that she has lost something in her voice, it is no longer so agile. Much praise has been heeped on the young conductor Daniele Callegari but I found him lacking in looking after for the chorus and the soloists. That did not help Agnes Baltsa who still managed to act and sing a Santuzza that one cared for. Jose Cura as Turriddu was wonderfully played and sung. He came out as almost sympathetic this time. Lola was sung and acted by young Katharina Peetz, a delight as Lola just as her character is a really vamp of a woman. Cornelia Kallisch as Mamma Lucia was also great and a sympathetic character. Cheyne Davidson was like always a solid Alfio.

2011-06-19 Pagliacci (Leoncavallo), Opernhaus Zurich

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Myrtò Papatanasiu
Tonio (Taddeo) = Carlo Guelfi
Beppe (Arlecchino) = Boiko Zvetanov
Silvio = Gabriel Bermudez

Unlike 2009 when the prologue with Carlo Guelfo was a disappointment I now enjoyed it. In 2009 the Italian soprano Fiorenza Cedolins sang the role of Nedda, now we had the Greek soprano Myrto Paptanasiu as Nedda. Now I could almost root for the unfaithful Nedda. Beppe was another role sung by another singer, instead of big Martin Zysset, a Swiss favorite, we had Boiko Zvetanov, the little, round tenor with a Great Voice and personality that fitted his voice. He fitted right into the show.

Sloppily conducted by Daniele Callegari, the singers with Jose Cura (Canio) and Gabriel Bermudez (Silvio) as the routine tenors, it still was a great Pagliacci. I still don't like the blue in Pagliaccio's face, but that is minor.

Daniele Callegari, conductor
Zurich Opera House Orchestra
Zurich Opera House Choir
Producer/production Grischa Asagaroff
Set and costume design Luigi Perego
Lighting Hans-Rudolf Kunz
Choir rehearsal Jürg Hämmerli
Choreography Tetsu Taoshita

For more reviews from my travels, see www.operaduetstravel.com

IL CORSARO in Dortmund 2011-06-10

2011-07-19T14:14:00.009+02:00

Ruhr Nachrichten 13.06.2011 14:18 Uhr: "Il Corsaro" im Konzerthaus
Man spürt die Gischt im Gesicht (Der Westen, Kultur, 13.06.2011, Simon Tönies)

I agree completely with Ruhr Nachrichten review:

It was a very powerful, dynamic borderline tour de force through the music. Little room left to get some air for Montanaro and the two main soloists to the public. The Bulgarian tenor Zvetan Michailov had stepped in and sang as captain of the Corsairs in the first two acts of his lungs. At times, his voice sounding but a bit tight in the upper registers.

Dramatic Guleghina.

Eager were the friends of the opera on the role debut of the Russian dramatic soprano Maria Guleghina as Gulnara, the woman who tries to love, to mediate between enemies.Two years ago she had a terrific debut in the concert hall as Turandot. And although at that time the musical powerhouse Gergiev stood at the pulpit, which was a more sophisticated design, as they heard of the singer, now much changed visually. Still- this was high drama at debut of the soprano who has the appropriate role for the sharp metallic sound in her voice, hard to beat.

Elena Mosuc fine singing as beloved, Medora, if she had only omitted the mannered gestures. Great as were bassist Sebastian Catana as >Pascha with the chorus of young voices from Minsk. The WDR Radio Orchestra followed Montanaros passionate interpretation. It will be interesting to see how the performance will sound on the recorded CD, the 2012 Verdi's 200th Birthday 2013th.
>(Translated by Google and me)

2011-06-10 Il Corsaro (Verdi),Konzerthaus Dortmund

Medora = Elena Mosuc

Gulnara = Maria Guleghina

Corrado = Zvetan Michailov

Seid = Sebastian Catana

Giovanni = Adrian Sampetrean

Selimo / Un Eunuco Negro / Schiavo = Florian Simson

Carlo Montanaro, conductor

Chor der staatlichen Musikakademie Minsk, WDR Rundfunkorchester Köln

Maria Guleghina and Elena Mosuc impressed in Dortmund. Zvetan Michailov substituted for Giuseppe Varano.

The conductor Carlo Montanaro made the WDR radio orchestra play with love this vigorous music of Young Verdi. One could see how the orchestra members really enjoyed themselves. The smaller roles Seid (Sebastian Catana), Giovanni (Adrian Sampetrean), Selimo / Un Eunuco Negro / Schiavo (Florian Simson) was sung and acted brilliantly.

The older Bulgarian tenor Zvetan Michailov sang, not the younger Italian tenor Giuseppe Varano. To see Michailov sing was like you were in a recording studio. He looked at the notes and used his arms to force music out in the right moments. His voice was always a bit special, a dry voice and also a voice that you not easily would believe another tenor to be master of. His acting was more a singer struggling for perfection than acting as Corrado. I have a DVD with Michailov as Corrado from Parma opera. He was older now, but still a good Corrado.

Then it was Elena Mosuc. Elena Mosuc was a super delicate Medora. This was another mannerism than Zvetanov. Where Zvetanov went deep to find voice and a perfect attack to the notes, Elena Mosuc went deep into herself to find the intepretetative depth for Medora.

Finally it was Maria Guleghina as Gulnara. The dramatic powerhouse of a diva. She played two roles: one as Maria Guleghina DIVA, another as Gulnara, the favorite slave of Pascha Seid. In an newspaper it was commented that this duality was a little bit ironic but I believe that Maria Guleghina was completely aware of this and played that game also. A powerhouse as Gulnara, yes, that is the right approach. Gulnara is maybe a slave but she is still not subdued. She can stand on her own feet against the powerful pascha. She is fierce, just like Maria Guleghina's voice and appearance. No helpless heroine like Medora but as powerful as Corrado. In a way she got more guts and intelligence than Corrado. She takes her oppurtunities. No need to fear that Gulnara will choose death and not life after the death of Medora and Corrado.

It was Maria Guleghina and Elena Mosuc who won. BRAVA, Maria! BRAVA, Elena! So different and both so perfect in each of their roles.

For more reviews from my travels, see www.operaduetstravel.com

2 concerts in July becomes October and November

2011-07-04T10:37:00.000+02:00

I have decided not to go to the Berlin concert with José Cura on July 8th. And not to go to Paralada for a concert version of Nabucco with Juan Pons, Maria Guleghina. I am sad but I save a lot of money this way.

So I have changed the concert with Cura with a concert in Vienna with Josep Carreras on October 14. And I have changed Nabucco concert with another Verdi opera Oberto in Paris with Maria Guleghina on November 19th.

I just booked my ticket for Opera Bergen's CavRust/Le Villi in August

For more reviews from my travels, see www.operaduetstravel.com

DSK and A History of Rape

2011-07-04T10:04:00.001+02:00

Read this book before you go out of your way to defend a Rich, White Man and before you go out of your way to blame a Poor, Black Woman.

If you are able of compassion you will only be able to read small sections at one time.

This book shows the Human Race at its ugliest.

Then there is this book. I haven't read that one yet. And the book about rape: I read a page and could not go further that day.

For more reviews from my travels, see www.operaduetstravel.com

The Summer Knows: Zurich in June

2011-07-02T13:51:00.000+02:00

It is time that I tell of my Zurich trip to see Cavalleria Rusticana with Agnes Baltsa & José Cura and Pagliacci with Cura.

But I have a problem. My time in hospital just after the travel have almost erased all my memories of it.

First it was Saturday 18th of June and the third Birthday party for my mother and then in the evening off to Oslo and landing in Zurich Airport. There I found the curtesy bus to my hotel Hotel Park Inn By Radisson Zurich Airport * * * * . Nice hotel loved it. By midnight I was asleep in my big nice bed.

Second, it was Sunday 19th of June and the day of the performance which started at 1400. I used the curtesy bus to the airport and from there a train to Main Train Station. Eating brezels and going to McDonald's before the opera. Then it was Cavalleria Rusticana first with Agnes Baltsa as Santuzza and José Cura as Turriddu. Agnes Baltsa was wonderful as Santuzza but not always on the same page as the conductor. I fault the conductor. I had the feeling that Die Baltsa was combining to different productions the Ponelle production in Vienna and this one. In short, she was different than Paoletta Marrocu (this production's original Santuzza). José Cura was just perfect in singing and acting Turriddu.

Pagliacci with José Cura as Canio. Perfect.

