OperaDuetsTravel Year 2011

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)

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

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

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!

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

Amazing grace

About Amazing Grace.



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

Adeste fideles

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

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??

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

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

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

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

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

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 Christmas 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

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

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

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

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

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