Comments on: opera queen in queen city

By: TopDadJC

TopDadJC — Mon, 29 Jun 2009 13:52:38 +0000

Let’s face it. There are kunstdivas and then there are kantdivas. I put my vote with the former.

By: MontyNostry

MontyNostry — Mon, 29 Jun 2009 07:33:34 +0000

Let’s face it, most Ebolis are happy to hit anything up there, whether C flat or B or –and we’ve all heard it — a very pushed B flat.

By: TopDadJC

TopDadJC — Mon, 29 Jun 2009 01:54:41 +0000

No, kids, Cb is not the same note as B natural. It may be the same note on the piano keyboard, but Verdi was fully capable of writing a B natural if that was what he wanted instead of a Cb, so in Verdi’s mind there is a difference in pitch and color between these two notes. The piano being one of the few instruments almost consistently using equal temperament. The orchestra (strings specifically) whose tuning system is based on the division of a string is usually based on pythagorean temperament. The human voice is capable of any of the gradations of pitch in between, in general flatted notes are lower than sharped notes, and higher notes sharper than lower notes. For exact variations in pitch and historical style. Needless to say pitch is only one of the tools of the expressive singer, and as such is at the service of the text which since the Greeks (see also David’s dissertation in Meistersinger) attribute certain expressive and dramatic powers to various tones, harmonies, and text combinations. [See: http://www.dolmetsch.com/musictheory27.htm for details.] Best wishes, TD

By: iltenoredigrazia

iltenoredigrazia — Sun, 28 Jun 2009 20:49:28 +0000

As it is, Boito skipped some big chunks from the Shakespeare work, including the entire first act. Iago and Othello are supposed to be rivals and taking out the fuoco piece would have left him too one-dimensional. Boito actually added the Credo – the one piece not in Shakespeare – precisely to make Iago Otello’s match. Otherwise you’d have Otello being destroyed by a minor character.

As someone quite familiar with the play – seen and read multiple times – I still find the opera more credible.

By: suzyQ

suzyQ — Sun, 28 Jun 2009 14:16:58 +0000

Thanks Florezrocks! i almost skipped the Arts section this weekend! Let’s hope Ms. Garanca stays on the vocally smart track!

By: MontyNostry

MontyNostry — Sun, 28 Jun 2009 13:33:09 +0000

It reads like a press release.

By: florezrocks

florezrocks — Sun, 28 Jun 2009 13:01:19 +0000

Check out this wonderful piece about Elina Garanca in the Times:

http://www.nytimes.com/2009/06/28/arts/music/28gure.html?pagewanted=2&_r=1&ref=music

Her comments on the acting vs. singing debacle are interesting – she comes across as a truue artist, aware of the pace needed to build a solid career, and not susceptible to Villazon/Netrebko pressure and self-destruction. Perhaps because she is more confident in her vocal capital…

By: MontyNostry

MontyNostry — Sun, 28 Jun 2009 07:53:44 +0000

mrmyster, I bow to your greater knowledge of Shakespeare — I’ve only seen Othello once, and that was in a shoddy performance 30 years ago.

I think my main problems with Otello
stem from the the story itself and Boito’s sometimes clever-clever libretto. However, why does Verdi waste precious time he could have spent on character development with that silly ‘Fuoco di gioia’ chorus, which is really just empty virtuosity? And the section in Act II where the chorus serenades Desdemona does go on a bit. Yes, we’ve worked out that she’s a paragon of virtue and everyone loves her. And Iago really isn’t interesting. He’s just a baddie.

I don’t want to throw the baby out with the bathwater on Otello: the love duet is very beautiful (though somehow a littl cool) and there is great power in the Act III confrontation and big ensemble. I used to feel guilty about not connecting with the piece, but I’ve reconciled myself to my feelings now! I agree with Sanford about Macbeth. I adore that piece, including the rather weird and primitive final chorus. And the Act 1 finale is one of Verdi’s most breathtaking ensembles.

By: mrmyster

mrmyster — Sun, 28 Jun 2009 02:25:47 +0000

#21 Monte — the things you don’t like about Verdi’s Otello
also are present in the Shakespeare play — just take a look
at it — so much happens so fast — you want more time for
the characters to develop, esp. Desdemona in my case, yet
one can understand why the author(s) must move swiftly
in the interest of dramatic impulse and effect. I think
both those great works of art are masterful that upon
reflection leave little to be desired.

By: Sanford

Sanford — Sun, 28 Jun 2009 01:10:51 +0000

Lindoro, I have sucked a great many things in my day, but never a great opera.

I would also put in a good word for Macbeth. The biggest flaw with it is that the opera really kind of ends with the sleepwalking scene. But virtually all of his operas have moments of genious

By: Lindoro Almaviva

Lindoro Almaviva — Sun, 28 Jun 2009 00:52:13 +0000

I have to put a vote in for Traviata. Still my favorite opera.

