Thread: What opera have you been watching lately?

          
   
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  1. #2281
    Senior Member Top Contributor Member Florestan's Avatar
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    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

  2. #2282
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    Not so keen on modern staging but very good singing/ acting.

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  4. #2283
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Adrian View Post


    Not so keen on modern staging but very good singing/ acting.
    I saw this live and really enjoyed it.

    My friend and I waited at the Stage Door hoping to see JK. Eventually he appeared together with KO and by this time there only a few hardy fans who were still waiting. We approached JK respectfully but he pushed us out of the way and headed off up the street. KO ran after him and after much talking and cajoling and persuasion on her part, he returned and was happy to sign autographs.

    We were grateful for his time and we thanked him and could only speculate as to his behaviour but I've always said that if a singer wants to avoid fans he/she doesn't have to exit the building by the Stage Door as there are several other entrances/exits they can use and not be seen from the Stage Door. Dmitri Hvorostovsky very often slipped out the building via the front door where fans don't congregate.
    "Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."

    FRANZ SCHALK, attributed, Losing the Plot in Opera: Myths and Secrets of the World's Great Operas

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  6. #2284
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    I saw this live and really enjoyed it.

    My friend and I waited at the Stage Door hoping to see JK. Eventually he appeared together with KO and by this time there only a few hardy fans who were still waiting. We approached JK respectfully but he pushed us out of the way and headed off up the street. KO ran after him and after much talking and cajoling and persuasion on her part, he returned and was happy to sign autographs.

    We were grateful for his time and we thanked him and could only speculate as to his behaviour but I've always said that if a singer wants to avoid fans he/she doesn't have to exit the building by the Stage Door as there are several other entrances/exits they can use and not be seen from the Stage Door. Dmitri Hvorostovsky very often slipped out the building via the front door where fans don't congregate.
    I've been giving this a bit more thought. It was about 12:45 am and JK may well have assumed that by this time everyone had gone home, and was surprised (and a little frustrated) to see us still waiting. He had underestimated the dedication of his fans!
    "Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."

    FRANZ SCHALK, attributed, Losing the Plot in Opera: Myths and Secrets of the World's Great Operas

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  8. #2285
    Senior Member Involved Member Nemorino's Avatar
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    What I’ve been watching in February, ranked:

    #1 – Bartok – Bluebeard’s Castle - Bayerische Staatsoper – Streaming on staatsoper.tv
    Billed as “Judith”, this Katie Mitchell production starts off with Bartok’s Concerto for Orchestra accompanying a silent film. Set in present day, it’s a David Fincher-esque crime thriller, where Bluebeard is a sociopathic millionaire kidnapping women with a dating app. Nina Stemme’s Judith is a detective who purposefully gets captured in order to learn the truth. I had serious doubts about Concerto for Orchestra working in this context, but they make it work. It’s a fascinating, exciting show. Stemme and John Lundgren are perfect. The conductor Oksana Lyniv gives a tour-de-force performance (with no intermission). Loved every bit of it.

    #2 – Tchaikovsky – The Maid of Orleans – New Orleans Opera – Live
    Very remarkable production for a smaller company (Review here). I’m over-the-moon that I got to see this opera live in my part of the U.S. The cast was fine, while mezzo Hilary Ginther is a star-in-the-making.

    #3 – Puccini – Turandot – Gran Teatre del Liceu – Streaming on Arte.tv
    Franc Aleu’s production delivers on spectacle, with robotic arms, lasers and projections. He even saves Alfano’s ending, which I usually find unsatisfactory, by creating a story motivation for it. He sets the opera in a dystopian future where everyone wears a headset which controls their minds. After Puccini’s music ends, Calaf snatches Turandot’s crown which has the effect of “waking up” the masses to think for themselves. Even Turandot was under its influence, and finds her emotions. The sudden happy ending and triumph of love is grounded in a sci-fi explanation, and for once... I’ll allow it.