After the opera I almost got a photo of Agnes Baltsa but I was in the place and was feeling tired. Then came José Cura. It was not really a crowd this time. So it did not take too long. Then I found a restaurant close to the Main Train Station and had a chicken sweet sour. Too much food on my plate, but was really good. Finally back to the airport and then curtesy bus to my hotel. I was looking through all my photos in my IPad. I was sure that tomorrow I would just writing a blog post on my travel so I just listened to music and got to bed.

Third, it was Monday 20th of June. My flight to Oslo is already at 0700. I must be up by 5 and take the curtesy bus to the airport. Naturally pay the bill first. No problem waking up early, the night was not that great. I had been walking inside the airport (the day before) to make it easy to find the best path for today. Soon I had my boarding card and my luggage was sent through. Then I went to the Gates. It was a quiet and closed for most of the shops. When the cafe close to Gate A opened I bought 2 Brezels (Bier Brezel). Then I went to the security of Gates A and walked a long distance until I came to my gate. I bought a cola light or zero. Off to Oslo. Waiting for my luggage. Got it. Eating. Going through the security line to get my flight home. Tired. And sick. Back from hospital on Friday 24th of June after 4 days of lack of sleep. Worked normally Monday 27th to Friday 1st when I got a big HEADACHE.

For more reviews from my travels, see www.operaduetstravel.com

Wonderful holiday, but then I came home

2011-06-26T14:50:00.000+02:00

I had a wonderful time in Dortmund with Maria Guleghina in Il Corsaro, and a wonderful time at home with my parents celebrating my mother 75th birthday (3 times during the week), and then I had a wonderful time in Zurich with Cavalleria Rusticana with Baltsa & Cura and Pagliacci with with José and Myrtó.

And then I was going home. Early flight from Zurich, the airport was like a desert still because most shops was still closed. Finally I could buy some food and I bought 2 Brezels at the cafe close to gate A. I could eat. The night had not been too good but that was nothing to compare to later. On Monday 20th of June I ate the first Brezel and started my second. I still have not completely finished my second Brezel, but almost. I arrived in Oslo and I had decided to call the doctor to get an appointment, but I guess I was not really feeling up to anything except waiting for my flight home while gnawing on my beloved Brezel.

I came home. It was almost after working hours and I dragged me to the computer to do my photos: http://www.operaduetsphotos.com/CavRust/2011_0619.html
http://www.operaduetsphotos.com/Pagliacci/2011_0619.html
Naturally I had decided to blog and write 2 reviews. But I was not feeling strong and I was not eating much. The Brezel was my savior. Thinking ahead I was sure that tomorrow would be a better day and I would get my doctor's appointment and work as planned. I was wrong. I had pains in my stomach all evening and night and morning. My bowel seemed to have stopped, I did not know that. I only knew pain. And I finally dragged myself out of bed to call the doctor. As I got the time 1300, I regretted not taking the emergency phone number during the night or even in the evening. Confused, I did no longer know if my appointment time was 1300, I started to believe it was 1230. I went to my doctor office building dressed for a colder weather then it was with was I supposed would be enough ostomy equipment should my doctor decide to send me directly to hospital.

I waited in the waiting room, it was not too bad, not too noisy or something. Being sick is no game for the faint-hearted. I have with me something to drink, and I had not eaten since the night. Those annoying people kept popping out from 2 directions mumbling names, one never knew which part of your name they would mumble. Happily my doctor pronounced my name so that I immediately knew it was me. I was so grateful at that small grace. Then the doctor asked a few questions and sooner than I thought possible I was on my way in an ambulance. 2hrs in an ambulance laying on my back, being sick, but well enough to really find the long trip super-annoying. I really wanted to me in hospital sooner than later because the ride felt like a waste of time. I did nothing good for me when the nice paramedic told me I was really close when it 20 minutes left. 20 minutes that is not close, 5 minutes, yes.

Hospital. The communication between ambulance and hospital had not gone smoothly so nobody was there for me. Luckily I was not in a life and death situation, just life/life (life with pains / life without pains, or less pain). So no harm was done, this time. It took a long time to get enrolled, I was laying all the time. People was nice, things happened slowly, but at least/last I was at my hospital where I know so many nice nurses. Tuesday, Wednesday, Thursday and then Friday. So many nice people taking care of, but hardly any sleep. I was told repeatedly that my examination would most probably be proceeded by an operation of the ostomy. The examination, an endoscopy of my stoma, would eventually happen on Friday. And Friday morning came and I had my endoscopy which strangely showed very changes, only the top 5 centimeters was narrowing, so NO OPERATION NEEDED. Yet, anyway.

And then the bus home on Friday afternoon. I am home now. Am I well? No, but I am better. But no, I don't think I will travel in July to see Cura in Berlin and Guleghina in Peralada. Do I want to? Well, I am sure if I ever had the moment of feeling super-well that I would love to, but sometimes it is better to say no.

For more reviews from my travels, see www.operaduetstravel.com

The inferior sex

2011-06-13T22:52:00.000+02:00

A quote from Imperial Spain: 1469-1716 by J.H. Elliott made me think of writing this post. Unfortunately the great post that I composed in my head is gone so now I try something alike but different.

Just now what is on my mind is the white heteresexual, married man who pretended to be Amina, a lesbian in Syria. And when he decided to end the fiction for him, reality to other people that care about the rights of LGBT people around the world, he decided to let her be arrested. Naturally he never thought that his actions would hurt anyone. And so he calls it just A Hoax that got way out of hand. I never meant to hurt anyon e. Intentions even when they are genuinely good cannot undo the real harm of actions and hurts that have happened. If only he had made it clear that it was all a fable intended to make people more aware, then... But deception is not good.

Another item on my mind is Tracy Morgan, a comedian in the US, who during a homophobic rant or comedy rutine said that if he found out his son was gay he would knife him to death. That some people can call that comedy, a death threat is no comedy. Coming out to one's parents as LGBT can be deadly, and that is not laughing matter.

And so back to the start "the inferior sex". Quote from Imperial Spain: 1469-1716: "But the strongest reminder of the Moorish past was to be in the extreme inequality between the sexes, which was much greater than in comtemporary nothern Europe, and which found its counterpart in extreme male gallantry towards the inferior sex".

This quote from 8 Splendour and Misery (3) The pattern of society. So what, some people would say? The inferior sex, why react to it. But can I stop being a woman, and therefore react to such un-needed wording. The word inferior is not neutral but negative. If he had put it in quotes I would not react so much. But the author born in 1930, the book was written in 1963. As a man in that time I am sure that Sir John Elliott never taught excessively about womens' viewpoints. Still he could have easily said "the fairer sex", and thus the negativity was out a bit.

Naturally THE INFERIOR SEX and such pales when one realise the THE LETHAL DANGERS that LBGT people everywhere feel and live through. Still it should not have to become a LIFE AND DEATH thing before we react to wrongness. Besides, sexism is linked with patriarchy and so is homophobia.

THE INFERIOR SEX could be women, or men who is not seen as manly enough, it can be anyone, really. What does it hurt to be the inferior sex? It hurts inside and some people use it as a baseball bat to beat up people that are different (or inferior, as they see it).

Tom MacMaster (the blogger who pretended to be Amina) probably had his heart in the right place but he forgot to consider how his blogging could have an averse affect on real people. The is a lesson in that. Look around when you think you are doing good and right and see if there could be unintended consequenses. Never pretend you are something you are not, look around if you could be mistaken for an expert when you are just one person with an opinion. Don't lie!!

Tracy Morgans homophobic rant was bad. But that people should defend him, to say it is just comedy. A death threat is not comedy. A father threatening to kill his son, is no laughing matter. Is comedy really more worth than the lives and happiness of people?

Imperial Spain: 1469-1716 is a book that I can recommend but it is not in really critical enough towards slavery and still have some idolized idea about Christopher Columbus luckily very little of the book is about America. Sir John Elliott is describes the different peoples in a somewhat racist light.
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For more reviews from my travels, see www.operaduetstravel.com

First impression from Dortmund and IL CORSARO

2011-06-11T10:21:00.002+02:00

It started badly. I was still very tired after the night bus ride, 7 hours with some sleep. And then the plane to Dusseldorf was a smale plane with a low roof. But luckily I could sleep. Then we landed in Dusseldorf. It was easy to find our way and soon I was on my way on the sky train to the Dusseldorf Airport Train Station. But it was not free. Then I bought the tickets to and from Dortmund. I took the 1228 train and was in Dortmund hbf a little before 1400. Then I walled to my hotel, hotel Königshof. And everything should have been great. I would sms my parents that I had arrived safe and sound, and sent an sms to my friend so we could meet. But my phone did not find any mobile operator. Luckily my hotel has wifi and I had my Ipad so I could still contact my parents and my friend but it was not so easy to send an sms back to me. Hours laters I got sms they had sent me. Bad!!!

