Thursday, 5 September 2013

Verdi200: NABUCCO (Premiere La Scala, Milano 1842-03-09) no 3

NABUCODONOSOR
(the title was abbreviated to Nabucco after the first performance)
opera in 4 parts
Libretto by Temistocle Solera
First performance - Scala Theatre - Milan, March 9, 1842

Nabucodonosor, re di Babilona, Baritono
Ismaele, nipote di Sedecia re di Gerusalemme, Tenore
Zaccaria, gran pontefice degli Ebrei, Basso
Abigaille, schiava, creduta figlia primogenita di Nabucodonosor, Soprano
Fenena, figlia di Nabucodonosor, Soprano
Il Gran Sacerdote di Belo, Basso
Abdallo, vecchio ufficiale del re di Babilonia, Tenore
Anna, sorella di Zaccaria, Soprano
Coro, Soldati Babilonesi, Soldati Ebrei, Leviti, Vergini Ebree, Donne Babilonesi, Magi, Grandi del regno di Babilonia, Popolo, ecc.

Nella prima parte la scena fingesi a Gerusalemme, nelle altre a Babilonia.

OperaDuets Travel:
10Nabucco 2002-01-122005-07-012007-06-292007-08-112008-02-222008-07-142008-07-172010-01-302012-05-282013-07-25

Start date: 5 Sep 2013
Found 170 performances of 35 productions, in 35 cities


Arias
SOPRANO
Ben io t'invenni, o fatal scritto! - Salgo già (Abigaille, Act 2 Scene 1)
Su me... morente... esanime... (Abigaille Act 4 Last scene)

MEZZO
Oh dischiuso è il firmamento! (Fenena, Act 4 Scene 3)

TENOR
Che si vuol? (Chorus, Ismaele, Act 2 Scene 4)

BARITONE
Son pur queste mie membra! - Dio di Giuda! - O prodi miei, seguitemi (Nabucco, Act 4 Scene 1+ 2)


Duet
Father/Daughter (Barittone, Soprano)
Donna, chi sei? (Nabucco, Abigaille, Act 3 Scene 3)

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

Tuesday, 3 September 2013

Verdi200: UN GIORNO DI REGNO (Premiere La Scala, Milano 1840-09-05) no 2

Un giorno di regno (Il finto Stanislao) 
comic opera in 2 acts
from the farse Le Faux Stanislas
by Alexandre-Vincent Pineux-Duval
Libretto by Felice Romani
First performance Scala Theatre - Milan, September 5, 1840
2013-02-16 Un Giorno di Regno (Verdi), Operaen i Kristiansund

Belfiore = Lars Eggen
Baron Kelbar = Trond Halstein Moe
Marchesa del Poggio = Itziar Martinez Galdos
Giulietta = Anna Einarsson
La Rocca = Sverre Johan Aal
Edoardo = Kristian Krokslett
Grev Ivrea = Thomas Ruud
Delmonte = Aleksander Mork

Kjell Seim, conductor

Regie - Ronald Rørvik
Scene - Bo-Ruben Hedwall
Lights - Hans-Åke Sjøquist
Costumes - Else Lund
Hair & mask - Maren Togstad
Operaen i Kristiansund

Found 26 performances of 4 productions, in 4 cities
From To
31 Jan 2013 14 Feb 2013 5 Kristiansund Un giorno di regno New production
2 Mar 2013 24 Mar 2013 7 Sarasota King for a Day New production
3 Mar 2013 12 Mar 2013 5 Verona(Teatro) Un giorno di regno
21 Jul 2013  24 Aug 2013   9 Glimmerglass King for a Day


UN GIORNO DI REGNO, OSSIA IL FINTO STANISLAO
Characteristics:
Comic opera in two acts on a libretto by Felice Romani, from Le faux Stanilas by A.V. Pineau-Duval.


Première: Milan, Scala Theatre, September 5th, 1840.

