the morning after
The operatives were busy over the midnight hours:
“Act 3 was a mixed bag. The opening showed Villazon in much better form, with solid phrasing. The Mad Scene started out beautiful, Netrebko spinning out haunting legato. She was completely involved and engaged. Then she fell apart at the flute solo, sounding under supported and wavering off pitch dangerously. She never recovered through the end of the scene. She sounded as if she had just run out of energy and attempted no high note, which may have been a blessing. Villazon ended the show beautiful, showing us what he can sound like — though there were two large cracks. The voice was nonetheless much more secure. Kwiecien was by far the best thing about the show, displaying a healthy voice and fantastic acting from beginning to end. His was the only stellar performance. Also, if I am not mistaken, which having sung this scene before I am quite sure I am not, the whole Act 3 scene was taken down a whole step.”
“You were not wrong to sign off when you did — Act II was the high point by far in all respects. With my wretched Blackberry no longer impeding my thoughts, I’ll thus conclude — Act III featured the most extensive and most exposed singing of our poor Rolando, and his near-miss on the Act II A was repeated on a couple other notes — though he did hit notes of equally difficulty without incident. Maybe he’s just that good an actor, but peering at him through my binoculars, I really did feel at the beginning of the last scene as though he were in mourning for himself. I’m too sad for him to be any more critical — though the incredible energy he displaying during the curtain may prove my theory wrong. Netrebko’s mad scene certainly lacked the bel canto qualities one expects, but her singing was secure — with the exception of the last note, where she paused before dropping down.”
“Well, first off there were no Ebs to miss in the Mad Scene because there were no Ebs, which was probably a good thing because any time Netrebko went above a C?(I don’t have the ear or knowledge of the score that other members of your public have but let just say anything “high”), it was shaky or abandoned, one time rather awkwardly. Other than that omission/decision, which resulted in a bit of a shock I think at the end of the scene, it was a nicely sung, although rather un-”bel canto” Mad Scene. Villazon had some small problems during the Wolf’s Crag scene that he compensated for by just backing off. Same during the final scene. His first aria (“Fra poco…”) was actually nice, although I am guessing based on posts from the other night that it was indeed transposed down, and frankly if I hadn’t heard Bezcala do such a beautiful, powerful rendition of this two months ago I might
not have noticed it was lacking. And at the end he sang all the “Bel Alma”‘s which was an improvement over Monday as well. I would say that it is unlikely either will be replaced. Netrebko seemed to be getting her legs back and by next Saturday will probably be just fine for the
broadcast, although not terribly exciting. Villazon just can’t sing full out for long periods of time. But it didn’t sound like phlegm was the issue tonight. The response to both Anna and Rolando was huge from
the crowd, proving that to the majority of today’s opera fans (at the Met at least), these performances are about what people expect or are looking for. My personal recommendations for the HD broadcast would be to tell people to turn off their *#$&(% cell phones (there were at
least five loud rings tonight, including one phone that must have belonged to the patron who dropped their hearing aid on the floor in family circle, it was deafening) and also to consider looking to the
covers for the trumpet players because the first fanfare of the opera is seemingly beyond whomever was attempting to play it last night and Monday. Also could Colin Lee please do double duty a la Plishka in Boheme and sing the role of Normanno as well as Arturo. Michael Myers seriously needs a microphone. It is ridiculous and just starts the whole night off on a bad foot.”
Thank you, I am definitely not going to the HD broadcast!
here she is boasting in Russian
http://www.youtube.com/watch?v=pUNWNq5lg50
and here is much version from DGG
http://www.youtube.com/watch?v=1D-uiVZUZas&fmt=18
‘The response to both Anna and Rolando was huge from
the crowd, proving that to the majority of today’s opera fans (at the Met at least), these performances are about what people expect or are looking for.’
I think it’s likelier that a significant proportion of the audience will have known about the difficulties at the previous performance and wanted to provide encouragement.
Although wishing singers well seems to be a sentiment which has by and large vanished from this site, it still exists among most audiences I find myself a part of.
I am heartened to read any kind of positive stuff about Villazon. A major talent like that deserves every bit of support to get his voice together, if possible, and not just be a shining star in the sky that goes out all too quickly.
At this point, I am beginning to suspect more than just voice problems. I think maybe he is starting to become psychological when it comes to certain parts, (Wolf Crag) and who could blame him?
I disagree wth armerjacquino. It’s not that anyone wishes Villazon or Netrebko – or any other singer – anything but the best.
I think people’s reactions rather reflect an amazement that the singers that are promoted as the best singers of the era are incompetent to sing the roles they are engaged for.
We can’t even talk about phrasing or characterization anymore – we have to be happy if they can hit the notes. And even if they can’t do the basic job, we have to feel guilty if we want something better. The Met used to be the pinnacle, and if this is the best the Met can offer, then it’s over for opera.
It’s not over yet, but it will be in about 10 years or so. We’re told by some that there are great singers who aren’t getting a chance. I don’t believe it. Lots of mediocre singers with lackluster voices are getting a chance–even at the Met and other major houses.
“Villazon ended the show beautiful, showing us what he can sound like — though there were two large cracks. The voice was nonetheless much more secure.”
Two large cracks and the voice was much more secure?
Whoa!
the huge response last night was certainly not based on a significant proportion of the audience knowing about the difficulties at the previous performance. this would assume that a significant proportion of the audience reads this and other blogs, which is highly unlikely. i doubt that a significant proportion even reads reviews, and if they do, they would have read only the sanitized version of monday’s performance. could the huge response be based on some other factor, for example the beautiful tone of netrebko, and the detailed performance she provides (albeit sans the niceties of accurate runs, and even many notes not involved in any intricate ornamentation?) the absent high notes do not disturb me, as they are not donnizetti’s anyway; their lack would more likely trouble the casual operagoer, who might think them requirements of the role. the mad scene actually goes rather well without them, especially the one smack in the middle, which provides premature resolution to the scene. netrebko throughout provides a detailed if intellectual understanding of the character. a telling example comes in act I when she emphasizes that letters from edgardo will provide her with equilibrium in his absence. i speak with many fellow spectators when i attend the opera, and there is much reference to other lucias in their experience, in particular sutherland or sills. either the memories are faulty or not very detailed, or the change in emphasis from elaborate decoration to the stripped down netrebko version does not disturb. i suspect the latter is rasonable. there is much to admire in her singing, and since my wishing it so will not change anything, i do not concentrate on what is missing. villazon is such an emotionally generous artist, it is distressing to hear him struggle with his voice, but he negotiated the trouble spots with some success, and provided very beautiful and nuanced phrasing in many places. overall his edgardo is a very attractive and romantic figure. i believe it is useless to speculate on the source of his difficulties of late, or to lay blame on the artist.
the abundance of piano singing in this performance, whether it proceeds from necessity or choice, is very pleasant, and shifts the emphasis from vocal opulance to nuanced singing, which is not a problem for me. the hd will surely feature the two leads, and will problably not satisfy our cogniscenti, but this will not change what it will be, which may just be an acceptable and enjoyable version of the opera in question.
A major talent doesn’t need support to get his voice together, he has his voice together.
Most people in the audience at the Met don’t know much about opera. They paid x dollars for the tickets and they tell themselves they enjoy the show.
The Met has just announced that in light of the triumphant pairing of Netrebko and Villazon in Lucia, that the highly marketable singers will take on the title roles of Tristan und Isolde in the next revival of Wagner’s “little romantic tragedy” to be directed by none other than Peter Gelb in his directorial debut. Of course, an HD broadcast is imminent.