Then it was time for opera, first a meeting between friends. There was a delay and then I think still some mobile problems that was not helping. But finally we met and everything was wonderful again. Then the concert started. After 2 speeches Verdi's opera Corsaro was played. Zwetan Michailow was singing Corrado in stead of the original tenor who was sick, I guess. He did a fine job. But it was the women that ruled. Elena Mosuc was sensational and so was Maria Guleghina. Then men was fine but Elena Mosuc and Maria Guleghina was in another stratosphere. The conductor was also great. He made the orchestra play with a singular clarity and put forward all the wonders that lays in this score. The orchestra members seemed to love playing this music, one could almost look at then to see that to they had taken the music to their heart. The chorus was young and clear.

Now if only this had been staged too.

Brava, Maria! Brava, Elena!

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Lost and found in Berlin's Samson et Dalila

2011-05-22T12:40:00.007+02:00

Berlin is changing yet another time so I took the wrong train and ended in Pankow. I think I took S8 instead of S9. So at Pankow I took U2 Ruhleben except that the train ended on Potsdam Platz. Then I gave up and took taxi to Kanthotel so that I would finally rest. It could have taken me 38 minutes from Schoenefeld Flughafen but took 2 hrs all because of wrong digit and that Berlin is working on its transportation. The food and drink of this day, May 21, became Brezel and pizza with Cola Light.

I love Saint-Saens' Samson et Dalila and act 2 is the best act. But today in Deutsche Oper Berlin I was bored and I was pained by listening to the mezzo Vesselina Kasarova. It was not helped by the feeling of lacking fresh air in the audience room. But, any way, I am pleased to say that both Jose Cura and Vesselina Kasarova was excellent in the big duet of act 2 beginning with En ces lieux and continued with Mon coeur s'ouvre a ta voix.

Kasarova's voice is deeper now and sound almost like an alto. Her voice lacks some agility and she was not helped by the young maestro's slowing the music. Jose Cura's voice seemed to have opened of by act 2 and continued its triumph in act 3. In act 1 his voice sounded muffled. Laurent Nouri was an excellent High Priest of Dagon.

This Samson et Dalila was not shocking, or edgy. It was not even interesting. Even having Jose Cura singing his heart out in Vois ma misere did not change the fact that this production failed to make us care. It was the best singing of this aria so this says the production failed. It did not fail because director chose to put the action to another time place, Paris at the time the opera was composed. It fail by having half-cooked ideas, by defying logic, by putting distractions up instead of making the audience think and feel. The young boy and young woman (his mother? and servant to Dalila), the boy was supposed to be the alter-ego of Samson, but what interpretive value did it give the opera? Little value but plenty of distractions to the real story. The offensive part was the end of the opera with cattle wagons and Philistine dressing down as if they were Jews off to Auschwitz. But the real offensive part of this offensiveness was to make Holocaust into kitsch and it did not even make sense.... BAD

Yes it was bad, really bad, I have never applauded so little in my life, except that time when I had almost broken my wrist.

UPDATE: All the reviews I have read about this production gives the highest praise to Vesselina Kasarova.

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Head-ache and curtain calls - Nabucco in Vienna

2011-05-11T12:21:00.001+02:00

After a wonderful Jenufa on May 9th, another wonderful opera on May 10th: Nabucco in Wiener Staatsoper. Alberto Gazale sang Nabucco in stead of Leo Nucci who was still recovering from an illnes. At the beginning of the opera he sang Nabucco as if he was trying to be Leo Nucci singing the role. Luckily he as the evening progressed he came more into himself and showed himself as a Nabucco to admire.

Maria Guleghina was Abigaille. With body and soul she was Abigaille, singing as forceful and as quiet as the role demands with her voice ready to any high thrill or low note. What an actor an singer she is! The most amazing aspect was how well she sang in the duet with Nabucco and in her last moment: Su me morente esanime. No weakness showed that the great singer was suffefing from the blow of the theater curtain falling on her forehead when the singers took their first applaus after act 2. How could Wiener Staatsoper accept such an accident to happen? And to add insult to injury to call it a head-ache as the official did that talked to the audience. I had an head-ache, she had a trauma to her head, that is a very different matter. I sat in row 2nd and I heard only "schwere kopf-schmerzen aber trotzdem singen", I could not hear which singer but for me it sounded as if was Teodor Iloncai, Ismaele, who was sick. Big difference!!

Teodor Iloncai was Ismaele. Good-looking and wonderful voice so no wonder two women both wanted him. This was one of the few times I understood Abigailles passion for this man, Ismaele. I loved his voice and acting and wish him all the luck further. I hope that he will still look good when I see him in bigger roles. Eat well and exercise as we all should!

Ain Anger was another new recruit to this production and made a good figure lf his role. It was another great night at the opera. But because of the accident Maria Guleghina could not go to Kazachtan as the Unicef Goodwill Ambassador to sing a benefit concert... Wiener Staatsoper should make a compensation for all this. Get well, Maria, and thank you for a wonderful night at the Opera!!!

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Jenufa in Vienna on May 9, 2011

2011-05-10T14:13:00.001+02:00

I arrived in Vienna airport 1310. I took the City Airport Train CAT 1335. 1430 in my hotel room. And Jenufa, the opera, starts at 1930. Not only that but I was tired from "sleeping" in the night bus to Oslo. The bus arrived arrived in Oslo 0540 + my flight was 1045 = really tired when I arrived at last in Vienna.

Then it was opera time suddenly and I had not had a decent dinner, only McDonalds, BurgerKing and a tomato soup at Marodo. The conductor Graeme Jenkins looked older, the tenors Marian Talaba and Jorma Silvasti looked fatter, but Agnes Baltsa and Angela Denoke was in great shape and lifted the opera up to the highest level. A debut as Old Burya, Marta Benackova, was greatly applauded in the Staatsoper, but I found her lacking in vocal authority. I saw Angela Denoke as Jenufa in 2002 and I found her good then but she was glorious now. Agnes Baltsa did was must be one of her best Kostelnicka's ever. She was in a fantastic vocal shape and her acting was as sharp as ever. Marian Talaba was Stewa and he did a good figure but I missed the oppulence of a Torsten Kerl in the role. Although Jorma Silvasti did another wonderful Laca performance I think that maybe Talaba should have been Laca Klemen and Silvasti Stewa Burya.

Jenufa is in 3 acts of approx 45 minutes each. Even as the opera ends in a higher and a positive note both act 1 and 2 ends in a tragic shock. Act 3 in the conclusion of a tragedy that was unavoidable but still the positive character of Jenufa gives the opera an end as if we have seen the paradise and the love of God that awaits us there. It is strange that I have seen this opera more times than one and still I was only just now so strongly aware of the religious content. Strange because the opera never hids its Catholic content.

After the opera we were a lot of people waiting at the stage door. Finally even Agnes Baltsa came out.

And then I could go to my hotel content and happy. The opera was even on the big screen for people to see for free. I was happy for my expensive ticket a to be inside and not freeze listening to traffic and opera at the same time. I hope this Jenufa was on Tv and would come out as DVD. HOPE.

BRAVO tutti

Conclusion of Easter - La Boheme in Zurich

2011-05-01T13:54:00.003+02:00

When my gall bladder operation was rescheduled to April 4 from April 28 I thought it meant I would not only be gall bladder free but completely well in Easter. But I still have pain from the operation, even today May 1.

Still, my Easter was OK. Stiffelio in Stockholm on April 16 (Palm Saturday), Cav/Pag in Barcelona on April 17 (Palm Sunday). Relaxing at home with my parents until my travel for Zurich and La Boheme.

On Good Friday evening (April 22) I traveled to Oslo Gardermoen Airport for a late flight to Zurich. I had a miserable first night in Zurich with the constant noice of traffic and lots of pain, almost no sleep until early morning on April 23rd. I had booked 2 nights on this hotel but I was lucky I only I had to pay for this one night. Then I was off with all my things to the Main Train Station (Hauptbahnhof) and I had breakfast in BurgerKing containing of Chickenburger and Cola Light. Then I went to the Opera House to check on the time of my opera. Later I went for lunch in the McDonalds close by for more chicken and cola light this time as lunch. There I used the HRS.DE app on my IPad to check hotels nearby and I chose Hotel Europe. Then I went to the hotel and was checked in and so I could rest for a few hours until I went out to have dinner before the opera started. Poulet sweet & sour at the Asian restaurant nearby.

