È grave il sacrifizio

I had the delight Saturday of seeing the Metropolitan Opera's new production of La Traviata, which opened on December 4, in a cinema in Wilmington, NC. I'll be the first to agree that these HD simulcasts are very far from a live performance in the house, but those of us who are not near NYC appreciate them. And when I was near NYC, I often preferred paying less for a seat in the cinema with great comfort and visibility than I would for a seat in the nosebleed section in the actual house. I've written several reports of operas I've seen in these opera simulcasts.

Diana Damrau and Juan-Diego Florez
Photo:  Sara Krulwich/The New York Times

This is a new production of La Traviata by Broadway veteran Michael Mayer (I believe he was also responsible for the Met's Las Vegas Rigoletto of recent infamy), as well as amazing designers Christine Jones (sets) and Susan Hilferty (costumes). The work of Lighting Designer Kevin Adams was quite beautiful as well. I thought the entire production was beautiful, and was very much delighted by the touches of all of the production team I mention. The costumes for all--principals, chorus, and dancing boys--were quite beautiful, showing the stated intention of reflecting the seasons of the year in each successive scene. I especially liked how Violetta's costumes, dazzling as they were when dazzling was appropriate, were plain in relation to everyone else. This reflected another stated intention of showing all the action as a memory of Violetta on her death bed. (I usually think that is rather trite and overdone, but it didn't really interfere here. I was also a bit annoyed at the thought of the unit set, with the bed in the middle for every scene. I thought it could have a very crude effect, but it didn't. I was even prepared to say I preferred Willy Decker's big clock, but I didn't.) And I would be remiss if I did not mention the choreography of Lorin Latarro. The gypsy dance in the party scene was especially bacchanal-like, with very slightly costumed dancing boys. (Yeah, I guess there were dancing girls there, too, if you like that sort of thing.)

Quinn Kelsey and Juan-Diego Florez
Photo:  Metropolitan Opera

Now is the time to list some of the touches I found especially effective. I loved the moment in the Germont-Violetta duet when Germont took Violetta's hands and she seemed surprised. I also adored how it seemed clear that the elder Germont's argument for leaving Alfredo that actually had the most effect was the suggestion that their union could never be blessed by Heaven. I loved how the Alfredo moments of "Sempre libera" seemed to suggest memories, not Alfredo outside the window, as I'd always assumed. I loved the many lighting effects, especially in Act III, when some of the lights appeared to outline the arches of church windows. The appearance of Alfredo's young sister caused me to gasp in Act II, but I understood her to be almost an angel of death figure in Act III.

I really, really loved Diana Damrau as Violetta. Her singing was beautiful and nuanced, and her acting was beyond compare. Director Michael Mayer is said to have called Ms Damrau the Meryl Streep of opera, and it was easy to see why. The many individual moments, the thought processes, were quite beautiful. On the other hand, while most of her singing was quite beautiful, I can't say all of it was. I loved the desperation of "Sempre libera", which I often think is missing from the performances of other Violettas, but not all of the high notes. On the other hand, it seemed as if she were giving too much vocally to "Addio del passato".

I've written before about baritone Quinn Kelsey, and his portrayal of the elder Germont made me murmur "Daddy" more than once! I've praised Mr. Kelsey's singing and acting before, and I must say I was certainly not disappointed. I am usually not of one opinion about Germont, but this was a sympathetic Germont. He can sometimes seem like a manipulating bastard, but not so this time. He believed Violetta's protestations of love, and seemed conflicted when insisting she leave Alfredo anyway.

Yannick Néget-Séguin takes a bow
Photo:  Jonathan Tichler/Metropolitan Opera via AP

Juan-Diego Florez. I love him with all my heart. I really do. But I'm not sure I'd have cast him as Alfredo. I love his performances of bel canto roles, but rumor has it he would like to do bigger roles. He has essayed the Duke of Mantua on numerous occasions. I don't wish to appear cynical. OK, no more cynical than I usually am, which is pretty damned cynical. I really did love his performance of Alfredo. The man can act, and we believed all of Alfredo's sentiments. I was especially impressed with the cabaletta to his aria--both acting and singing. It goes without saying he can sing the high C at the end in his sleep, but he sang all of the rest of it with great valor and beautiful sound.

Now is the time when I gush about Yannick Nézet-Séguin. True, he is easy on the eyes and quite charming. True, I did post on Instagram that I think he's the cutest conductor in the history of the world. But I can not neglect his enormous talent and the amazing performance today. Not only did he have the always fine Metropolitan Opera Chorus and Orchestra in hand and lead them to fine performances, but he also gave this performance many nuances, many fine points of interpretation. In the short documentary about rehearsing this production, he rhapsodized about the joy of taking a new look at old warhorses, and that was just the effect we had. (I also thought it was adorable when he accidentally tossed his baton aside just before beginning Act II.)

