The MET's new season: off to a terrible start

[operalover21]

Elisir -- pretty good

Trovatore -- awful

Turandot -- awful

Otello -- there's been no Otello, so what can one say?

Carmen -- mediocre, at best

 

It's got to get better, right?

[+ WilliamM]

I need your advice-

 

I am planning an extensive summer trip to Eastern Europe, so money is difficult for New York hotels for long Fri. night operas.

 

But Fri. nights are best fo me

 

Long range I am planning on Les Troyens for Dec. and Parsifal for Feb. I have never seen the former opera live; Parsifal is for Kaufmann. Is there an opera I have overlooked?

 

I have seen the Met's new Ring. Like Bel Canto, Verdi, Wagner...taking a break from Mozart.

 

Any help would be most appreciated. Thanks.

[whipped guy]

Of course I am showing my "Bel Canto Bias"... but Rossini's Le Comte Ory was a lot of fun last season and I plan on seeing it again in January... and on on Friday. The next night I will be seeing Donizetti's Maria Stuarda... any opera that portrays two Queens in a cat-fight is tops in my book... Plus it is my favorite of the Tudor Trilogy as it has the most beautiful elegiac melodies and is the most consistently inspired of the three pieces.

 

For something different Handel's Giulio Cesare...

 

Not much else hits my eye... other than perhaps Zandonai's Francesca da Rimini.

[+ WilliamM]

Of course I am showing my "Bel Canto Bias"... but Rossini's Le Comte Ory was a lot of fun last season and I plan on seeing it again in January... and on on Friday. The next night I will be seeing Donizetti's Maria Stuarda... any opera that portrays two Queens in a cat-fight is tops in my book... Plus it is my favorite of the Tudor Trilogy as it has the most beautiful elegiac melodies and is the most consistently inspired of the three pieces.

 

Not much else hits my eye... other than perhaps Zandonai's Francesca da Rimini.

 

The Le Comte Ory/Maria Stuarda suggestion in Jan is just what I was looking for, so thanks. I would have seen Maria Stuarda anyway, but missed the weekend match with Le Comte Ory. I had a ticket for Le Comte Ory two years ago, but I was sick and unable to attend.

[operalover21]

I need your advice-

 

I am planning an extensive summer trip to Eastern Europe, so money is difficult for New York hotels for long Fri. night operas.

 

But Fri. nights are best fo me

 

Long range I am planning on Les Troyens for Dec. and Parsifal for Feb. I have never seen the former opera live; Parsifal is for Kaufmann. Is there an opera I have overlooked?

 

I have seen the Met's new Ring. Like Bel Canto, Verdi, Wagner...taking a break from Mozart.

 

Any help would be most appreciated. Thanks.

 

To be honest, I would avoid that Troyens like the plague. Both the leads -- Giordani and Voigt -- are in terrible vocal estate and I think it's going to be a mess.

Definitely see the new Parsifal with (or without if one believes the rumors) Kaufmann as it may be your only chance. The revival, planned for the 2013-2014 season has already been scrapped.

 

I would definitely see Don Carlo. It's a terrific production and they've come up with a pretty good cast for one of my favorite Verdi operas.

 

Definitely Le Comte Ory with the incomparable Juan Diego Florez (who is doing Cenerentola next season -- can't wait).

 

You must see the new Maria Stuarda. That could be wonderful.

 

I'd go for Giulio Cesare and Dialogue of the Carmelites -- one of the greatest of 20th century operas.

[+ WilliamM]

To be honest, I would avoid that Troyens like the plague. Both the leads -- Giordani and Voigt -- are in terrible vocal estate and I think it's going to be a mess.

Definitely see the new Parsifal with (or without if one believes the rumors) Kaufmann as it may be your only chance. The revival, planned for the 2013-2014 season has already been scrapped.

 

I would definitely see Don Carlo. It's a terrific production and they've come up with a pretty good cast for one of my favorite Verdi operas.