April 23, 2011 at 20hrs LA BOHEME in Opernhaus Zurich. It was a wonderful performance with Jose Cura and Barbara Frittoli as Rodolfo and Mimi. All singers were excellent. And tears when Mimi dies, the hallmark of a great La Boheme performance. Loved it. And I meet severals JCx members after the performance. Some of us got together for a drink at the restaurant to Hotel Europe. At midnight it was time to retire to bed. Happy to bed I went.

Easter Sunday, April 24, it is time to leave but also time enough to relax a bit longer at my hotel. But in the end it is time to go to the train station. There I missed the direct train to the airport so I must go via Main Train Station. As breakfast I had my brezel and Cola Zero. I ate it on the way to the airport. Then I relax and wait some more in the airport. I also tried to check in using the check in machines but no luck. So I had to go to the counter. Finally it is time to go further into the airport and then almost to my gate. But I am hungry so I have to go back to see where is the BurgerKing restaurant. I found it and so another Long Chicken with Cola Light is mine. Relaxing... Back to the security line of my gate. Finally I can safely buy a bottle of Cola Light. Then it is my flight to Copenhagen. Not only is it not a direct flight to Oslo, but as I depart from the plane I am reminded that I could have had this very plane further to Oslo at 1700 instead I have to wait 3 more hours for my Oslo flight. Bored in Copenhagen Airport I have a slice of pizza there. But when my second flight lands in Oslo Gardermoen Airport I have finally some luck. My plane arrives early but then the passangers are slow in motion but then some decide that I can get out before them and I race out of the airport and gets the bus that are just about to leave. Success!! Home before midnight...

Easter Monday, April 25. Last day of my holiday. I have decided to fly back home in stead of 7 hrs bus ride. It is over 21hrs when I am back to my appartment.

Tuesday April 26 first day at work and all is normal. Some pain, but nothing really to worry about. Wednesday April 27: first I work, then I get a doctor's appointment for the same day. But my doctor decide to send me to hospital. Right now? Wow, that was unsuspected, but I get a chance to go home and find out what to take with me. But then Patients Travels calls me to tell me that they have a taxi travelling back to the hospital right now. That is right, now I have even less time to find all the things I need. Naturally some things were forgotten like my evening pills. The taxi is here, off we go. Before my mobile phone goes blank I phone my mother about these new events and my mother had tried to call me because my aunt is in hospital. Luckily she recovered. Thursday April 28 a CT scan of the gall bladder etc, boring, pain, boring, head-ache, loud noices and bright light right into my brain. Friday April 29 my heart has a check up but my heart is fine and strong. I was not worried, I tell you. Finally off the hospital the bus leaves at 1500 and I home at 1715.

It would have been wonderful if the hospital stay meant that I am now without pain. But it seems to more a case of a flair up of my Crohn's disease. Nothing to serious. Still, no reason to shout hurrah. Another reason of the pains is my endometriosis and it sure gives real pain just as those I feel just now as I am writing these words. Then it is my operation scar that is pressing my skin, not in a good way. And so this is the conclusion: Life goes on even with pain.

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Barcelona, the better experience

2011-04-20T18:30:00.002+02:00

Wake up call at 5 in the morning, I felt much better, no fever. Only a banana for breakfast and then the free shuttle bus to Arlanda 0535. I still have pain from my operation scar and my back so I cannot walk very fast. But I have no fever. Security line boring as always. And then 0645 my flight starts. When we land 3 hrs later I stop at McDonalds for a Chickenburger meal. I had forgotten how to get to the city from the airport so I took the wrong bus to Placa Espanya when it was naturally Placa Catalunya and Aerobus I should have taken. So from Pl Espanya I took a taxi to my hotel. It was close to the catedral but my taxi driver could not find my hotel and the street in his bus. He was really nice and helpful. After going a bit around I decided to stay at Hotel Colon, a hotel that waa no trouble finding. The room costed 110 Euro just like the other hotel, but I could not get my room until 1330 so I waited for almost an hour but the lounge was cosy and I sat well and rested. I called hrs.de to cancel my other hotel while I waited.

After a good relaxing time in my hotel room I went to Liceu. Cav/Pag April 17th, 2011 with Luciana D'Intino, José Cura as Inva Mula. It was two wonderful productions but the stories did not grab me. Maybe I was too tired and sleepy to really enjoy it. Luciana D'Intino did not overplay the role of Santuzza. The only thing I did not like was her "A te, un mala Pasqua", but that is minor. She was perfect as Santuzza. Josephine Barstow gave e refine portrayal of Mamma Lucia. José Cura was a wonderful Turriddu, no drunkenn lout this time but certainly not a intirely sympathetic man. Alfio and Lola was also good. In this production of Cavalleria Rusticana there was an emphasis on that this is a village where nothing is secret for a long time. The villagers sees everything, hears everything behind their curtains. Somebody is always listening. Lola was dressed in white as she went to church. She did not go alone, another woman was with her all dressed in black. The duet between Turriddu and Santuzza showed that Turriddu still have some love for Santuzza. He was not so violent as in most productions. In the end of Cavalleria Rusticana was the ugliest cry of "Hanno mazzato compare Turriddu" which was a shame and a blemish on an otherwise wonderful and sweet production of Cavalleria Rusticana.

Santuzza = Luciana d'Intino
Turiddu = José Cura
Alfio = George Gagnidze
Mamma Lucia = Josephine Barstow
Lola = Ginger Costa-Jackson

Daniele Callegari, conductor

Pagliacci - perfect production. I loved how the audience as the play grew more violent would take their children away protect them from the violence. I loved that. Inva Mula was Nedda and José Cura was Canio. Canio seemed less violent and more loving to his wife, Nedda was almost sympathetic. José Cura was a wonderful Canio and sang a marvellous Vesti la giubba. I loved it all.

Canio (Pagliaccio) = José Cura
Nedda (Colombina) = Inva Mula
Tonio (Taddeo) = George Gagnidze
Beppe (Arlecchino) = David Alegret
Silvio = Jean Luc Ballestra

Daniele Callegari, conductor

After the opera I waited for José Cura. While I waited I met Sandra and her parents, Isabella, Chikaka and even meet Claudina. After 1,5 hours I gave up tired and happy.

Monday 18. april wake up at 9. and then back to Norway.

For more reviews from my travels, see www.operaduetstravel.com

Stockholm, well, I found the Opera House

2011-04-19T00:23:00.001+02:00

- and the opera was good.

I stayed in Radisson Blu Gardermoen Airport Hotel the night before my morning flight to Stockholm. I ate pizza at Peppe's Pizza at the airport. My Norwegian Air flight at 0800 took me to Stockholm aiport Arlanda and there I also stayed in a Radisson Blu Hotel, Radisson Blu Arlandia Hotel. My Gardermoen hotel is just a short walk from the airport, but Arlandia was 5 minutes away with free shuttle bus (no 14). But now I see that it was another Radisson Blu hotel that I should have chosen Radisson Blu SkyCity Hotel Arlanda. I bought a Return ticket for the express train ArlandaExpress (SEK 460,-). I had to wait for the shuttle bus to come to my hotel. It was a nice hotel. I found Arlanda airport confusing and did not like it.

The ArlandaExpress goes to Stockholm City Terminal in just 20 minutes. It would have been cheaper to take a bus but I found it confusing and liked the idea of just 20 minutes into Stockholm. 197 km/h was the fastest it went. I had a my Chickenburger with pommes frites and Cola light near the train station. With only the map in my memory I had no trouble finding the Opera House on Gustaf Adolfs Torg. It was a sunny day in Stockholmn, Sweden with 16 to 17 degrees Celsius. No visit to the famous Operakällaren. I went a bit further to the Cafe Milano where I had a wonderful salmon with spinachs and citron-sauce. While I waited for my meal I thought I was going crazy it was such a noicy café, I just wanted out and breath. Then my salmon arrived and it was wonderful and the noice seemed even to go to a more comfortbale level. But I was half into my meal a voice of women singing some rock/pop song and I lost my appetite completely. I was only able to complete my glass of Pepsi Max. Finally I could leave after paying SEK 250,- for the experience. How wonderful it was go out into the streets of Stockholm and breath fresh air and enjoy some quiet time even as it was a lot of people enjoying such a sunny day.

