Cher Public

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  • PCally: I wasn’t aware he’d recorded the opera until reading your post armer. I’ve been listening to Nézet-Séguin... 3:57 PM
  • armerjacquino: Ha! Although I’m no royalist so all the Queenery (large ‘Q’) annoyed me, I watched that gala to DEATH as... 3:08 PM
  • kashania: Because it`s been a while since we had this on parterre: httpv://www.youtub yVeLh0U 2:57 PM
  • kashania: The murky depths of Wedekind/Berg are a long way from the fizzy shallows of The Nose. I tip my hat, sir! 2:39 PM
  • armerjacquino: Anyone heard the new Jacobs ENTFUHRUNG? I’ve been listening to it online for the last hour or so and it’s a... 2:20 PM
  • mercadante: Some people love to spend a lot of money to go to the opera; staying is another matter. 2:08 PM

A Faustian bargain

What we have here is the grandest opera never heard—in spite of the fact that Giacomo Meyerbeer’s Robert le Diable made, arguably, the most sensational debut of any in the history of the Paris Opéra. The massive work was hailed by nearly every composer of its day as a masterpiece, save a few bitter pill takers—Herrs Wagner and Mendelssohn I’m looking at you—and then transcribed into concert pieces by many of them.

Staging innovations for that first production included the first use in Paris of the English theatrical trap door. It even started trends in dance that live on to this day with the invention of the ur-tutu and the introduction of the “ballet blanc” genre with the ladies of the corps all in white. Being immortalized by Degas twice in paint and having the singular distinction of being the only 19th Century opera to have a rose named after it hardly even scratches the veneer of how wildly popular Robert was in its heyday.  

Meyerbeer was as skilled an orchestrator as he was a cultivator of acquaintance and he made certain that le tout Paris were there to witness his triumph which also cemented the reputation of his co-author Eugène Scribe whose librettos would become synonymous with the “Grand Opera” genre. His success was so assured that Berlioz was quoted as saying that Meyerbeer “has not only the luck to be talented, but the talent to be lucky.” But after his death his works, and Robert in particular, fell into disfavor among the musical intelligentsia with Herr Wagner beating the loudest drum in print. (The megawealthy Meyerbeer had declined a loan request from the perennially empty-pursed German composer in 1846 which led to his turning against the mentor who had facilitated the first stagings of Rienzi and Der Fliegender Höllander.)

The Met hasn’t performed Robert since its opening season in 1883 and it has been away from the Royal Opera at least that long. So our debt of gratitude should be enormous to Opus Arte for giving us a taste of this work which has never even enjoyed a commercial recording until now.

The backstory of the casting of this production was an opus in itself and was well recounted in these pages at the time. It included the withdrawal of Diana Damrau due to impending motherhood and the very public disinvitation of her replacement from making her Covent Garden debut following the dress rehearsal. An announcement of indisposition due to ill health was even issued a month prior to the prima for Marina Poplavskaya only to have her sing anyway.

The conducting duties here fall to Daniel Oren and although he doesn’t prove a medieval alchemist with his baton he does underline the more gorgeous aspects of Meyerbeer’s score.  He starts with the brief prelude which is practically a master class in counterpoint and theme introduction. Although there were actually a few moments when I thought he could have taken a stronger hand, he and the Covent Garden Orchestra do a fine job of supporting the singers in an unfamiliar work. Particularly tricky for all in the complicated ensembles—of which there are many in the performance’s three hours and forty minutes of music. (I also understand that there are substantial cuts to trim it down to just that but being so unfamiliar with the score I’m afraid I can’t speak to the performance edition.)

It shouldn’t come as a surprise that the Royal Opera should hand the directing and costume designing duties to Laurent Pelly and his collaborateur and set designer Chantal Thomas since they’ve nearly monopolized the French wing of late. What probably did surprise them was how light a tone their production team chose to take. Where as many of their past productions have managed to pulled off a charming whimsy Robert lands most decidedly in the camp of camp.

The monochromatic costumes fashioned out of rough-hewn fabrics we’ve come to expect. But must the choristers’ faces be painted the same hue as their frocks? The Act II tournament especially resembles the Très Riches Heures du Duc de Berry rendered in Crayola. It tries to work but really just makes me feel sorry for the chorus. The set for Act III on a craggy mountainside etched to magnificent detail à la Gustave Doré does work and how. Stunning projection effects showing the yawning mouth of hell and teeny shadows of the damned writhing in agony. On the other hand, Princess Isabelle of Sicily’s toy palace could have used some of the same detailing as could the framework of the church in the last act. You have to work your imagination pretty hard to understand how some of these tableau reached the level of splendor and magnificence that enraptured the Parisians at the premiere.

The whole thing runs mostly like a child’s big wind-up toy and I’m talking about the staging now. Because, sadly, the singers rarely move with any dramatic motivation since they’re really just making pretty pictures on the stage all evening for Msr. Pelly. The Dead Nuns’ Ballet with choreography by Lionel Hoche, turns out to be the night’s high point, a cross between Matthew Bourne and The Walking Dead.

Oh, and there’s a plot!  Suffice to say that Robert is thinking of signing his immortal soul over to Bertram, who’s a devil (and also his father, shhh!), so he can marry Princess Isabelle. But! His step sister Alice has been up the hillside and smelled the brimstone and she knows something’s up and intends to put a stop to it. She’s got a letter from Mom that, if Robert would have only let her read it when she offered to in Act I, could’ve spared us all the ensuing three hours.

