View Full Version : Preview of upcoming productions

May 23rd, 2012, 07:11 PM
Didnt find this thread but thought we could use it.

Here is a preview of this month's production of Don Carlo here in Amsterdam, which I will be attending on the 30th:


May 23rd, 2012, 07:13 PM
And further, an upcoming premiere of opera, 'Waiting for Miss Monroe', by Dutch composer Robin de Raaff.


Ann Lander (sospiro)
May 23rd, 2012, 11:48 PM
Thanks Emiel. Hope you have a great time at Don Carlo & I look forward to your review.

Luiz Gazzola (Almaviva)
May 24th, 2012, 11:49 PM
This is a great idea for a thread, Emiel. Thank you!

May 25th, 2012, 02:53 PM
Soon I will be watching Peter Sellars's production of Ainadamar. I'm not a big fan of the score but I do look forward to watch a new opera on stage. I have also the utmost respect for the work of Peter Sellars.


May 27th, 2012, 03:02 PM
Didnt find this thread but thought we could use it.

Here is a preview of this month's production of Don Carlo here in Amsterdam, which I will be attending on the 30th:


I think Camilla Nylund is singing Elisabetta in this production. I'll be interested to hear your thoughts on her performance.

May 27th, 2012, 03:35 PM
Sure thing. Ill be writing a basic review for on here but ill pay special attention to her for you :hifive:

June 1st, 2012, 08:19 PM
I would also be curious as I thought she was a great Rusalka but didn't think that she would be a Verdian soprano. I thought she would be more suited to Strauss.

June 1st, 2012, 09:19 PM
Well I saw the performance.

I can agree with you, she wasn't quite verdian, but her tone was beautiful and she sang the part elegantly, though ocassionally lacking power.

June 2nd, 2012, 02:35 PM
Several years ago, I came across a Finnish web site that described her as opera's Marilyn Monroe (??!!). I think her countrywoman, Karita Mattila, is a little more of the Monroe type. If we're looking for comparisons with mid-20th century Hollywood stars, I think Nylund is more the Grace Kelly type -- cool and elegant.

June 2nd, 2012, 07:22 PM
Starting at around 24 minutes. Here is a discussion with conductor Ivan Fischer about Parsifal from this weeks dutch TV


Ann Lander (sospiro)
June 5th, 2012, 09:37 AM
Interview with David McVicar (http://www.independent.co.uk/arts-entertainment/classical/features/moved-by-the-tragedy-behind-berliozs-troy-story-7815074.html) on the upcoming Les Troyens at ROH.

June 5th, 2012, 01:20 PM
Photos of Parsifal!


I must say that mirror is spectacular! All praise for Anish Kapoor and Pierre Audi

Ann Lander (sospiro)
June 5th, 2012, 01:50 PM
Photos of Parsifal!

I must say that mirror is spectacular! All praise for Anish Kapoor and Pierre Audi

:applause: Great photos Emiel! Hope you have a fabulous time.

June 7th, 2012, 09:08 AM
This afternoon Im going to see Pierre Audi, Ivan Fischer, the costume designer and the dramaturg discuss the production.

Ill report back later!

Luiz Gazzola (Almaviva)
June 7th, 2012, 11:02 AM
Why don't you interview them for Opera Lively, Emiel? We could publish an interesting article!

June 7th, 2012, 08:37 PM
Sorry Alma, I dont think I have time.

Anyway, its proving more difficult than I expected to remember the details.

It was pretty awesome, the 4 of them sat on stage with Klaus Bertisch, the dramaturg posing the questions. It was very obvious to me that they knew the work and every facet of it deeply.
Mr. Audi spoke of his partnership with Anish Kapoor which started with a production of Pelleas et Melisande at le Monnaie. Mr. Kapoor is a great fan of opera, Parsifal being his favourite apparently and one he was interested in working on with Mr. Audi. He spoke of the difficulties working with a visual artist instead of a regular theater decorator; they often dont think in practical ways and use heavy materials unsuitable for the stage, also he found Mr. Kapoor tends to propose one object or 'artwork' rather than the many settings in traditional theater. This is something he had to work around in Pelleas by fr example turning the object around and even using the supports as parts of the stage. With Parsifal he similarly had to work around this issue.

He spoke of the idea of the mountain in Parsifal, the slopes of which are home to both the realms of Klingsor and of the grail (though on opposite sides), and how this is a symbol that he used.

He spoke of other productions and how directors often try to fit the work into a coherent theme and 'solve' all its issue, for example the recent Bayreuth set in political Berlin. This is something he values, but not something he wishes to do himself. He rather allows the ambiguity to come across as it is and for us to solve the questions for ourselves. In this way the production is 'updated' to 2012 as it is reflected in the modern audience.

He also mentioned how he sees the story of Parsifal, the character, as central to the opera, and that at the end he leaves the grail kingdom and continues on. And how the opera moves from concrete to abstraction throuhgout and that these changes evolve also in the set.

