Another Opening, Another Chat!
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5:00 PM
24 September 2007
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13 Comments:
FYI, the Met is also streaming the broadcast directly from its website. All one needs is Realplayer. A Sirius subscription (or free trial) is not necessary.
k: The RealNetworks link above goes to the Met streaming broadcast (which doesn't begin until the dot of 6:30).
Duh, I clearly read that too quickly.
Thank you so much for hosting. You are truly a godsend.
You know, Blythe Danner's father's best friend invented the Amazon Honor System ...
I was in attendance at the dress and thought the wedding photog business undermined the sextet. at the plazacast, it didn't. i remember sieglinde fuming that videocasting could change the opera forever, and not necessarily for the better. It has already happened. what was distracting and overbusy in the house was vivid and interesting in the videocast. this had completely to do with the fact that the video was shot primarily with closeups. the in house experience will become secondary to the media one, and live audiences will have to tolerate incomprehensible actions, which on film will be striking and apt. let us pray that we will have a new crop of truly amazing singers who will look good for the camera, act for the camera, and still be able to uphold the vocal standards necessary to present a competent live experience; and that directors will learn how to satisfy both the live and the media necessities.
Thanks, La Cieca
I have never been a Dessay fan, but I really liked her in this performance. Opening night is not always the best, so I'm sure she will get better and better. The Mad Scene was so moving, and when she reappeared as a ghost in the final scene, it was amazing. I might have to reconsider her ability.
I totally agree about casting for video now - I was at TimesSquare, and I was surprised that the photog business didn't bother me. What did, which is completely a video issue, is how miscast Giordani looked - too old and thick, compared to his colleagues. The fact that he sounded horrible didn't help at all, but with constant closeups, and Arturo being such a cutie (and in good voice), you couldn't understand Lucia's attraction at all. Again, in the house I'm sure this is not such a big deal.
The single reason to see this production is Dessay's Mad Scene - while in the rest of the opera she is okay/nothing special, she is truly phenomenal here. The rest of the production is negligable, and why open the cuts when they are staged in such a dull way? But again, I'll remember her going mad for a long, long time.
Dessay was indeed fantastic. Being such a big fan of Dame Joan, I had no much hopes for Dessay in the role, but she surprised me with her artistry, creating a really moving character and singing in a splendid way. I don´t agree with the cuts, very few, that Levine made in the score, specially the second vers in Enrico´s cabaletta and in the storm duet, but at least the stretta was complete and in a magnificent fast tempo.
I heard Lucia on Sirius and Dessay for the first time, live. She is truly a coloratura extraordinaire and the star of this production. With a 5'2" small and skinny body frame, she produces a miraculous sound that caresses the notes with excellent breathing control and color. Giordani was at his best in the first act, then his voice became edgy and dry with lack of legato. Maybe I was distracted and did not pay too much attention while he was singing. Back in my head, Pavarotti's Edgardo still haunts me. Costello- still in his mid twenties and making his Met debut- with his bright voice gave an impessive reading of Arturo.
Tamino: I agree, the end of the contract signing scene is very exciting in its original form and does not need to be cut.
I should add that I don't think anything in Lucia needs cutting.
Just read the Times review and was glad to find that T. shared my earlier posted opinion that Giordani lacked finesse. There were a number of places where a leagto could have been used far more effectively.
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