Season 2010/2011 Wiener Staatsoper

Wiener Staatsoper / Vienna State Opera

JOSE CURA, tenor

November 2010
- 27, 29, Manon Lescaut (Puccini), Vienna (Staatsoper)
December 2010
- 2, 5, Manon Lescaut (Puccini), Vienna (Staatsoper)
June 2011
- 21, 25, 29, Cavalleria Rusticana (Mascagni), Vienna (Staatsoper)
- 21, 25, 29, Pagliacci (Leoncavallo), Vienna (Staatsoper)

AGNES BALTSA, mezzo soprano

March 2011
- 24, 27, 30, Elektra (Richard Strauss), Vienna (Staatsoper)
April 2011
- 4, Elektra (Richard Strauss), Vienna (Staatsoper)
May 2011
- 9, 12, 15, 19, 22, Jenufa (Leos Janacek), Vienna (Staatsoper)



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

Do you miss some of my Cura photos in the photo gallery?

I have just changed the Jose Cura Photo Gallery page. Now it only has 20 photos. My old page with 30 photos still exists for the moment but has been relocated.

So, what do you think: did I chose the best photos?

I like the new page even more than expected. But it will be tougher to choose from here on.

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

Sweet-sour from Zurich: Jose Cura triumphs as Rodolfo in La Boheme

March 20, 2010
Mini-review: Adriana Damato comes into the right Mimi in scene 3+4. Jose Cura is convincing as Rodolfo all the time. So it is sweet and sour.

Travel: I did not expect to fly to Oslo but after looking at the many closed roads I decided to do that. So I had to have a hotel room near the airport, Radisson Blu. It was great. The room was great, the bed and it even had a bath-tub. I did not bath, but the bathroom was also great. My bed was wonderful.

Flight: Soon it was breakfast time. And time for my flight with KLM via Amsterdam to Zurich. I enjoyed my flight to Amsterdam and liked Schiphol airport. The gate personnel seemed to be uninterested in the getting the people boarded in the plane. They just chatted with each other when we were already standing in line for boarding since the monitor was blinking in read letters BOARDING. No information that it will take some more minutes and they did not even look out at the plane. It was rude. And naturally my mood was not a happy mood when we finally was boarded. The people on the plane was nice but it did not really make me in a KLM-friendly mood.

Food and drink was served on both flights. That was good. After 5,5 hours travel with Schiphol airport included, finally in Zurich Airport 1530. There I noticed that my hotel in Zurich was not so ideal so I tried to use www.hrs.de on my mobile and it looked great until I tried to book my hotel. So then I phoned HRS and got a storno on the other hotel and booked Hotel Europe. Hotel Europe was perfect even though my room only had a shower and no bathtub, but more important was that it is close to the opera house. I took the train to Zurich HB, and then tram to the Opera House.

Hotel: 1700 and I was in my hotel room. Already I had a blister. Shoes are important and I must have chosen the wrong ones. I relaxed a bit and listened to my IPOD. Since I had not listened to South Pacific with Jose Carreras and Kiri Te Kanawa in 3 months that was up in my playing list called All not just 3 months. When Finale Ultimo was started to play I suddenly thought I have to eat and it was just 1 hr until opera time. I found an Asian food restaurant near Stadelhofen train station. Then I ordered and got my Poulet Süss-Sauer, it was the most delicious chicken meat, wonderful rice and the sauce was really more sour than sweet, the pineapple bits was the sweet taste. But it was too much for me even though it looked still as it was calling my name.

Opera: Lots of JCx friends there. It did not look as it was many of us in the beginning but then I started to see friends all over the house. I was not sure if I would enjoy this production but I really. It was a modern La Boheme but not in a way that would make the story improbable. Jose Cura as Rodolfo was laying on a sofa. He looked larger than life and when Gabriel Bermudez came in, he too looked larger than life. But I was on row 2 so maybe that why all looked so big. Still Jose Cura and Gabriel Bermudez are both muscle men. Andreas Hörl was Colline. He is a tall man with a sweet bass voice. Cheyne Davidson was a solid Schaunard.