Although the cast will change as time goes on, there are still quite a number of performances of this production to see. I highly recommend it!

Being a nobleman's daughter can really suck.

Just imagine.  In the first place, is "noblewoman" a word?  In the second place, much more than the daughters of commoners and of that annoying middle class merchant and tradesman lot, you are considered property. You are traded off like a piece of jewelry for money, for commercial and political connections, possibly to ensure the peace of your homeland.

Elisabetta comforts Don Carlo at his death
Photo: Sara Krulwich/The New York Times

Consider the story of poor Elisabetta di Valois in Mr. Verdi's Don Carlo. She accepts her role as goods and chattel, a tool in political negotiations. She accepts her promised marriage to Don Carlo, son of the king of a foreign land, in exchange for a promise of peace. She actually meets the prince to whom she is promised and finds he's a nice fellow, and sort of easy on the eyes. Then she finds those in power have changed their minds, and she is now promised to Don Carlo's father, King Philip. She must accept for the sake of her homeland.

That's just the beginning of Mr. Verdi's revered Don Carlo, considered by many to be his finest opera. (I sort of think choosing Verdi's finest opera is like trying to choose the best flavor of Ben & Jerry's ice cream--not really possible, and in the end, who the heck cares? They're all amazing!)  There is further political and romantic intrigue, pageantry, and some of the best music you will ever hear. Of that I am sure.

Simon Keenlyside and the amazing Feruccio Furlanetto
Photo: Ken Howard/The Metropolitan Opera

Mr. Enrico Caruso is said to have opined that all you needed for a production of Il Trovatore is the four finest singers in the world. That is also true of Don Carlo, but you need six of them! In the Metropolitan Opera's 2010 production that is available to watch on the Metropolitan Opera On Demand streaming channel, there are a great number of amazing singers. Don Carlo himself is portrayed by Roberto Alagna, and his chum Don Rodrigo is sung by the amazing Simon Keenlyside. Elisabetta is sung by Marina Poplavskaya, and King Philip is sung and acted with a ridiculous amount of skill and artistry by Feruccio Furlanetto. Conductor was Yannick Nézet-Séguin and director was Nicholas Hytner, both of whom deserve accolades unending. 

I've reviewed a 2015 revival of this 2010 production before (hyperlink). But I never tire of Verdi, and I need something to write about, so there you are. On the Metropolitan Opera's excellent On Demand streaming service is a performance from the original 2010 production.  The primary differences between this performance and the one I reviewed are Roberto Alagna, the original Don Carlo; Marina Poplavskaya, the original Elisabetta; and Anna Smirnova, the original Eboli.  So, in effect, it is the same production I saw but with a substantially different cast.

I have no complaints about this cast.  Although I'm not always sure of the roles Mr. Alagna essays, he is fully equal to Don Carlo. He is passionate, sounds glorious, and is believable with all of Don Carlo's tumultuous emotions. Ms. Poplavskaya is a lovely and conflicted Elisabetta. And we are quite in favor of Ms. Smirnova as Eboli, who must appear faithful, vengeful, and full of regret at different points in the opera. (Just as Mr. Verdi's Aida was originally to have been named for Amneris, we think some of his other dramatic mezzo roles deserve much more attention than they get!)

Photo:  Ken Howard/The Metropolitan Opera

Those who have access to Metropolitan Opera On Demand, I say watch this video!  Those who don't, I say seek out any live or video performance of Don Carlo you can find!  You won't be sorry. 

I should toot my own horn more.

Here is the introductory paragraph of an email I just wrote to an arts organization in Wilmington, my new city.  I sound pretty grand, don't I?

I've just moved to Wilmington, and I'd like to introduce myself.  As a former singer, I found myself writing, producing, and taking part in other ways behind the scenes with musical organizations run by friends when I was in the NYC area.  Here (hypertext link) is a link to a profile written about me during my brief run as General Manager of a now-defunct small opera group in NYC. As an amateur blogger and occasional writer for other sites and for publication, I've been granted access to wonderful performances by organizations at every professional level, from opera groups featuring young professionals--one of my favorites--to the Glimmerglass Festival, Opera Philadelphia, and even the Metropolitan Opera.  I've written in the same terms about performances I paid to see and performances for which I was given complimentary tickets as a writer.  I've profiled Lawrence Brownlee, Ian Bostridge, and Talise Trevigne, among others, for Classical Singer magazine.  There is a link below to my blog, and the sidebar links there will direct you to other sites I've written for.

Some would say I'm far too modest. Some would say this isn't an impressive list of accomplishments at all. What do you say?

A Taminogasm of opera and Anglophilia

I am a huge fan of Lucy Worsley, presenter of many a BBC historical documentary. 

I have just discovered these two documentaries about opera and how it reflects history and society, and I am just spent.  I can't even think of anything to compare it to--even hyperbole seems insufficient.  Please, please, please watch!

and

You may thank me at your leisure.