Thread: Opera Small Talk

          
   
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  1. #2086
    Senior Member Top Contributor Member Florestan's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Ok, everyone. It's not too late to get your tickets! No problem with hearing him clearly in the, um, Capitol One Arena - I'm sure the sound system will be amped up for the occasion. Not so sure about the sight lines if you are high up, tho', the Arena typically is used for hockey and basketball...
    Thanks for the heads up, but I am afraid I can't make it. Have to take out the garbage that night.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  2. #2087
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    Ok, everyone. It's not too late to get your tickets! No problem with hearing him clearly in the, um, Capitol One Arena - I'm sure the sound system will be amped up for the occasion. Not so sure about the sight lines if you are high up, tho', the Arena typically is used for hockey and basketball...
    I think I'll give it a miss
    "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

  3. #2088
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Florestan View Post
    Thanks for the heads up, but I am afraid I can't make it. Have to take out the garbage that night.
    Yeah, I'm going to help Florestan with his bins.
    Natalie

  4. #2089
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Oh. Ok. Well, now I don't have to clean up the guest room. Let me know if anyone changes their mind!

  5. #2090
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    Oh. Ok. Well, now I don't have to clean up the guest room. Let me know if anyone changes their mind!
    "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

  6. #2091
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    Saw the second-to-last Thais on Tuesday, and I'm rather kicking myself that I left it so late; had I seen it earlier in the run, I'd definitely have seen it again! But unfortunately, the timing of the last performance doesn't work for me (homework).

    It was Gerald Finley's first performance back after two cancellations (due to sickness) last week, and he was underpowered in the first two acts in a directional sort of way (was sitting at the front of Dress Circle, he could be heard when he faced my direction, much less audible when turned towards the other side of the house). But what I heard did sound good, and he was very moving in Act 3, though I also really enjoyed the moment in Act 2 Scene 2 when Athanael flies into a rage after finding out that the bracelet Thais doesn't want to destroy was a gift from Nicias. Finley's Athanael seems genuinely unaware of his true motivations for most of the opera, so his realization and heartbreak at Thais's death is sad, rather than satisfying (as it is with a more hypocritical Athanael).

    Ailyn Perez was amazing! Such a lovely tone (notwithstanding a couple squished high notes), stylistically correct, and very moving. Jean-Francois Borras did a really nice job with Nicias, much credit to him. Principal harpist, Emmanuel Ceysson, also sounded fantastic. It's hard to write about things you really liked! Was happy with Villaume, though was reminded of his habit of breathing ecstatically (and loudly!) when conducting, which I'd noticed during Romeo et Juliette last season. I've been really impressed with some of the very-small-but-very-exposed comprimario parts (Ying Fang as the shepherd in Tannhauser, and whoever it was who sang the street sweeper in Manon Lescaut in the 15-16 season), but the soprano doing the wordless vocalizations during the exoticism ballet bit in Act 2 Scene 2 did not quite pull it off.


    Also saw the Verdi Requiem last night. Krassimira Stoyanova was both incredible and inaudible. The Libera me was so fantastic, but she was consistently small-voiced and was consequently pretty hard to hear/completely inaudible during the bigger moments. Noticed that she would intermittently rock from side to side in time to the music while seated during the Dies irae, which I rather enjoyed. Furlanetto sounded really good, and I had expected Antonenko to do some bawling, but he did very little of that and sounded positively sweet of tone for a vast majority. This was my first time (I think?) hearing Semenchuk, and there's something about the voice that I don't find that enjoyable. The particular combinations of frequencies? It's not a lovely dark sound - I was thinking about it last night, and the best I could come up with was "wet", which is spectacularly nonsensical.

    And on the way out, the big staircase was very congested, so I did some eavesdropping on the people behind me. Some man was telling a woman that he had sung in Turandot here in November, and that Furlanetto (who he is friendly with) is definitely a bass and not a baritone. I turned around and stared at him quite hard (he definitely noticed me doing this), but didn't recognize him. Had a look online, and it turns out it was Giorgi Kirof.

  7. #2092
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Dichteurehalle View Post
    Saw the second-to-last Thais on Tuesday, and I'm rather kicking myself that I left it so late; had I seen it earlier in the run, I'd definitely have seen it again! But unfortunately, the timing of the last performance doesn't work for me (homework).

    It was Gerald Finley's first performance back after two cancellations (due to sickness) last week, and he was underpowered in the first two acts in a directional sort of way (was sitting at the front of Dress Circle, he could be heard when he faced my direction, much less audible when turned towards the other side of the house). But what I heard did sound good, and he was very moving in Act 3, though I also really enjoyed the moment in Act 2 Scene 2 when Athanael flies into a rage after finding out that the bracelet Thais doesn't want to destroy was a gift from Nicias. Finley's Athanael seems genuinely unaware of his true motivations for most of the opera, so his realization and heartbreak at Thais's death is sad, rather than satisfying (as it is with a more hypocritical Athanael).

    Ailyn Perez was amazing! Such a lovely tone (notwithstanding a couple squished high notes), stylistically correct, and very moving. Jean-Francois Borras did a really nice job with Nicias, much credit to him. Principal harpist, Emmanuel Ceysson, also sounded fantastic. It's hard to write about things you really liked! Was happy with Villaume, though was reminded of his habit of breathing ecstatically (and loudly!) when conducting, which I'd noticed during Romeo et Juliette last season. I've been really impressed with some of the very-small-but-very-exposed comprimario parts (Ying Fang as the shepherd in Tannhauser, and whoever it was who sang the street sweeper in Manon Lescaut in the 15-16 season), but the soprano doing the wordless vocalizations during the exoticism ballet bit in Act 2 Scene 2 did not quite pull it off.


