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

[whipped guy]

More on opera Connecticut style...

 

Another Connecticut Opera story… In 1972 Connecticut Opera presented Bellini’s Norma with Beverly Sills in the title role. Under normal circumstances Sills was emphatically no Norma, but the Adalgisa was the lighter voiced coloratura soprano Patricia Brooks… Indeed, this was a ground breaking performance as it was one of the first performances where a true soprano was cast as Adalgisa as Bellini originally intended. Since Sills’ voice was the more imposing of the two the pairing worked perfectly and gave somewhat of an indication that Bellini’s original concept of two sopranos (as opposed to the traditional soprano and mezzo combination) was certainly the way to go. Incidentally John Alexander was the Pollione and the conductor was Anton Guadagno… both respected names in the operatic world at that point in time. While the performance utilized most of the traditional cuts, Sills’ opening cabaletta was performed with the repeat intact.

 

Fast forward to the early 1990's. Norma was presented with a bunch of no-name singers who could barely cope with the vocal challengoes… a harpist was not engaged… so that meant the final slow section of the overture had to be excised. The bass lost not only his aria, but his entire scene with chorus in the second act was excised as well, thus reducing the part to that of a comprimario. In addition quite a number of other non-traditional excisions were made and that included a portion of the cello melody in the orchestral introduction to the second act.

 

Two days after the performance I was introduced to the conductor and mucical director. Now his wife at the time had informed him that I was a bit knowledgeable regarding Bellini and Bel Canto, so the first thing that he did was apologize profusely even before I really even was able to say a word. He complained that it was the union that determined the cuts and he had no say in the matter... and even part of the reason that some of the tempi were a bit swift. When I mentioned that the cello melody (which was echoed shortly thereafter in Chopin’s “Cello Etude”) was excised as well… he responded by saying… I never realized that tune had influenced Chopin… and they forced me to cut that beautiful melody. As way of making Bel Canto amends he did say that he once did participate in a virtually uncut performance of the lengthy William Tell… At any rate, he said that the opera as performed should have been billed as Norm as opposed to Norma. He did have a sense of humor. In any event, by the 1990’s the choral elements had improved… but at times musical matters and casting left much to be desired.

 

Fast forward to today… I now wish there were a Connecticut Opera…

 

Regarding Hartt…

 

I did see a well done two-thirds of Puccini’s Il Trittico (the Angelica was quite the power house… and really overpowered that small venue!) as well as a nice performance of Purcell’s Dido and Aneas that was accompanied by period instruments.

[JamesNYC]

Let me check my next season's notes and ....

 

hahahahahahahaha!!

 

http://parterre.com/2012/10/22/our-retrospection-will-now-be-all-to-the-future/#more-26862

[whipped guy]

Well if the MET's 2013-14 season turns out as predicted this Bel Canto enthusiast might go broke... but that will depend on who gets to sing the Puritani Elvira... and thank the gods it won't be Dessay... But Brownlee should be good. However, that production is so old I saw Sutherland in it... and speaking of ragged productions there's Norma, which might not even have a decent Norma... Though Angela Mead might be the better of the two prospects... though the voice is nothing to write home about... but I am not sure if Radvaovsky has what it takes to be a Norma. While the production is not ragged... The Sonnambula production is plain stupid. Bellini's gentle melodrama deserves better... but Damreau seems a natural for the title role. Too bad neither Florez or Brownlee is in the cast.

 

 

I guess we'll have to wait another year for the the completion of the Donizetti Tudor Trilogy and Roberto Devereaux.

 

 

Still, lets get through this season first... I'll worry about next Season... well next season.

[operalover21]

WG - been away from a while and just catching up. Funny you mentioned this performance because I saw the two leads in the Turandot 5 days later when it was on tour at Wolf Trap Farm Park in Virginia. It still was something to see and hearing Corelli as Calaf was something to remember.

 

Of course I was lucky enough to see Corelli one more time in person. A Saturday matinee performance at Wolf Trap, almost one year later Just another Boheme. Of course anytime I could see Scotto was always a treat for me (she is one of my two divas, along with Price). But what we didn't realize at the time was that was to be Corelli's final performance with the Metroplitan Opera company. Had we known it was his last performance ever with the company, we still might be cheering even now.

 

What I wouldn't give to be able to go back in time to one performance: Corelli's debut. Of course it was also Price's debut. One of the most amazing evenings in Met history, I think.

 

And then there are the Moffo stories. She did a performance of Boheme with Pavarotti at the Connecticut Opera when I was in school in 1975. I couldn't get tickets (I was a student, poor, and they sold out in like 3 nanoseconds). But because of the demand, the local public radio station broadcast it. Pavarotti was great in one of his best roles. but I swear that someone was squeezing a goose whenever Mimi was supposed to be singing. It was some of the most gawd awful sounds I have ever heard out of a human. I would prefer to hear someone screaming in agony in an ER -- that would be more pleasing to the ear. The term train wreck doesn't even begin to do justice to what Moffo did to her voice. I heard early recordings and she was incredible. What I heard that night defied human comprehension.

 

Poor Corelli was completely overlooked that night as Price's debut was the big news. She received something like 18 curtain calls and the lion's share of the press. Corelli was barely noticed and some of his reviews weren't especially positive.