During scene changes he has opted to drop a curtain so that the audience sees only darkness and listens to the music.

Mr. Fischer spoke of the german fascination with mysticism, despite their culture and thinkers being grounded in rationality and logic. He thought that even though the wrk feels very mystical, everything about it makes perfect sense.
He thought the Knappertbusch wagner recordings were awful! Knappertbusch and all other cnductors exert too much influence n the score and dont allow the music to come across as it is written, but manipulate it to meet their end. He has attemted to play the music naturally, following the instructions almost to the letter.

As for costumes, we saw a few of the drawings. The flower maidens will have to separate sets. First when they are in mourning for the husbands Parsifal has killed, and then for the seduction scene. Mr. Audi felt that many productions 'iron over' this first bit. They looked beautiful to me anyway.

The 3rd act takes place in the cemetery where Titutrel is to be buried. We saw the knights costume here which alludes heavily to christian symbolism.

Mr. Audi sees an evolution in the chorus from act 1 to 3, whereby under pressure they seem to harden and become more intolerant. He saw parallels in real-life religious groups.

If i remember more ill post

Luiz Gazzola (Almaviva)
June 8th, 2012, 03:15 AM
I'll be attending the opening night of this production in Santa Fe, featuring for the first time ever the brand new Critical Edition prepared by Dutch scholar Hans Schellevis. This version hasn't even been published yet, and is scheduled to appear in print in 2013, edited by musicologist Phillip Gossett, who is advising the production team in Santa Fe and will be present during rehearsals.

This is very significant given that Maometto II was pretty much lost in its original form - that of the premiere in Naples (Teatro di San Carlo) on December 3, 1820. Rossini composed it when he was 28, and it suffered several delays until the premiere, and kept being modified by the composer on its original autographed copy. Subsequently and given its poor reception by the Neapolitan public, Rossini changed it extensively (with a happy ending) to give it again in Venice at La Fenice in December 1822. The Venetian version is what survived pretty much, until Rossini re-heated it again with extensive modifications (including, making of it a conflict between Turks and Greeks instead of Turks and Venetians like in the original) and a French libretto, resulting in Le Sičge de Corinthe.

The production will feature two of Opera Lively's interviewees, Luca Pisaroni (whose answers are coming) in the title role, and Leah Crocetto as Anna.

This is a synopsis of the original Neapolitan version:

Year 1470, city of Negroponte, in the Aegean Sea.
Act 1
After the fall of Byzantium to the Turks, the Venetian city of Negroponte is under siege by Sultan Mehmed II (Maometto II in the opera, bass). The Head of the Venetians is Paolo Erisso (tenor), whose daughter Anna (soprano) is betrothed to young Venetian nobleman Calbo (trouser role, contralto or mezzo). Calbo wants Paolo Erisso to continue the fight, while another Venetian noble, Condulmiero, would rather yield. Anna is secretly in love with a foreigner she met in Corinth. The Muslims penetrate the city's defenses and make Erisso and Calbo prisoners. When the Sultan arrives, he and Anna mutually recognize themselves as the lovers who met in Corinth. Anna and her father are horrified. She threatens suicide unless Maometto releases his prisoners. Still in love with her, he does what she wants.

Act 2

Maometto wants to marry Anna and make of her his queen, but she refuses. Maometto leaves to prepare a final assault on the city, but he gives to Anna his imperial seal of authority to keep her safe. She gives the seal to Erisso. He marries her to Calbo in front of her mother's tomb, and they leave to fight against Maometto. They defeat him and he flees, but he comes back with his men to confront Anna and seek revenge. She tells him that she gave the seal to his father, married his rival, and stabs herself, dying on her mother's tomb.

Maometto II has been rarely staged and recorded. There is a Phillips CD with Samuel Ramey in the title role in 1983.


Alternative cover - 2004 re-issue:


There is a bootleg DVD again with Ramey two years later in the Pesaro festival.
A commercial DVD released by Dynamic exists, filmed at La Fenice in 2005.


There is this one from La Scala on CD:


Another performance in Pesaro in 2008 was released on CD:


The Santa Fe cast and crew:

Anna - Leah Crocetto
Calbo - Patricia Bardon
Paolo - Bruce Sledge
Maometto - Luca Pisaroni
Conductor - Frédéric Chaslin
Director - David Alden
Scenic Designer - Jon Morrell
Costume Designer - Jon Morrell
Lighting Designer - Duane Schuler
Choreographer - Peggy Hickey

The rarety of this opera on the world stages is not justified. It is musically sophisticated and dramatically complex. Arias for all soloists are beautiful, as well as the writing for the chorus. The conductor specializes in Belcanto and Rossini. Initial accounts attest to the fact that stage direction and set design are stunning.

