What opera have you been watching lately?

**Florestan** · December 31st, 2015, 06:02 AM

First watch:

Watching this one a second time with my son:

**Bertie Wooster** · December 31st, 2015, 06:21 AM

Just watched Rusalka (Met 2014 with Fleming, Beczala, et al). I really liked it. The scenery was beautiful and the music was lovely. Name: rusal.jpg
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**Soave_Fanciulla** · December 31st, 2015, 09:00 AM

Lucia di Lammermoor from the Liceu, with Juan Diego Flórez debuting the role of Edgardo, and Elena Moșuc.

**Hoffmann** · December 31st, 2015, 04:57 PM

Originally Posted by Soave_Fanciulla

Lucia di Lammermoor from the Liceu, with Juan Diego Flórez debuting the role of Edgardo, and Elena Moșuc.

I think I read that Edgardo is a new role for JDF - that his voice is darkening and he will be singing fewer of the bel canto roles that made him famous.

I wonder, though, because his voice is somewhat on the small side - when I saw him and Joyce DiDonato in La Donna del Lago at the Met last year, the orchestra seemed to play at much less than full steam to ensure the principals wouldn't have to sing over them. If JDF will be singing heavier roles, I wonder how that will work?

**Soave_Fanciulla** · December 31st, 2015, 06:06 PM

Originally Posted by Hoffmann

I think I read that Edgardo is a new role for JDF - that his voice is darkening and he will be singing fewer of the bel canto roles that made him famous.

I wonder, though, because his voice is somewhat on the small side - when I saw him and Joyce DiDonato in La Donna del Lago at the Met last year, the orchestra seemed to play at much less than full steam to ensure the principals wouldn't have to sing over them. If JDF will be singing heavier roles, I wonder how that will work?

He seemed to do well - in his big last scene you could see in the down time he suddenly got a frog in his throat, but being the seasoned professional he is he still managed to sing beautifully.

**Soave_Fanciulla** · January 1st, 2016, 09:50 AM

Trebs and Francesco Meli in a top-notch Giovanna D'Arco at La Scala. Even the loggionisti went wild and I can't blame them.

**JohnGerald** · January 1st, 2016, 03:10 PM

Originally Posted by Soave_Fanciulla

Trebs and Francesco Meli in a top-notch Giovanna D'Arco at La Scala. Even the loggionisti went wild and I can't blame them.

I cannot say enough good things about this performance! Chailly does a magnificent job with the orchestra, and baritone aside (he's a bit light) Meli and Netrebko "hit it out of the park". With Macbeth, Trovatore, and now Giovanna, she is a walking, talking living lesson on singing Verdi. One of my fondest memories is of Leontyne Price doing Trovatore; I was sure then that I'd never hear better. But Netrebko proved me wrong.

I was initially put off by the staging in Giovanna, but when it became apparent that the directors, Leiser and Caurier were indulging their interest in human madness, and that what was going on with Giovanna was the expression of her madness, then the dramatic sense of the production became apparent.

It was a wonderful experience.

**Amfortas** · January 1st, 2016, 09:29 PM

Originally Posted by JohnGerald

I was initially put off by the staging in Giovanna, but when it became apparent that the directors, Leiser and Caurier were indulging their interest in human madness, and that what was going on with Giovanna was the expression of her madness, then the dramatic sense of the production became apparent.

Is it the madness of Giovanna, or the madness of a nineteenth-century woman who *thinks* she's Joan of Arc?

I've seen only the opening moments so far; maybe the issued is clarified over the rest of the production. But that's the question it seems to raise initially.

**Ann Lander (sospiro)** · January 2nd, 2016, 07:27 AM

For no reason at all, it's way down the list of my favourite Verdis, I'm in a La traviata mood. Watched this yesterday and Fleming and Bruson are superb. Rolando has issues but he acts the part so well and I love him to bits, so he's forgiven.

**MAuer** · January 2nd, 2016, 12:21 PM

Starting off the new year with der Jonas:

The updated setting usually isn't a distraction (even the miners' reference to saddling up their horses to search for Ramerrez isn't necessarily at odds with the modern period if the camp is in a remote, rugged area). But why in the world couldn't Nina Stemme have been given a more flattering costume, minus the horrid red wig? It makes one wonder why all of the men are attracted to this frumpy character -- and references to Nina Micheltorena indicate it's not because Minnie is the only woman around. But the three principals are all credible in their roles, even if Tomász Konieczny’s Rance won't make me forget Sherrill Milnes in the part. (And need I add that der Jonas is fabulous?)

**JohnGerald** · January 2nd, 2016, 04:28 PM

Our habit on New Year's Day is to watch Fledermaus (the Glyndebourne one) while consuming a rather large amount of a naturally carbonated adult beverage. Apparently, I did not consume enough (although last evening I was certain that I had) because I feel quite well this morning.

**Povero Buoso** · January 2nd, 2016, 05:11 PM

Originally Posted by JohnGerald

Our habit on New Year's Day is to watch Fledermaus (the Glyndebourne one) while consuming a rather large amount of a naturally carbonated adult beverage. Apparently, I did not consume enough (although last evening I was certain that I had) because I feel quite well this morning.

Die Majestät wird anerkannt,
Anerkannt rings im Land;
Jubelnd wird Champagner
Der Erste sie genannt!
Es lebe Champagner der Erste!

**Povero Buoso** · January 7th, 2016, 09:33 PM

Finally finished with my essay (I listened to the Di Stefano/Callas/Gobbi Tosca it kept me awake while I was doing referencing at 7 in the morning) I decided it was time to watch a new opera. As I wasn't sure whether I would be going out on the town later in the evening I made the choice to watch the short but stupendous Salome on the Met On Demand. At first Salome did not grab me (I've been listening to a lot Puccini recently so I've been spoiled for great melodies) however as it went on the music improved steadily and the combination of story and performances grabbed my attention. A particular highlight was the dance of the seven veils but overall it was more enjoyable the the other Strauss opera I've seen (Ariadnce auf Naxos). The singers were all great (Mattila,Begley and Uusitalo among others) vocally and acting. The staging was also excellent and I enjoyed the opera a lot. However, I think it is an opera that would work excellently in a live performance in comparison to being very good otherwise.

8.75/10 A greatly enjoyable version of a new work for me on the Met on demand. The story kept my attention in no small part due to the performances involved as well as an excellent staging. However, as an Opera I feel it probably must be seen live to get its full (and disconcerting) effect.