The production, by Peter Konwitschny, is currently in the repertory at the Graz Opera.

And now, try your hand at identifying this classic work.

This video is presumably the version that will be released on DVD about six weeks from now. (Photo: Stephanie Berger)

(Follies photo by Joan Marcus)

La Cieca’s allusion, explained:

(Photo by Herbert, by kind permission of anna-netrebko.blogspot.com.)

Der Kaiser: Stephen Gould
Die Kaiserin: Anne Schwanewilms
Die Amme: Michaela Schuster
Barak, der Färber: Wolfgang Koch
Sein Weib: Evelyn Herlitzius

Bühnenbild: Johannes Leiacker
Kostüme: Ursula Renzenbrink
Musikalische Leitung: Christian Thielemann
Regie: Christof Loy

Photo: Monika Rittershaus

Compare these three sopranos below (in order of their announcement), and see what you think.

First, Oksana Dyka:

Then came Maria Agresta:

And, finally, Lucrezia Garcia:

Our correspondent continues:

Garcia has the sketchiest technique, and appears to also be the least engaging actress (as per YouTube videos, which I know are only part of the picture).

I heard rumors online that conductor Nicola Luisotti preferred a known Scala cast (she recently sang the role there). Garcia may have at some point had the loveliest, darkest tone of the three, but already seems to be developing a wide vibrato, sounds labored throughout, and seems the poorest choice for the demands of this type of early Verdi role (brightness, coloratura: a la Varady).

For background on how these scenes fit into Herheim’s overall concept, the always insightful Intermezzo is a good place to start.

The letter scene:

Last moments of Lensky’s death, followed by the Polonaise:

Final scene:

And the whole thing may be watched below. (Note: “Verbinden met videoserver” means “Video loading,” so be patient.)

And, oh yes, with billing yet, Our Own George Steel.

And now, a work for which trilling may or may not be the sine qua non.

Update:  a Faithful Reader/Spy notes:

Final dress of Le Comte Ory was very successful. The packed house (it was one of those Varis-sponsored “open house’ deals) clearly enjoyed the free event very much, and there was much to be praised.

Not too surprisingly, Joyce DiDonato stole all hearts as Isolier. Perfect role for her voice, her appearance and her acting abilities. She was absolutely sensational.

Diana Damrau was also excellent as Adele. Like DiDonato, she acted and moved with great intelligence — though with a slight tendency to mug that DiD . miraculously avoided. She was in excellent voice, a few tiny bobbles hardly worth mentioning. She sang the gorgeous music with great expressiveness, and a fine understanding of the score.

For once, she was perfectly costumed. The beautiful dresses (especially the purple, burgundy and black number in act1 ) emphasized her womanly curves (and splendid poitrine ) while discreetly distracting attention from her slight tendency to beefiness. She looked stunning throughout. Brava. This performance should mellow nicely in subsequent showings.

Stephane Degout, Michele Pertusi, Susanne Resmark, Tony Stevenson, Tyler Simpson — all excellent. Luxury casting writ large.

Maurizio Benini and the orchestra. Absolutely first rate as expected. Beautiful music, with a lovely French lilt and subtelty. Exquisitely played.

I was not especially taken by Florez, but I was in the minority. After the performance, a knowledgeable met insider said what I already sensed. He’s always the same, he doesn’t really interpret. What he has, he has. Take it or leave it. He’s cute, he moves well. I find his sense of comic timing always to be a beat or two off — although he did seem to be trying this time. He mugs a bit too much. He minces and flounces just a bit too much to be funny. And as for me, I don’t care for his sound. Even a “Rossini tenor” should be able to put a bit of color into the phrasing. I can’t get the idea of bleating out of mind.

The production has a few problems I thought. It is colorful and charming, but the “whole performance-within-a-performance “thing” just makes it seem a bit precious and confusing. I thin it would have been better, in similar sets, just played straight. Is it really necessary to have the thunder sheets and wind machine on stage, operated by supers in period costume?

Also, I think it would have been much better played on a plain slightly raked stage. Here, we have a “period” stage-within-a-stage built up 18 inches from the actual stage floor. I was a few rows back in the orchestra — presumably “prime” seats, — and there were many times that performers toward the rear of the stage were visible only from the waist up. Rough beams and construction work were visible at the front of the inner “stage” and pulleys and counterweights were visible at the rear. I would have to say i found it distracting. Like Sher’s “passarelle” in Barber (and the ridiculous giant anvil in that production) this concept took away a lot more than it added.

A good day at the met overall. A wonderful production of a beautiful piece. See it while it’s young.

More serious note: Jimmy cancels NYC Trovs and last two Rheingolds.

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All chats will take place in La Casa della Cieca.

Speaking of glimpses, here’s the trailer for Kasper Holten‘s new film adaptation of Don Giovanni, entitled Juan, and starring (all of) Christopher Maltman.