Then came the disappointment. Adriana Damato, who I last saw as a perfect Lina in Verdi's Stiffelio, came in as a too solid Mimi. Not only was her Mimi to solid and healthy looking (or even heavy) but her acting was like wood and not the kind Puccini needs. Her singing was good but she really needs to get her acting skills in order. It also should not be obvious to the viewers the strain singing gives. After the very realistic acting from the boys suddenly old-school opera. Jose Cura created the magic with his singing and reacting to his Mimi and of course Adriana Damato rose to her best with him.
Highlights: The duet Questo mar rosso (Cura/Bermudez), Che gelida manina (Jose Cura) and O soave fanciulla (Cura/Damato). Adriana Damato's singing Mimi's aria was great and not so great at the same time.

Scene 2: Now, finally Adriana Damato is Mimi as good as anyone. Christine Kohl is Musetta and sings her aria with flair. I liked the staging of the scene, unconventional but it works. This production really works.

Highlight: Quando me'n vo (Christine Kohl)

Scene 3: Again the production worked it magic. Adriana Damato, Gabriel Bermudez, Jose Cura, Christine Kohl makes this a musical highlight. Acting and singing is great.

Highlights: duets and quartet

Scene 4: Loved it. I was worried that Adriana Damato would not be acting well, but she was superb. Jose Cura was so immersed in his character that he had a hard time trying to smile at the curtain call, he had really experienced Mimi's death as reality.

Highlight: Adriana Damato's and Jose Cura's duet Sono andati. Normally Colline's aria Vecchio zimarra is a highlight but it was not so for me.

It was a great role debut for both Jose Cura and Gabriel Bermudez as Rodolfo and Marcello. It was worth going to Zurich. Jose Cura was fantastic as Rodolfo. In the end I must say I was not too happy with the conductor, Massimo Zanetti. He had a reading of Che gelida manina that was really slow, I think.

After the performance we all went to the backstage and waited. When Jose Cura came he sat down so that we could take photo, talk to him and get autographs. It took a long time for Cura till he finally could get out and have his dinner. I also got my night food, this time from McDonald's.

Hotel / Flight: Another night with light sleep. Up 0630. 0712 S16 to Airport from Stadelhofen train station (5 minutes walk from the hotel). Then I had my breakfast at McDonald's in the Airport, this time chicken burger. KLM this time too. Amsterdam Airport Schiphol is OK, better gate personnel this time. First flight 1010 and landed in Oslo 1540. 50 minutes flight home. Then the airport bus and a walk so I was home 1900. Tired.

Photos: www.operaduetsphotos.com/Boheme/2010_0320.html

5 new photos of Jose Cura. More Cura photos: www.operaduetsphotos.com/3stars/Cura.html




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

13. Josep Carreras, tenor

My photo of Josep Carreras in Vienna 2004-02-28

I have seen him as
Don José (act 4) 2004-02-27
Jean (Hérodiade) 1995-09-01
Loris Ipanoff 1998-10-25
Samson 1996-04-06
Sly 1998-05-23, 2000-06-13, 2000-06-16, 2004-02-27 (act 3)

for the complete list, click here

LINKS to more information about this artist (agency, schedule etc.):
OperaBase


Personal/other websites
 http://www.jcarreras.com (Unofficial site)
 http://www.josepcarreras.com (Official site)
Schedule

First time I saw Carreras live was in Oslo, Norway 1990-04-19

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

March: soon off to Zurich

Suddenly I am here again with just a few days until my travel to Zurich. Some times I am excited but often I am just tired at the thought of traveling. It does not help that I am traveling with KLM. I have bad memories from a KLM flight and it makes the flying time double the time than a direct plane would have given me. Amsterdam Schiphol airport I am not looking forward to you.

I love my favorite tenor JOSE CURA but I don't know about LA BOHEME. If I am unlucky I will just be bored with it. But I am excited to see what Cura will do with the role of Rodolfo. And I still think Adriana Damato will be exciting as Mimi.