Jean-François Borras plays the secondary tenor role of Raimbaut who’s so non-integral to the plot I didn’t even mention him in the synopsis above. He’s an attendant to Robert and Alice’s affianced and he has a nice lyric voice of some distinction which serves him well especially in the Act I ballad he’s given that sets up the plot.

Patrizia Ciofi is Princess Isabelle who was raised, as are all good Disney Princesses, to be a coloratura soprano. It’s a fiendish role and luckily Ms. Ciofi has already had some experience in the part so she dashes off most of the formidable hurdles easily and takes no prisoners in her opening aria. She’s an extremely lithe performer onstage but also guilty of moving seemingly without motivation and, it’s uncharitable to say but, close ups betray her as superannuated compared to the rest of the cast.

The great Cornélie Falcon made her debut at the Opéra as Alice and was lauded for her appropriately ‘tragic demeanor’ in the role which, I’m certain, made the casting of Marina Poplavskaya a no brainer. She wrestles with her voice for most of the evening; however her contribution to the grand trio finale in Act V and is mostly glorious.

The role of Bertram makes an enormous number of demands on the performer who accepts it, not the least of which is its length, and John Relyea meets most of these with his warm lyric sound and straightforward mien. He pays a good deal of attention to the text which is laudable but if he seems at times to do a bit too much “mustache-twirling,” I blame Pelly. It’s still a lyric instrument though and not a dramatic one and his big showpiece on the Act III mountainside finds his voice hoarse and sadly pushed to the limit at the climactic phrase.  He does rise musically to the occasion for the final trio and it is the highlight of the evening for some of the wrong reasons.

Here’s Bertram finally confessing to Robert that he’s not only his father but a devil who is moments away from closing the deal on his immortal soul. They stand outside the church in which Princess Isabelle is about to be married when lo, behind him rolls on an enormous cross-hatched demon vehicle with glowing lava mouth and wings a-flappin’. Then just as that heats up a similarly rendered cloud bank glides on stage left carrying sister Alice replete with heavenly glow. It’s like you’ve accidentally changed channels and found yourself on Monster Trucks: Opera Edition. I could barely believe my eyes.

The soul in question belongs to Bryan Hymel who’s singing Robert and there’s no use arguing that he’s not the raison d’etre that we’ve all found ourselves here. His claret tenor exhibits not only a beautifully focused tone at its best but stunning, old school, breath control right from the top of the evening. High C’s and D’s pop out of him all night long even though a few tend to an overly bright placement. It’s an astonishing performance driven in equal parts by youthful vigor as much as it is technical skill. He has a very authentic stage presence and seems to have cornered the market on disheveled/sudoriferous ardor.

My Blu-ray copy offered absolutely stunning DTS-HD 5.1 Master Audio sound and very sharp picture, with subtitles in every language you don’t speak and even a petite  documentary. Oddly, there’s no track listing in the enclosed booklet with cue points at all even though they are listed on the disc menu itself.

In spite of a slightly uneven performance, and a production that makes Disney’s Sleeping Beauty look like a masterwork hanging at the Louvre, this is an important glimpse at a forgotten masterpiece that deserves more than an accidental rehearing.


  • Quanto Painy Fakor says:

    Coincidentally, early today I posted the links for a better upload of the old Paris Opera production on the Opera Teen page here

    • grimoaldo says:

      Thanks for doing that QPF! Certainly the musical performance is immeasurably better in every way in the Paris production.
      Nice review PatrickM. I have not seen the production, only listened to the audio broadcast, Popsy was an atrocity, grotesque out of tune caterwauling in the Act Three trio, really it is a disgrace, a desecration, to have this abomination of a “singer” presented in starring roles in leading opera houses.
      The orchestra was pitiful, poor ensemble and flubs on the brass all the way through, Ciofi was disappointing, sort of ho-humm just about OK, Relyea better than I thought he would be, Hymel exciting.
      I am talking about the broadcast, as I say.
      Here is a better recent audio recording, with a nice review by Our Own John Yohalem, with Ciofi and Hymel but Alastair Miles instead of Relyea and Carmen Giannattasio instead of the abominable Popsy.

  • phoenix says:

    Thanks, Pat! My favorite Meyerbeer & you made my day!

  • Henry Holland says:

    Here’s another list of recordings:

  • MontyNostry says:

    “The soul in question belongs to Bryan Hymel who’s singing Robert and there’s no use arguing that he’s not the raison d’etre that we’ve all found ourselves here.” Mr Mack, could you explain that sentence to me? From what you say, Hymel **is** the raison d’être for this recording, even if it was meant to be JDF originally. I have to say that I thought Hymel was very much the saving grace of a somewhat dispiriting evening in the theatre when I saw ‘Robert’. The London critics were a bit sniffy about him for some reason.

  • MontyNostry says:

    Whoops, I think I’d missed the double negative when I read it previously …

  • papopera says:

    Writer states “no commercial recording of Robert until now” !
    Did he verify that ?
    I do own and cherish on CDs a great recording of this opera
    with Alain Vanzo, Sam Ramey, June Anderson and Michele Lagrange. Paris 1985, Thomas Fulton conducting.

  • m. croche says:

    She’s got a letter from Mom that, if Robert would have only let her read it when she offered to in Act I, could’ve spared us all the ensuing three hours.

    In fairness to Meyerbeer et al., many of the rest of us could have spared ourselves a great deal of trouble if only we had listened to our mothers as well.

