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  1. #46
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I've heard Latonia Moore and Alan Held (Tosca and Scarpia) live, and both are very good. I know a few names from reading my two German opera magazines, and both Vera Gimadieva (Violetta) and Benjamin Bernheim (Faust) have received favorable reviews. I've also heard positive things about Riccardo Massi and Joshua Guerrero, so Washington's season might not be so bad. On the other hand, it's nothing to compare to houses in other national capitals such as London, Berlin, Vienna, Paris, and Madrid.

  2. #47
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Hoffmann, have you seen this at Wolf Trap?

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    Also, I'm deciding that I will indeed go to Berlin in early or mid-July. What are the dates of the performances you have tickets for?
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  3. #48
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Hoffmann, have you seen this at Wolf Trap?

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    Also, I'm deciding that I will indeed go to Berlin in early or mid-July. What are the dates of the performances you have tickets for?
    No, I hadn't seen that. Of course, "The Best of Wagner's Ring" - well, you know what that means...

    I've heard Latonia Moore and Alan Held (Tosca and Scarpia) live, and both are very good. I know a few names from reading my two German opera magazines, and both Vera Gimadieva (Violetta) and Benjamin Bernheim (Faust) have received favorable reviews. I've also heard positive things about Riccardo Massi and Joshua Guerrero, so Washington's season might not be so bad. On the other hand, it's nothing to compare to houses in other national capitals such as London, Berlin, Vienna, Paris, and Madrid.
    I love Alan Held - I forgot about him. Still, although Scarpia is an important character in the plot of Tosca, he doesn't get any of Puccini's best music. I don't know any of the others, but your point is well-taken: if these singers are well-regarded in Europe, perhaps opera lovers here (like me, for example) should not turn up our noses at the fact they aren't yet well known.

    Also, I'm deciding that I will indeed go to Berlin in early or mid-July. What are the dates of the performances you have tickets for?
    June 22 Il Viaggio a Rheims Deutsche Oper

    June26 Faust Deutsche Oper

    June 29 Macbeth Staatsoper unter den Linden (w/Netrebko, Domingo & Barenboim...)

    July 1 Orfeo ed Euridice Staatsoper (w/Valer Sabadus)

    July 6 The Nose Komische Oper

    July 9 Ti Vedo, Ti Sento, Mi Perdo (Sciarrino) Staatsoper (w/Otto Katzameier)

    July 11 Die Gezeichneten (Schreker) Komische Oper

    July 12 L'Incoronazione di Poppea Staatsoper (w/Max Emanuel Cenci & Xavier Sabata)

    That's kind of all there is. This summer wasn't that easy to schedule.

  4. #49
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Most likely I'll be there on the 9th. I'll see about the other dates.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Opera National de Paris:

    https://www.operadeparis.fr/en/season-18-19/opera

    I'm invited to spend a couple of weeks in Paris in September - to see the Peter Sellars Tristan und Isolde, which should be fun (even if a third trip overseas this year might be just a tad extravagant..). Andreas Schager as Tristan and Martina Serafin singing Isolde (don't know her), Rene Pape/King Marke and Ekaterina Gubanova/Brangäne.

    Unfortunately, only the Tristan will be staged in the beginning of September. Maybe I'll have to see it twice.

  7. #51
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    Opera National de Paris:

    https://www.operadeparis.fr/en/season-18-19/opera

    I'm invited to spend a couple of weeks in Paris in September - to see the Peter Sellars Tristan und Isolde, which should be fun (even if a third trip overseas this year might be just a tad extravagant..). Andreas Schager as Tristan and Martina Serafin singing Isolde (don't know her), Rene Pape/King Marke and Ekaterina Gubanova/Brangäne.

    Unfortunately, only the Tristan will be staged in the beginning of September. Maybe I'll have to see it twice.
    Look up the other Parisian companies, maybe you'll find some other performance.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  8. #52
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    For a rough guide for those like me who are impatient, these are the dates when houses announced last year.

