parterre box

47 comments

• MontyNostry says:

  Lindoro, you just don’t frequent as many grand houses as our distinguished hostess.

  on September 15, 2009 at 4:15 PM
• Graciella Scusi says:

  @37 LeperEllo
  I think I understand what you’re saying, and I’m all for a more intimate Rosenkavalier too, if it works. Though with such a big orchestra and mammoth cast, I feel that the intimate moments are designed to gain context and meaning by growing out of and contrasting with the big, busy, stage populated scenes : the Marschallin’s monologue after the levee in the first act, Octavian/Sophie duets in act 2 after the grandiose opening and entrance, and later the raucous Lerchenau clan’s antics, and of course the final scene in act 3 after the chaotic charade that precedes it.

  on September 15, 2009 at 4:28 PM
• Orlando Furioso says:

  The Washington National Opera production in the mid 90s (in which Helen Donath did her first Marschallin, and marvelous it was) also used a reconstruction of the Roller designs. Probably the same physical production was shared with SF, and perhaps other places? It’s always interesting to try to enter the taste of another era. I seem to recall that Roller was also averse to fantasy and “theatrical effect” even compared to others in his time (Strauss and/or Hofmannsthal complained of this in his visualization of Frau, if I remember right).

  As to Kaufmann, I like him enormously (his musicality and thoughtfulness, the sound of the voice at its best, and yes the way he looks and acts). But some of his choices worry me. After loving his recorded Huon and Strauss Lieder almost without reservation, I was disturbed to hear all the midrange mock-darkening and manipulation on his Romantic Arias CD. And I hear it here too. The voice doesn’t seem in trouble (one doesn’t fake one’s way through “Di rigori” on a wing and a prayer), but the results are less than I’d hope for from such a gifted, smart individual.

  on September 15, 2009 at 5:13 PM
• Harry says:

  Brooklynpunk & Lindoro Almaviva: The DVD of Ariadne Auf Naxos I was referring to is a Region 2/5 one under Colin Davis from Dresden (1999)with Susan Anthony & John Villars as the lovers and Sophie Koch a the Composer.

  Lindoro Almaviva : I llke your concept ideas for a revamped 50′s style Rosenkavalier. It, would work as well as the original setting, being totally relevant to a Hollywood of that time. The ability of an opera plot (when revamped) to continuously ‘follow through a new concept right to its end’ is the secret of any such production.

  Watch out Lindoro Almvaiva: some dull-wit of a director has probably seen your now published ideas here- and intends using them as his Rosenkavalier- in the future!

  I have a idea of how Strauss’ Salome could be done in its original traditional setting : yet be dramatically modified – changed with controlled costume materials, silhouettes and shadows, plus lighting changes including ultra violet. Where Salome Heriodas are but the female line of a species and Johanann is their prey.

  I oce had such an experience of a person discussing with me,their mooted creation of a new show. Later when it was staged,I found new ideas I had brought up in passing, for an entirely different project: ‘stolen’ and used, without any credit. That’s show business!

  ‘A performer ,by the very nature of their craft is on stage ‘to be used’ and mould themselves into something else: but we forget how they and their associates ‘use others’ and then claim all the applause for hemselves.

  on September 15, 2009 at 10:05 PM
• brooklynpunk says:

  Harry/44:

  Thanks much for the info, Harry..I’m most curious to check it out…

  on September 15, 2009 at 11:02 PM
• Sir Ferris says:

  Roller on the Rosenkavalier sets…..”The authors wish particularly to emphasize that the dimensions of these three rooms, which have quite intentionally been kept small, should not be enlarged.”

  on September 15, 2009 at 11:07 PM
• Stella Maria Krazelberg von und zu Brabant says:

  Thank you cara Cieca!! I LOVE LOVE THIS MAN and want to have his children (perhaps change my name to Krazelberg Kaufmann), teach them how to sing and put them onstage in this production with daddy.

  But let’s forget about the stage production, which was not the main point of this posting anyhoo and talk about the vocal production. I’ve always felt he sounded like Jon Vickers with an easier top (not to mention his sexy look) and every time I hear him it reinforces the point. Note how relaxed his face is as he sings, only the tongue moves for the high notes. No veins popping out of the neck. I find this very impressive, as I believe firmly that great singing shouldn’t look like it’s killing you.

  Not go get too self promotional here (oh what the hell!), but my latest podcast “No One Ever Leaves a Star!” opens with Mr. K singing a fabulous “E Lucevan le Stelle” following a brief intro by Norma Desmond.

  Again, thank you so much for this beautiful clip.

  Stella
  http://www.screamandkill.com

  on September 16, 2009 at 9:21 AM