  • bassoprofundo says:

    Can someone please tell me how a fraud like Domingo masqueraded as a world class tenor for decades, while a guy like this, with a thousand times the voice Domingo could ever dream of having, remained a relative unknown:

    • la vociaccia says:

      The better question is, how does one sing this gloriously for decades and *still* get called a fraud.


      I would be interested to hear more about your guy’s career; there are many ,many factors that lead into where a career ends up

      • Feldmarschallin says:

        I certainly wouldn’t call Domingo a fraud but he has overstayed his welcome and that for a long time now already. But when he was young he was quite good. Now he has never been one of my favorites but I did have some enjoyable evenings with him over the years. But he stayed way too long at the fair.

        • la vociaccia says:

          I completely agree with you, FM, and to be honest I see nothing a musical value to be found in his upcoming assumptions as a baritone, excepting the inevitable “My god he sounds so great for a 72/74/81/96 year old”

          My response is solely to basso’s unequivocal statement that he was a “fraud masquerading as a world class tenor” when he was, for about 20-25 years, a World-class tenor. What has transpired in the recent years since his re-transition to baritone is something else entirely, but he was not a fraud in 1972 singing Pinkerton etc.

          This is all useless, because the whole point of basso’s post was “why don’t people know more about this tenor I’ve posted singing Tosca”

          • Feldmarschallin says:

            I have a recording of Domingo singing in Manon Lescaut with Olivero from 68 and he sounds quite good in that. Again I prefer Bjoerling or di Stefano in that role but he certainly sounds good as well but was not as good as the other two. Is there even a role where one could say he is the best ….. ? Not in my book but one can say he was quite good in many roles. I have an Aida with Tomowa-Sintow where he also is in good voice but again there are others who can sing Rhadames even better.

            • Feldmarschallin says:

              Actually the 68 recording from Caracas is with Tucker but I have the 70 Verona with him and Olivero. Might just listen to that now.

            • armerjacquino says:

              FM- I take your point, although we’re heading close to something else I think could have canard status: the idea that one can only be a great singer if one ‘owns’ a particular role.

              You mentioned a perfect example in Tomowa-Sintow: there were better Butterflys, Ariadnes, Marschallins, Aidas… but was she a great singer? Indubitably.

            • Henry Holland says:

              My favorite Domingo moment live is a pirate of Ginastera’s extremely violent and wonderful Don Rodrigo from NYCO in 1967. He’s incredible as Don Rodrigo.

              Of course, he shouldn’t be allowed to even answer the phones in the administrative offices of an opera company, but oh well.

              You mentioned a perfect example in Tomowa-Sintow: there were better Butterflys, Ariadnes, Marschallins, Aidas… but was she a great singer? Indubitably

              She’s wonderful in the Salzburg Capriccio from 1990:

              and of course, she’s terrific as Heliane in the Decca Das Wunder der Heliane.

            • armerjacquino says:

              HH- I agree, and I don’t think it makes her any less great a singer that she isn’t known as ‘the’ Madeleine.

              ‘She OWNS Heliane’ meanwhile, sounds almost like a piece of deliberately faint praise. “Say what you like about her, but nobody was a better Goosegirl”

            • Henry Holland says:

              ‘She OWNS Heliane’

              Is English your native language? Where did I write that she OWNS the role? I said she was “terrific”.

            • armerjacquino says:

              Steady on, crosspatch, and read a bit more carefully.

              This is the comment you were replying to:

              “…the idea that one can only be a great singer if one ‘owns’ a particular role.

              You mentioned a perfect example in Tomowa-Sintow…”

            • MontyNostry says:

              I can smugly say I saw AT-S in that Capriccio. I think that was her last Salzburg -- she was closely identified with the Karajan era and he died the previous year.

    • la vociaccia says:

    • Well, for starters, the “fraud” has better Italian and better feeling as to how this music should be not only sung, but better text declamation. In other words, at least in this role, the “fraud” sings it better, the sound is freer, more Italianate and more beautiful.

      Now, this is not to take away from the quality of Polozov’s instrument. The excepts I heard of this Tosca (both arias and the last act duet) are quite impressive and I agree he should have been better known. But compared to “the fraud” Polozov’s singing seems less polished, specially for someone who should’ve been in the height of his vocal powers when this recording was made (1988). At 38-39 when this recording was made, Polozov’s singing is impressive, but at this very age, Domingo was singing with a lot more polish, stylistic feeling and language command; specially and specifically in Italian Opera.

      But what do I know compared to such impressive mind and vast fountain of knowledge that discards every aspect of a singer’s career as a mere “fraud” as opposed to giving him his due without feeling like he has to cover for mistakes, missteps or overstating his welcome (as someone correctly points out)?

      • bassoprofundo says:

        Domingo as a baritone isn’t even worthy of a second’s thought; my comments on him being a fraud referred to his time as a tenor, and I stand by them. The mention of Manon Lescaut is a pertinent one. Seriously, how can you call Domingo a “more polished” singer, when EVEN IN HIS PRIME, he could never reliably sing above G? I’m sorry but that is just the truth. Listen to Martinucci, then to Domingo:

        Domingo is pushing already within the first few seconds of the f***ing aria!!! his upper register throughout his career produced an unpleasant, pinched, tremolo filled, unreliable sound--you can hear all of them in that cli. And yet listen to Martinucci; consistent throughout all registers and at all dynamics, a free, ringing upper range, a centrally focused Bb, a powerful, secure sound.