Il Cavaliere di Belfiore, sotto il nome di Stanislao re di Polonia, Baritono
Il Barone di Kelbar,Buffo
La Marchesa del Poggio, giovane vedova, nipote del Barone ed amante del Cavaliere, Soprano
Giulietta di Kelbar, figlia del Barone ed amante di Edoardo di Sanval, Mezzosoprano
Edoardo di Sanval, giovane ufficiale, Tenore
Il Signor La Rocca, tesoriere degli Stati di Bretagna, zio di Edoardo, Buffo
Il Conte Ivrea, comandante di Brest, Tenore
Delmonte, scudiere del finto Stanislao, Basso
Cori e Comparse, Camerieri, cameriere, Vassalli del Barone

La scena è nella vicinanza di Brest nel Castello di Kelbar.
È noto come il giovane Stanislao, re di Polonia, fosse vicino a perdere il trono e la vita; nel momento del maggior pericolo un generoso cavaliere rappresentò le parti del Monarca, il quale, (allontanati in questo modo gli sguardi de' suoi nemici) riuscì a giunger salvo in Varsavia, ove trovò difensori, e la Dieta in suo favore. Su questo semplice fatto venne ordito il presente Melodramma.




ARIAs
Act 1 Cavaliere: Compagnoni di Parigi (baritone)

Act 1 Marchesa del Poggio: Ah, non m'hanno ingannata! - Grave a core innamorato (soprano)
Act 1 Giulietta: Non san quant'io nel petto - Non vo' quel vecchio (mezzo)
Act 2 Marchesa del Poggio: Si mostri a chi l'adora (soprano)

Act 2 Eduardo: Pietoso al lungo pianto - Deh, lasciate a un'alma amante (tenor)

DUETs
Act 1 Barone, Tesoriere: Tesoriere garbatissimo (bass, bass)
Act 1 Barone, Tesoriere: Diletto genero, a voi ne vengo (bass, bass)
Act 2 Barone, Tesoriere: Tutte l'armi si può prendere (bass, bass)

Act 1 Eduardo, Cavaliere: Sire, tremante io vengo - Proverò che degno io sono (tenor, baritone)

Act 2 Marchesa, Cavaliere: Ch'io non posso il ver comprendere? (soprano, baritone)

Act 2 Giulietta, Eduardo: Oh me felice appieno! - Giurai seguirlo in campo (soprano, tenor)

TERZETT
Act 1 Giulietta, Eduardo, Marchesa: Bella speranza invero (soprano, tenor, mezzo)

CD

Verdi: Un giorno di regno ****

José Carreras, Jessye Norman & Fiorenza Cossoto

Royal Philharmonic Orchestra, Lamberto Gardelli


Verdi: Un giorno di regno
1951 studio recording
Renato Capecchi (Chevalier Belfiore), Sesto Bruscantini (Baron de Kelbar), Lina Pagliughi (Marquise del Poggio), Laura Cozzi (Giulietta), Cristiano Dalamangas (Gasparo Antonio della Rocca), Juan Oncina (Edoardo de Sanval), Mario Carlin (Comte Ivrea), Ottavia Plenizio (Delmonte)
Orchestra and Chorus of Radio Italiana, Alfredo Simonetto

Verdi: Un giorno di regno
Lina Pagliughi (Marquise del Poggio), Sesto Bruscantini (Baron de Kelbar), Renato Capecchi (Chevalier Belfiore), Juan Oncina (Edoardo de Sanval), Laura Cozzi (Giulietta), Cristiano Dalamangas (Gasparo Antonio della Rocca), Mario Carlin (Comte Ivrea), Ottavio Plenizio (Delmonte)
RAI Chorus, Milan, RAI Symphony Orchestra, Milan, Alfredo Simonetto
Recorded in 1951

DVD
Verdi: Un giorno di regno
Guido Loconsolo (Il Cavaliere di Belfiore), Andrea Porta (Il Barone di Kelbar), Anna Caterina Antonacci (La Marchesa del Poggio), Alessandra Marianelli (Giulietta di Kelbar), Ivan Magrì (Edoardo di Sanval), Paolo Bordogna (Il Signor la Rocca), Ricardo Mirabelli (Il Conte Ivrea), Seung-Hwa Paek (Delmonte)
Orchestra e Coro del Teatro Regio di Parma, Donato Renzetti
Staged by Pier Luigi Pizzi

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

Sunday, 1 September 2013

Verdi200: OBERTO, Conte de San Bonifacio (Premiere La Scala, Milano 1839-11-17) no 1



OBERTO CONTE DI SAN BONIFACIO
Dramma in due atti su libretto di Temistocle Solera.