[+ WilliamM]

 

http://parterre.com/2012/10/22/our-retrospection-will-now-be-all-to-the-future/#more-26862

 

Thanks, James. I seldom look at parterre, so much of this is new to me.

 

Right now I would choose two operas I have never seen, but have long wanted to watch live (as opposed to DVD): Die

Frau Ohne Schatten and Prince Igor/Gergiev. I have seen La Cenerentola more than enough, despite the superior cast.

[bostonman]

I have seen La Cenerentola more than enough, despite the superior cast.

 

It's odd about Cenerentola. Despite loving a lot of Rossini, I've never been that excited about this opera. Yes, it has some great moments, but as a whole, it doesn't grab me much. But give me a good L'Italiana In Algeri any day! (Even just that "din din boom boom tac tac" Act I Finale is enough to make my day, lol.)

[whipped guy]

It's odd about Cenerentola. Despite loving a lot of Rossini, I've never been that excited about this opera. Yes, it has some great moments, but as a whole, it doesn't grab me much. But give me a good L'Italiana In Algeri any day! (Even just that "din din boom boom tac tac" Act I Finale is enough to make my day, lol.)

Funny even though I am an avid Rossinian... for years I felt the same way about La Cenerentola. Stendhal felt the same way, the piece seemed to not hit him the right way either. However, over the years my opinion has changed. Perhaps it is due to the fact that with the advent of the critical edition where the orchestration was cleaned up (NO percussion!) and consequently the piece sounds much cleaner and leaner... and one can revel in the crystal clear orchestration where the piccolo is ever present. Also, the standards of Rossini singing have risen quite a bit over the years so I am sure that has something to due with it as well. Plus, I feel that the piece is a bit more challenging vocally than the other comic operas such as Italiana, Turco, and Barbiere... and especially where the lower voiced roles are concerned... so it is only relatively recently that top to bottom ideal casts have been assembled. Incidentally, I recall James Levine remarking that Cenerentola is more difficult to conduct than some big romantic piece... after all, precision and clarity are the hallmarks of the piece... and that is not exactly an easy thing to pull off.

 

Still, Bostonman you are correct! That Act I Finale of L'Italiana is a masterpiece... and makes my day any day of the week!!! DIN DIN BOOM BOOM TAC TAC and may I add CRA CRA too boot!!!!

[+ WilliamM]

Funny even though I am an avid Rossinian... for years I felt the same way about La Cenerentola. Stendhal felt the same way' date=' the piece seemed to not hit him the right way either. However, over the years my opinion has changed. Perhaps it is due to the fact that with the advent of the critical edition where the orchestration was cleaned up (NO percussion!) and consequently the piece sounds much cleaner and leaner... and one can revel in the crystal clear orchestration where the piccolo is ever present. Also, the standards of Rossini singing have risen quite a bit over the years so I am sure that has something to due with it as well. Plus, I feel that the piece is a bit more challenging vocally than the other comic operas such as [i']Italiana, Turco,[/i] and Barbiere... and especially where the lower voiced roles are concerned... so it is only relatively recently that top to bottom ideal casts have been assembled. Incidentally, I recall James Levine remarking that Cenerentola is more difficult to conduct than some big romantic piece... after all, precision and clarity are the hallmarks of the piece... and that is not exactly an easy thing to pull off.

 

 

Thanks for such a good reason for giving the opera one more chance. The last time I saw La Cenerentola was from a truly awful seat in Milan...truly awful is being kind.

[whipped guy]

Thanks for such a good reason for giving the opera one more chance. The last time I saw La Cenerentola was from a truly awful seat in Milan...truly awful is being kind.

It is interesting how an awful seat or situation can completely destroy a good experience... or make a bad performance seem even worse than it is. My worst experience was seeing Norma at the MET a few seasons back... The seat was way at the end of the row so the view of the stage was scewed... the guy sitting next to me, who was probably bombed out of his mind, reeked not only of booze but of cigarettes as well... and probably had not showered on a week... no make that several weeks. To add insult to injury, he would hum every time a big tune arrived... but usually not the melody... but the bass line... like he was some sort of frustrated basso continuo player without his insturment... Plus, he was constantly making hand jestures as if he were conducting... so not only were there auditory and olfactory issues, but visual distractions as well. The performance featured Guleghina and Farina... not an ideal set of leads to begin with so... it completely ruined things for me as far as Norma was concerned for quite a while.

 

Regarding the drunkard, I really should have spoken to an usher to inquire if I could move to a different seat... next time around I will most definitely try that route.

[+ Charlie]

I was at a performance of something (Vespri Siciliani?) at the Met, sitting in a Dress Circle box, when a man in the next box suddenly stood up and started singing along with Domingo. At first I wondered if it was actually part of the production (like when the doors behind you open for augmented brass in the prologue of Mefistofele at the NYCO), but then the ushers came running and hustled him out. Domingo looked mildly annoyed but never stopped singing.

[whipped guy]

Years ago at a performance of Cavallaria Rusticana and I Pagliacci at the NY City Opera and woman actually got up out of her orchestra seat and started to climb up onto the stage... Like Charlie, I initially thought that it was part of the production... and especially since it happened during Pagliacci which is a sort of play within a play to begin with. Of course when she started to speak in English as opposed to Italian I realized that something was not quite right. One of the singers then yelled out, "Stop!" and she was subsequently tackled and ushered out by ushers and security...