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    "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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  10. #53
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    "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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  12. #54
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    While there are many good operas, I'm only highly excited about Marnie (contemporary opera with Isabel Leonard and Christopher Maltman) and Samson et Dalila (with Roberto Alagna and Elina Garanca). I am very disappointed that there is no Akhnaten, which I thought was scheduled for 2018/19. Yes, there are many masterpieces but most in productions I've already seen. La Traviata is in new production but I really liked the previous one and I've seen Diana Damrau as Violetta live, already. La Clemenza di Tito could be good; it's a bit more rarely staged and has Joyce DiDonato. Il Trittico should be good too. They are bringing back the freaking Lepage machine for the Ring. The same old Bohème, the same oldish Carmen, and a lot of stuff I've already seen.
    Last edited by Luiz Gazzola (Almaviva); March 1st, 2018 at 11:45 AM.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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    Senior Member Involved Member Nemorino's Avatar
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    Well, that's how the repertory system works. Spend more on a production but you've got to play it for years. I definitely think there are things they could be doing better. They could do a few lower budget productions of rarer operas. Gelb could stop apologizing for his misfires with his toxic public. I liked the Bondy Tosca, love the Red Dress Traviata, and LePage's productions all share an incredible ambition for innovation that the Met deserves to showcase. (Prediction: The Met audience is gonna haaaate this Samson.)

    I think Yannick will help steer the ship into broader repertoire, judging by his choices so far. It's gonna take time. But this is a better season than last year. The biggest disappointment for me was the cancel or delay of "I Lombardi" (replaced with Mefistofele, which is okay). I'm looking at 3 weekend trips, where this season there was only 1. Samson and Kaufmann's Fanciulla. Yannick's Pelleas with Adriana Lecouvreur (Dream cast!). And the awesome-looking Carmelites with a partial Ring. (There's a few others that I would see, but I can't combine wth enough to justify my travel.)

  15. #56
    Senior Member Veteran Member Povero Buoso's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Il Trittico should be good too. .
    Placido as Gianni I find somewhat discomforting though I am pleased Opolais is not attempting to do all 3. As Il Trittico holds a special place in my heart I guess I just want the best possible cast for it on any occasion. Giving Domingo credit he probably has the comedic credits for the role but vocally colour me skeptical at best. Corbelli if he still has a fraction of the talent he has in the 04 version from glyndebopurne would have been a great choice if possible. Domingo in a Baritone role will always disappoint me somewhat though I am ecstatic the met is acknowledging the fact the absolute (mostly unacknowledged) gem that is Il Trittico premiered there this year 100 years ago.
    "Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.

  16. #57
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Povero Buoso View Post
    Placido as Gianni I find somewhat discomforting though I am pleased Opolais is not attempting to do all 3. As Il Trittico holds a special place in my heart I guess I just want the best possible cast for it on any occasion. Giving Domingo credit he probably has the comedic credits for the role but vocally colour me skeptical at best. Corbelli if he still has a fraction of the talent he has in the 04 version from glyndebopurne would have been a great choice if possible. Domingo in a Baritone role will always disappoint me somewhat though I am ecstatic the met is acknowledging the fact the absolute (mostly unacknowledged) gem that is Il Trittico premiered there this year 100 years ago.
    On Met Opera Radio I just heard Domingo as Samson a couple of days ago, in a recording from 1998. Twenty years ago, in a tenor role, oh my God, how beautiful and crystalline he sounded! So, when one listens to his tenor instrument when it still worked, it is painful to then listen to his attempts at baritone. Being a savvy veteran singer, I think he is not a disaster as a baritone (still manages to be somewhat adequate), but what kills it is the comparison to himself, several years back. It's almost like he should stick with conducting at this point, given that he is improving as a conductor. He started very poorly but his conducting is becoming decent.

    Il Trittico is a great triple bill, and makes a lot of sense - several years back I was not a huge fan, especially because I used to dislike Suor Angelica, and while I liked the other two, I used to find the paring a bit discombobulating given the wild differences between a comedy and a verismo drama. My good friend (she is a real friend, not just an interview "friend"), singer Jill Bowen Gardner (a mostly regional singer who isn't a national/international singer in my opinion just because of how sometimes, in this highly competitive business, one is very good but isn't at the right place and the right time to make it big, although she deserved it), made me appreciate Suor Angelica and taught me why all three are connected and belong to the same global arc. Ever since, I grew a lot of appreciation for Il Trittico; it's actually a masterpiece, and one that doesn't suffer from Puccini's few shortcomings (theatrical and others, such as the messy Manon Lescaut final act, the indecisive La Rondine between light operetta music and a more tragic plot, or the incomplete Turandot which of course wasn't his fault - I bet he wasn't trying to die before completing it, but still, there is a big drop in quality when Alfano takes over). Il Trittico on the other hand is a lean machine where everything works and is perfectly measured; it combines three compelling story lines with well-paced music and a very cinematic score.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  18. #58
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Nemorino View Post
    Well, that's how the repertory system works. Spend more on a production but you've got to play it for years. I definitely think there are things they could be doing better. They could do a few lower budget productions of rarer operas. Gelb could stop apologizing for his misfires with his toxic public. I liked the Bondy Tosca, love the Red Dress Traviata, and LePage's productions all share an incredible ambition for innovation that the Met deserves to showcase. (Prediction: The Met audience is gonna haaaate this Samson.)