        Look, there are many factors that affect careers. Maybe someone like Martinucci just didn’t want to be away from his family for most of the year. Maybe he pissed off some intendants. who knows. But anyone who seriously compares Domingo to any halfway decent tenor and still thinks he was a “great singer” is deluded. Ambassador for opera, ok, decent on stage, alright maybe, but as a singer he is barely worth mentioning, even in his “prime.”

        • The Conte says:

          I don’t like either of these recordings of this aria.

          Martinucci, I find a touch dull and Plastic Flamingo is straining.

          I’ve seen the Flamingo a few times and he is extremely variable. His Des Grieux on the 1970 Manon Lescaut with Magda was one of his better performances.


      • Porgy Amor says:

        Well, for starters, the “fraud” has better Italian and better feeling as to how this music should be not only sung, but better text declamation. In other words, at least in this role, the “fraud” sings it better, the sound is freer, more Italianate and more beautiful.


        I have heard more Domingo than I have of many of his contemporaries, because of his longevity and his hyperactive performing and recording schedule, and because he was favored by conductors such as Levine, Solti, Muti, Karajan, Abbado, Giulini, Barenboim, Carlos Kleiber, et al. (Some of those gents’ on-the-record superlatives about him could be evidence that they were in on a scheme, or were themselves frauds, or maybe there was something there…) So I have heard a lot more across the spectrum of quality from him: performances I’d call great, performances I’d call good, performances I’d call mediocre or less. In a way, someone can suffer from a an unusually large sample size. I like Martinucci too, but I’ve heard only a fraction of the number of Martinucci performances that I have of Domingo performances. With anything like the same amount of exposure for Martinucci, we would have been able to string together half a dozen poor performances and make the case that he was undeserving of his reputation too.

        But Domingo has nothing to prove to me. I long since have made up my mind based on what I’ve heard.

        This is all useless, because the whole point of basso’s post was “why don’t people know more about this tenor I’ve posted singing Tosca”

        As such, it was an alienating way of bringing people’s attention to Polozov. It made him a footnote in another referendum on PD.

      • Cocky Kurwenal says:

        I would stop short of calling Domingo a fraud, but equally I can’t believe somebody is using the word ‘polish’ to describe his singing, when an awful lot of the time he just seems to have squeezed notes out any which way he could.

        I’ve heard some live recordings from the very start of his career when the voice seemed to have a very beautiful bloom and he had a lot of facility apart from on the very highest notes. But after not very long, any sense of smoothness and ease seems to have diminished fairly rapidly. He seemed to have a relatively good command of style in Italian repertoire, but most performances and recordings from the mid-70s onwards are increasingly marred by straining, nasality, choppy lines, a certain sense of desperation in places (not in a good way), and those white, resonance-free top notes.

        • Gualtier M says:

          A note about Vyacheslav Polozov -- it was an impressive instrument -- for about four or five years. Then it fell off. I saw Polozov live in “La Boheme” at the Lyric Opera of Chicago circa 1987 -- god that is over 25 years ago!!! A fluttery and unfocused Katia Ricciarelli was the Mimi. I remember a rich and resonant middle and a firm but not exactly ringing top. Not an exciting stage animal. No real musical or dramatic intensity, just a very handsome tone and a rather generalized quality.

          The “fraud” did give exciting performances -- I remember vividly great Domingo outings as Canio in “Pagliacci” circa 1993 at the Met. Both Domingo and Pavarotti were on the downward slide after 1994. Pavarotti was a faster decline, Domingo slower -- Otello got to be too demanding for him and there were more transpositions/compromises. The basic tone quality remained handsome. I noticed in the Germont last season at the Met, that at my performance Domingo found it physically difficult to sustain the breath control for seamless legato. Some huffing and puffing.

          • Feldmarschallin says:

            Gualtier I also remember Domingo as Canio at the Wiener Staatsoper and he was very good in the role but this was about 1986. Lima was the Turiddo with a mismatched Santuzza of Elena Obrawtowa. Nedda was Cotrubas. Around the same time he was singing Maurizio with Nathalia Troitskaya. I am sure you remember her as well. She was the girlfriend of Caballes brother who was her manager and she got good engagements because of that. Her Adriana was fine but the Aida less so. Wonder if she ever sang in the States.

  • MontyNostry says:

    For years, I was a pretty unconditional fan of Domingo. He was the tenor I ‘grew up with’ and I always much preferred him to Pavarotti, while I thought that Carreras had a beautiful voice that he then managed to ruin by pushing it mercilessly (even before his illness). But excessive familiarity in recent years — along with a greater appreciation of singers from earlier eras and, indeed, of lesser-known tenors from the Domingo era — has bred, if certainly not contempt, a feeling that he triumphed through supreme competence. The turning points for me were:
    i) hearing his shamelessly faceless sing-through of the Kaiser on the (grotesquely conducted) Solti FroSch;
    ii) the DVD of an Otello (again under Solti) from the ROH in, I think 1991. His performance is certainly slick and he manages his voice cleverly, but there is nothing **dangerous** about this Otello — for a start there is no savage splendour to the sound (unlike, say Vickers and del Monaco, though neither of them will be to all tastes!)
    iii) The forays into the baritone repertoire. Yes, he can manage it, but I am not going to recycle everything that has already been said on this matter. But there is undoubtedly a ‘generic’ quality that becomes still more evident once he is away from his more natural home as a tenor.

