Don Carlos in HD

Conductor -Patrick Furrer

Élisabeth de Valois -Sonya Yoncheva

Eboli -Jamie Barton

Don Carlos -Matthew Polenzani

Rodrigue -Etienne Dupuis

Philippe II - Eric Owens

Grand Inquisitor - John Relyea

Production by David McVicar

Saturday we viewed the live HD performance of the French version of Verdi's Don Carlos. This opera seems to be attempting to imitate reality, so perhaps a little reality is required. This is a calendar of historical events related to the life of Philip II of Spain. 

1527 Philip born 1543 Philip marries Maria Manuela of Portugal 1545 Carlos born, Maria Manuela mother 1545 Maria dies 1545 Elisabeth of Valois born 1554 Philip marries Mary I of England [bloody Mary] becoming her co-regent 1556 Philip becomes King of Spain 1558 Mary dies, Philip returns to Spain 1559 Philip marries Elisabeth of Valois 1568 Elisabeth dies 1568 Carlos dies

1570	Philip marries Anna of Austria
1580	Anna dies
1598	Philip dies

From this we see that Carlos and Elisabeth were about the same age and died at about the same time. Philip was already King of Spain for three years before he married Elisabeth of Valois. So it is unlikely that his coronation took place after he married Elisabeth.

The plot begins when Carlos, who believes he will marry Elisabeth, wishes to meet his future wife and tracks her to the Forest of Fontainebleau, France. They meet and fall in love.  By the end of the scene a political agreement has been reached offstage, and Carlos and Elisabeth find that she is to marry Carlos' father Philip.  This is the context for the rest of the opera, so the story doesn't make much sense if this scene is omitted.

I thought this was a brilliantly and beautifully executed performance.  The story felt right, perhaps for the first time.  This is the most I have liked Sonya Yoncheva whose performance shaped the drama.  I never felt a desire to go home early because it was all so fascinating.

San Francisco Ring -- Das Rheingold

Conductor: Donald Runnicles
Director: Francesca Zambello

Wotan, head god:  Greer Grimsley
Loge, god of fire:  Štefan Margita
Alberich, Nibelung: Falk Struckmann*
Fricka, Wotan's wife:  Jamie Barton
Erda, goddess of the earth, Ronnita Miller
Mime, Alberich's brother: David Cangelosi
Fasolt, giant: Andrea Silvestrelli
Fafner, giant: Raymond Aceto
Donner, god of thunder: Brian Mulligan
Froh, god:  Brandon Jovanovich
Freia, goddess of the apples;  Julie Adams
Woglinde, Rhinemaiden:  Stacey Tappan
Wellgunde, Rhinemaiden:  Lauren McNeese
Flosshilde, Rhinemaiden:  Renée Tatum

I've seen this San Francisco Opera production of Wagner's Das Rheingold twice before.  I don't remember the other times hardly at all.  I can read about them in this blog, of course, here and here. 

Runnicles still feels like the best Wagner conductor around.  I liked the production better than before and found that it clarified all plot points even to my fussy standards.

It is a surprise how much I like Greer Grimsley as Wotan.  I don't seem to be able to write a lot these days.  They are streaming the entire Ring throughout the month of March.  I am determined to make it through all four operas this time.

Die Walküre

👍🏻
Conductor Donald Runnicles
Director Francesca Zambello

Brünnhilde, Wotan's daughter:  Iréne Theorin
Wotan:  Greer Grimsley
Fricka: Jamie Barton
Sieglinde, Hunding's wife:  Karita Mattila
Siegmund, Sieglinde's lost brother:  Brandon Jovanovich
Hunding:  Raymond Aceto
Siegrune, Valkyrie:   Laura Krumm
Grimgerde, Valkyrie:  Renée Rapier
Ortlinde, Valkyrie:  Sarah Cambidge
Gerhilde, Valkyrie:  Julie Adams
Rossweisse, Valkyrie:  Lauren McNeese
Schwertleite, Valkyrie:  Nicole Birkland
Helmwige, Valkyrie:  Melissa Citro
Waltraute, Valkyrie:  Renée Tatum

I have always considered Die Walküre my favorite part of the Ring.  Some scenes are the best part of the Ring while others are just endless talking.  As the years have passed, I increasingly see Wotan's long winded explanation to Brünnhilde as a self serving excuse for his screw ups.