 

Definitely Le Comte Ory with the incomparable Juan Diego Florez (who is doing Cenerentola next season -- can't wait).

 

You must see the new Maria Stuarda. That could be wonderful.

 

I'd go for Giulio Cesare and Dialogue of the Carmelites -- one of the greatest of 20th century operas.

 

Thank you very much. I shall take your advice on Troyens (no), Le Comte Ory (yes), Maria Stuarda (yes), Parsifal (yes).

 

I have seen Dialogue of the Carmelities and Don Carlo several times, but will check the dates for this season. I have not seen Giolio Cesare, so that is a must.

 

If ask for advice, I believe in following that advice. So it is very much much appreciated.

[operalover21]

Thank you very much. I shall take your advice on Troyens (no), Le Comte Ory (yes), Maria Stuarda (yes), Parsifal (yes).

 

I have seen Dialogue of the Carmelities and Don Carlo several times, but will check the dates for this season. I have not seen Giolio Cesare, so that is a must.

 

If ask for advice, I believe in following that advice. So it is very much much appreciated.

 

Hope you have fun. And tell us about your trip(s) when you return! Cheers!

[adriano46]

Elisir -- pretty good

Trovatore -- awful

Turandot -- awful

Otello -- there's been no Otello, so what can one say?

Carmen -- mediocre, at best

 

It's got to get better, right?

 

I went through the operas that were going to be staged when I was able to get into the city and was deeply depressed by the fact that nothing jumped out at me. Oh well, one can hope for next year's season.

[BgMstr4u]

Thanks for the good reviews and advice in this thread. I went to see Turandot Sept. 29. The voices were as described -- I thought Turandot was awful, the tenor Calaf was weak and could not sustain the longer notes in Nessun dorma. The NY Times was right when it said that he belongs to the stand-and-point school of opera acting. But the Liu I thought was quite good, lovely voice, well acted. However -- I had not seen the Zeffirelli production and was just blown away by it. The second act scene in the imperial throne room must be one of the most beautiful things I have ever seen in my life. The whole production was visually magnificent. It is a pity that the voices weren't all in the same league. But what a feast for the eyes! If you have never seen this production, I recommend it even with the weak singing. IMHO it is one of the great visual stage experiences perhaps of all time.

[operalover21]

Thanks for the good reviews and advice in this thread. I went to see Turandot Sept. 29. The voices were as described -- I thought Turandot was awful, the tenor Calaf was weak and could not sustain the longer notes in Nessun dorma. The NY Times was right when it said that he belongs to the stand-and-point school of opera acting. But the Liu I thought was quite good, lovely voice, well acted. However -- I had not seen the Zeffirelli production and was just blown away by it. The second act scene in the imperial throne room must be one of the most beautiful things I have ever seen in my life. The whole production was visually magnificent. It is a pity that the voices weren't all in the same league. But what a feast for the eyes! If you have never seen this production, I recommend it even with the weak singing. IMHO it is one of the great visual stage experiences perhaps of all time.

 

You should have seen it 25 years ago when it was new. It was so bright it practically blinded you. It's fairly threadbare now and rather tacky but it can still impress people seeing it for the first time. Of course, the critics see it as evidence of everything wrong with the MET as they see it as overblown and over-the-top. However, if you can't go over the top with Turandot what opera can you? It practically calls out for it.

 

Of course, my favorite Turandot production is the David Hockney that has been seen in Chicago and San Francisco among other places. It's really terrific.