    I do think the roles that really suited him were probably Cavaradossi, Radames and possibly (in spite of his dodgy French) Don J.

    • MontyNostry says:

      … and, though I will never be a Pavarotti fan — the sound is too bright for my taste and his phrasing often too foursquare — I have come to realise that, in his own, perhaps circumscribed way, he was in fact more the ‘real thing’ than Renaissance-man Domingo.

    • oedipe says:

      for a start there is no savage splendour to the sound (unlike, say Vickers and del Monaco, though neither of them will be to all tastes!)

      But maybe that’s the crux of the matter, Monty. Isn’t the whole operatic world heading towards maximum avoidance of that which is not for all tastes? Aren’t casting departments, and audiences too, favoring the most consensual generic interpretations? Isn’t Domingo’s genius precisely the fact that, from the beginning, he understood and exploited this trend to perfection?

      • armerjacquino says:

        That presupposes that Domingo sees himself as ‘generic’ and is cynically happy to live up to that. I just don’t think anyone spends fifty years on a career going ‘yes, this is great, I’m successful because I’m bland’. There are easier ways to make an easier living.

        • oedipe says:

          That presupposes that Domingo sees himself as ‘generic’

          No, it doesn’t. “Generic” is my own, subjective term for describing a singing style that sounds the same in Italian opera, French opera, German opera and what not. Other people may consider this sameness and evenness of style a great progress. And Domingo may well be very proud of the evenness his singing style. Some of the biggest stars of today sound the same in Italian/French/German/what-have-you opera, and many opera lovers love the sameness of it all; or else, they don’t see the need for differentiation. Do you?

  • MontyNostry says:

    I think Domingo is a very driven man and must believe in himself very strongly to have achieved all he has — and under such self-inflicted pressure, much of the time. He has nothing left to prove, but seems to want to keep proving it!
    But he is a clever diplomat too. If you look at interviews with him, he always remains on-message and never really puts his arse on the line. He has managed not to make any enemies over then years, it seems. I think he is probably genuinely a good guy, but he must also be a very canny operator.

    • Porgy Amor says:

      He has nothing left to prove, but seems to want to keep proving it!

      I don’t know…I can imagine it is difficult to give something up when you’ve been doing it your whole adult life, and have been at the top of your profession for all but the first several years of that. In this case, added to that, people still show up to hear him and give him the loudest ovation of the night, most of his reviews are respectful to laudatory, and he still gets more offers than he can fulfill.

      I think there is the factor of him not getting a “push” to quit (except, perhaps, the recent health problems). While some opera buffs may feel that he has overstayed his welcome, he is not getting bad reviews, family members and conductor pals are (likely) not having difficult talks with him about how he is hurting his legacy, etc. I remember Renata Scotto’s interview with Zachary Woolfe, in which she said that her husband told her (quite a bit post Met heyday) that the time had come for her to stop; it was better to be remembered for her best. An unsparing assessment would be that this talk could have come many years earlier. I am enough of a fan to even appreciate the Musetta on the Met Boheme DVD, but I cannot call the sounds she was making there “her best” — and Domingo has never sounded that frayed and poorly controlled in anything I have heard.

      I see him as someone who managed his career intelligently and actually did line things up to be “the next thing” when it was time to stop singing (conducting, running opera companies, overseeing competitions)…but he is having trouble defining “time to stop,” and still has an attachment to the thing he has done the longest. I have no idea as to his psychology, but I really do not think it is egomania, or a refusal to yield the spotlight to younger singers. I think it is that learning and performing leading roles long ago became much of his identity, and nothing else has filled that void for him.

      • Cocky Kurwenal says:

        If he rests, he rusts.

      • DonCarloFanatic says:

        First, Patrick, thanks for the excellent essay, as usual. It’s fascinating to learn about the big successes of a bygone era, and to realize just how over they are. I have downloaded Robert le Diable and will listen to it soon. Looking forward to those scandalous nuns.

        Second, Porgy, I think you have hit on exactly how Domingo approaches his life: wanting to learn new things and still wanting to excel and be in the spotlight. He’s surely aware that his first choices have not worked very well, that he’s not a successful conductor or opera house director, although he has brought much publicity to those houses with his star power. Where else can he go creatively? Obviously, he’s not interested in the usual of becoming a master class teacher or a voice coach. In Anna Netrebko’s interview in the latest Opera News, her last paragraph sends the same message: she wants to learn new things, experience more, live. Domingo still wants that. At his age, many people have given up, for health reasons, because they’re tired of the fray, etc. But he has not given up. If we accept that opera roles do not have to be set in stone (and in the past they certainly haven’t been), then his switch to the baritone rep isn’t even revolutionary. He’s just trying to keep going, as Cocky says, probably because he senses that once he stops, he’ll be done for.

  • grimoaldo says:

    Basso do you think Domingo sold his soul to the devil? I saw a lot of additional comments on this thread and was looking forward to a lively discussion of Robert le Diable, or Meyerbeer or French grand opera or the Paris opera house in the 19th century, instead here is another discussion about Domingo, why is that on this thread?

    • Baltsamic Vinaigrette says:

      I sympathise, grimoaldo. It seems to be a little-known work and all I have to go on are a few on-line extracts. Maybe the discussion will perk up from here.

      I wonder if it is feasible for the IT bods to keep the off-topic thread at the top of the home page as the week progresses? This might help.

