Simon, pure
“Pre-performance applause often signals gratitude for past glories. In this case, it was only a preview of the stomping and cheering following that night’s performance of Verdi’s Simon Boccanegra — well-deserved acclaim for a masterpiece of conducting.”
So says Our Own JJ in the New York Post.
OT, but I was at the Tosca last night. I posted most of my comments on my blog, but I did think that of all of Sondra’s roles, Tosca might be her best. The things that usually really irritate me about her for some reason aren’t as bothersome in Tosca. Also, her timbre (large, sharp, fast vibrato) sounds a lot better in verismo music, IMO.
One thing about the Bondy production that wasn’t as obvious over HD broadcast but was screamingly obvious from where I was sitting last night (for the first act, in a balcony box, for the second and third acts, on the sides of the orchestra) was that he places so much of his action extreme downstage left and extreme downstage right, where depending on where you’re sitting, you might not be able to even see much of the action. Of all the problems in this Tosca, I haven’t seen many people comment on this basic lack of judgment — the Met being a large cavernous auditorium, where sightlines are good but not perfect. Why have large portions of the opera where center stage is literally empty?
I was there Thursday night and loved the whole thing. Only one intermission, thanks. Yes, a little time between scene changes, but the sets and costumes did not distract from the sublime Verdi music. Levine, divine.
I adore Dmitri, but he does not compare favorably with Domingo. Of course, Domingo is a miracle of nature. Still, Dmitri made sometimes ugly sounds as he was breathing in. (ugly sound) “E vo gridando pace (ugly sound) e vo gridando amor”. Was he somehow indisposed? He was still fabulous most of the time, but those sounds were nasty. I loved the cast, but Furlanetto was the star of the evening.
Thanks Gelb for not doing a job here with puppets, clocks or any nonsense. I love Verdi well sung and conducted. If that can be done, thanks Met.
“Thanks Gelb for not doing a job here with puppets, clocks or any nonsense.”
This staging visibly predates the Gelb era- those interminable scene changes so deadly to flow!
I think the first scene is terribly done. The rest is attractive though what a primitive mistake to use a recognizably Venetian interior for the Genovese Council Chamber!
Poplavskaya should be forced to attend all performances to hear Frittoli’s phrasing.
Well, Nerva, what can I say, nothing is perfect, but at least we were not distracted by some director’s nightmares and could keep our eyes open while listening to Verdi’s music.
Of course, I would like to have been in that July of 1937 at Salzburg when your friend Arturo conducted ‘Fidelio’ and Lotte Lehman sang. I would not complain then of the long intermissions since I would have the visuals of a very elegant Wallis to distract me, outshining even FDR’s mother. In any case, I’m too young to have been there.
How can one get tickets for Walkure in April or May without going through those scalpers? If anyone has an idea, please, say.
Speak for yourself. Some of us prefer to close our eyes to tasteless, unimaginative stage pictures that make utter nonsense of the spirit and letter of the work.
Others of us, of course, prefer to shriek, “Ugh! A giant clock! Oh, I do detest giant clocks!” at every tangential opportunity.
I guess it all depends on the taste and imagination of the viewer. What is tasteful to some is tasteless to others. The imagination of some can be a nightmare to others. Neither one is “right.” Chacon a son gout.
As for repetitions, well, we’ve had quite a few posters who do that. We had one who brought up Hildegard Behrens regardless of the topic being discussed. We seem to have an epidemic of “the weather is nice but Volpe was terrible,” and “what a pretty day but Fleming is awful,” etc.
Ma chère Cieca,
I detest controversy, but I must say some think a giant clock for a gimmick is often an easy novelty, a tasteless unimaginative presence that turns into utter nonsense the spirit and letter of a cherished work.
Yes, I am really speaking only for myself, and I know many think differently from me. I do respect differing opinions even if I don’t share them. From comments here and there I see some share at least part of my opinions.
Sorry for being too repetitious. I assure you it is not my intention to be nasty. Among others, I saw Sutherland, Sills, Moffo, Cotrubas in productions that complemented the work, again, according to my opinion, and not of everyone. Sometime, somewhere, somehow, I will see again a Traviata that I will enjoy. I can always listen to the many fabulous recordings, even if I yearn for live sound. Meanwhile, Simone was a nice evening.
Best wishes.
In fact Marina was at the Prima of Simon Boccanegra, sitting in the front of a Parterre box. She was looking rather plain, and I hope she was taking notes!
Levine canceled the Monday January 24th BOCCANEGRA, John Keenan was fine as a sub. The men were all very good – Vargas sounding much better than he did in ATTILA last season. Frittoli’s tone has a big beat to it which spoiled her singing for me. The intermission was interminable, as is the wont these days at the Met. It deadens the theatrical flow of the opera.
A phone (seemingly not a cell phone but a backstage land line) rang loudly during the Prologue.
Update on the Monday night “Simon Boccanegra”: Vargas sang but Levine was indisposed. There was an onstage announcement that Levine was suffering from a severe cold and could not conduct. John Keenan filled in very ably – not all the nuances that Levine had but he had probably led the early rehearsals and had everything well in hand. The orchestra played very well.
Vargas I have felt is miscast in Verdi but here gave a very fine performance. When he pushes in the upper register the sound gets dull and spongy rather than shaky or forced. But that was only in two or three places. He also had some trouble making himself prominent in ensembles. Otherwise a very musical, stylish and attractive assumption. In the first scene with the duets with Amelia and Fiesco it is almost a bel canto line and Vargas did very well there. After the first dramatic phrases of “Sento avvampar nell’anima” (sic?) the line turns cantabile and again Vargas did well. He also moved and responded in an engaged manner to everything around him.
Frittoli had a very good night – she also is incredibly musical in her phrasing. Frittoli was confident about her top notes and gave more vocally than at the prima. She had several tentative moments at the prima. She obviously is paying attention that her notes don’t waver and her high notes aren’t as easy as a decade or more ago. Still a really distinguished assumption of the role and she looks lovely in the costumes. She also acts the part with spirit and bravery.
Hvorostovsky was pretty much free of those asthmatic breaths, seemed more relaxed and the tone had more plush, less dry bark. Furlanetto is a god, period. I like Nicola Alaimo’s Paolo a lot – he could be quite useful in several parts. Another very good evening.
It is really a shame that this cast will not be preserved in HD – with the “Pelleas” and “Wozzeck” this is the best top to bottom cast of the season.
I guess all that swiveling caused a draft.
What Wozzeck?