    I think Yannick will help steer the ship into broader repertoire, judging by his choices so far. It's gonna take time. But this is a better season than last year. The biggest disappointment for me was the cancel or delay of "I Lombardi" (replaced with Mefistofele, which is okay). I'm looking at 3 weekend trips, where this season there was only 1. Samson and Kaufmann's Fanciulla. Yannick's Pelleas with Adriana Lecouvreur (Dream cast!). And the awesome-looking Carmelites with a partial Ring. (There's a few others that I would see, but I can't combine with enough to justify my travel.)
    Yes, it is better. I won't be able to enjoy it fully, though, since I'm going twice to Europe this year, which makes me only have enough vacation days to go once to New York City, and still, it overlaps with the Naples trip, leaving only 3 days for New York (and the Met is not performing in one of those three days), so the only Met opera I'll be attending in the first half of the season is Mefistofele. I could go again to The Pearl Fishers which is the next day but I've seen that production already and the only attraction would be to listen to Pretty Yende live for the first time, but I ended up deciding not to repeat the production (I'd be bored). We'll see what happens in 2019; I typically go in January and May, so hopefully I'll be able to catch a few more.

    PS - I just looked; nothing really enticing for me in either January or May. Darn. The ones I really crave are all on dates I can't make.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  19. #59
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    As usual, the folks at Das Opernglas have gotten their hands on (some) details of the Deutsche Oper Berlin’s upcoming season before the information is even posted on the house’s web site.

    NEW PRODUCTIONS

    - Berg: Wozzeck
    Conductor: Donald Runnicles
    Director: Ole Anders Tandberg
    Cast: Johan Reuter, Elena Zhidkova, Thomas Blondelle, Burkhard Ulrich, Seth Carrico
    5, 10, 13, 19 October, 8, 15 November 2018

    - Offenbach: Les Contes d’Hoffmann (co-production with Lyon, Barcelona, and San Francisco
    Conductor: Enrique Mazzola
    Director: Laurent Pelly
    Cast: Daniel Johansson/Robert Watson, Kathryn Lewek/Heather Engebretson, Alex Esposito, Irene Roberts/Jana Kurucová
    4, 8, 15 December 2018; 5, 9, 12 January 2019

    - Bellini: La Sonnambula (co-production with Stuttgart)
    Conductor: Diego Fasolis
    Director: Jossi Wieler and Sergio Morabito
    Cast: Verena Gimadieva/Pretty Yende, René Barbera/Lawrence Brownlee, Ante Jerkunica
    26 January, 2, 7, 10 February, 19, 25 May 2019

    - Zemlinsky: Der Zwerg
    Conductor: Donald Runnicles
    Director: Tobias Kreutzer
    Cast: Tsallagova, E. Magee, D. B. Philip, Jekal
    24, 27, 30 March, 7, 12 April 2019

    - Detlef Glanert: Oceane (world premiere)
    Conductor: Runnicles/Zilias
    Director: Robert Carsen
    Cast: Bengtsson, Haslett, Pohl, Schukoff, Pesendorfer
    28 April, 3, 15, 17, 24 May 2019

    - Massenet: Don Quichotte
    Conductor: Emmanuel Villaume
    Director: Jakop Ahlbom
    Cast: Alex Esposito, Clémentine Margaine/Irene Roberts, Mikheil Kiria
    30 May, 2, 7, 13, 18 June 2019

    - Thomas: Hamlet (sung in concert format)
    Conductor: Yves Abel
    Cast: Damrau, Hubeaux, Testé, Talbot, Kehrer
    24, 27, 29 June 2019

    REPERTOIRE PRODUCTIONS

    - Mozart: Die Zauberflöte
    25, 26 August, 31 October, 23 November 2018; 18, 30 January, 6 April, 16 May, 1 June 2019

    - Verdi: La Traviata
    Cast: Tsallagova/Ciofi, Newlin/Ciaponi, Brück/D.H. Lee/Bouley
    30 August, 13, 21, 27 September, 13, 16 December 2018

    - Rossini: Il Barbiere di Siviglia
    31 August, 22 September, 30 December 2018; 2, 17 January, 20 May 2019

    - Gounod: Roméo et Juliette
    Cast: Blondelle, R. Miller, B.G. Kim
    6, 7, 9, 10 September 2018

    - Verdi: Nabucco
    Cast: Pirozzi, Glaser, Petean, Tagliavini
    8, 12, 14 September, 23, 28 December 2018