  • MontyNostry says:

    You are right, grimoaldo -- and apologies for participating in the hijack! And, let’s face it, even in his early days, PD could never have managed Robert, let alone with Hymel’s aplomb.

    • armerjacquino says:

      Which would be why he never sang it. Might as well say ‘let’s face it, Lucia Popp would never have been as good a Brunnhilde as Nilsson’

      • Porgy Amor says:

        Ha. Nice one, AJ.

      • MontyNostry says:

        Whoops, AJ, my wrist has been slapped encore une fois. Neither of us ever learns, clearly.

        I was just trying to take grimoaldo’s valid concern on board and to redirect things back to Robert le diable. I should clearly leave the diplomacy to Mr Domingo.

        • armerjacquino says:

          Not a wrist slap, monty, never a wrist slap. I’m not a wristslapping kind of guy. Just an airy sort of observation.

          (something about Meyerbeer)

        • manou says:

          Why leave the diplomacy to Domingo when there are at least two posters here who could probably give Talleyrand a run for his money?

    • Cocky Kurwenal says:

      Notwithstanding my comments above about Domingo, of whom I am no fan (could you tell?), I think this direct juxtaposition of him inside 1 sentence of Monty’s with Bryan Hymel rather helps one focus the mind. Domingo’s timbre is instantly recognisable, he holds your attention, and his singing has personality to burn -- I can’t say the same for Hymel, who in my experience gets the job done perfectly well, and that’s about it -- I wouldn’t seek him out in a million years.

  • Belfagor says:

    I read an interesting review in this months Opera magazine of an opera called ‘Vasco da Gama’ -- at some smaller German opera house (I forget) -- turns out it was Meyerbeer’s original title for L’africaine -- and it seems that after Meyerbeer died and before the premiere, M. Fetis really mucked about with a finished score, cut it to bits, changed words (apparently ‘O paradis’ is something else) and changed the title. Does anyone have any knowledge, and so, is the published score therefore inauthentic?

    • phoenix says:

      I heard a performance of this ‘authenctic’ “Vasco de Gama” version from Oper Chemnitz (without audience) broadcast on Deutschlandradio Kultur in two parts (on 2 consecutive days) early March 2013. I am not a musicologist nor do I study scores anymore, but from what I read over the years (and this goes way back in my somewhat fading memory -- it is unclear {to me} whether Meyerbeer actually completed the overture and the ballet music in final form), but according to Meyerbeer’s notes he did complete the rest of the score. He died before arrangements could be made for a premiere; the Paris Opéra, which had legal rights to the score, gave Fetis permission to revise it for performance. I assume that Fetis’ revision was the first published manuscript edition. Meyerbeer, in his will, stipulated that his unpublished autograph scores and posthumous works remain unpublished after his death. The manuscripts were kept in Berlin until it became apparent that the city was going to be attacked toward the end of WWII -- some of his autograph scores (along with manuscripts of scores by Beethoven and other 19th century composers) were transported in 50 boxes to the Silesia region (southeast Poland). In 1977 there were media report that autograph manuscripts of Meyerbeer (along with those of Beethoven and other 19th century German composers) had been “discovered” in a tunnel along the eastern Polish border near Krakow where they had been buried more than 30 years before.
      - Matthias Brzoska, on the ‘Meyerbeer FanClub” site (, wrote: “Sieghart Döhring rediscovered the autograph scores of the four main operas of Meyerbeer in 1981, which were lost since the Second World War, in the Bibliotheka Jagiellonska in Cracow, Poland.”
      - The Oper Chemnitz website states that it used a “critical” edition for it’s 2013 performances of “Vasco da Gama” prepared for publisher Ricordi Berlin by Jürgen Schläder:
      based upon the autograph score from Krakow for Acts 1 through 4 and the autograph score of Act V [located in Berlin, Deutsche Staatsbibliothek] as well as material from Fetis’ published version.
      - Scribe, the original librettistMeyerbeer first begin the project with in 1837, died in 1861 and Charlotte Birch-Pfeifer completed the libretto in 1864. Opera Chemnitz states that Meyerbeer’s autograph transfers much of the action of the opera from Madagascar to India to reinforce Selika’s Asian subcontinent origins.
      - Deutschlandradio Kultur broadcast of the Chemnitz version I heard last March sounded too much like a studio recording (or a dress rehearsal in an empty auditorium), lacking the spontaneity of an actual live performance. However as a listener I liked this version, but I don’t know if I would have liked it so much if I wasn’t already familiar with the 1865 Paris Opéra standard version.

      • Belfagor says:

        Phoenix -- you sound like a Meyerbeer scholar! I hope there is a chance of hearing it somewhere. Thanks for all this information. I have a soft spot for this opera, as one of the very first times I went to Covent Garden I saw it with Bumbry and Bonisolli, and never got over the death scene, where La B expired on a pile of gorgeously embroidered cushions that had miraculously appeared on the island………!

        • phoenix says:

          Thanks very much, but I am not a Meyerbeer scholar (wish I was). But I always loved his operas ever since I saw Le prophète quite a few times at the Met in 1977. So, ever since that time, whenever I come across something on the media about Meyerbeer or read someone’s anecdotes, they stay with me for a long time because I find his music very special.

  • grimoaldo says:

    We just heard Domingo with Nebs in Giovanna d’Arco from Salzburg at the weekend. He was singing a baritone role. The audience gave him prolonged ovations, it was not just “show the grand old man we love him”, they enjoyed what he did in the concert they were listening to, and so did I. It was actually a historic occasion, I would say.