    #4 – Rossini – Ermione – Teatro di San Carlo – Streaming on Operavision
    Angela Meade is not my favorite, but I finally understand why she’s a valued star. For the entirety of Act 2, she unleashes a tidal wave of sound, remarkable in its power, range and agility. I also really liked Teresa Iervolino and Antonino Siragusa. The orchestra is perfect. The production is handsome and adequate. The video and audio recording is sub-par. Some of the singers were barely audible unless they were near the pit.

    #5 – Beethoven – Leonore – Wiener Staatsoper – Streaming on Arte.tv
    An intellectually stimulating production by Amelie Niermeyer of the 1805 version of Fidelio. Author Moritz Rinke was brought in to rewrite the dialogue, and he doesn’t change the plot, but subtly examines Beethoven’s intentions. Niermeyer uses the cliche of doubling – there are two Leonores on stage – but it works because of the rewritten dialogue: the two sides of a conflicted Leonore are able to converse with each other. If there’s one part that doesn’t work it’s the ending, where Niermeyer (or Rinke) undercuts the hopeful ending by painting it as a fantasy. It’s easy to dismiss Beethoven’s ending as unrealistic – it’s idealistic – but it just comes across as cynicism.

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  10. #2286
    Senior Member Veteran Member Povero Buoso's Avatar
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    I've been watching and listening to a lot of Suor Angelcie recently particulary the version for the ROH by Richard Jones.
    In the course of this I've realised something.
    I love Suor Angelica a lot. As I do all of Il Trittico because it is (in my opinion) Puccini's greatest work.
    However I am not sure that without Jones' version I would have come to love Suor Angelica as quickly.
    It's music is (and remains) amazing but in the original staging the miracle is...Well it's a bit snetimental,kitsch, and kind of cheapens the opera.
    The "Divine Revelation" means all the angst and horror that precedes it means little.
    Perhaps I am morbid but the Richard Jones staging where the final miracle is just a dying delusion truly appeals to me and adds tragedy to the work.
    It particularly adds a touch of realism which turns Suor angelica from one of Puccini's most tragic but oddly hopeful opera's to perhaps his most tragic piece.
    To me it raises the question "How much are we influenced in regard to an opera by our first viewing of it staged (whether dvd or live)? And what affect this may have on our continued opinion of it?
    "Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.

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  12. #2287
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    Whilst the wind is howling around my house, I make myself a cup of tea and start like in 5 minutes.
    Can't go wrong with this two giants.

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  14. #2288
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Adrian View Post

    Whilst the wind is howling around my house, I make myself a cup of tea and start like in 5 minutes.
    Can't go wrong with this two giants.
    I love this!
    "Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."

    FRANZ SCHALK, attributed, Losing the Plot in Opera: Myths and Secrets of the World's Great Operas

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  16. #2289
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    Another stormy day over here, day so I am staying in,watching this luxurious lavish production.

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  18. #2290
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    Kiri at her best, besides Strauss.

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  20. #2291
    Senior Member Top Contributor Member Florestan's Avatar
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    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

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  22. #2292
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    A really old fashion Magic flute.
    Great cast and nothing to moan about.

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  24. #2293
    Senior Member Top Contributor Member Florestan's Avatar
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    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

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  26. #2294
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    I spend The last two hours watching this:
    https://www.mezzo.tv/en/Opera/Mam%27...-Lausanne-4301






    Orchestre de Chambre de Lausanne
    Chœur de l'Opéra de Lausanne
    Christophe Grapperon (Conductor)
    David Ghilardi
    Clémentine Bourgoin
    Ivanka Moizan
    Pierre-André Weitz (Stage Direction)
    Olivier Py
    Lara Neumann
    Damien Bigourdan
    Samy Camps
    Eddie Chignara
    Sandrine Sutter
    Antoine Philippot
    Pierre Lebon

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  28. #2295
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Florestan View Post
    That looks interesting! Not heard of it before.
    "Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."

    FRANZ SCHALK, attributed, Losing the Plot in Opera: Myths and Secrets of the World's Great Operas

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