But the opening scene is a joyous occasion.  Karita Mattila and Brandon Jovanovich are marvelous as the twins reuniting after a long separation.  I think modern audiences feel that a woman who never wanted to marry in the first place is fully justified in running off with an attractive almost stranger.  "Du bist der Lenz" is a gorgeous love song well sung here by our Siegmund.  Ok, I'm happy with him as a heldentenor.  They made a great pair.  The staging for this scene is excellent.  Except one minute there's no tree and the next minute there it is.

I enjoyed very much Iréne Theorin's entrance in act II.  Her "toi-jo-to-hos" were impressive.  This was followed by the spectacular tantrum of Jamie Barton's Fricka.  She is very put off by the twins thing.  Wotan drones on but completely messes up.  What is his "will" supposed to make of the fact that first he tells her to make Siegmund win the battle, then completely reverses himself to please Fricka.  She knows what his true will is and does that.

Then we have a scene under a freeway like a modern homeless couple.  Or another opera seen recently.  Sieglinde is having difficulties.  Here occurs the scene where Brünnhilde fulfills the Valkyrie's main role--she offers him eternity in Valhalla.  He refuses because Sieglinde will not be there.

The battle between Siegmund and Hunding has Brünnhilde fighting for Siegmund and Wotan against him.  Wotan wins, but Brünnhilde spirits Sieglinde away to save her unborn child.

I thought all these scenes went very well.  The highlight of this production is the Valkyries flying in on a wire with their heroes.  This is a piece of fun.  Brünnhilde walks in like a sensible person but has no hero.  Then follows the greatest scene in all the Ring:  Wotan's farewell.  He makes her into a mere human as punishment.  The music is very beautiful and was well sung by Greer Grimsley.

The quality of the singing is very high.  The staging sometimes works and sometimes doesn't.

A small additional comment:  at every possible opportunity the audience gave the orchestra and maestro Runnicles a huge ovation.  He was very popular here.

News

Congratulations to Jamie Barton for winning the BBC Music vocal prize for this album.  I reviewed it here.

Jamie singing Brahms

Don't forget if all the world fails you, there is Jamie Barton singing the Brahms Alto Rhapsody.


   

All Who Wander

Jamie Barton won the Cardiff Singer of the World competition in 2013, including the Song Prize.  Then in 2015 she won the Richard Tucker Prize.  This cannot help but arouse ones curiosity.  So I bought her recording.

Mahler: [sung in German]

Rückert Lieder:
No. 1. Ich atmet' einen linden Duft
No. 2. Liebst du um Schönheit
No. 3. Blicke mir nicht in die Lieder
No. 4. Um Mitternacht
No. 5. Ich bin der Welt abhanden gekommen

Lieder und Gesänge aus der Jugendzeit, Book 2: No. 2. Ich ging mit Lust
Lieder und Gesänge aus der Jugendzeit, Book 1: No. 2. Erinnerung
Lieder und Gesänge aus der Jugendzeit, Book 3: No. 3. Scheiden und Meiden

Dvořák:  [sung in Czech]

Gypsy Songs, Op. 55, B. 104:
No. 1. Má píseň zas mi láskou zní
No. 2. Aj! Kterak trojhranec můj přerozkošně zvoní
No. 3. A les je tichý kolem kol
No. 4. Když mne stará matka zpívat, zpívat učívala
No. 5. Struna naladěna
No. 6. Široké rukávy a široké gatě
No. 7. Dejte klec jestřábu ze zlata ryzého

Sibelius:  [sung in Finnish]

Svarta rosor (Black Roses)
Säv, säv, susa (Reed, Reed, Rustle)
Flickan kom ifran sin alsklings mote (The girl returned from meeting her lover)
Kyssens hopp (Kiss's Hope)
Marssnon (The March Snow)
Var det en dröm? (Was it a dream?)

I suppose I enjoyed the Mahler most because I speak German and her diction is excellent.  And the Rückert Lieder are the most famous pieces on the album.  Some of the Dvořák also sounded familiar, but the Sibelius did not.

Why would you want this?  Because Jamie has one of the most beautiful dark mezzo voices I have ever heard, because she sings every song with great intelligence.  Every note is just as you would want it to be.  If you are charmed by beauty, listen to this.

Could we have more Mahler, please?
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Rusalka in HD

Conductor:  Mark Elder
Production:  Mary Zimmerman

Rusalka:  Kristine Opolais
Prince:  Brandon Jovanovich
Princess:  Katarina Dalayman
Jezibaba:  Jamie Barton
Gnome:  Eric Owens

Dvorák's Rusalka was live from the Metropolitan Opera on Saturday. Many of the people around me had never seen this opera.  This is my fourth time with all the previous times starring Renée Fleming. 

