Cher Public

Arms and the man I sing

Maestro Yannick Nézet-Séguin takes up the baton for tonight’s season premiere of Der Fliegende Holländer at the Met, and the cher public will surely all be in place for discussion of The Gun Show.

  • Antikitschychick

    yessss bravaaa

  • Antikitschychick

    bravoooo herr Volle

  • Antikitschychick

    ohhhh he’s going to be the Scarpia opposite AN? neat!
    Bravo maestro!

  • Rowna Sutin

    Night all . . . WOW :)

  • southerndoc1

    Flowers from the orchestra for Maestro? There’s pretty unheard of.

    • Liz.S

      They did that to bid farewell to Fabio earlier this season too

    • Ivy Lin

      Guess they all want their contracts renewed …

      • La Cieca

        Or maybe, just maybe they are impressed with him as an artist and colleague

      • OperaGhost7

        So unnecessary

  • southerndoc1

    God, it’s nice to finish so early. Let’s do everything without intermissions.

  • Ivy Lin

    I think Amber Wagner has a very impressive voice and obviously a strong constitution. The drop-outs were unfortunate. I thought my stream had died. But with experience she’ll learn to pace herself. I’m already drooling at the thought of her Elektra

  • eastcoastbear

    Great night at the Met. We need more like that. Wagner’ voice was shaking the walls no doubt. Like many a young singer her acting needs some work, but she stole the show so to speak. I was already thinking about other leading Wagnerian roles for her. Most touching was the dozen of flowers thrown to Yannick by the Met orchestra members when he walked on stage. Off to a good start for sure…

    • Camille

      You mean to tell us that her acting STILL needs work??

      It did in her debut in Ballo, too, but that was three or four years ago now.

      Oh well, little does it matter when it comes to Wagner, I guess. Oh no, there was Leonie…oh no….

  • Camille

    just for the delight and amusement of the parterriani, might I add this: in checking now with the SCHOTT score ( ED 8065 piano/vocal), and very interesting, as it is the URFASSUNG from 1841, which includes the names as originally intended which were changed just a tiny bit before the actual Uraufführung of the opera, AND…as many may already know, it was situated in that foggy and spooky locale of Scotland, site of many a romantic tragedy of the first half of the nineteenth century. In the score, the first part listed is:

    DONALD, a Scottish Skipper……..Bass

    Just think about it a minute………

    Otherwise, the only change is in Erik’s name. Erik becomes a sensibly-shoed “GEORGE”, a Huntsman…..Tenor, in this edition. Sent and Mary and The Dutchman remain the same and the
    Steuermann (or Männchen, as it were), is called:



    Anyway…….there are no cuts, abridgments, tacets, etc. ad nauseam to indicate any variances in the score here either, pp. 200--201, referenced herein.

    This, being the score which the original version of Senta’s Ballade is published, and it’s just a damn shame it isn’t sung in that key as it makes such an awful Ker-PLUNK transition downward, every time that pitch adjustment is made, and ruins Wagner’s carefully and nicely laid set up. Especially bad, as Senta’s very first utterance, the “hummed” iteration of the thematic material later used twice in the Ballade in “Doch kann den bleichen Manne Erlösung einstens noch werden” in the first instance, is sung in the original key, rather negating the need for this downward turn. As the score is published these days, well, it has been for years now, I wish some enterprising orchestra/leader would buy the parts and give it as intended. Aside from Silja’s Bayreuth recording, Barenboim’s recording with Jane Eaglen is one you may hear the music as originally intended, and offhand, wouldn’t know of any others but there may be some historical antecedents out thar’.

    Okay, I’ll TACET now. MammaTaci. (And not Taco, Mr. Autocorrect.)

    • QuantoPainyFakor

      I just spot checked the recording of the performance and wondered why, if they did the opera in one act, why didn’t they play Wagner’s original ending without the repetition of the redemption music. Lazy on their part and important to that version.

      • Camille

        I wondered about that, too. It sounded stonato. Tomorrow I’ll look in score(s) to see what notes there may be in reference to….What did you make of his, um, tempi?

        • QuantoPainyFakor

          ask me again in 20 years when he has the piece under his belt.

          • La Cieca

            This question though is whether 20 years will be long enough for you to get over your congenital bitterness.

      • Camille

        Oh, I am sorry I didn’t really understand what you meant when first reading as I was so tired.

        The Schott score does have the triumphant D major with no Tristan veils unfurling themselves at the end of the ouverture. To me, much as I do love that flourish, it seems wrong there, I mean, in performance of the opera in its entirety. Now, when excerpted in concert, it’s fine to play the version he made in 1860 to give a sense of completion to it as extracted work.

        Anyway, it is quite fun to compare the two. Quite a number of minor tweeks to the text, aside from the names and alternate location.

  • Camille

    Oh and there is this, too, about Senta: it is the only role I can remember--offhand--which is listed variously in the Kloiber Fächer lists (don’t ask if you don’t know, and if you do then you know what is meant) as Jugendlicher Dramatisches Sopran, Dramatisches Sopran, and most interestingly of all, Hochdramatisches Sopran role. Now, that just doesn’t usually happen. Maybe a crossover from Jugendlicher to Dramatisches or Dramatisches to Hochdramatisches, but not all three.

    So, a baby Senta is a potential Brünnehilde and I think THAT’s what this is all about as I sure did hear a future Brünnhilde last night and one I’d much rather listen to than most, and after the debacle with Christine Brewer a few years ago and the subsequent loss of her viability in the role, this Wagner debutante is of especial importance, or so it would seem to me. Although, I do recall hearing Leonie Rysanek protest vividly to George Jellinek at a time she was singing Klytemnestra and Pikovaya Dama that she was “always die Jugendlicher”. Well, she said in her own defense, “there was always Birgit”. Right she was!! And right she was to avoid die BirgittenRollen. In any event, she could sing Boris Godunov so far as I’m concerned, and get away with it, and STILL say she’s a “Jugendlicher”!

    Anyway, she sure as shootin’ has the name for it, and she has been working steadily at it for a few years now, in Chicago, at least.
    Toi, toi, toi!!!!

    • Rowna Sutin

      Cammy meine liebe! I think we agree. A great future looms ahead. I hear her live on Saturday. If you are going to be there please find me orch row P. I am the one without a face lift!

      • Camille

        Actually, Mme Rowna dear—
        The next Saturday matinée which features Les Huguenots with Dame Joan riding in in a white steed as Queen Marguerite, Maria Callas as Valentine, and best of all, Franco Corelli as that heart throb Raoul de Nangis, will be my NEXT Saturday matinée! Until then, I’ll manage to somehow desist.

        Have a wonderful time and make certain to go powder your nose first as two hours plus is longer than even Götterdämmerung first act! Make sure not to get too close to the orchestra as there are the two Temple Guardians outsourced from The Magic Flute, on either side of the pit, guarding it.

        May I also suggest Bar Boulud across the street (or if you want to spend $$$, their restaurant, in place of the eternal Fiorello’s, down the street. Also, in Tully Hall, the American Table is okay to eat at as well, or they were, haven’t been there of late. There’s a Chinese joint across the street and down a street--can’t remember its name now but it’s okay. Of course, one could always eat AT the Met, but of fhat Ich weiss gar nix.

        Have Fun!

        • Susan Brodie

          Or try Indie for a bite and a beverage, just down the steps leading to 65th St. and to your left. Enter from the lobby of the Film Society.

    • Rowna Sutin

      I gather then that you are not going to the Saturday Matinee. Therefore we need a real date. I promise not to tell Mr. Opera! Our secret :)