    • grimoaldo says:

      Sorry I complained about the subject being switched from Meyerbeer to Domingo and then did it myself.
      Belfagor that production of “Vasco da Gama” was at Chemnitz in March this year. Yes “O paradis” was set by Meyerbeer as “O doux climat”. I do not think that the other changes Fetis made were quite as great as you suggest, but the performance at Chemnitz was based on a new critical edition of the score. The performance was a big success.

      “This was a Historically Informed Performance of a different sort. The Chemnitz City Theater used as the basis for its production of Meyerbeer’s last opera the new critical edition from Ricordi-Munich, which not only restores the work’s original title, but includes all available published and (previously) unpublished parts of the piece. In what the critic believes practically amounted to the real world premiere of this opera, all of Meyerbeer’s great scenes – the council proceedings, shipwreck, and cult rituals – could be heard for what they originally were: highly complex, musical-dramatic structures with lyrical passages and a convincing build-up of tension before reaching their apotheosis…..
      Chemnitz had a group of outstanding soloists in the leading roles. Guibee Yang was vocally and theatrically ideal as Inès, with a perfectly produced “white” soprano such as Meyerbeer wanted for this role. Claudia Sorokina (Sélika) proved herself to be one of that rare breed of singer known as the “soprano Falcon,” and she used her deep, metallic timbre to give the Indian (not African) queen the desired exotic quality. Bernhard Berchtold was up to the part of Vasco da Gama, in which one can detect the influence of Verdi’s bel canto style on Meyerbeer. Here, da Gama’s showpiece aria was sung with its original text, “O doux climat.” Berchtold’s tenor was only missing that touch of Italianità one wished for in the cabaletta of the third act duet. With his ebony-hued baritone, Pierre-Yves Pruvot made a striking, “exotic” Nélusko. And it says something about the quality of the Chemnitz ensemble that the smaller roles were as well sung as the major ones.”

  • Belfagor says:

    Grimoaldo, thank you for this detailed information. Maybe there will be a recording, as CPO tends to release many operatic rarities from Chemnitz and other locations. And it certainly makes sense to change the title -- it did strike me that the 4th act started with a Marche Indienne, and various sources imagined that this meant that the opera took place in Madagascar. But, I suppose, if Vasco is the title character, he does rather slink off in the last act and leave the stage to Selika…..

    But the problem with Meyerbeer, and presumably why these scores are never presented complete, is that his structures rarely appear organic, and his scores don’t seem to have the sort of binding material, or much thematic continuity that make them appear inevitable or organic. Maybe ours is not the age for such a discursive dramatic or musical experience.

    • MontyNostry says:

      Which makes the ROH Robert le Diable even more of a cop-out. Pelly’s production really just bypassed the manifold dramatic challenges by doing the ‘camped up storybook’ thing. It didn’t even try to take it seriously on its own terms of with the aid of a commentary of some kind. The special effects in the mountain scene bit were admittedly rather fun, but that was the only exciting bit of the evening as far as the production went. Still, as Belfagor and I have discussed, Verdi clearly liked Meyerbeer’s way with a cor anglais and a soprano.

      • Cocky Kurwenal says:

        That’s Pelly all over though, isn’t it? It’s what drives me mad about his Fille du Regiment production in particular -- he’s so hell bent on sending everything up and making everything a big joke that the moments in the score of genuine pathos don’t get properly set up on stage, and fall flat. The only Pelly productions I’ve seen that I liked are his Offenbach operettas.

        The cor anglais/plaintive female combo is a favourite rhetorical device of all of them.

        • MontyNostry says:

          I think Pelly runs out of ideas as soon as he places something on stage. The first image is often great and then he just kind of gets people to jiggle about. I’ve noticed that with his Love of Three Oranges, Cendrillon, Ravel double bill at Glyndebourne and now Robert. (I haven’t seen his famous Fille.) How did he cope with Pelléas (it’s on DVD, but I haven’t seen it)?

          • Cocky Kurwenal says:

            I won’t be drawn into a discussion re Pelleas, Monty. It’ll only get box-quoted back at me on Sunday.

          • Flora del Rio Grande says:

            Lots of us in Santa Fe have a belly full of Pelly. This summer we had to endure again the Traviata done a few years ago for Dessay, though there was some refinement and better costuming for Violetta. Even so, why ruin a truly gorgeous performance of the prelude — a great moment of the opera we have to admit — with a funeral procession, a dozen or so men in black, with umbrellas, clumping across the stage while new Maestro Hussain was conducting a perfectly ravishing performance of the atmospheric prelude? So perverse! Pelly makes Violetta into a vulgar tart, party guests pulling open her split skirt to reveal all to the audience, etc etc. That most certainly was not Verdi’s
            Violetta. The good news out of this year’s La traviata, however, is Leo Hussain’s shapely and nuanced, and very theatrical conducting of the score, and young Miss Brenda Rae singing the most beautiful and affecting Violetta I have heard since — when? It’s a lyric coloratura voice, of good size, with the easiest top I’ve heard in ages. She makes every note seem spontaneous and is exquisitely on pitch — a rare accomplishment these days. And in the final performance we heard earlier this week, she took an unexpected and resplendent high Eb at the close of Act I. She was wearing very pale makeup so for once “qual pallor” meant something, and in general she struck me as a gorgeous young Anna Moffo, only better. As you volk may know, she captured operadom’s attention last year when as a member of the ensemble at Frankfurt, she was called to Vienna as a last minute replacement of an indisposed Lucia and Brenda knocked it out of the ballpark — huge excitement ensued and SFO were very lucky to have her for this summer, and she is coming back in 2014 for Mozart’s Impressario and Stravinski’s Rossignol on a double bill. Remember Brenda Rae of Wisconsin — she could be a great new star. I don’t want to overlook Michael Fabiano, still under age-30, with a big resonant tenor, some elegance in his musicianship (he can modulate down to a lovely p. or pp. tone for the quieter moments), and he has a strong and ringing top. Nice looking fellow, masculine and moves well on stage. There could be great things ahead for both Fabiano and Rae, and Santa Fe had ‘em early on, something of a local specialty. And where has Leo Hussain been? — nudge to the Metropolitan Opera, get this fellow, he will refresh a lot of your thrice-familiar scores.

