Morir, si pura e bella?
UPDATE: Not only are Gli Alagni scheduled for Aida at La Scala in 2006 (as noted yesterday), La Cieca has just heard that Peter Gelb has promised them a new production of Carmen at the Met in 2009-10. And, yes, Gheorghiu is the Carmen, not the Micaela. This is all at least four years in the future, so don’t book your tickets yet. Actually, this tidbit could have waited a few days (or years) but La Cieca wanted an excuse to post the scrummy photo of Bobby as Radames. Doesn’t he look like he’s about to say, “My father rules many lands and peoples, and that is why they call me Prince?”
La Cieca has just heard that the honor of opening the 2006 La Scala season will go to Angela Gheorghiu and Roberto Alagna, who will grace a new production of Aida. Please let La Cieca be the first to congratulate maestro Riccardo Chailly for persuading these two megastars to take on the roles of the Priestess and the Messenger — now, who do you think he will get for the leads?
The most reliable source of all (i.e., himself) states that a long-term career goal for Rolando Villazon is … Wagner. Don’t panic yet; he’s talking Lohengrin sometime around 2015, as reported at Mouvement Nouveau.
Alanga would also do better if he stuck to Hoffman and Romeo and stay away from Verdi and Puccini altogether. Angela would do best to just keep her mouth closed. It’s sad really, because she had so much potential.
ITDG – Yes, I’ve missed our intense conversations – and I haven’t a clue where the Interpolator could possibly have been. It’s possible I might have seen him performing at the Met this evening, although we are still unsure of his identity, so it can’t be confirmed.
I actually wanted to just post a bit on what I saw tonight. I went to the opening of Cosi fan tutte at the Met this evening – my personal favorite Mozart opera (the music really is some of his most divine – I don’t care whether people like the plot or not – who cares! The music is what matters and it’s unerringly magnificent!).
The production was decent – I have to say it was bright and simple, but not plain or tiring to look at. It would have been nice to have had some more props and furniture pieces, etc. but it really didn’t matter.
I will say that, dramatically, everyone was superb tonight! The acting, the staging, everyone moved in a believable and comfortable manner and we very convincing, especially in the more heartfelt and serious moments in the opera.
Vocally – this was another issue.
Maestro Levine conducted the orchestra beautifully – and the tempos were perfect! Barbara Frittoli (who I am now calling Brava Frittoli) was stunningly gorgeous and her voice was unparalleled in beauty, her phrasing was brilliant, and she was so alive and elegant on stage. I would marry her if I could! This was my first time hearing her live and I couldn’t have been more pleased! She was completely on top of her game tonight and sang the shit out of every note! I love her!
M.P. was singing tenor – he did a wonderful job from beginning to end. I did feel that in some places, he was not able to give enough sound that I personally prefer to hear – i.e. Tradito, schernito. His voice does have a lighter quality to it, but it was extremely beautiful – his Un aura amorosa was very moving, his runs were very clean, his acting very nice – I truly enjoyed his performance overall! I was very pleased to see that he was singing tonight as I heard him on his debut singing Barbiere and he pulled through very well in that.
Thomas Allen sang a very good Don Alfonso – although it took him about 5 numbers into the opera to really warm up and get comfortable vocally and physically on stage. After that, he was brilliant – I was happy to have gotten to see him perform. I LOVE his Figaro in Barbiere and I’ve always adored his Don Giovanni.
Mariusz Kwiecien sang Guglielmo – fantastic job – he gave a rather boring baritone role (well, it’s boring to baritones – I’ve never met one that actually liked the part) and very lively, fun, and vocally delicious performance! I was very pleased with him.
Magdalena Kozena sang Dorabella. Amazing actress – her portrayal was flawless and truly hysterical. Her voice left a bit to be desired during her solo lines and arias – she sounded great in the ensembles. It was mainly the quality of her top register – somewhat hooty with a fast vibrato at times and it seemed like she didn’t have alot of control when going abot E…I forgive her though because she was very artistic with her musicality, phrasing, and her great acting!
Despina was sung by Nuccia Focile. I would like to draw some attention to discussing this woman and her performance. I don’t know if any other readers here have heard her perform at all. First I will say: She was a perfectly brilliant Despina. She had the character nailed – perfect diction – her delivery of lines in the recitatives was so fresh and invigorating to listen to – it really was a joy to hear her and Frittoli spin it off in their native language – a valuable learning experience for any polyglots or singers in the audience. She was such a delight to watch and hear onstage. A rather light voice – perfectly suited to this role – she sometimes would come off her breath when going up to G and above, perhaps because she was so active with her acting – and so the voice thinned and spread somewhat in the upper register, but nothing that detracted from the pitch or the phrasing – the tone suffered more than anything.
What amazed me about this woman was reading her bio. I would like to play the game “Some of these things are not like the others” with those who read this.
Her bio in the program states that she:
a) made her Met debut as Mimi in 1995.
b) Her future engagements include the following roles:
Iolanta, Elizabeth in Don Carlo, Violetta, Desdemona, Adina, Alice Ford (NOT Nannetta), the Countess, and Musetta. These are all at major opera houses around the world and the bio continues describing the various top opera houses that she has sung in – including La Scala, Paris, Covent Garden, Fenice, Houston, etc. etc.
Does anyone else think that her repertoire sounds odd?
I will declare that I have given the most honest description of her vocal capabilities (from what I heard tonight) above. The voice is perfectly suited for Despina – it is a very light instrument, weak upper register possibly due to coming off the breath while acting, and by far the smallest voice on the stage.
I’ll leave you all to ponder for a bit.
Now I’m off to bed as I have another audition tomorrow afternoon and must get some rest! Ciao tutti!
Il tenore di coloratura superba, I’m so glad to hear that you’ve also missed our chats. I’ve been in Europe the last three and am now trying to catch up with the wonderful doings at La Cieca’s.
I also love Frittoli and only regret that she’s kept her repertoire and appearances in the US rather limited. Have seen her now three times as Desdemona and once with the NYPH in the Verdi Requiem. She was great.
Focile, indeed has an odd repertoire. But, who doesn’t these days? She’s the Tatyana in the recording of Eugene Onegin that I have. Also an odd choice for what I gather is a light soprano voice.
Just getting into this musical scene – forgive, but how did
Madame Anghela’s La Scala go earlier this year?
Did she and Mr Alagna split up..?