Holiday week. Don Carlo in London 2017-05-19

So my Opera Holiday Week was ending with a climax. What can go wrong with Don Carlo, my favorite opera, in my favorite production in one of the best opera houses in the world?

First and formost, never assume that nothing can go wrong. Manage that and you are good and ready to go.

TRAVEL:

I was travelling to London via Oslo from Milano Airport. What idiocy was this and who is to blame? I was, naturally, to blame for that, I was sick and could not travel to another place but I could for a small amount of money change that to a travel from Milano to London. Unforfunately with Norwegian Air it meant going via Oslo.

Since I was Genova it meant the plane from Milano could not be an early flight because I needed to able to travel from Genova to Milano Malpensa Airport. I really hate waking up early but I could manage travel from Genova Piazza Principe to Milano Centrale 08.18-0955. Then it was off to Malpensa Aeroporto with Trenord 1025-1123. Then I had time to get to gate in time of my flight to Oslo 1355-1635. Finding a place to eat a meal at Oslo Gardermoen airport, and then my flight to London Gatwick airport 1845-2005.

And so I arrive at Gatwick airport and I am trying to get the best idea of how to get to my hotel, Strand Palace Hotel. Slightly confused but eventually I manage to buy a ticket from a train to London. The train trip was relaxing. It was dark outside and raining. In the end I ended of at what was that day the nearest train station/metro station to my hotel. I think I took another train/metro station to get there. It was raining heavily and then I took a taxi to avid more trains and walking in this rain. Still I ended up being totally soaked when I sat down in the taxi. It took much longer to get to my hotel because of the crazy traffic. So it was 2200 or so when I finally walked into this grand hotel. When I came to my room I suddenly remember that in London the hotel rooms are small, SMALL. Because I was so late I had no other real choice but McDonalds so there was no festive mood that day. AND the day was May 18th, 2017 and it was downer.

May 19th, 2017 Opera day.

It was also a cloudy, cold and rainy day. I had been in Bonn and Genova and it had been hot. I was now almost freezing. I was getting "dinner" at Pizza Hut. London is really boring when it is mostly raining. In between finding something to eat, I was tracking the paths between the hotel and the opera house, and hotel and McDonalds, hotel and Pizza Hut, hotel and some shops to buy Pepsi Max or Cola light and some food. Then show time, opera time.

2017-05-19 Don Carlo (Giuseppe Verdi), Royal Opera House (London)

Don Carlo - Bryan Hymel
Rodrigo - Simone Piazzola
Elizabeth of Valois - Kristin Lewis
Princess Eboli - Ekaterina Semenchuk
King Philip II - Ildar Abdrazakov
Grand Inquisitor - Paata Burchuladze
Frate - Andrea Mastroni
Voice from Heaven - Francesca Chiejina
Tebaldo - Emily Edmonds
Count of Lerma - David Junghoon Kim

Bertrand de Billy, conductor
Orchestra and Chorus of the Royal Opera House

Director - Nicholas Hytner
Designer - Bob Crowley
Lighting designer - Mark Henderson
Movement - Scarlett Mackmin
Fight director - Terry King

Co-production with
Norwegian National Opera and the Metropolitan Opera, New York

I love the production of Nicholas Hytner and I have enjoyed the DVD from The Royal Opera House (London) with Rolando Villazon and the video from Metropolian Opera (New York) from Met Opera on Demand (app on Ipad) with Robert Alagna as Don Carlo. I will always regret not going to Oslo and see the production with the Norwegian National Opera and Ballett. So I was really excited to see it in the The Royal Opera House (London). So, I was disappointed.

In 2017 it was still a great production and there was many great singers as Don Carlo really is an opera that need great singers. I think Jonas Kauffmann was originally to sing Don Carlo, and another soprano was to sing Elisabeth de Valois. I know that Kristin Lewis can be a really great Elisabeth because I have experienced her live in theater. Bryan Hymel was new for me and even Kauffmann was intended to sing at first I was still open to Bryan Hymel.

