What opera have you been watching lately?

[Nemorino]

My Russian "Easter Festival" #2:

I had a hard time following the plot - my knowledge of Russian history is almost non-existent - but generally I loved a cutthroat political drama set to Mussorgsky's music. This production did a good job of making the Russian people one of the main "characters" of the drama, and showing how the events caused turmoil and suffering.

What this production doesn't pull off is making the scenes between Andrey and Marfa feel like an integrated part of the story, which I suspect derives from this being an unfinished opera. Even if the libretto doesn't do the work, the staging should do something to justify Marfa's insistence on chasing a guy who seems to hate her (...until the final scene, just because).

[Florestan]

[Sonata]

Oh and I just finished this. I've listened to all of Puccini's opera reportoire now
Puccini: La Fancuilla Del West

[Soave_Fanciulla]

Some lovely Vivaldi from Venice; Diego Fasolis does a lovely job considering he is working with an orchestra on modern instruments.

[Ann Lander (sospiro)]

Inspired by Sonata's exploration of Il trovatore on CD, I fished this out of the NWFAP (Not Watched For Ages Pile) while I did my post-holiday ironing.



Dated and several fluffed notes but still love it for its own sake.

[Sonata]

Franz Lehar: The Merry Widow

[Ann Lander (sospiro)]

Haven't watched it all yet but very enjoyable so far. Wacky production but Juan Diego Flórez + Rossini is a match made in heaven.

[Soave_Fanciulla]

Haven't watched it all yet but very enjoyable so far. Wacky production but Juan Diego Flórez + Rossini is a match made in heaven.

I really like the production (the ballet is well rendered, and those horse statues!) and the singing. Marina Rebeka will always be my Mathilde.

[Florestan]

Must have for Joyce's vocals alone! But there is so much more too.

[Florestan]

This is a very strange production, but quite interesting. Ana Durlovski voice is awesome and unique and that is what is captivating me with this production. I wish I did not need to sleep as I could watch this straight through it is so good. Interesting article on it. Regie or not Regie?

Most importantly in this production, Ana Durlovski is Amina! When I first heard her voice (offstage), I was intrigued; as she dug into the drama and coloratura of her opening scena (below), I was mesmerized. Clearly this was not going to be a stand-and-sing bel canto performance.

Besides Ana playing a clumsy, if not stupid, Amina, we see things like Amina's mother chewing the tag off the Wedding dress:


YouTube Clip

[Florestan]

I am more than half way through above DVD, past the point of Amina being discovered in Rodolfo’s room. Still loving this production, but mostly for Ana Durlovsky! She is awesome! Another article (with many photos walking you through the opera) on this DVD explains the strange, dark-eyed woman who appears at times in a spooky way:

In the romantic camp, the Count has no connection to Amina, the village ghost is just Amina sleepwalking, and at the end everybody gets the love they need to live happily ever after. The La Fenici version belongs in the romantic camp. In the realistic camp, the Count is Amina's father who seduced and abandoned Amina's mother when he was young, the village ghost is Amina's mother.

Here is another treat; Ana Durlovsky as Queen of the Night (video).

[MAuer]

One of my favorite recordings of this repertoire warhorse. And the Micaëla, Norah Amsellem, will be in town here in about another month to sing Violetta in Cincinnati Opera's La Traviata.

[MAuer]

Wasn't expecting this to make it across the pond so quickly. (Not that I'm complaining!) Watched Disc 1 yesterday evening, and will follow up with #2 tonight.

[Ann Lander (sospiro)]

Wasn't expecting this to make it across the pond so quickly. (Not that I'm complaining!) Watched Disc 1 yesterday evening, and will follow up with #2 tonight.

I saw this in the house and Marco Vratogna spoiled it for me. What do you think? People rave about him but I think he just shouts.

[MAuer]

I find Vratogna okay, but certainly no Sherrill Milnes, my favorite Iago. There's no subtlety about this guy at all, and I guess it really underscores Otello's insecurity that he's ever fooled by such an individual. And when Otello has collapsed, crazed with jealous grief, Keith Warner has Iago press a mask down on his face. Only an idiot would trust the guy after that. That bit of directorial overkill was too bad, since Warner had made such imaginative use of the mask earlier when Otello looks in a mirror and instead of seeing his own face reflected, sees the mask. But JK is a wonderful Moor, and I like Maria Agresta's Desdemona (but prefer Ricciarelli with Maazel).

The second disc contains some bonus material that I'll take a look at this evening.