I came to the Opera House, such an old house some hour before the opera started. It was quiet, only a few employees and some visitors. They don't open for the audience to get into the theatre room until 30 minutes before the opera. To get to the toilet we have to go the garderobe and they had to open up just for the people who needed to go to the WC. Naturally I was one of those who had to ask where to go... It was a lot of people waiting for this Sweden premiere of Verdi's opera Stiffelio.

April 16, 2011 premiere of Stiffelio. Before the opera started Birgitta Svendén, the opera intendant, came to announce we would have 2 Stankars, Marcus Jupither acting the role and Karl-Magnus Fredriksson to sing from the side of the stage. Both baritones was obviously immensely popular in Stockholm. The conductor Pier Giorgio Morandi with orchestra, choir and soloists made all a strong and good impression already from the ouverture. In this production we are introduced to 2 addittional characters, a boy and a girl, the children of Stiffelio and Lina. The regissör chose them to accentuate the dilemma of Lina. Unfortunately I felt they only made the story stranger. This was wonderful children actors acting how it is to child in a sect that care not of protecting children from realities children should be protected from. For me the children did not change Lina as much as it made Stiffelio to an even more manipulative person. Stiffelio was in this production a charismatic leader who uses the children for his own profit. They must see and hear and be the light of the sect. Lina does not protect the children much but she is like the whole congregation under the heavy thumb of Stiffelio. The divorce scene starts with "Fritz? ... S'avverta Mamma, che qui l'attendo". So the boy comes in with mamma Lina. And they are present there until finally Lina takes them out. Poor children. Would not a divorce make 2 innocent children into social outcast. So little does Stiffelio care. Just like Stankar is Stiffelio only consumed with his own feelings of betrayal. The scenography is mimalistic and shows with simple means how the ceiling loweres and certain points in the opera. The regie is always telling that this is a rather fanatic sect with very little open space for the individual.

Stiffelio - Lars Cleveman
Lina - Lena Nordin
Stankar - Marcus Jupither
Raffaele von Leuthold - Jonas Degerfeldt
Jorg - Michael Schmidberger
Federico - Karl Rombo
Dorotea - Sara Olsson

After the opera I was walking back to the city terminal and ArlandaExpress. And now I felt the curse of the Swedes not understanding Norwegian as well as we understand Swedish. Anyway in the end I got the right turn. Advise: alway ask the taxi driver, they will not send you astray. During the opera I was freezing and I was feeling sick and close to tears as I left the opera house, it was not a good time to be sent to so many false turns. And I had to wait until 2305 for the train to start. Shaking I managed to spill most of my Coke (not light, because I felt really sick and then I chose the red Coke and not the white Cola light). The train travel was allright because of the female conductor. She cared and I needed that. Then in Arlanda a wait for the shuttle bus. Then finally rest. But I was in doubt about my leaving the next day with a really early flight (0645) for Barcelona. Of course I would lose a lot of money and then come back to Oslo. The train tickets was too expensive, but Norwegian had cheap tickets. So I arranged the clock for wake upp call at 5 not sure if I was going by a 0645 flight to Barcelona or a 1530 flight to Oslo.

For more reviews from my travels, see www.operaduetstravel.com

Turandot - Gelo che ti da foco

2011-04-16T14:09:00.001+02:00

Turandot is ice that gives fire. But is Turandot really made of ice. I think she is prentending. Scared by the gruesome story of her ancester, a princess like she, who was brutally raped and killed some thousand years ago. Still she is scared but now as a grown woman she also longs for love. It is so easy to just hear the fairytale Turandot but it is an opera that shows a China filled with mysogyny. When you really listen to Ping, Pang and Pong you can hear the hate of women quite directly put. Turandot lives in a time and place that men can have as many wives and concubines he wants and can afford. A Daughter of the Emperor has powers so long there is no man that owns her. No wonder Turandot is scared. Her riddles scheme is just an preemptiv strike towards the men that want to possess her, and the kingdom too.

What does Calaf want? he definetely want to no longer roam fearing for his life. He finds his father. Then there is Turandot. I doubt that he even saw her. He waa fascinated and there it was the chance to be an hero, a true romantic hero. I think Turandot and Calaf both saw in each other the possibility of a new and better life. But can this romanticism evolve into?

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Going to the opera?

2011-04-13T18:21:00.001+02:00

I have a head-ache and often pain from my gall bladder operation so maybe I should not go to Stockholm for the premiere of Stiffelio on Saturday and then go to Barcelona for the CavPag. 2 early flights. Pain. But....

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The gall bladder, the opera-tion

2011-04-03T14:35:00.001+02:00

I have no need for a gall bladder that only creates painful stones. Therefore, an operation on Monday. I got a call from the hospital on Thursday. I called work to get an OK, got it, and called back YES. So operation April 4th in stead of April 28th. GREAT. I will be well before Easter and my Easter Opera Holiday, Stiffelio (April 16), Cav/pag (April 17), La Boheme (April 23).

Day surgery. WOW, what a word, day-surgery. I am not worried about the surgery. It is the no eat, drink thing that worries me, and being prepared for surgery. Waking up can be a night mare. Of course, not waking up would be worse, I know that. Waking up with things in your nose etc. is no cake walk.

Naturally you would think that the surgery would be on my mind since that is tomorrow but no. I am thinking about Norma in Taormina with Maria Guleghina in AUGUST. Why? I love the opera NORMA, I am just crazy about it. And I love Maria Guleghina. But what about Taormina? Well, just because I would love to see finally NORMA live and with Guleghina, Taormina is new for me and I am frankly unsure of how to come there, and I should probably use my money for other things.

Or maybe, I just have a head ache!!!

For more reviews from my travels, see www.operaduetstravel.com

Looking forward to April, May, June and maybe July

2011-03-28T22:40:00.000+02:00

After no opera in February or March, finally April is coming. And I will have a wonderful (I hope) Easter holiday. First in the Palm weekend, Stiffelio in Stockholm and Cav/Pag in Barcelona. Then the Easter week with my parents. Then to Zurich for La Boheme with José Cura. Then back home. After my Easter holiday I will have a little time before my gall bladder operation, and then April will be over.

I hope my operation will not hinder me to travel to Vienna in early May for Jenufa with Agnes Baltsa and Nabucco with Maria Guleghina. Later in May I will then travel to Berlin to see Samson et Dalila with José Cura.

Then it will soon be June and that means a trip to Dortmund, Germany for a concert version of IL CORSARO with Maria Guleghina (June 10th to be precise). Later to Zurich for Cav/Pag with Agnes Baltsa and José Cura.

In July Classic Open Air Festival Berlin with José Cura. But will I go to Savonlinna and Saremaa for 2 more concerts with José Cura.

For more reviews from my travels, see www.operaduetstravel.com

YouTube - REQUIEM FOR JAPAN Tsunami Survivors of the March 2011 Tragedy, composed by Natalia Guleghina

2011-03-27T20:07:00.000+02:00

YouTube - REQUIEM FOR JAPAN Tsunami Survivors of the March 2011 Tragedy, composed by Natalia Guleghina

Un bel di vedremo - for Japan

2011-03-15T18:30:00.000+01:00

Un bel dì
A dream that a ship would arrive Nagasaki with her beloved marine Pinkerton but he arrived with a wife and an intention to take their son from her. So the opera Madama Butterfly by Giacomo Puccini ends with a suicide and with Pinkerton running with her name on his lips but arrives too late. He feels remorse but too late.

What does this have to do with the recent events in Japan? Very little. Except that the word Nagasaki reminds me of the nuclear bombs that fell over Hiroshima and Nagasaki. And now another nuclear disaster looms over Japan. This double-triple nature disaster is the biggest that Japan has experienced since the Second World War.

The opera by Puccini is about the small and personal disaster of one Japanese woman. But the earthquake/tsunami is the personal disaster of many, many persons. A 9.0 earthquake is a force much greater than one can imagine. To hear that the difference between 8.9 earthquake and a 9.0 is many, many times the force is unimaginable to most if not all people. Yet, that was what was happening. Then it was and still is, I think, the after-shocks. It sounds innocently but it is earthquakes too and some of the quite big. Small only when one compare to the giga-shock. And then tsunami, a wall of water. What makes it more damaging it all the other elements that the water brings. Homes, workplaces, whole cities destroyed.