    - Wagner: Tristan und Isolde
    Cast: Merbeth, Seiffert, Sindram, S. Youn, Jerkunica/Pesendorfer
    23, 29 September, 3 October 2018

    - Puccini: Tosca
    Cast: Harteros/Radvanovsky/Monastyrska/Giannattasio, M. Álvarez/Sartori/de Léon, Schrott/Gallo/Lučić
    30 September, 4 October, 6, 9 December 2018; 19, 24 January, 13, 20 April 2019

    - Berlioz: La Damnation de Faust
    Cast: K.F. Vogt, I. Roberts, Tagliavini
    12, 17, 20 October 2018

    - Verdi: Messa da Requiem
    In a staged adaptation by Achim Freyer
    18, 24, 30 October, 9 November 2018

    - Mozart: Don Giovanni
    Cast: Borovko, Kurucová, Newlin, S.D. Johnson, Carico
    25, 27 October,, 1 November 2018

    - Wagner: Lohenrgin
    Cast: K.F. Vogt/Daniel Johansson, Nylund, Smirnova, Gantner/John Lundgren, Groissböck
    28 October, 11 November 2018; 12 May 2019

    - Janáček: The Makropoulos Affair
    Cast: Herlitzius, Kurucová, Briscein, Carico
    10, 16, 22 November 2018

    - J. Strauss the Younger: Die Fledermaus
    Production by Rolando Villazón
    18, 24 November, 21, 26, 31 December 2018; 1, 3 January 2019

    - Giordano: Andrea Chénier
    Cast: Alagna, Siri, Burdenko
    28 November, 2, 5 December 2018

    - Janáček: The Cunning Little Vixen
    Production by Katharina Thalbach
    20, 22, 29 December 2018; 4 January 2019

    - Bizet: Carmen
    Cast: I. Roberts/d’Oustrac, Jadge/Castronovo/Calleja, Stober/Stagg, S.D. Johnson/D. Luciano
    6, 11 January, 9, 17, 21 February, 19, 22 June 2019

    - Wagner: Tannhäuser
    Cast: O’Neill/Stephen Gould, Oakes/Emma Bell, Brück, Jerkunica
    13, 20 January, 5, 11 May 2019

    - Mussorgsky: Boris Godunov
    With Bryn Terfel in the title role
    31 January, 6, 9 March 2019

    - Donizetti: Lucia di Lammermoor
    Cast: Moskalenko/R. Pérez, Calleja/R. Barbera
    4, 8, 15 February 2019

    - Verdi: Rigoletto
    Cast: Brück, Tsallagova/Stagg, Glaser/Y. Kang
    6, 13 February, 27, 30 April 2019

    - Puccini: La Rondine
    Cast: Jaho, Hutton, Villazón, Newlin, Bronk
    12, 16, 20, 23 February 2019

    - Puccini: Turandot
    Cast: Smirnova, La Colla/O’Neill, Marrero/Tsallagova
    22 February, 8, 28, 31 March, 23 May 2019

    - R. Strauss: Salome
    Cast: Oakes, Volle, Blondelle
    24 February, 2 March 2019

    - Tchaikovsky: Eugene Onegin
    Cast: Dupuis, Car, Newlin
    7, 10, 18, 23 March 2019

    - Wagner: Rienzi
    Cast: Kerl, Welschenbach/Teige, Schlicht, A. Harris, D.H. Lee
    5, 18 April, 10 May 2019

    - Wagner: Parsifal
    Cast: Jovanovich, Westbroek, Brück, Welton, Groissböck
    14, 19, 21 April 2019

    - Wagner: Der fliegende Holländer
    Cast: Paterson, C. Foster, Struckmann, Blondelle
    1, 4, 9 May 2019

    - Verdi: Otello
    Cast: R. Thomas, G. Yu, Gagnidze
    8, 14, 20 June 2019

    - Puccini: Manon Lescaut
    Cast: Siri, de Léon, D. Luciano, Bronk
    9, 12, 15 June 2019

  20. #60
    Member Recent member Dins's Avatar
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    Time for my yearly post to this forum.

    The gothenburg opera has announced its program for 2018/2019. http://en.opera.se/om-oss/aktuellt/2...8-2019-ar-har/

    Most noteworthy is that the GO is starting its ring cycle this season with Das Rheingold. I guess that is the reason for the two revival premieres and the two double features since i can imagine that the Cycle is taking a lot of resources.

    And i noticed the last time i was there that they now have two text screens above the stage. One in Swedish and one in English. My guess is that that was done in preparation for the cycle since i guess there will be a lot of visitors that are not Swedish attending.
    Be wewy wewy quiet. I'm listening to opewa....

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