Don Carlo does not work if the singer is not on form. From both Don Carlo, Bryan Hymel, and Elisabeth, Kristin Lewis, it was a weak performance on May 19, 2017, that was my impression. It was cold and it rained heavily in London so I think they was under the weather. I believe that had I been there on another day it could have been spectacular. The opera really suffer from the main people, Don Carlo and Elisabeth, being not their best.

We had Ildar Abdrazakov as King Filip, he was great as always. As Rodrigo of Posa we had the wonderful Simone Piazzola. Ekaterina Semenchuk was the enchanting Princess of Eboli. We even had Paata Burchuladze as the Grand Inquisitor. And last we had Andrea Mastroni as Frate. A great cast, but Don Carlo and Elisabeth had already sunk the boat.

It should have been the highlight of my opera holiday week, but it was too rainy and dark and then the opera did not light up the mood. I loved my hotel though. Strand Palace Hotel!! Small hotel room but lovely staff. 

No blunder even with Londons weird time zone. The British, always so different then the normal Europe.

Saturday May 20th, 2017. Home trip.

Check out at Strand Palace Hotel 1200. Then travel home 1535 (Heathrow, London time), arrived 1845 (Oslo, Normal time). Eating in Oslo Gardermoen Airport and waiting, waiting for 2235 when the bus will travel north and west to arrive home on Sunday May 21st 0530. Normality resumed.

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

I love Carmen and Carmen loves me (not?)

Bizet: 25 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, 2012-12-15, 2013-02-02, 2013-09-16, 2014-05-01, 2014-10-25, 2015-03-28, 2015-07-20

1st Carmen was Guerilla-Carmen (1985).
2nd Carmen was also performed in Oslo (1991).
3rd Carmen still performed in Norway, but this time in Bergen (1992).
4th Carmen was in Zurich and I was disappointed that Agnes Baltsa did not sing (1998).
5th Carmen was in Berlin and with the stupendous Agnes Baltsa. I also enjoyed Alberto Cupido as Don Jose (2000).
6th Carmen was in Zurich, this time with Agnes Baltsa and Gösta Winbergh as Carmen and Don José. Loved it partly, but loved Berlin more (2000).
7th Carmen and with Baltsa and Cupido together this time in Helsinki, Finland. Bravo!!! (2002)
8th Carmen was in Zurich but with a new production so I left for Vienna as quickly as I could (2002).
9th & 10th Carmen was in Vienna with Agnes Baltsa and Richard with Anja Harteros as Micaela. Wonderful (2002).
11th Carmen was also in Vienna with Agnes Baltsa and Fabio Armiliato. Fabulous (2002).
12th Carmen still in Vienna but this time with Baltsa and Julian Gavin. Krassimira Stoyanova was Micaela (2003)
13th Carmen was the same as 12th except with Roxana Briban as Micaela (2003).
14th Carmen was in Verona and it was magic with Jose Cura and Marina Domashenko (2003).
15th Carmen and we are in Oslo but Carmen is still Marina Domashenko (2003)
16th Carmen with Agnes Baltsa and Julian in Berlin (2004)
17th Carmen was in Karlsruhe with Denyce Graves and Jose Cura (2008)
18th Carmen was in Munich with Julia Gertseva and Jose Cura (2009).
19th Carmen with Jose Cura and Anita Rachvelishvili in Berlin. This time in another production, but Berlin still produces wonderful performances (2012)
20th Carmen was in Munich with Nancy Fabiola Herrera and Thiago Arancam. She is great, he is meh (2013).
21st Carmen was in Vienna with Roberto Alagna and Rinat Shaham (2013)
22nd Carmen was in Barcelona with Sergi Gimenez Carreras. This was Salon Opera at its finest (2014).
23rd Carmen was in Madrid with Maria Jose Montiel and sung in Spanish as "Zarzuela" (2014).
24th Carmen was in Milano with Elena Garanca and Jose Cura. Wonderful is a word! (2015).
25th Carmen in Barcelona with Sergi Gimenez Carreras and promised more but we did get some real Flamenco and some cuts (2015).

I love Carmen!!

The Movie was great!!!



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

Outdoor opera in Bergen - Cavalleria / Villi

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

Who does Abigaille think she is?

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

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

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