But still, Un bel dì vedremo. Japan will be rebuilt with home, workplaces. But lives has been lost. Those who live on has experienced life-threatening times, some have had severals of those experiences. And many have lost relatives, neighbors and colleges. I worry about the lives that also need rebuilding. The people of Japan. To see on TV the Japanese people helping each other and to see a factory owner happiness in finding another of his workers. I see the love and care of the Japanese and I hope that world will not fail in giving our heart and help for as long that Japan will need us.

I hope that the disaster in Japan would make us smarter about building nuclear power plants, etc on dangerous places. Must we never underestimate Mother Nature!

Can't we learn before disasters strikes, and not always after. I am so sick of people having to die and get sick before we get serious about preventing harm.

We must hope for the Beautiful Day to appear for the people of Japan and that the mental health of a people who is suffering will be tended to. I have faith that families, neighbors and colleges will work together to lift each other up. But first it is survival time, then we can hope of a good life...

For more reviews from my travels, see www.operaduetstravel.com

Who does Abigaille think she is?

2011-03-03T00:12:00.003+01:00

She thinks she is the King's eldest daughter. Her idol is her father but he cares only for Fenena, his only biological daughter. No wonder Abigaille has a difficult relation to her sister. The love of her father is not the only issue but that Ismaele also prefers Fenena is like a deadly poison to the heart of Abigaille.

If she cannot have her fathers love at least his admiration. That is her real reason for soldiering and dreams of becoming Queen. Nabucco is blind to her needs. He is a man of ambition himself so he can understand ambition but that she is trying to show him her love is beside him to see. The need of an heir was behind the making of Abigaille as his daughter. His need was met but the need of a child of love from a parent was not met. All the times when he shows his preference for Fenena he creates poison in Abigaille's heart.

Of course Abigaille is a cruel warrior but no more than Nabucco himself. But Abigaille has a sweet side to. Not only willing to save Ismaele but even his people Israel. She only want his love. But it is too late. Fenena owns his heart. Deep down Abigaille even love her sister. When her jealousy at last is over she can feel loveand only love.

In the end of the opera one can hope that she is at last seen by God and forgiven. I find her conversion deeper and more touching than Nabucco. Nabucco gets a whole scene and she only an aria in the end.

Nabucco 2002-01-12, 2005-07-01, 2007-06-29, 2007-08-11, 2008-02-22, 2008-07-14, 2008-07-17, 2010-01-30

I love Abigaille

For more reviews from my travels, see www.operaduetstravel.com

Reading: Memoirs of the Court of Queen Elizabeth [Kindle Edition]

2011-02-19T18:01:00.001+01:00

This book is from 1818. I was unaware of that. Of course, AMAZON does not give that information only the publication year of the Kindle version. Except that in this case not even Kindle year is mentioned.

This book is like reading ten memoirs at the same time. It is very comprehensive. It is in depth. It is not at all an memoirs that gives you a feeling of how it would be to be in the Elizabethan court. It tells the lives of many of her courtiers at the same time as it tries to show all that happened during the reign of Elizabeth I. And it also is very much a portrait of the monarch herself.

It is littered with long quotes of letters and memoirs. There are no literature list in the end. One would have to create that oneself since the quoted literature is there after the quotations. At the same time as one reads chronological the events concerning Elizabeth I and English history suddenly a biography of a gentleman and his family often 3 generations. The biography bits are annoying, not because they are not interesting but because they often starts with no mention of the name of the person in the beginning and before you can understand who it is the regular history has begun again.

Every chapter starts a short overview, unfortunately the formatting with --and it starts just there --so if you need to see what a word means in the dictionary in Kindle, those 2 --hinders that.

I have seldom read a book that made me think about editing it. It needs editing. May the reader in the 19th century did not need it but the modern reader would surely have enjoyed the book better had it been better structured by an editor.

This book is two volumes in one. The language is readable enough. It contains a lot of information. But is not easily digestible. Still thumbs up!!!

For more reviews from my travels, see www.operaduetstravel.com

Thinking: What is the job of diplomats, anyway?

2011-02-16T22:07:00.000+01:00

"Norwegian diplomats working hard to evict Ethiopians in church asylum"

If only it meant working hard to ensure the security of these persons if returned to Ethiopia. But I believe it not.

Norwegian politician' speech to fellow party members using the plight of the Ethiopians and calling they being in a church claiming, hoping for asylum an abuse to thunderous applause. The speech was an abuse. Claiming church asylum abuse is a historical right. The same politician evaded the question of whether she saw the church room as holy.

Norway, my beloved country, why?

Norway boats of its ratification UN Children's right and Women's right. Yet when children and women come to Norway all "we" do is think of ways to evict them. Diplomats may talk to the government of countries that regularly puts people in prison and that often tortures and kills prisons, and when the diplomats get the nod the persons will be safe, they believe. How many has Norway sent out to be put in prison and tortured? And all the time Norway is "surprised". The need of each individual child or woman is not looked upon. If that was done more people would be allowed to stay and the cowardly politicians fears that so much that fair and just process is something to forget. Men's claim of being of a party that is prosecuted is often heard and accepted as grounds for asylums. To claim reasons of homophobia, belonging to the wrong religion or race, the death threat of criminal gangs etc is strangely not often accepted. In some countries it is considered treason to leave the country to find another country, coming back is often deadly. But people are sent back. Children is on their own, their special needs of safety is not taken properly care of. Often children go missing from the asylums houses. They are probably trafficked. But we want to evict them.

But the truth is we, the people, is not all that callous. But our politicians are, they are playing politics with the lives of people.

Norway should afford to be just and fair and always seeking the truth. Even if it meant letting people stay in this country. The country of Fridtjof Nansen is disgracing itself by the severity we cause our fellow people who come in hope of a future. There is a solution that we should think of to give all our undocuments immigrants and asylum seekers. It is called the Nansen Passport. In our digital age the Nansen passport would be an even better tool to give home to the seekers of new light and control the countries.

For more reviews from my travels, see www.operaduetstravel.com

In a white dress with a red rose amidst all the vegetables

2011-02-15T22:42:00.000+01:00

Andrea Chenier (Salvatore Licitra) wanders into a party of aristocrats. His blue colors are earthbound and as such he is aware of the conditions of the rest of the people in France lives in. The aristocrats dressed in fruity colors are as aware of the conditions as the average vegetable. But I don't want to slander fine vegetables and fruits. When Andrea Chenier sees Maddalena di Coigny (Maria Guleghina) in her white dress with a single red dress attached he sees in her a person with compassion. But as the evening progresses one understand that her compassion is just youth and curiosity but she cares mostly about her self, her dresses, her beauty and love. She has a certain compassion for Bersi (Julia Benzinger) but seem to find it natural that a servant does everything for her.

Everybody loves Maddalena. Even Carlo Gerard (Seng Hyoun Ko). He is the servant of the Coigny family as his father but he is revolutionary and meeting Andrea Chenier hearing the poem he improvises makes Gerard into a real revolutionary that invites poverty into the palace. Naturally he can no longer work there. And then the earth is toppled by the poor people and the aristocrats is fed to the guiliotine.

For more reviews from my travels, see www.operaduetstravel.com

Andrea Chenier in Berlin 29.1.2011

2011-01-29T23:13:00.001+01:00

Maria Guleghina sang a wonderful Maddalena di Coigny. It was brave to do so when suffering from bronchitis. But I really wish she would take better care of herself and not think too much about her fans. We do love her well enough to see her healthy and sound even if we must suffer not see her onstage but another soprano. Get well and sleep well!

I worried about Salvatore Licitra as Chenier and about the baritone who sang Gerard but they only got better and better. The tenor used his lyrical instrument to the fullest. He gave a really beautifully sung Andrea Chenier. The baritone did not seem to have the right powerful voice in act 1 but that soon changed. He gave a really thrilling Nemico della patria. It was a truly believable duet between Gerard and Maddalena.

I loved the Regie. It was traditional and naturalistic at the same time as it was innovating using the space to maximize the history at the same time as it was minimalistic.

After the opera I got the change to give Maria Guleghina my get well wishes. Sleep well, my favorite Diva! Take care!!!!

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Soon off to see Andrea Chenier in Berlin

2011-01-28T21:14:00.000+01:00

Today it is one month since my birthday when I met Maria Guleghina in Oslo and now I am off to see Maria Guleghina as Maddalena di Coigny in Deutsche Oper Berlin.

I am tired already. How will the travel be? I hope I will enjoy Andrea Chenier in Berlin.