I was completely won over by the water nymphs at the beginning.  First they danced and then suddenly as if by magic they sang.

In case you thought after her appearance in Nabucco that Jamie Barton was boring, her Jezibaba was evil and fun and completely upstaged everyone else.  Except maybe the water nymphs.

Eric Owens owns the Gnome. He pointed out in his interview that this was his actual Fach while L'Amour is more a baritone role.

This is an excellent role for Kristine.  Someone has to step into Fleming's repertoire.  Her acting is far more intense than Fleming which changes the dramatic intensity of the opera.  Her voice is not really heavy enough for most of the roles she sings, but if she keeps this under control, it should be good for her.

I thought the castle sequence in Act II worked better here than other productions I have seen.  Brandon was the picture of prince charming.  I liked it but don't want to go on and on about it.  The Wagner loving conductor thinks it's one of the great post Wagnerian operas, but for me it's just ok. I tend to think of Dvorák as post Brahms rather than post Wagner.  Wagnerians ignore Brahms.

Matthew Polenzani was an excellent host.

Nabucco in HD

👍🏻
Conductor:  James Levine
Production:  Elijah Moshinsky

Nabucco, king of Babylon:  Plácido Domingo
Abigaille, Nabucco's daughter:  Liudmyla Monastyrska
Ismaele:  Russell Thomas
Fenena, Nabucco's daughter:  Jamie Barton
Zaccaria, Jewish high-priest:  Dmitry Belosselskiy

Today's opera in HD from the Metropolitan Opera was Verdi's Nabucco.  The presence of Plácido Domingo in the cast meant that the theater was much fuller than usual.  I want to say before I get lost in plot explanations that James Levine was in form.  His conducting shaped this wonderful performance.

I often enjoy regie performances, especially when they are looking for a modern interpretation of historical plots.  This may possibly be my first traditional production for Nabucco.  In particular the first scene, shown above, was far more dramatically clear than a modern production could ever manage.  We know we are in a place of worship, here the temple in Jerusalem, because all the men are wearing their prayer shawls, white scarfs with black stripes.  I liked this detail very much.  The scene ends with the Babylonians setting fire to the sacred scrolls.  The priest manages to save a set to take with them to Babylon.  This may or may not be historically accurate, but it corresponds to what is believed.

The story both does and doesn't correspond to Biblical narrative.  I'm not sure there is any basis for the daughters Abigaille and Fenena.  The insanity of Nabucco is from the Bible.  Domingo does an excellent job of portraying insanity and climbs convincingly up and down the stairs, though once he did crawl up.  He sang the madness aria lying face down on the floor.

There is a romance, of course.  We find at the beginning that both daughters are in love with the Jewish envoy Ismaele whom they met when he came to Babylon.  Fenena rescued him, and now he is returning the favor.  I enjoyed Russell Thomas in this role, though most of his singing is in the first scene.  Jamie Barton was good throughout but was especially gorgeous in her last act aria.

Abigaille, sung brilliantly and very dramatically by Liudmyla Monastyrska, is what makes this opera stand out from the crowd.  For some reason she has managed to convince the public that she is the daughter of Nabucco while in reality she is the child of slaves.  When Nabucco goes mad, she becomes ruler.  When Nabucco recovers from his insanity, he converts to Judaism and overthrows Abigaille.  All of this plot is enhanced by costumes which match our imagination of the Biblical story. 

Another outstanding feature of the opera Nabucco is the spectacular choral work.  There is chorus throughout the opera, but the peak is, of course, "Va pensiero."  What a glorious performance, which was given an encore.  In Italy the encore is traditional.  The audience sings along.  We tried, but were hindered by not knowing the words.

I hope everyone enjoyed this as much as I did.

Jamie Barton at the Proms

Today I listened to the Proms from Royal Albert Hall in London. On an audio stream Jamie Barton sang the Brahms Alto Rhapsody, a personal favorite.  Marin Alsop conducted the Orchestra for the Age of Enlightenment.  Jamie explained the plot.  The text is by Goethe and apparently concerns itself with lonely, disappointed young men such as Brahms himself.  It was perfectly gorgeous.

Jamie Barton wins the Richard Tucker Prize

Jamie Barton wins the Richard Tucker Prize for 2015.  She's sort of the obvious choice, don't you think?  Congratulations.

So maybe a little journalism?  Jamie is the current holder of the Cardiff Singer of the World title.  I have referenced her work here, here, here, here, here and here. I'm sort of assuming that she is well known by now.