Going back to my OperaDuets Travel website I see I have seen LA BOHEME 4 times. This year I will see it 2 more times. 1989-01-23 La Boheme (Puccini), Den Norske Opera (Oslo) with Solveig Kringlebotn (Kringelborn) as Mimi and José Antonio Sempere as Rodolfo. 1990-12-29 La Boheme (Puccini), Den Norske Opera (Oslo) with Katia Ricciarelli and Richard Greaer . 2007-06-30 La Boheme (Puccini), Arena di Verona with Marcello Giordani and Tamar Iveri. 2007-09-01 La Boheme (G. Puccini), Den Norske Opera (Oslo) with Janne Berglund and Luca Canonici.

On LA BOHEME that I would have loved to see was when Jose Carreras sang Rodolfo in Oslo February 1986. But I did get Katia Ricciarelli as Mimi in 1990. Sona Ghazarian sang Mimi with Carreras in 1986 when Ricciarelli had to be replaced so 1990 was the first time Ricciarelli was in Den Norske Opera in Oslo, Norway.

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

The authorative voice vs. bitter

I just googled the word authorative when I came across an adopting blog being curious I read on. This person did not like so many bitter histories of adoption since she herself had felt no pressure to put her baby to adoption. Her choice of words catched my eye, bitter. Such a little word and seemingly innocent, too. But by calling other stories of adoption bitter she was at the same time making the negative stories seem less true. It was just the stories of bitter persons. Her story was the authorative one, a happy adoption story by a happy person. But those called bitter they stories are not made up people lived through an unhappy adoption story being coerced to adopting a child.

It was interesting to read the comments. It was much fighting over reality. But the truth is that happy and unhappy stories can happen side by side. The morality of calling one own story the only authorative story is not good. Unfortunately too many unhappy stories happen because adoption agencies want to make money on babies and many wants to adopt a cute baby. All is not well just because it was worse 20-30 years ago.

Why is this here in this blog? I am not adopted or have anything about this to do. But the word bitter is often used to make other people's feeling or even knowledge less true. This is the time of "thruthiness" as coined by Colbert in the Colbert report. But the truth is not a feeling, it is a fact. Sometimes feelings are facts like when a person feels pressured into something, to call that just a feeling is to negate the reality of that person because even if you just wanted to tell a person some facts it can feel and therefore be pressure for that person. To say to a human being YOU CANNOT FEEL THIS WAY is to disrespect that feeling. I see this often in comments on the net and in the insensitive excuse of politicians and others, SORRY THAT YOU FEEL THAT WAY. Yep, it should have been sorry I hurt your feelings.

I hope I will know the difference when I go wrong.

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

Puccini: La Boheme - Ricciarelli, Carreras

Giacomo Puccini (1858 - 1924)
La Boheme

MIMI - Katia Ricciarelli
RODOLFO - Jose Carreras
MARCELLO - Ingvar Wixell
SCHAUNARD - Håkan Hagegård
COLLINE - Robert Lloyd
MUSETTA - Ashley Putnam
PARPIGNOL - Francis Egerton
BENOIT - Giovanni de Angelis
ALCINDORO - William Elvin
SERGENTE - Richard Hazell
DOGANIERE - David Whelan

Orchestra and Chorus of the Royal Opera House,
Covent Garden
SIR COLIN DAVIS

Recorded: London 2/1979
Total playing time 106:04
2CD
Philips 416 492-2 Box with booklet containing libretto etc.

MY COMMENT: Simply the best. Carreras and Ricciarelli in great form.


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

Bernstein: West Side Story - Te Kanawa, Carreras

DG 415 253-2
Deutsche Grammophon
2CD

Leonard Bernstein conducts West Side Story (1985)
MARIA - Kiri Te Kanawa
TONY - Jose Carreras
ANITA - Tatiana Troyanos
RIFF - Kurt Ollmann
and Marilyn Horn sings "Somewhere"
ROSALIA - Louise Edeiken
FRANCISCA -Angelina Reaux
CONSUELA - Stella Zambalis
ACTION - David Livingston
DIESEL - Marty Nelson
BABY JOHN - Stephen Bogardus
A-RAB - Peter Thom
SNOWBOY - Todd Lester
BERNARDO - Richard Harrell

dialogue
Nina Bernstein (Maria), Alexander Bernstein (Tony)

Symphonic Suite from the film "On the Waterfront" (1982)
Israel Philharmonic Orchestra
conducted by Leonard Bernstein

MY COMMENT: Fantastic, except the dialogue.