Here you can see video interviews with Luca Pisaroni and Rossini scholar Phillip Gossett about the upcoming production:



The opera will be given at the beautiful Santa Fe opera house on July 14, 18, and 27 at 8:30 PM, and August 2, 7, and 16 at 8 PM, 2012. There are still tickets available for the opening night, ranging from $37 (very few left at this price) to $225. Many tickets priced between $65 and $95 remain available. Prices drop a bit in August and range from $32 to $200 by the last performance.

For more information and tickets, click [here (http://www.santafeopera.org/tickets/production.aspx?performanceNumber=5165)]. I strongly encourage people to attend. Santa Fe Opera is a stunning open-air facility (with a roof), and the city and region are very beautiful, with plenty of touristic attractions such as gorgeous mountain views, charming inns and resorts, historical museums, and great restaurants.

Pisaroni and Crocetto are two amazing singers, of rare quality. Luca's great voice and acting have already been extensively proven, and young rising star Leah (whom I've seen live on stage already) is the real deal, with a beautiful coloratura instrument and strong stage presence. Not to be missed!




Santa Fe's peculiar architecture:


Santa Fe's dramatic landscape



June 8th, 2012, 07:06 AM
How come the title of the thread changed?

Great post Alma,

Is that theater open to the outside world?

Luiz Gazzola (Almaviva)
June 8th, 2012, 10:41 AM
How come the title of the thread changed?

Great post Alma,

Is that theater open to the outside world?

I still see the title of the thread as Preview of Upcoming Productions.
Schigolch also said that the title has changed. Strange, I don't know why the old title shows for me, and a different one for you. Maybe when I promoted the post to an article in the Santa Fe local area, it happened. Some of the new features of the vBulletin 4.2.0, including a different set of functions for promoting posts to article, may need some learning. But I think I can change it back, I'll see.

Yes, it is an open structure.

PS - No, the title of the thread definitely still shows as Preview of Upcoming Productions. Only my post has a different title. It's the post's title, not the thread title.

June 8th, 2012, 10:47 AM
I put back the original title

Luiz Gazzola (Almaviva)
June 8th, 2012, 10:54 AM
Oh, OK. Yes, it was when I promoted it to new article. There are these new functions of importing the comments to the new article, which is handy when the post being promoted is the original post of the thread, but disruptive when it is not; I'll make sure not to click on this function when I'm promoting an isolated post inside a bigger thread in the future..

June 9th, 2012, 03:02 PM
Madrid's Teatro Real will premiere next Tuesday Poppea e Nerone, a revision of Monteverdi's L'incoronazione di Poppea, created by Belgian composer Philippe Boesmans.

The orchestration is designed for a chamber orchestra, and will be performed by Klangforum Wien, under the baton of Sylvain Cambreling.

As it's widely known, there is no original score for L'incoronazione, but a couple of versions prepared some years later in Venice (Cavalli) and Naples.

There is also a new production, designed by Krzysztof Warlikowski, and centered in the figure of Seneca, and the moral and ethical issues present in the libretto. There will be a prologue, written by Warlikowski, Christian Longchamp and Jonathan Littell, inspired in texts from Michel Foucault, Thomas Hobbes and Christopher Isherwood, as well as fragments from Derek Jarman's movie "Wittgenstein".

The cast: Nadja Michael (Poppea), Charles Castronovo (Nerone), Maria Riccarda Wesseling (Ottavia) and William Towers (Ottone), Willard White (Seneca).



June 12th, 2012, 04:54 PM
A preview of Parsifal which premiers tonight! Im going in friday...


June 12th, 2012, 05:35 PM
Enjoy! Looks like a great production.

August 20th, 2012, 09:37 PM
I am not sure where to put this post. But anyway, this appears to be a new production of Handel's Deidamia (1741), which was Handel's last Italian opera (he later wrote a couple of English operas). I hope this gets released on Blu-ray. There are no DVD/Blu-ray and only one readily available CD recording under Handelian conductor, Alan Curtis.

It looks interesting edging towards modern avant-garde. Will it be released? Anybody know?



August 21st, 2012, 06:07 AM
Hello HC!

The Deidamia you posted is a production which premiered last December here in Amsterdam, so its no longer 'new'. Theres been no news abotu Dvds unfortunately.

September 1st, 2012, 01:19 PM

Im going to see this on Thursday. Id never heard any Schreker before, but after playing through the opera on the piano I must say I really like his style. Any thoughts?

Luiz Gazzola (Almaviva)
September 1st, 2012, 02:43 PM
Well, from Schreker I only know Die Gezeichneten but find it to be simply spectacular (what an overture!), so, chances are that this one is also good. I bet Schigolch knows more.

September 1st, 2012, 07:01 PM
Of Schreker's operas I think there are three very good ones: Der ferne Klang, Die Gezeichneten and Der Schatzgräber. Though there has been a kind of renewed interest in Schreker since the 1990s, they are not performed often, so this is a great opportunity to watch Der Schatzgräber in Amsterdam.