Prima:
Milano Teatro alla Scala, 17 novembre 1839.

Cuniza, sorella di Ezzelino da Romano, Mezzosoprano
Riccardo, Conte di Salinguerra, Tenore
Oberto, Conte di San Bonifacio, Basso
Leonora, sua figlia, Soprano
Imelda, confidente di Cuniza, Mezzosoprano
Cavalieri, Dame, Vassalli

L'azione è in Bassano nel castello d'ezzelino e sue vicinanze. Epoca 1228.

----

TENOR
RICCARDO: Son fra voi! - Già parmi udire il fremito (Act 1)
RICCARDO: Ciel che feci! - Ciel pietoso! Ciel clemente! (Act 2)


SOPRANO
LEONORA: Ah, sgombro è il loco alfin! - Sotto il paterno tetto (Act 1)
LEONORA: Tutto ho perduto! - Sciagurata! A questo lido (Act 2)


BASS
OBERTO: Oh patria terra, alfin io ti rivedo (Act 1)
OBERTO: Ei tarda ancor! . . . Forse mancato è il messo (Act 2)


MEZZO
CUNIZA: Riccardo? . . . E che gli resta (Act 2)


SOPRANO / BASS Father-daughter duet
LEONORA / OBERTO: Al cader della notte - Del tuo favor soccorrimi (Act 1)


MEZZO / TENOR Love duet
CUNIZA / RICCARDO: Basta, basta, o fedeli! - Il pensier d'un amore felice (Act 1)


BASS / MEZZO / SOPRANO Terzett
OBERTO, CUNIZA, LEONORA: Son io stesso! A te davanti! - Su quella, fronte impressa (Act 1)


TENOR / SOPRANO / MEZZO / BASS Quartet
RICCARDO, LEONORA, CUNIZA, OBERTO: La vergonga ed il dispetto (Act 2)

Oberto conte di San Bonifacio
Giuseppe Verdi

New Teatro alla Scala Production
From 17 April to 14 May 2013
Running Time: 2 hours 40 minutes intermission included
Sung in Italian with electronic libretto in Italian, English

DIRECTION
Conductor Riccardo Frizza
Staging Mario Martone
Sets Sergio Tramonti
Costumes Ursula Patzak
Lights Marco Filibeck from the project of Pasquale Mari
CAST
Riccardo Fabio Sartori
Cuniza Sonia Ganassi
Leonora Maria Agresta
Oberto Michele Pertusi (17, 20, 23 Apr.; 2, 5 May)
Adrian Sampetrean (10, 14 May)

DVD

Verdi: Oberto
Giovanni Battista Parodi (Oberto), Mariana Pentcheva (Cuniza), Giorgia Bertagni (Imelda), Fabio Sartori (Riccardo), Francesca Sassu (Leonora)
Orchestra e Coro del Teatro Regio di Parma, Antonello Allemandi

Verdi: Oberto
Ildar Abdrazakov (Oberto), Evelyn Herlitzius (Leonora), Carlo Ventre (Ricardo), Marianne Cornetti (Cuniza), Nuria Lorenzo (Imelda)
Chorus of Ópera de Bilbao & Orquesta Sinfónica del Principado de Asturias, Yves Abel

CD

Verdi: Oberto
Giuseppe Modesti, Maria Vitale, Elena Nicolai, Gino Bonell & Lydia Roan
Orchestra e Coro della RAI di Torino, Alfredo Simonetto
Recorded live Turin, March 26, 1951

Verdi: Oberto
Giuseppe Modesti, Maria Vitale, Elena Nicolai, Gino Bonell & Lydia Roan
Orchestra e Coro della RAI di Torino, Alfredo Simonetto
Recorded live Turin, March 26, 1951

Verdi: Oberto
Rusa Baldani (Cuniza), Ghena Dimitrova (Leonora), Alison Browner (Imelda), Carlo Bergonzi (Riccardo), Rolando Panerai (Oberto)
Bavarian Radio Chorus & Munich Radio Symphony Orchestra, Lamberto Gardelli

OperaDuets Travel

Riccardo = Valter Borin
Cuniza = Ekaterina Gubanova
Leonora = Maria Guleghina
Oberto = Michele Pertusi
Imelda = Sophie Podjiclis