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

Bizet: Carmen - Baltsa, Carreras, Ricciarelli, Van Dam

GEORGES BIZET
Carmen
(Gesamtaufnahme · Complete
Intégrale · Integrale)
Baltsa · Carreras
Ricciarelli · van Dam
Chœurs de l'Opéra de Paris
Berliner Philharmoniker
Herbert von Karajan
CD |D|D|D| 000289 410 0882 4 |G|H 3|
3 Compact Discs
Int. Release 05 Sep. 1983
3 CDs / Download

CARMEN - Agnes Baltsa
DON JOSE - Jose Carreras
ESCAMILLO - Jose van Dam
MICAELA - Katia Ricciarelli
FRANSQUITA - Christine Barbaux
MERCEDES - Jane Berbie
ZUNIGA - Alexander Malta
MORALES - Mikael Melbye
LE DANCAIRE - Gino Quilico
LE REMENDADO - Heinz Zednik
ANDRES - Michel Martinpouille
UNE MARCHANDE - Anne-Marie Tostain
UN BOHEMIEN - Alain Pilard

dialogue
Maria Laborit (Carmen), Jean Barney (Don Jose), Tony Jacquot (Escamillo/Morales), Daniele Ajoret (Micaela), Isabel Karajan (Fraquita), Claudine Foster (Mercedes), Jean-Noel Sissia (Zuniga), Alain Hitier (Le Dancaire/Un soldat), Robert Manuel (Lillas Pastia/Le Guide), David Clair (Andres)


CD 1: Bizet: Carmen

Georges Bizet (1838 - 1875)

Carmen
1
Prélude[3:35]
Berliner Philharmoniker, Herbert von Karajan


Act 1
2
Introduction: "Sur la place chacun passe"[2:44]
Mikael Melbye, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

3
Que chercez-vous, la belle?[3:40]
Mikael Melbye, Katia Ricciarelli, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

4
Marche et Choeur des gamins: "Avec la garde montante"[2:25]
Berliner Philharmoniker, Herbert von Karajan, Schöneberger Sängerknaben, Walter Hagen-Groll

5
"Halte! Repos!" / "Une jolie fille est venue"[0:53]
Jean-Noel Sissia, Tony Jacquot, Jean Barney, David Clair

6
Et la garde descendante[1:24]
Berliner Philharmoniker, Herbert von Karajan, Schöneberger Sängerknaben, Walter Hagen-Groll

7
Dites-moi, brigadier[0:36]
Jean-Noel Sissia, Jean Barney

8
"La cloche a sonné"[2:25]


9
Dans l'air, nous suivons des yeux la fumée[2:51]


10
Mais nous ne voyons pas la Carmencita?[0:47]
Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

11
"Quand je vous aimerai?"/Havanaise: "L'amour est un oiseau rebelle"[5:01]
Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

12
Scène: "Carmen, sur tes pas nous nous pressons tous!"[2:47]
Jean Barney, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

13
"Monsieur le brigadier?" / Duo:"Parle-moi de ma mère!"[1:43]
Katia Ricciarelli, José Carreras, Jean Barney, Danièle Ajoret, Berliner Philharmoniker, Herbert von Karajan

14
Votre mère avec moi sortait de la chapelle[2:06]
Katia Ricciarelli, José Carreras, Berliner Philharmoniker, Herbert von Karajan

15
Ma Mère, je la vois![2:40]
José Carreras, Katia Ricciarelli, Berliner Philharmoniker, Herbert von Karajan

16
Tu la verras! Eh bien![4:51]
José Carreras, Katia Ricciarelli, Jean Barney, Danièle Ajoret, Berliner Philharmoniker, Herbert von Karajan