            Donna del Lago was a fine success due to Miss di Donato, and two high tenors -- Brownlee and Rene Barbera — dumb as hell opera, but such lovely music and the right singers make it go well. Santa Fe had them.
            You will see a scaled up version of this production at the Met next season, I think it is. Di Donato seems at her peak; I hope she stays there for a while; I may have to go to Kansas City for Capuletti.

            The balance of Santa Fe’s summer rep was all OK, if rather routine. La Graham seemed slightly bored in her Offenbach, Phillips’ Contessa was pretty good once she got past a very off-pitch Porgi amor — and why does she avoid the high-Cs in the boudoir scene? Young Zach Nelson, lovely as his baritone voice is, was just a tad too callow for Figaro; he’ll improve with experience as he packs the vocal goods.

            Oscar you say? Let’s not. It was a gen-u-ine flop. Large majority of critics so negative and they should have been. Boring at every level, almost laughably so at times. Uninteresting through-composed music, no melody, little harmonic development, nothing memorable. The book was terrible, all negative, only the ‘dark side’ of Oscar. Big mistake. Daniels sounding menopausal and blowzy (sorry!), but superb conducting by Evan Rogister and sterling vocal and histrionic performances by Stober and Burden, with a splendid production by Newbury and Korins. Too bad for Oscar. What a fool he was and that is what the new play with music showed us. Composer Morrison is such a smart musician and fine in his choral work, but in spite of collaboration of John Cox, maybe he is just not an operatic/theatre talent???
            And next summer, Sun Yat Sen. Oy!

            • MontyNostry says:

              I saw Brenda Rae as Zerbinetta in Bordeaux a couple of years ago and was highly impressed. She’s a very good actress too.

        • Porgy Amor says:

          It’s what drives me mad about his Fille du Regiment production in particular — he’s so hell bent on sending everything up and making everything a big joke that the moments in the score of genuine pathos don’t get properly set up on stage, and fall flat.

          I was not impressed either. I have only seen it with Dessay. To me, it was a textbook case of a director and a star singer trying too hard to imbue an opera with qualities it already has, and consequently killing it by overdose. There is so much frenetic leaping and mugging from the start that it has nowhere to go at the moments when it might have profited from getting “zany.” As you say, this overkill places everything in a context that militates against any feeling, besides being tiresome in itself.

          The only Pelly productions I’ve seen that I liked are his Offenbach operettas.

          I have not seen those; his Monnaie Don Quichotte with Van Dam is the one I have liked so far. Now, that may reflect a limited frame of reference. The opera does not come along so often, and I always had wanted to see it staged with a good cast. Pelly’s production had an interesting look, as his usually do, and the performers were sympathetic. There was nothing, I felt, standing in the way.

    • Indiana Loiterer III says:

      [Meyerbeer's] structures rarely appear organic, and his scores don’t seem to have the sort of binding material, or much thematic continuity that make them appear inevitable or organic.

      Well, it wouldn’t be for lack of trying. Actually, there is a lot more “binding material” in a Meyerbeer score than in a Bellini or Donizetti score; he was German, after all.

  • grimoaldo says:

    Well the “Vasco da Gama” at Chemnitz was a big success, as was “Les Huguenots” at Brussels two years ago -

    Meyerbeer’s operas can be made to work for modern audiences, given good performances. There is so much prejudice, if I may use the word, involved with Meyerbeer due to the hostile attitude of Wagner and his acolytes.
    As oedipe has said, today 19th century French grand opera in general and Meyerbeer in particular, even in Paris, are considered not the sort of thing connoisseurs are supposed to enjoy. Meyerbeer, of course, was German and wrote German works as well, was even the Kapellmeister for the king of Prussia and Prussian General Music Director, extremely influential, extremely important for music in Berlin and Germany generally, maybe German opera houses can help to reclaim and re- present his works for modern audiences more than French ones can.

  • grimoaldo says:

    Le prophète is really Meyerbeer’s masterpiece in my opinion, I think it is a tremendous work, I hope it will receive more good productions with suitable singers in the near future.

  • Indiana Loiterer III says:

    Oddly, there’s no track listing in the enclosed booklet with cue points at all even though they are listed on the disc menu itself.

    This seems to be a trend with opera DVDs. It’s very annoying.

  • Archaeopteryx says:

    I just read an interview with Stephen Revell of Opera Rara, who claimed that this company would like to colaborate with the Concertgebouw Amsterdam for some recordings of their Saturday matinées -- a project desiderated is L’Africaine. Since the interview is five years old, I think this project never came to happen -- or does anybody know anything about this?