Musikalische Leitung - James Allen Gähres
Inszenierung - John Dew
Bühne - Peter Sykora
Kostüme - José Manuel Vázquez
Chöre - Thomas Richter
Andrea Chenier - Salvatore Licitra
Charles Gérard - Seng Hyoun Ko
Madeleine von Coigny - Maria Guleghina
Bersi - Diana Axentii
Gräfin von Coigny - Katarina Bradic
Madelon - Liane Keegan
Roucher - Ben Wager
Pierre Fléville - Krzysztof Szumanski
Der Abbé - Peter Maus
Matthieu - Nathan De’Shon Myers
Incroyable - Burkhard Ulrich
Der Haushofmeister - Sergio Vitale
Dumas - Sergio Vitale
Fouquier-Tinville - Hyung-Wook Lee
Schmidt, Gefängniswärter - Seth Carico

Chor der Deutschen Oper Berlin

Orchester der Deutschen Oper Berlin

For more reviews from my travels, see www.operaduetstravel.com

Watching Verdi - Un Ballo in Maschera / Abbado, Domingo, Ricciarelli

2011-01-21T20:49:00.000+01:00

I have just watched the DVD of Verdi's Ballo in Maschera from Royal Opera House, Covent Garden conducted by Claudio Abbado. This is a historical recording from 1975 with Plácido Domingo as Gustavo, Katia Ricciarelli as Amelia, Reri Grist as Oscar and the superb Piero Cappuccilli as Renato. It is subtitled in English. The subtitles are big white 1975 text. Not everything gets its translation which can make the novice sometimes a little lot but everything is explained in the inlay.

Who is singing Horn, Ribbing or Ulrica? They are not mentioned not even after the opera on the DVD and not elsewhere. I recognize Gwynne Howell, I think.

Chorus Director of The Royal Opera House Chorus : Robin Stapleton.
Leader of the Orchestra of the Royal Opera House : Meyer Stolow.
Conductor : Claudio Abbado
Director : Otto Schenk
Designer : Jürgen Rose
Original Stage Lighting : William Bundy

Director for television - John Vernon

"The names of the characters correspond to the version of Boston by Verdi, except for the main character, Gustavo, in which case, the name of the original version set in Sweden has been respected." = why not alter all character's name to the orginal version ???

This is a beautiful video production of a beautiful opera production. A young and healthy Claudio Abbado lead a fantastic cast.

Plácido Domingo as Gustavo
He is Gustavo III of Sweden and he lives and breaths in this role. He is in glorious voice. His acting is superb.

Katia Ricciarelli as Amelia
Oh, so young and with such a curly hear. She sings, she acts, a lovely, wonderful portrayal that makes us realize that Amelia is YOUNG.

Piero Cappuccilli as Renato (Anckarström)
He is a powerhouse. He is a magnet. Where Gustavo dances around, he is serenity until it is broken. He loves Amelia and his King. This portrayal is of a man who really loves his wife not just a man filled with pride. A glorious voice and superb acting. He touched me in this role.

Reri Grist as Oscar
What a singer, actor? She captured Oscar's boyishness perfectly.

Ulrica/Madame Arfvidson (Elizabeth Bainbrigde)
In the swedish version she is a gypsy. And here she lives in a tent camp. Seldom is the scenes really working, but here is does. It doesn't feel stupid as in do they really expect us to believe this? We believe. Not in any supernatural power, but that a smart woman can delude people and maybe even herself. She has enough power in her voice, even if it is just barely, to really capture us and believe. This is one of this roles where just a mezzo soprano voice seldom does it, a real alto is required. Or at least deep voice that can cast shadows.

I can with truly recommend this DVD. It is worth watching, maybe even worth finally buying a new DVD machine so that I can watch it on my TV rather than on my computer.

The cast in this DVD was ..., May 3, 2003

Erico Mangaravite

This review is from: Verdi - Un Ballo in Maschera / Abbado, Domingo, Ricciarelli, Royal Opera (DVD)

After spend some time in researches , I founded a complete list of the cast on this '75 ROH production:

Amelia - Katia Ricciarelli
Gustavo III - Placido Domingo
Anckarstroem - Piero Cappuccilli
Oscar - Reri Grist
Mlle. Arvidson - Elizabeth Bainbridge
Silvano - William Elwin
Samuel - Gwynne Howell
Tom - Paul Hudson
Un giudice - Francis Egerton
Amelia's servant - John Carr
ROH Chorus and Orchestra, Claudio Abbado

For more reviews from my travels, see www.operaduetstravel.com

35. Edita Gruberova, soprano

2011-01-10T20:41:00.001+01:00

My photo of Edita Gruberova in Vienna 2003-06-27 (Signierstunde)

I saw her as
Elvira (I Puritani) 1995-09-02, 2005-06-22
Elisabeth I (Roberto Devereux) 2001-05-12, 2002-09-30
Lucia di Lammermoor 2000-06-22

LINKS to more information about this artist (agency, schedule etc.):
OperaBase
Personal/other websites
http://www.gruberova.com

For more reviews from my travels, see www.operaduetstravel.com

Reading: I Never Walked Alone by Shirley Verrett

2011-01-10T20:13:00.001+01:00

In her autobiography Shirley Verrett makes an point of owning her own mistakes. She is gracious towards others and at the same time very frank. Reading this book makes one love the person Shirley Verrett.

Shirley Verrett (May 31, 1931 – November 5, 2010). Wikipedia article.

I read this book on Kindle on IPad.

For more reviews from my travels, see www.operaduetstravel.com

Reading: Elizabeth I and Foreign Policy, 1558-1603 by Susan Doran

2011-01-09T21:09:00.001+01:00

I have just read Elizabeth I and Foreign Policy, 1558-1603 by Susan Doran on Kindle for IPad. And I can really recommend this book. It is full of information and still easy to read. It is not really an general interest book but it gives an insight of what a difficult reality that Elizabeth I of England had to negotiate.

For more reviews from my travels, see www.operaduetstravel.com

Reading: For a Queen's Love by Jean Plaidy

2011-01-09T16:18:00.001+01:00

I have read For a Queen's Love: The Stories of the Royal Wives of Philip II (A Novel of the Tudors) on my Ipad. I used Kindle for IPad, it was a great reading experience. But unfortunately for me this is a novel. It is a historical novel, an enjoyable read but one can not trust it to be true. Or rather it is not completely true. Had I not been reading true history about Philip II of Spain and of Elizabeth I of England I would have believe everything.

I bought the book from Amazon Kindle Shop where I could not see the year this book was written and in my haste I did not note that it was fiction.

From wikipedia: Eleanor Hibbert (1 September 1906 – 18 January 1993) was a British author who wrote under various pen names. Her best-known pseudonyms were Jean Plaidy, Victoria Holt, and Philippa Carr; she also wrote under the names Eleanor Burford, Elbur Ford, Kathleen Kellow, Anne Percival, and Ellalice Tate. By the time of her death, she had sold over 100 million books.... For a Queen's Love (March 2, 2010, ISBN 0307346226) previously published as The Spanish Bridegroom (1954).

An enjoyable read but not to trust completely on Elizabeth I, Don Carlos, Elisabeth of Valois, Catherine de Medici.

For more reviews from my travels, see www.operaduetstravel.com

2011 began with a dentist appointment and hospital treatment

2011-01-07T14:59:00.001+01:00

The Holidays are Over. And the pains start up again. I had not only had eczema and pains in hands and shoulders when the eczema went away but a tooth ache.

Then on Sunday January 2nd when I was finally back home my PAIN started an UP tour and made it almost impossible to sleep. I went to work, Tired and with Tooth ACHE all over. My head was not really ready to any work on the PC. Before I went to work I had gone to the dentist to ask for an appointment, and I got one for Tuesday. When at work my co-worker said I should try to get an appointment for today (that was Monday). No luck in the phone. But then I went to my dentist, sat there, cried there, needed pain-killers and I got my appointment. My dentist said it was good that I insisted to get treatment the same day. They are so good and kind there so they understood my crying as insisting to get treatment.

It was good to have a second appointment for Tuesday because that was needed. Thus came the first work week in 2011

Monday 3rd: Work 1 hr, Dentist (waiting 30 minutes, treatment 1hr)
Painful night even with painkillers

Tuesday 4rd: Off from work because of pain, Dentist (2hrs in the "chair")
A littles less painful night but still with painkillers (I felt like a zombie with a numbing pain)

Wednesday 5th: Early up. Taking the bus to hospital for Remicade treatment for my Morbus Crohn. I am better, but the painkillers that I have used still makes me a little tired, sleepy.