Carlo Rizzi, conductor

Orchestre National de France 
Chœur de Radio France  
direction Kalman Strausz


Imelda José Maria Lo Monaco


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

Thursday, 22 August 2013

Verdi: DON CARLO

Für die Salzburger Festspiele 2013 erarbeiteten Regisseur Peter Stein und der Dirigent Antonio Pappano die Urfassung der Oper – allerdings in Italienisch und ohne das Ballett. Hingegen sind auch jene Passagen zu hören, die noch vor der Uraufführung 1867 kurzfristig gestrichen wurden.
So in 2013 a Don Carlo is performed with all the music from the orginal version but without the ballet and in Italian in stead of the original French. I was very happy to hear it in Italian because I think in French it is too weak. Musically Verdi is almost always better in Italian than another language. Jerusalem might be the only exception. But all that "original version" music makes Don Carlo extremely long even without ballet and it drags it down. Especially the Lacrymosa part of the prison scene makes it slow and I for one loses the interest because the drama is halted. For me Jonas Kaufmann is more of a handsome man than a tenor. I love to look at him but I don't always love to hear him. His voice is too dark for me so I always hear baritone when he sings as tenor. Other than that, I just find it a nice experiment but hopes that no one follows. Doubt my plea will be heard. Originalism is now rampant in opera.

I love the 4 act Italian version of Don Carlo without any Lacrymosa ans such. Love the Don Carlo from Salzburg 1986 with Carreras, Furlanetto, Izzo D'Amico, Baltsa, Cappuccilli. A true classic and it is on DVD. Wonderful, beautiful production with Karajan!!! Then another Don Carlo, also possible to buy on DVD, Willy Decker's Don Carlo from Amsterdam 2004 with Rolando Villazon as Don Carlo.

But if I were to buy the 5 act version I would love to get Don Carlo from Royal Opera House 2008 with Rolando Villazon or from the Met 2010 with Roberto Alagna. Not avalable on DVD yet. And they are both in Italian and it is the same production by Nicholas Hytner. Other than Don Carlo it is mostly the same cast, different Eboli though. The music just flows and it is a beautiful production.

In all version I think that the acting is very good. The one from 1986 might seem a bit stiff by comparison but one should remember that the court of Filip 2 was not a loose one.

Jonas Kaufmann as Don Carlo in Salzburg 2013 ORF TvThek
Medici.tv
Broadcast date : Aug. 16, 2013, 5:30 p.m.
Antonio Pappano conductor
Peter Stein stage director
Ferdinand Wögerbauer set designer
Annamaria Heinreich costume designer
Joachim Barth lightings
Lia Tsolaki choreography
Jörn Hinnerk Andresen chorus master


Matti Salminen (Flilppo II)
Jonas Kaufmann (Don Carlo)
Anja Harteros (Elisabetta di Valois)
Thomas Hampson (Rodrigo, Marchese di Posa)
Ekaterina Semenchuk (La Principessa Eboli)
Eric Halfvarson (Il Grande Inquisitore)
Robert Lloyd (Un frate)
Maria Celeng (Tebaldo)
Sen Guo (Una voce dal cielo)
Benjamin Bernheim (Il Conte di Lerma/Un Araldo reale)
Members of the Young Singers Project (Sei deputati fiamminghi)
Concert Association of the Vienna State Opera Chorus
Wiener Philharmoniker
Agnes Méth movie director
Location : Grosses Festspielhaus (Salzburg, Austria)

Roberto Villazon as Don Carlo in New York 2010 MetOpera on Demand

Don Carlo
(Dec. 11, 2010)

Composer: Giuseppe Verdi
Librettist: Original French libretto by François Joseph Méry and Camille du Locle, based on the play by Friedrich Schiller
Nézet-Séguin; Poplavskaya, Smirnova, Alagna, Keenlyside, Furlanetto

Metropolitan Opera Orchestra and Chorus

Approximate running time: 3 hrs. 35 min.