17
Choeur: "Au secours!"[4:01]
Alexander Malta, Jean-Noel Sissia, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

18
Ah! enfin! un peu de silence![0:55]
Jean-Noel Sissia, Jean Barney, Maria Laborit

19
Chanson et Mélodrame: "Avez-vous quelque chose à répondre?..." "Tra la la la ...."[3:38]
Jean-Noel Sissia, Agnes Baltsa, Maria Laborit, Alain Hitier, Jean Barney, Berliner Philharmoniker, Herbert von Karajan

20
Vous êtes si jeune, seigneur officier[1:18]
Maria Laborit, Jean Barney

21
"Près des remparts de Séville"[4:47]
Agnes Baltsa, José Carreras, Berliner Philharmoniker, Herbert von Karajan

22
Final: "Le lieutenant! Prenez garde..."[2:16]
Jean Barney, Jean-Noel Sissia, Maria Laborit

Total Playing Time
[57:23]

CD 2: Bizet: Carmen

Act 1
1
Entr'acte[1:36]
Berliner Philharmoniker, Herbert von Karajan


Act 2
2
Chanson: "Les tringles des sistres tintaient"[4:57]
Agnes Baltsa, Christine Barbaux, Jane Berbié, Berliner Philharmoniker, Herbert von Karajan

3
Vous avez quelque chose à nous dire...?[1:20]
Jean-Noel Sissia, Robert Manuel, David Clair, Isabelle Karajan, Maria Laborit, Claudine Coster

4
Choeur et Ensemble: "Vivat! vivat le Toréro!"[1:38]
Jean-Noel Sissia, Alexander Malta, Claudine Coster, Jane Berbié, David Clair, Michel Marinpouille, Isabelle Karajan, Christine Barbaux, Robert Manuel, Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

5
Couplets: "Votre toast, je peux vous le rendre"[5:24]
José van Dam, Christine Barbaux, Jane Berbié, Agnes Baltsa, Michel Marinpouille, Alexander Malta, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

6
Messieurs les officiers, je vous en supplie[2:52]
Robert Manuel, Jean-Noel Sissia, Tony Jacquot, Maria Laborit, Isabelle Karajan, Claudine Coster, Alain Hitier, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

7
Quintette: "Nous avons en tête une affaire!"[5:15]
Gino Quilico, Christine Barbaux, Jane Berbié, Heinz Zednik, Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan

8
En voilà assez[0:40]
Alain Hitier, Maria Laborit, Isabelle Karajan, Claudine Coster

9
Chanson: "Halte-là! Qui va là?"[1:38]
José Carreras, Claudine Coster, Isabelle Karajan, Alain Hitier, Maria Laborit, Berliner Philharmoniker, Herbert von Karajan

10
Enfin ... Tu as mis le temps![1:20]
Maria Laborit, Jean Barney

11
Duo: "Je vais danser en votre honneur"[5:56]
Agnes Baltsa, José Carreras, Berliner Philharmoniker, Herbert von Karajan

12
"La fleur que tu m'avais jetée"[4:20]
José Carreras, Berliner Philharmoniker, Herbert von Karajan

13
Non, tu ne m'aimes pas![4:05]
Agnes Baltsa, José Carreras, Berliner Philharmoniker, Herbert von Karajan

14
Final: "Holà! Carmen! Holà!"[3:44]
Alexander Malta, José Carreras, Agnes Baltsa, Heinz Zednik, Gino Quilico, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

15
Suis-nous à travers la campagne[1:44]
Christine Barbaux, Jane Berbié, Agnes Baltsa, Gino Quilico, Heinz Zednik, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

16
Entr'acte[2:43]
Berliner Philharmoniker, Herbert von Karajan


Act 3
17
Introduction: "Ecoute, compagnon, écoute!"[4:55]
Christine Barbaux, Jane Berbié, Agnes Baltsa, José Carreras, Gino Quilico, Heinz Zednik, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