    Also saw the Verdi Requiem last night. Krassimira Stoyanova was both incredible and inaudible. The Libera me was so fantastic, but she was consistently small-voiced and was consequently pretty hard to hear/completely inaudible during the bigger moments. Noticed that she would intermittently rock from side to side in time to the music while seated during the Dies irae, which I rather enjoyed. Furlanetto sounded really good, and I had expected Antonenko to do some bawling, but he did very little of that and sounded positively sweet of tone for a vast majority. This was my first time (I think?) hearing Semenchuk, and there's something about the voice that I don't find that enjoyable. The particular combinations of frequencies? It's not a lovely dark sound - I was thinking about it last night, and the best I could come up with was "wet", which is spectacularly nonsensical.

    And on the way out, the big staircase was very congested, so I did some eavesdropping on the people behind me. Some man was telling a woman that he had sung in Turandot here in November, and that Furlanetto (who he is friendly with) is definitely a bass and not a baritone. I turned around and stared at him quite hard (he definitely noticed me doing this), but didn't recognize him. Had a look online, and it turns out it was Giorgi Kirof.
    Excellent reviews!

    Gerald Finley had appendicitis and had to have an emergency operation so I expect he's still a bit tentative. I'm looking forward to seeing his Scarpia in January.

    I'm surprised that guy said that about Furlanetto, I don't think he's ever been a baritone.
    "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

  8. #2093
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    I'm surprised that guy said that about Furlanetto, I don't think he's ever been a baritone.
    It was because the woman he was talking to (trying to pick up?) said that she had really liked the baritone the best, hah. Thanks for the news on Finley, I hope he's doing well!

    - - - Updated - - -

    In other news,
    NYTimes: Met Opera to Investigate James Levine Over Sexual Abuse Accusation

  9. #2094
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Dichteurehalle View Post
    I think we must be careful how we discuss this. There have been rumours for years, but that's all they were, with nothing proven. The Met has made its statement and I'm going to await the outcome before I comment further.
    "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

  10. #2095
    Senior Member Top Contributor Member Florestan's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    I think we must be careful how we discuss this. There have been rumours for years, but that's all they were, with nothing proven. The Met has made its statement and I'm going to await the outcome before I comment further.
    Sickening to see such details publicized in a rumored event that has not been proved. It can only serve to color people's perceptions. It is so easy for someone who once had an association with a public figure to make accusations decades later, when it is much harder to verify, thereby leaving the accusations hanging, perhaps forever.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  11. #2096
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I'm for "innocent until proven guilty" but I confess that the news is disturbing. Anyway, it's best not to rush to judgment and wait for the results of the investigation.

    https://www.msn.com/en-us/news/us/me...cid=spartandhp
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  12. #2097
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Yes, I agree with Luiz and Ann, we don't want trial by media.

    Florestan you make a valid point, but it can also be the fact that if you are in a vulnerable position, and are very young, and the person you are accusing is backed by a powerful institution, you are reluctant to say anything because you don't think you will believed and the consequences of taking on that institution seem terrifying. I am speaking here from personal experience (although on a much more minor scale than the original story above, a once-off). I think in my position if someone else had said something about the same powerful person, even many many years later, I might find the courage to say something too. I think of him continuing to be respected by the institution and feel pretty angry about that.
    Natalie

  13. #2098
    Senior Member Top Contributor Member Florestan's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Yes, I agree with Luiz and Ann, we don't want trial by media.

    Florestan you make a valid point, but it can also be the fact that if you are in a vulnerable position, and are very young, and the person you are accusing is backed by a powerful institution, you are reluctant to say anything because you don't think you will believed and the consequences of taking on that institution seem terrifying. I am speaking here from personal experience (although on a much more minor scale than the original story above, a once-off). I think in my position if someone else had said something about the same powerful person, even many many years later, I might find the courage to say something too. I think of him continuing to be respected by the institution and feel pretty angry about that.
    You have a great point too. It may very well be that someone did not speak up sooner because 20-30 years ago the climate was much different, whereas now such claims are taken more seriously.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  14. #2099
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    Quote Originally Posted by Soave_Fanciulla View Post
    Yes, I agree with Luiz and Ann, we don't want trial by media.

    Florestan you make a valid point, but it can also be the fact that if you are in a vulnerable position, and are very young, and the person you are accusing is backed by a powerful institution, you are reluctant to say anything because you don't think you will believed and the consequences of taking on that institution seem terrifying. I am speaking here from personal experience (although on a much more minor scale than the original story above, a once-off). I think in my position if someone else had said something about the same powerful person, even many many years later, I might find the courage to say something too. I think of him continuing to be respected by the institution and feel pretty angry about that.
    I was going to say, I completely agree! I've read a couple of NYTimes articles from the 90s, and the language they use to describe Levine is so complimentary and so reverent. I can imagine that immense pressure might be brought to bear on anyone who made accusations back then against such a figure, not to mention that people were quite disbelieving about such allegations a mere 6 months ago. I was going to say that I planned to withold judgement/wait and see for a few days, to see if any other accusers came forward, but anyway, the point is now moot.

    NYTimes: Met Opera Suspends James Levine After New Sexual Abuse Accusations

  15. #2100
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Oh wow. I must say that again, mere accusations shouldn't result in a rush to judgment, but when it's three people, and when the reports are this specific, and by people who really don't seem to have an ulterior motive, it's more credible and it raises more questions, which I assume is why Peter Gelb decided to suspend him even before the investigation concludes. If he is proven guilty, I'll be very disappointed, because I did revere Mr. Levine. No more.

    This is a sad day for patrons and fans of the Metropolitan Opera.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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