Director Nicholas Hytner, who made his Met debut with this production, brings out all the passionate intensity that is at the heart of Verdi’s monumental drama. Don Carlo (Roberto Alagna), the Spanish crown prince, and Elizabeth of Valois (Marina Poplavskaya), daughter of the King of France, fall in love, only to be torn apart by international politics when Carlo’s father, King Philip II (Ferruccio Furlanetto), decides to marry Elizabeth himself. Carlo’s friend, Rodrigo (Simon Keenlyside), plays a dangerous game, balancing his political aims with the trust of his monarch. And when the beautiful Princess Eboli (Anna Smirnova) discovers her love for Don Carlo is not returned, her revenge terribly backfires. Yannick Nézet-Séguin conducts the Met orchestra and chorus.

Rolando Villazon as Don Carlo in London 2008
Medici.tv




Antonio Pappano musical direction
Nicholas Hytner stage director
Bob Crowley set designer
Mark Henderson lightings



Rolando Villazón (Don Carlos)
Marina Poplavskaya (Elizabeth of Valois)
Simon Keenlyside (Rodrigo, Marquis of Posa)
Ferruccio Furlanetto (Philip II)
Sonia Ganassi (Princess Eboli)
Pumeza Matshikiza (Tebaldo)
Nikola Matišić (Count of Lerma)
Jacques Imbrailo (Flemish deputy)
Krzysztof Szumanski (Flemish deputy)
Kostas Smoriginas (Flemish deputy)
Daniel Grice (Flemish deputy)
Darren Jeffery (Flemish deputy)
Vuyani Mlinde (Flemish deputy)
Eric Halfvarson (Grand Inquisitor)
Robert Lloyd (Carlos V)
Anita Watson (Voice from Heaven)
Alexander D'Andrea (Priest inquisitor)


Orchestra of the Royal Opera House, Covent Garden
Royal Opera Chorus
Renato Balsadonna chorus master
Movie director : Robin Lough

Musical period : Romanticism
Music genre : Opera
Duration : 03 h 29 min
Location : Royal Opera House, Covent Garden (London, Great Britain)
Production date : 2008
Production : © Opus Arte
Available version(s) : IT ST FR

Rolando Villazon as Don Carlo in Amsterdam 2004
Medici.tv




Willy Decker stage director
Wolfgang Gussmann set designer


Robert Lloyd (Filippo II)
Rolando Villazón (Don Carlo)
Dwayne Croft (Rodrigo)
Jaakko Ryhänen (Il grande inquisitore)
Giorgio Giuseppini (Un frate)
Amanda Roocroft (Elisabetta di Valois)
Violeta Urmana (La principessa d’Eboli)
Marisca Mulder (Tebaldo, paggio d’Elisabetta)
Maartje de Lint (La contessa d’Aremberg)
Kristian Benedikt (Il conte di Lerma)
Rudi De Vries (Un araldo reale)
Cinzia Forte (Una voce dal cielo)

Royal Concertgebouw Orchestra
Koor Van De Nederlandese Opera
Riccardo Chailly musical direction
Movie director : Misjel Vermeiren
Duration : 02 h 49 min
Location : De Nederlandse Opera (Amsterdam, Netherlands)
Production date : 2004
Production : © NPS
Available version(s) : IT ST EN, IT ST ES, IT ST FR

Jose Carreras as Don Carlo in Salzburg 1986


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

Wednesday, 7 August 2013

The 3rd TROVATORE in 2013

I love opera and sometimes you will end up in surprising places, like El Vendrell, Catalonia, Spain. First I had to take the night bus to the airport, take the plane to Barcelona and then a train to El Vendrell. And so ca. 1430 on August 3rd, 2013, I was in El Vendrell train station and was starting to go to my hotel when I noticed that something was terribly wrong, my dear phone was missing. OperaDuets Iphone was not in my purse and nowhere in my backpack. So I went to the train station and finally he understood that I had forgot my Iphone on the train from Barcelona Sants to El Vendrell. Nobody found it on the train, nobody that searched for it did. But where is it, does anybody have it? 

Sadly, I just had to go to my hotel. No miracle waiting for me. I did not chose the most direct route to my hotel. I went via Plaza Vella. And it was such a small plaza but the stage was there alright. It was not possible to buy tickets yet, that was not until 1700. Then I walked to my hotel, Ramblas Vendrell and rested there until I was back in Plaza Vella and bought my ticket (20 Euros). Back to my hotel again since the restaurants was closed and I had to wait to have something to eat. But finally the restaurant was open for a hungry tourist and I had a pizza verdura. And then back to the Plaza. Sergi Gimenez, the Manrico of the evening was so surprised that I came for this little performance. Michelle Francis Cook and all the rest of cast was eating together and Michelle asked if I had eaten yet, and well, I had, hadn't I. It was so cute to meet them in such a way. 