[whipped guy]

The Zeffirelli Turandot... Geez I called it the Zeffirelli Turandot as opposed to Puccini's Turandot... is indeed a theatrical spectacle not to be missed... and given the state of voices capable of doing justice to the opera today, it is indeed Zeffirelli's as opposed to Puccini's opera that you will be experiencing. It is overblown to be sure, but Puccini's Turandot is an opera that is well served by the "overblown" approach... and especially the throne room scene and final scene... and the first act works well in that regard as well. I saw it 20 or so years ago and remember really only the scenery and Teresa Stratas as Liu. Given the current cast I would not recommend it from a vocal point of view... and as implied I was not even overly impressed by the vocal aspects of the version I witnessed 20 years ago. The opera needs a Nilsson (or even a Sutherland type) in the title role and Franco Corelli as Calaf. I was fortunate to see Corelli in the role in the 1970's in the old previous production at the MET... and I rank it as one of my top ten operatic experiences. Unfortunately his Turandot was not of the same caliber. Incidentally I only able to "see" a portion of that production as I was sitting in a partial view family circle box... all a couple of poor students could afford way back when!

 

Regarding the production I believe it is available on DVD, but the depth of the scenery and all those extras must be seen in the flesh to be properly and fully appreciated...

[operalover21]

In 1974, your Turandot (I saw them both) would have been either Elinor Ross or Ingrid Bjoner. I thought both were quite good but you, perhaps, had an off performance. Corelli was good but really not as good as he was in the 1960s. I recently compared his Calafs from the 1970s vs his ones from the 1960s for a magazine article I was writing. His voice lost a lot of freshness and power and was often just loud by that point. He retired shortly thereafter at a relatively young age for opera singers. Of course, he had terrible stage fright which didn't help. He would have been a great Otello and I'm sorry he never took up the role.

 

The Zeffirelli MET Turandot has been on DVD twice. The original production with Domingo and Marton (pretty damn good) and then one of the more recent incarnations with totally forgettable singers.

 

There is a really good Turandot today: Lise Lindstrom. I've seen her do it at the MET and other places around the world. She's really quite good.

[whipped guy]

operalover21... I was able to find the exact date via the MET archives. Corelli was still quite good... even though he was not the Corelli of the previous decade... It was the only time that I saw him so I was still quite impressed and glad to have experienced him in the flesh. I don't remember the Turandot as being bad at all... acceptable if a bit strident... It is curious to note that I clearly recall the conductor as being Otvos, but did not remember Ross. Of course the most interesting part of the performance concerned the fact that Moffo as Liu was heckled after her first act solo... There was silence after her shrieked final note and then someone yelled out "You stink!" from the Family Circle. I am sure she was mortified. After a long first intermission Lucine Amara replaced her and sang like an angel. So a fascinating experience to say the least! Incidentally I was also at the infamous 1969 MET Lucia broadcast where Moffo almost self distructed... though a recording of the event is perhaps not as bad as the tales told would make one to believe... again another unique Moffo experience! Incidentally Gedda was the Edgardo and for once the final scene did not sound like a tacked on epilog... but rather the highlight of the performance.

 

Metropolitan Opera House

June 14, 1974

 

 

TURANDOT {115}

 

Turandot................Elinor Ross

Calàf...................Franco Corelli

Liù.....................Anna Moffo [Act I]

Liù.....................Lucine Amara [Acts II, III]

Timur...................John Macurdy

Ping....................Robert Goodloe

Pang....................Andrea Velis

Pong....................Nico Castel

Emperor Altoum..........Robert Schmorr

Mandarin................David Holloway

Prince of Persia........Jacques Cesbron

Servant.................Ivan Allen

Servant.................Jack Hertzog

Servant.................Marc Verzatt

Executioner.............Edilio Ferraro

Executioner.............Jeremy Ives

Executioner.............Donald Mahler

 

Conductor...............Gabor Ötvös

[Moffo cancelled after Act I and was replaced as Liù by Amara.]

[edjames]

Carmen

 

Elisir -- pretty good

Trovatore -- awful

Turandot -- awful

Otello -- there's been no Otello, so what can one say?

Carmen -- mediocre, at best

 

It's got to get better, right?

 

I hope so, for your sake. Seems like you are not thrilled at all. With 28 upcoming productions this season, I hope there one that you will like.