18
Carmen, ne me fuis pas...[0:56]
Jean Barney, Maria Laborit

Total Playing Time
[55:03]

CD 3: Bizet: Carmen

Act 3
1
Trio: "Mêlons! Coupons!"[3:32]
Christine Barbaux, Jane Berbié, Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan

2
Carreau! Pique! ...La Mort![3:11]
Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan

3
Parlez encore, parlez[0:49]
Christine Barbaux, Jane Berbié, Agnes Baltsa, Berliner Philharmoniker, Herbert von Karajan

4
"Alerte!!!" - Morceau d'Ensemble: "Quant au douanier, c'est notre affaire!"[4:10]
Alain Hitier, Maria Laborit, Isabelle Karajan, Claudine Coster, Jean Barney, Christine Barbaux, Jane Berbié, Agnes Baltsa, Gino Quilico, Heinz Zednik, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

5
Nous y sommes, petite...[0:49]
Robert Manuel, Danièle Ajoret

6
Air: "Je dis que rien ne m'épouvante"[5:18]
Katia Ricciarelli, Berliner Philharmoniker, Herbert von Karajan

7
Mais .. je ne me trompe pas...[0:45]
Danièle Ajoret, Tony Jacquot, Jean Barney

8
Je suis Escamillo, Toréro de Grenade![5:38]
José van Dam, José Carreras, Berliner Philharmoniker, Herbert von Karajan

9
Final: "Holà! holà! José!"[3:11]
Agnes Baltsa, José van Dam, Gino Quilico, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

10
Halte! quelqu'un est là qui cherche à se cacher! [6:08]
Heinz Zednik, Agnes Baltsa, Gino Quilico, José Carreras, Katia Ricciarelli, Christine Barbaux, Jane Berbié, José van Dam, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

11
Entr'acte [2:10]
Berliner Philharmoniker, Herbert von Karajan

12
Choeur: "A dos cuartos!" [2:22]
Alexander Malta, Anne-Marie Tostain, Michel Marinpouille, Alain Pilard, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

13
"Qu'avez-vous fait de la Carmencita?" - Choeur et Scéne: "Les voici! les voici!"[4:30]
Jean-Noel Sissia, Isabelle Karajan, David Clair, Claudine Coster, Berliner Philharmoniker, Herbert von Karajan, Schöneberger Sängerknaben, Walter Hagen-Groll, Choeur de l'Opéra de Paris, Jean Laforge

14
Si tu m'aimes, Carmen... [3:41]
José van Dam, Agnes Baltsa, Christine Barbaux, Jane Berbié, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

15
Duo final: "C'est toi!" / "C'est moi!" [10:27]
Agnes Baltsa, José Carreras, Berliner Philharmoniker, Herbert von Karajan, Choeur de l'Opéra de Paris, Jean Laforge

Total Playing Time
[56:41]


My Comment: A big sigh: the dialogue by the French actors is ruining it. Especially Maria Laborit as Carmen is as far from Agnes Baltsa's Carmen as can be. The singing is great. But I can enjoy it all because of the dialogue. On my Ipod I have this one but without the dialogue so I enjoy my cut Carmen.

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

Beethoven: MISSA SOLEMNIS - Janowitz, Baltsa, Schreier, Van Dam

Ludwig van Beethoven (1770 - 1827)
MISSA SOLEMNIS, Op. 123

Gundula Janowitz. soprano
Agnes Baltsa, contralto
Peter Schreier, tenor
José Van Dam, bass

Singverein der Gesellschaft der Musikfreunde Wien
Berliner Philharmoniker
HERBERT VON KARAJAN, conductor

EMI cms 7 69346 2 (2cd)

1975 original. 1988 digital remastering

1.Gundula Janowitz / 2. Agnes Baltsa / 3. Peter Schreier / 4. José Van Dam

My comment: I can't believe I waited so long to listen to this work. I love it. It is absolutely beautiful and amazing.
For reviews from my travels, see www.operaduetstravel.com