IL TROVATORE, EL Vendrell 2013-08-03.
Count of Luna = Fernando Alvarez
Leonora = Michelle-Marie Francis Cook
Manrico = Sergi Giménez Carreras
Azucena = Montserrat Carreras



So there I was, in El Vendrell, to see IL TROVATORE in the tiny Plaza Vella. 

Michelle Francis Cook, a soprano destined to sing big roles in the big stages of the world (my opinion), sang Leonora with aplomb and delicacy. Sergi Gimenez never lost his way even when the orchestra sounded truly lost in Verdi's masterpiece. I loved his acting, but as he is the nephew of Josep Carreras he (and I) can never escape the memory of Carreras' voice. Fernando Alvarez was a strong, commanding Conte di Luna.

Of the main singers, Montserrat Carreras as Azucena was the one to suffer most from the lack of sync between the orchestra and stage. She had to do with what she had and what she had was the support of the other singers. Sergi was a great support!!

The chorus did an admirable job. I believe the cut in the score was not helpful. One had to take leaps of logic or know Trovatore well to understand it. It also made it harder for the orchestra to follow the score and the singers. Maestro Joan Toldra's tendency to go slow did not help. The orchestra also lacked some of the instruments needed to really make the music swing.

In many ways I could hear the complexity of Giuseppe Verdi's score and to suffer when it became to much to achieve in this night in lovely El Vendrell. But what can one expect after just one real rehearsal. To perfectly understand the musicality and the story of Il Trovatore much rehearsal is needed. But with their limited resources it was admirably done. 

---

So it was over, I got to talk to my new favorite soprano, Michelle Francis Cook. But then it was night and time to sleep in my hotel. So Sunday, up early, breakfast, to train station, no iphone, train to Barcelona Airport via Barcelona Sants. Then plane to Oslo. Airport Train to Oslo Main Train Station, then bus home. At midnight home. 

Thank you, Michelle Francis Cook and Sergi Gimenez for a wonderful evening in El Vendrell!!!

Friday, 2 August 2013

Day 6+7: NABUCCO and home again.

NABUCCO, Arena di Verona 2013-07-25

I loved this production. All seamed so historial correct. And then we had this wonderful Abigaille, Lucrecia Garcia. She really made it all so perfect. Nobody shone like her in this show. Of course, it would not have worked without the other singers, the chorus and orchestra w/conductor. I love Abigaille!!! Lucrecia Garcia is certainly a singer I would love to see and hear more.

The best food with the best cameriere (Cinzia) was at Cafe Emanuel in Piazza Bra.

On Friday July 26th, 2013 when I was on my way home did I finally get some wonderful tasty pizza. First in Milano Malpensa airport and then in Frankfurt airport. With my father's 85th birthday on Monday the question was going home for a short stay or stay in Oslo with relatives. I went home to an appartment where the electricity went down every 5 hours, annoying. Then on Sunday back to Oslo and on Monday birthday party close to my hometown.
Dad, 85.

Thursday, 25 July 2013

Day 4+5: TRAVIATA + TROVATORE

Traviata and Trovatore, two of the greatest classics of Opera. And in Verona, finally Regie that is true and real. Hugo de Ana's Traviata had only one fault, in preludio to the opera and the preludio to the last act, he just had to remind us that Violetta is dead and everything is to be told. 3 great frames (like to old paintiings) was the stage. The middle frames was naturally the main stage. But it was still true to the time of Violetta. Loved it, and Elena Mosuc was great as Violetta!!
LA TRAVIATA, Arena di Verona 2013-07-23.

Trovatore was finally set in the right time. The Middle Ages. The great towers was on the stage. Like in Macerata it was played as a 2 act opera. Scene changes was smooth. Extra music was added for the zingaras, and there was castagnettes and much dancing. The zingaras and their dancing and music also came to the Di Luna men and their siege.

IL TROVATORE, Arena di Verona 2013-07-24.