Thursday 6th: I have breakfast at the hotel because today I am also going to the hospital and I was tired to take the bus "att og fram". Today I have to talk to a surgeon, a doctor and a nurse about gall bladder operation, and naturally have another blood test just like the day the before. I say yes to an operation, because it seemed to be the smartest option.

Friday 7th: At work. I am normal. I am still a bit tired, but NORMAL.

So now I am ready for OPERA Adventures!!!!!!!!!!111

For more reviews from my travels, see www.operaduetstravel.com

A Happy New Year from the opera - 30.12.2010

2010-12-31T19:05:00.001+01:00

Almost New Year's Eve in the Opera. Tosca is one of my favorite operas, and Maria Guleghina is one of my favorite opera singers. I sat in 3rd Balcony almost in the middle. I could see the whole stage all the time.

Paul Curran had the Regie for this Tosca. It was a traditional production with much attention to the details. Puccini's music had already decided much of the timing and the action. Naturally it is hard to get all the details right in every performance. But for the first time I noticed that Puccini had put Angelotti's heavy breathing when he finally was in the church and could relax, when he composed it. It is unfortunately that many directors seem to overlook these clues in the music when they make their "regie". What we now often call Regie-Theater is neither Regie nor Theater, it is a director creating his own play while ignoring most of what would make the opera or theater a living breathing truth appearing before our eyes. So this Tosca production proves that a tradional setting of an opera, where one put it in context and in its own time need not be Old and Boring.

Attention to detail made Tosca real and interesting. From the beginning when Angelotti came in exhausted and till Tosca leapt to her death it was all believable and interesting. And the music was excellent, singers, orchestra was all together to make it opera-magic. Not one person on stage was un-real. But only in the movies could you make sure that everything would happen on the right Puccini note. This was real theater, no editing of false moves was possible. I think it must be absolutely impossible in a theater to close the door at the precise time at the cantata in act 2. Impossible! But it was so close that I would say that the impossible was achieved.

It is seldom one really feel that Cavaradossi and the Sagrestano is really preparing the colors when Cavaradossi sings "Recondita armonia" but of course here one knows it. Miroslav Dvorsky was a Cavaradossi who was really a painter, a revolutionary, a lover of Tosca, a smart man. The interaction of Cavaradossi with Angelotti was also interesting with Angelotti recognizing Cavaradossi and hugs him, but the painter does not recognized him and rejects him to the floor. So real... But then Cavaradossi understands that it is Angelotti who has escaped prison and promise to help him even it can mean his death, which in the end it does.

Mario Cavaradossi still has his head with him even if Angelotti looses his wits and his bags of women's cloths. He picks the bag up but misses the fan. Again something we seldom see so clearly as in this production. Tosca comes. Maria Guleghina is Tosca and one does fall for her spell. Paul Curran had made his choices in how to portray the relation of Cavaradossi and Tosca. I might disagree about making Tosca a little too fickle but when it works and really has foundation in the opera, then it can be true, too. This production is the first production I have seen where Tosca not only comes with flowers but also lays jewels at the Madonna. Attention to details is everywhere in this production. How happy I am to see a Tosca performance where the timing of when Tosca notices la Marchesa Attavanti is the Maddalena that Cavaradossi is painting, is correct.
It was a lovely love duet between Miroslav Dvorsky and Maria Guleghina.

The situation that Angelotti is in, is grave. It is serious business, and when Tosca has left and Angelotti and Cavaradossi meets again, Cavaradossi is taking care of things not like it is only theater but as a life and death situation. They leave. The Sagrestano comes in with a lot of people. And there is a Baccano in chiesa. As a lively scene play out with children, priests, nuns, men and women, the stage is prepared for the Te Deum with women taking the paper bits that Tosca teared up the Cavaradossi drawing of Attavanti, and priests takes away the painter's things. Everything that happens on the stage seem natural and organic... Then Scarpia and his minions appears. It is true as the opera says that this Scapia is feared by Rome's inhabitants. Even the children knows that this is a dangerous man. His minions is also recognized as unfriendly and to be feared. They are all relieved to be allowed to go. But the poor Sagrestano must stay. When Scarpia seem to forget him for a moment, he tries to escape, but the Scarpia's minion's punished the Sagrestano with violence in a corner of the church. Scarpia care not for him. Then Tosca comes in looking for Cavaradossi and the Sagrestano mocks her and is seized by Scarpia's men and pulled away. Scarpia stalks her, pretending to want to offer her Holy Water. Scarpia had planned this since he understood that Cavaradossi, Tosca's lover, was involved in the Angelotti affair. Tosca's jealousy was roused by Attavanti's fan that Scarpia supposedly found with the painter's things. When Tosca leaves Scarpia arrange for 3 spies and one vehicle to follow Tosca. The Te Deum is in progress, an impressive affair. This Scarpia leaves then by almost crashing the whole procession.

Act 2. The best Vissi d'arte ever.

Act 3. A wonderful E lucevan le stelle and a perfect Love Duet by Miroslav Dvorsky and Maria Guleghina.

What can I say? It was perfect.

For more reviews from my travels, see www.operaduetstravel.com

A Happy Birthday in the opera with Maria Guleghina

2010-12-29T17:23:00.003+01:00

My Christmas Holiday started with a 7 hours long ride by bus to Oslo. Unfortunately the bus was overheating and I was stuck near the oven. It was too hot to sleep and I could not move because the bus was full. When I finally was in Oslo I was so eager to get out that I promptly forgot my mobile phone. It was near-disaster but luckily the bus was still at the terminal so I got my phone back and could take next bus home to my parents. When I texted my mother to say that she did not need to meet me, I would take a taxi from the train station because the wheels of my luggage did not work, she mis understood it. My mother thought that I needed to take taxi all the way home from Oslo. It was my fault, my text message was confusing, and the wheels was just frozen so after the ride from Oslo and home they worked. Still, I did have too much luggage and it was good to just sit in a taxi and relax instead of struggeling with all my bags and luggage.

I was finally home. It was Wednesday before Christmas. Everything should be tip top. 7 hours near the hot oven in a crowded bus and my eczema flaired up. It was everywhere. Later I got pain where my eczema had been. Worst was the pain in my hands and shoulders. It began to be doubtful if I would go to Oslo to see Maria Guleghina as Tosca in Oslo for my Birthday.

So Little Christmas Eve, Christmas Eve and Christmas Day could have been better. With good food and iPad everything feels brighter. 2nd Christmas Day it was hardly better. But finally on Monday the 27th I felt normal. Hope for my Birthday shone. And then finally it was the 28th and I was back in Oslo. So many people everywhere...

I had thought to shop something but I decided to go straight to the opera. This time it was not too cold in Oslo. Both Greer Grimsley (Scarpia) and Miroslav Dvorsky (Cavaradossi) seemed to have been affected by the weather but Maria Guleghina (Tosca) was as her usual self. I was sitting on 3rd balcony on the right side. I could see more of the stage than on December 19 when I sat on Parkett right. From the beginning I could hear that Miroslav Dvorsky was not in his best form but that did but that did not hinder him from singing a fine Recondita armonia and an exceptional E lucevan le stelle. Only in the last duet it happened he lost his voice painfully. Luckily at his side a great collegue, Maria Guleghina who grasped his hands and comforted the tenor with her presence and her big voice and as a miracle the tenor found his voice back and that made the last duet even more moving. Tenor and soprano make it part of the opera. It was a happy opera night for Maria Guleghina who sang one of he finest Vissi d'arte. Maria Guleghina's interpretation of Tosca is always something to admire. She put her heart and soul into every part she sings. At this moment it is her Tosca and her Abigaille that I most admire.

After the opera I found the stage entrance and I went in to wait for my idol. I was alone, people left the opera house and there she was, the Diva with her beautiful assistant. Maria Guleghina and I are friends on Facebook but I never thought the Diva would look at me and say "it is your birthday, isn't it?". And then she sang me Happy Birthday in a natural, un-operatic way. And her assistant took a photo of me with Maria on my Birthday. O lucky day!

If I did not have to change my stoma in the interval of act 2+3 and again when I was home before midnight everything would have been perfect. But who cares, I met Maria, and she knows me, yeah, yeah, yeah.

Hurrah for me and la Guleghina!!
For more reviews from my travels, see www.operaduetstravel.com