 

I saw Carmen last night. I agree, mediocre, although, tenor Yonghoon Lee, seemed to be the hit of the evening. A rousing and bousterous ovation. His co-star, Anita Rachvelishvili didn't arouse the audience.

 

I cannot adequately comment on the production as I am not an opera fan but have been trying to see Carmen for years. So this was a first and a bucket list item, as for my future in opera, well, I have a ticket for Tosca in Paris coming up....

 

ED

[bostonman]

Elisir -- pretty good

Trovatore -- awful

Turandot -- awful

Otello -- there's been no Otello, so what can one say?

Carmen -- mediocre, at best

 

It's got to get better, right?

 

I've heard some of the broadcasts over Sirius/XM. I would add the following:

 

L'Elisir - vocally quite good, depends on whether one likes the heavier-voiced Netrebko as Adina. (I did, and I am not always a Netrebko fan, lol.) But from what I've read it sounds like Bartlett Sher's production, much like his Tales Of Hoffmann, misses the mark. (Too bad - I've been a fan of his Broadway work and of his Met Barber of Seville.)

 

Trovatore - I've heard 2 different casts, this week and last. This week's soprano (Guanqun Yu) sounded better than last week's (Carmen Giannattasio). I preferred last week's baritone (Franco Vassallo) just a bit compared to this week's - but Vassallo is back in after this for a few more performances. The tenor had his moments, but generally seemed wimpy to me. Dolora Zajick is still my favorite mezzo of our era.

 

Otello - this run should be retitled Desdemona, for the winning, moving performance by Renee Fleming. Falk Struckmann also made a dynamite Iago. And bravo to the young (and handsome) tenor Michael Fabiano who made Cassio's role seem more important than it usually does. As far as a title character, Johan Botha had allergies affecting his high notes on the first night performance, and though he soldiered on (and insisted on doing the entire performance) he had some very iffy moments to say the least. But his successor, one Avgust Amonov, though perhaps in better health, shouted his way through the role, making things even worse.

 

Carmen - I think I liked the Carmen (Anita Rachvelishvili) better than some people. The tenor (Yonghoon Lee) was also quite good, except for his penchant for abandoning the words when he got above the staff. First performance he floated a wonderful soft Bb near the end of the Flower Song, but since then he seems to prefer belting the note. I prefer the former approach. Kyle Ketelsen sounded like a very young Escamillo (which is certainly not bad casting). The music bubbled along, sometimes faster that I'm used to (conductor Michele Mariotti, who must have been hoping to catch an early train?), but it was fun. Moments I always look forward to, for instance, the Act II quintet, did not disappoint. However, I do wish that in this new-ish Met production, the music didn't stop at the top of Act II to allow the road tour of Stomp to take over the opera, lol. (The concept is becoming a bit cliche to me, even if it's appropriate to the moment.)

A new pet peeve about the Sirius broadcasts - they now start 5 minutes earlier to allow for more commentary before the opera begins. That's fine. But there are 2 problems - one is that because of that, they have to keep telling us of this scheduling change for people that haven't caught on yet, with the result that it takes away some of that extra time. (Ah, the irony, lol.) The worse problem, though, IMO, is that the level of the commentary doesn't seem any more substantial than before, even if they now have a few more minutes to talk.

 

Myself, I'm very excited about the premiere of Thomas Ades' The Tempest this coming week. And I'm happy that La Rondine will be back later this year, as well as the aforementioned Dialogues Of The Carmelites (and thank god they're still using the striking original Met production by John Dexter). I'm a little dubious about the new Rigoletto set in Las Vegas - do we really need that???

[operalover21]

Oh, yes, that was SO late in Moffo's career. She really blazed in the early to mid 1960s bust just burned out after that. I remember a recital of hers in the mid-1970s that was perfectly awful. Such a beautiful woman but I think her technique was bad which led to serious vocal problems but she kept on singing. It became quite sad.