I think what makes Otello suck a great opera is how Verdi composed music that so accurately reflects the state of mind of the characters. I can not think of a more deperate plight for help than Dio mi potevi, or a more beautiful prayer than the Ave Maria, or even a more menacing and beautiful atheist Credo. I have a feeling even God didn’t mind being insulted in such fabulous fashion.

By: Alexythymia

Alexythymia — Sat, 27 Jun 2009 23:57:57 +0000

“grey areas of morality and the huge reserves of compassion”

Very well put!

I think Otello and Falstaff are more controlled works of genius but also (deliberately, perhaps) more monochrome. Don Carlo is so limitless, so limitlessly interesting.

By: MontyNostry

MontyNostry — Sat, 27 Jun 2009 23:34:09 +0000

kashania, I have to confess that, even though I am a huge fan of Verdi, I have never seen what makes Otello so perfect. The characters seem rather flat to me and everything happens too quickly. And above all, I don’t find it has the grey areas of morality and the huge reserves of compassion that my favourite Verdi operas have. Even in Macbeth you end up feeling just a little bit sorry for those two monsters, but in Otello I just feel “You screwed up”.

By: kashania

kashania — Sat, 27 Jun 2009 22:33:04 +0000

MontyNostry: That's an interesting observation about Don Carlo's variety of music. I had never thought of that. Despite the variety, the opera never feels like a hodgepodge. It's difficult to pick one Verdi opera as the greatest. Otello is probably the most perfect drama. Falstaff displays a musical genius that can surprise even the biggest Verdi fan. Rigoletto achieves a musico-dramatic potency that one doesn't find in most any other bel canto-inspired opera. But it's perhaps Don Carlo that contains the greatest musical riches, its flawed ending aside. But then, what about Ballo? I think Verdi wrote so many great operas that picking the greatest is an impossible task.

By: Sanford

Sanford — Sat, 27 Jun 2009 22:17:46 +0000

MontyNostry, I don’t think anyone acknowledges that it is THE great Verdi opera, because that emphasis implies that there’s only one. I would agree that it is one of his greatest, along with Otello, Aida, and Falstaff, followed closely by Traviata, Forza, Trov, and Rigoletto. But I do wish fevently that it was performed more frequently in the original 5 Act French version.

By: MontyNostry

MontyNostry — Sat, 27 Jun 2009 06:59:19 +0000

On the subject of Don Carlo, it is gratifying to see that the piece has increasingly become acknowledged to be THE great Verdi opea — it certainly is in my book. Flawed, yes, but far richer in its themes and more compassionate than Otello, which is so often held up as the ‘perfect’ Verdi opera, but which I’ve never quite ‘got’. And it has such fabulous, varied music — from the subtlety of the encounters between Philip and Posa and Philip and the Inquisitor to humdinger showpiece arias like Rodrigo’s and Eboli’s. ‘Tu che la vanita’ is, I’ve come to the conclusion, Verdi’s most magnificent soprano aria, even if it doesn’t have a top C. Even the orchestral introduction tears your heart out!

By: Mike G.

Mike G. — Sat, 27 Jun 2009 04:43:02 +0000

Great review, Lindoro. I’m seeing this Don Carlo tomorrow. I noticed on opera-L there were mostly raves for Frank Porreta’s Don Carlo. From all the chatter on this production I’ve encountered on the web, it appears that Cincinnati is DEFINITELY the place to be right now!

By: mrmyster

mrmyster — Sat, 27 Jun 2009 04:28:10 +0000

#11 Mme Silvestri: Thank you so much for bringing that Don Carlo aria to our attention via UTube. Marco Caria has a beautiful voice that is so many ways is technically solid and musically attractive. I don’t think he’s ready for dramatic Verdi, do you? This was an excellent conservatory performance — and frankly I don’t want to hear him try for more than that right now. We have to see where the voice is going. My hunch is he should for the next five years sing Mozart’s Count, Figaro, Don Giovanni and similar — working hard on Papageno would be good for him. Certainly some Rossini is not going to hurt. But his already good technique needs to settle in — then let’s find out what he can do, say in five years. Meanwhile, everything seems right in terms of placement, breathing, relaxation, musical quality — but he’s just not mature enough for Don Carlo and wont be for a while. It does seem a ‘light’ voice, which is why I want to hear him in Mozart and related repertory for a while; that, and light French. Certainly he’s in good hands with Freni; whether he needs NYC representation is another matter. But — he’s a find! Let’s hope for good things in the future — it IS a lovely voice and easily emitted. More please!

By: kashania

kashania — Sat, 27 Jun 2009 02:43:17 +0000

Thanks, figlia!

By: Sanford

Sanford — Sat, 27 Jun 2009 02:19:05 +0000

Speaking of mixed bags, did anyone watch Chess the other night? I adore the show, but I have to say that in a cast that featured Idina Menzel and Adam Pascal, the only really compelling singing or acting of the evening came from Josh Groban as Anatoly. He was truly breathtaking, and he had no problems with the rather wide range of the role. Truly a starmaking performance, ans could someone please revive the show for him?