12. Renato Bruson, baritone

My photo of Renato Bruson in Vienna 2002-09-30

I saw him as
Carlo Gérard 2004-02-13
Nottingham 2002-09-30

Stankar 1997-06-23, 2004-11-19, 2006-03-24, 2006-03-26

LINKS to more information about this artist (agency, schedule etc.):
OperaBase

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

11. Josep Bros, tenor

My photo of Josep Bros in Vienna 2002-09-30

I saw him as
Roberto Devereux 2002-09-30

LINKS to more information about this artist (agency, schedule etc.):
OperaBase
www.josebros.com


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

Andrzej Dobber to sing in place of Placido Domingo

I just got this in my inbox. Placido Domingo is not singing. And Adriana Damato will not sing Amelia. It is sad for me. But I will see Simon Boccanegra for the first time and Ferruccio Furlanetto will be Fiesco, that is good

Dear visitors,

We are writing in regards to the tickets you hold for the FESTTAGE performance of SIMON BOCCANEGRA on March 27 or 30, 2010, with the unfortunate news that Plácido Domingo, who underwent a serious operation this past week, has had to cancel both performances of SIMON BOCCANEGRA due to health reasons. According to his doctors, Domingo will recover completely and recover his characteristic strength but must take a break of at least six weeks.

The Staatsoper Unter den Linden is pleased to announce that Andrzéj Dobber will be assuming the role of Simon Boccanegra for both performances under the direction of Daniel Barenboim and will be singing alongside young soprano Ailyn Perez as well as such other acclaimed vocalists as Ferruccio Fulanetto, Fabio Sartori, Hanno Müller-Brachmann and Alexander Vinogradov. Andrzéj Dobber is among the most eminent performers in his field and well celebrated in the world's largest opera houses. He has achieved acclaim on the stages of the Metropolitan Opera of New York, the Los Angeles Opera, La Scala in Milan and the Staatsoper Unter den Linden in the roles of Giorgio Germont in LA TRAVIATA, Amonasro in AIDA and Scarpia in TOSCA.

Aside from this change, your tickets, of course, remain valid.

We look forward to seeing you there!
Staatsoper Unter den Linden
www.staatsoper-berlin.de

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

10. Roxana Briban, soprano

My photo of Roxana Briban in Vienna 2003-06-30 (her Wiener Staatsoper debut)

I saw her as
Micaëla 2003-06-30

LINKS to more information about this artist (agency, schedule etc.):
OperaBase

Personal/other websites
 http://www.roxanabriban.com

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

Black and white voices

Are there only 2 colors, black and white? There are many colors, although not like in the children's song of Yellow, Red, Black and Brown. And what color is white anyway. The default color is white, or Pink...

But on the inside we are alike? Yes, if we are thinking about the essentials. What are the essentials for all beings? First essential is Survival: food etc. 2nd essentials where we are not only surviving but having a life worth living: Love, Respect. But from there on we are different, different cultures gives different answers to the what the essentials are when we are more than surviving.

So the children's song was right but at the same time wrong.

What does it all have to do with opera, you might ask. First question, the one about color, is the question of racism in the opera world and of portrayals of people of color. The 2nd question is about Regie, understanding the world the protagonists is living in and to give that understand to the audience.


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

Questa o quella Regie

TRADITIONAL: Museum opera. Magnificent scenography and costumes in correct historical time. Suffers often too much idea into the vision and too little time of what happens, the characters reactions to each other and the different situations.

MODERN: Operas are put in another epoch than it belongs. Popular times to put operas: 1st or 2nd world war, the 1920s, 1930s, 1950s, 1970s, and so on, and of course, outer space, Science fiction. Usually without any regards to those parts of the story that cannot just be put in another epoch. The Idea is often that audience is stupid and that opera stories are just stupid stories to be used as background to the theater piece you always wanted to put up but nobody wanted. Opera Houses are different another scandal is always welcome even if the audience should hate it. It is more important to get into the newspapers.

GOOD: The audience can empathize with the main characters, the actions makes sense. One can understand the physical and emotional surroundings of the characters. Etc.

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