[operalover21]

I hope so, for your sake. Seems like you are not thrilled at all. With 28 upcoming productions this season, I hope there one that you will like.

 

I saw Carmen last night. I agree, mediocre, although, tenor Yonghoon Lee, seemed to be the hit of the evening. A rousing and bousterous ovation. His co-star, Anita Rachvelishvili didn't arouse the audience.

 

I cannot adequately comment on the production as I am not an opera fan but have been trying to see Carmen for years. So this was a first and a bucket list item, as for my future in opera, well, I have a ticket for Tosca in Paris coming up....

 

ED

 

There is some great stuff coming up -- potentially -- but so far this has been disappointing. I rather like that production of Carmen although someone find the turntable distracting. I think it's by Richard Eyre - a great theater director. Some hate that big bull at the end!

[operalover21]

I've heard some of the broadcasts over Sirius/XM. I would add the following:

 

L'Elisir - vocally quite good, depends on whether one likes the heavier-voiced Netrebko as Adina. (I did, and I am not always a Netrebko fan, lol.) But from what I've read it sounds like Bartlett Sher's production, much like his Tales Of Hoffmann, misses the mark. (Too bad - I've been a fan of his Broadway work and of his Met Barber of Seville.)

 

Trovatore - I've heard 2 different casts, this week and last. This week's soprano (Guanqun Yu) sounded better than last week's (Carmen Giannattasio). I preferred last week's baritone (Franco Vassallo) just a bit compared to this week's - but Vassallo is back in after this for a few more performances. The tenor had his moments, but generally seemed wimpy to me. Dolora Zajick is still my favorite mezzo of our era.

 

Otello - this run should be retitled Desdemona, for the winning, moving performance by Renee Fleming. Falk Struckmann also made a dynamite Iago. And bravo to the young (and handsome) tenor Michael Fabiano who made Cassio's role seem more important than it usually does. As far as a title character, Johan Botha had allergies affecting his high notes on the first night performance, and though he soldiered on (and insisted on doing the entire performance) he had some very iffy moments to say the least. But his successor, one Avgust Amonov, though perhaps in better health, shouted his way through the role, making things even worse.

 

Carmen - I think I liked the Carmen (Anita Rachvelishvili) better than some people. The tenor (Yonghoon Lee) was also quite good, except for his penchant for abandoning the words when he got above the staff. First performance he floated a wonderful soft Bb near the end of the Flower Song, but since then he seems to prefer belting the note. I prefer the former approach. Kyle Ketelsen sounded like a very young Escamillo (which is certainly not bad casting). The music bubbled along, sometimes faster that I'm used to (conductor Michele Mariotti, who must have been hoping to catch an early train?), but it was fun. Moments I always look forward to, for instance, the Act II quintet, did not disappoint. However, I do wish that in this new-ish Met production, the music didn't stop at the top of Act II to allow the road tour of Stomp to take over the opera, lol. (The concept is becoming a bit cliche to me, even if it's appropriate to the moment.)

A new pet peeve about the Sirius broadcasts - they now start 5 minutes earlier to allow for more commentary before the opera begins. That's fine. But there are 2 problems - one is that because of that, they have to keep telling us of this scheduling change for people that haven't caught on yet, with the result that it takes away some of that extra time. (Ah, the irony, lol.) The worse problem, though, IMO, is that the level of the commentary doesn't seem any more substantial than before, even if they now have a few more minutes to talk.

 

Myself, I'm very excited about the premiere of Thomas Ades' The Tempest this coming week. And I'm happy that La Rondine will be back later this year, as well as the aforementioned Dialogues Of The Carmelites (and thank god they're still using the striking original Met production by John Dexter). I'm a little dubious about the new Rigoletto set in Las Vegas - do we really need that???

 

Just to be clear, my comments were based on seeing the performances in the house not on the radio. I find those are two completely different animals. I might have liked things less on the radio than in the house!