But….

While Adam Pascal sings beautiful at low or moderate volume in the middle of his register, his top is strained. The role lies very high; his voice doesn’t.

Idina Menzel. What can I say? She strongly resembles Kate Hepburn, both the younger and older versions. Her head never stops bobbing up and down. And she sings with waaaaay too much tension in her face because she tries to belt the whole role, even the relatively delicate parts. She certainly didn’t reach the heights that Judy Kuhn did in the role.

Sorry I got off topic, but I had no one to discuss it with

By: Earl Koenig

Earl Koenig — Sat, 27 Jun 2009 01:47:18 +0000

I was at the performance last night, as well, and agree with the majority of your review.
I had the great fortune of meeting the cast backstage after the show, and they were all extremely gracious (particularly when considering the fact that they had just sang one of Verdi’s most taxing scores). I asked Michelle DeYoung if this was her first crack at Eboli, and she mentioned this was her first Verdi role ever! Considering that fact, I thought she was particularly impressive.
I found Mr. Poretta’s vocalism a little on the savage side, but thought he acquitted himself admirably (from a vocal standpoint), particularly since this was also his first encounter with the role.
The staging has already been trashed thoroughly (as it should be), so I’ll leave that dead horse beaten.
I thought that top vocal honors went to Ms. Brown, whose top was much more secure than my previous encounters with her. She looked fabulously glamorous on (and off) stage. The tip-top of the voice did not bloom in the climactic phrases of Tu che le vanita as much as I’d have liked, but I was otherwise extremely impressed.
All-in-all, a pretty terrific night of vocalism in the Nati.

By: figlia impura di bolena

figlia impura di bolena — Sat, 27 Jun 2009 00:08:34 +0000

Kashania, the high note in the trio is a b-natural.

By: SilvestriWoman

SilvestriWoman — Fri, 26 Jun 2009 23:29:48 +0000

Here’s your baritone – cute and YOUNG!!! Allegedly barely into his 30s..
http://www.youtube.com/watch?v=qdhApjL4z-o

By: kashania

kashania — Fri, 26 Jun 2009 23:04:54 +0000

Speaking of Eboli’s high notes, what is the climatic high note at the end of the trio wiht Carlo/Posa: C or B?

By: Lindoro Almaviva

Lindoro Almaviva — Fri, 26 Jun 2009 22:49:09 +0000

By the way, monkey, I am pretty sure by now Cincy opera has read the review, not because I anm an impistant blogger but because it was also on opera-l and i believe that they monitor that.

Anyone whjo wants to, is wlecomed to send the text or the link. I doubt the general manager will be happy with a review like that. My guess is that he will shake his head and say “This bitch didn’t get it” and move on.

It would be nice a more detailed staging of the piece and to see that some changes were made, but i am not holding my breath. Seems that these days a lot of artists get defensive when their product is criticized and treat the criticism as coming from a lowly soul who is not enlightened enough to understand the musings of a supreme being.

By: Lindoro Almaviva

Lindoro Almaviva — Fri, 26 Jun 2009 22:36:48 +0000

I have my score with me Cieca and the aria is in Ab minor (if i am not wrong). So when I talk about the B’s they are obviously Bb’s and the Cb.

My comment just now was in response to Monty who asked why did I say Cb and not B natural since they are the same note.

The aria has exactly 1 Cb, 3 Bb’s and several Ab’s.

By: Sanford

Sanford — Fri, 26 Jun 2009 22:31:33 +0000

I just read the score and the top tone is in fact a c flat.

By: La Cieca

La Cieca — Fri, 26 Jun 2009 22:27:54 +0000

Doyenne doesn’t have a score handy — but isn’t all of “O don fatale” written in a flat key signature? So we are talking about a C-flat and a number of B-flats, right?

By: iltenoredigrazia

iltenoredigrazia — Fri, 26 Jun 2009 22:27:40 +0000

Detailed review with the kind of details on the vocal aspects that I always look for and unfortunately very rarely find.

At the same time, I would have been frustrated to no end with all those cuts. I love Don Carlo. I want as much of it as I can. Nothing less that full five acts will do for me. And if they find a sixth act I’ll be first in line to hear it.

About Porreta, is he the son (or grandson) of the Frank Porret who sang regularly at the NYCO in the early 1960′s. He was listed for a debut at the Met a year or two ago but my recollection is that it didn’t happen. Is he always as described by Signore Almaviva?

By: Lindoro Almaviva

Lindoro Almaviva — Fri, 26 Jun 2009 22:08:33 +0000

Harmonically they are the same, the sound is the same but because they are written differently on the page, they get the name they have on the page.

I have found that if you talk about the B natural on O don fatale a lot of pianists and coaches will get confused because the note is not in the key. The moment you say the Cb they immediately get on board.