 

Renee Fleming continues to spin very gorgeous tone but I find that after 20 years as Desdemona she hasn't deepened her characterization and that's a bit disappointing to me. Struckmann was good but also sounded and looked old to me.

 

I saw Tempest in London quite a few times and I'll go see it at the MET but I have to admit it's not my cup of tea although the MET has assembled as good a cast and production team as can be imagined. It is going to be quite a spectacle!

[edjames]

Some hate that big bull at the end!

 

You didn't mean soprano Anita Rachvelishvili, did you? Girlz got some junk in her trunk!

 

LMAO

[whipped guy]

The tenor (Yonghoon Lee) was also quite good... First performance he floated a wonderful soft Bb near the end of the Flower Song, but since then he seems to prefer belting the note. I prefer the former approach.

As do I. Plus, there are so many other operatic moments when the softer approach works better... much better!

 

Just to be clear, my comments were based on seeing the performances in the house not on the radio. I find those are two completely different animals. I might have liked things less on the radio than in the house!

That is so true! When one only concentrates on the voices one tends to find flaws that are often overlooked when experiencing whole enchilada! That was often the case with Moffo... her physical beauty made some overlook her flaws.

[operalover21]

I do think Moffo's !960 studio recording of Traviata with Tucker and Merrill is quite a thing of beauty.

[whipped guy]

I do think Moffo's !960 studio recording of Traviata with Tucker and Merrill is quite a thing of beauty.

 

I agree and it is perhaps one of her best recordings. Plus, if one listens to some of her work from around that time frame it is equally as good... However, problems are noted as early as 1965 as evidenced by her Lucia recording under Pretre. The voice sounds fine, but the fluency is just not there. I recall when the recording was released and it did not compare favorably with what was available at the time... even the Lucia of Roberta Peters (which I owned and still enjoy to this day)... not to mention Callas and Sutherland.

[operalover21]

I agree and it is perhaps one of her best recordings. Plus, if one listens to some of her work from around that time frame it is equally as good... However, problems are noted as early as 1965 as evidenced by her Lucia recording under Pretre. The voice sounds fine, but the fluency is just not there. I recall when the recording was released and it did not compare favorably with what was available at the time... even the Lucia of Roberta Peters (which I owned and still enjoy to this day)... not to mention Callas and Sutherland.

 

She as a comet, unfortunately, but glad we had her even for such a short time. Sad life, and it didn't end well and it ended too soon.

[+ WilliamM]

Definitely see the new Parsifal with (or without if one believes the rumors) Kaufmann as it may be your only chance. The revival, planned for the 2013-2014 season has already been scrapped.

 

Definitely Le Comte Ory with the incomparable Juan Diego Florez (who is doing Cenerentola next season -- can't wait).

 

You must see the new Maria Stuarda. That could be wonderful.

 

I bought tickets to Parsifal and Le Comte Ory, but went over my budget because I also chose "Picnic" on Broadway. I shall try to get a ricket for Maria Stuarda closer to the date. I sound like someone who sees little opera; that's not true. My main issue was the cost of the tickets at a time that I am planning a major trip to Eastern Europe. Thanks so much again for the excellent suggestions, which allowed me to spend money wisely. Parsifal alone was way beyond what I expected to pay.

[whipped guy]

...My main issue was the cost of the tickets at a time that I am planning a major trip to Eastern Europe. Thanks so much again for the excellent suggestions, which allowed me to spend money wisely. Parsifal alone was way beyond what I expected to pay.

Prices are outrageous... and especially considering the fact that there are different prices for different operas... and added to this is the fact that they have increased the number of seating price categories within each seating section... The difference of one row can often mean a significant dollar difference in price.

 

My budget this season was three operas... Elisir, Ory, and Stuarda...

 

Bottom line: even considering the basic needs of everyday life the MET's new pricing has caused one to indeed "spend money wisely"... and especially when one must figure travel and hotel accommodations into the equation... plus "other" activities while in town...