Game of Thrones Norma

Conductor Nicola Luisotti
Director Kevin Newbury
Set designer David Korins

Oroveso:  Christian Van Horn*
Pollione:  Russell Thomas*
Norma:  Sondra Radvanovsky
Adalgisa:   Jamie Barton
*Role debut

PLACE AND TIME: Gaul, during the Roman occupation in 50 BC.  Attributing it to the mythical time/place of Game of Thrones came from the program.  I think it fits.  This is a new production, I think.  In the grand tradition of the San Francisco Opera they never say "Production xyz."  They name a director, a set designer, a costume designer, etc., but not a producer.  We know, for instance, that Show Boat was done in a production by Francesca Zambello, but nothing in the credits tells us that.  The director is the person who moves the actors about the stage, not the production designer.

Enough complaining.

Adalgisa and Norma

Please note tattoos on the foreheads of Jamie and Sondra above.  I think originally there were more.  There is nothing of ancient Gaul or Rome in the sets or costumes of this new production.  We are in a mythical time or place.  The dialog is followed precisely.  If it says she ceremonially cuts mistletoe, she ceremonially cuts mistletoe. 

Throughout the opera we had been seeing bits and pieces of this statue, including miniatures of it.  Shrug.  I didn't mind it.

In the line to the ladies room it was said that Marco Berti, who played Pollione in the first 2 performances, was fired.  I have no personal knowledge one way or the other.  The last time he appeared in San Francisco I gave him advice, and I wanted to know if he had taken any of it.  The ticket taker and elevator operator both said that Russell Thomas was better.

Sondra Radvanovsky has the weight and significance as an artist to convince us that she is the exalted priestess of the Druids.  She is very fine in this role, conquering it in spite the monotonously slow tempos that dragged every phrase.  Is this the official Bellini tempo?  Apologies.  CB's Norma has not yet passed out of my consciousness.

Jamie Barton.  Welcome to San Francisco.  We loved you.  Please come back as often as possible. 

This very difficult opera very much impressed.

Here are the winners of the Opera Awards

The Complete International Opera Award Winners for 2014 are as follows:

• Accessibility:  Teatro Sociale di Como
• Anniversary Production (Britten):  Peter Grimes on the beach (Aldeburgh Festival)
• Anniversary Production (Verdi):  Verdi trilogy – La battaglia di Legnano, I due Foscari, I Lombardi (Hamburg Staatsoper)
• Anniversary Production (Wagner):  Parsifal (Vlaamse Opera, Belgium)
• CD (Complete Opera):  Otello (Verdi) (Muti, Chicago Symphony Orchestra Resound)
• CD (Operatic Recital):  Ann Hallenberg – Hidden Handel (Naïve)
• Chorus:  Bayreuth Festival
• Conductor:  Kirill Petrenko (Generalmusikdirektor of the Bayerische Staatsoper)
• Designer:  Paul Brown
• Director:  Barrie Kosky (Intendant and Chefregisseur of the Komische Oper Berlin)
• DVD:  David et Jonathas (Marc-Antoine Charpentier) (Bel Air Classiques)
• Female Singer:  Diana Damrau [congratulations]
• Festival:  Aix-en-Provence
• Lifetime Achievement:  Gerard Mortier (posthumous)
• Male Singer:  Stuart Skelton [congratulations]
• New Production:  Norma (Salzburg Festival)  [I'm very happy about this.]
• Opera Company:  Oper Zürich [Happy about this, too]
• Philanthropist/Sponsor:  Edgar Foster Daniels
• Readers’ Award:  Joseph Calleja
• Rediscovered Work:  Cristina, regina di Svezia (Jacopo Foroni) (Wexford Festival)
• World Premiere:  The Merchant of Venice (André Tchaikowsky) (Bregenz Festival)
• Young Singer:  Jamie Barton (is she the only American win?)

These awards purport to be International, but are really just British.  The people being awarded to come from all over the world, but the judges are all British.

Jamie Takes it All

At last there are films of Jamie's final at Cardiff Singer of the World.  This is so you can see what the fuss is about.

Jamie Barton has taken everything at Cardiff Singer of the World.  Listen here for a sample.  My entire acquaintance with her and enthusiasm for her singing came from her appearance at the Richard Tucker Gala.  I can't help being partial to mezzos because they always sing pieces I used to sing. Also, can it be a coincidence that she sings all this British music?  I think not.  Here is Purcell arranged by Britten.  These two clips are from her final competition performance.





In other news, we know from Norman Lebrecht that Jonas Kaufmann has switched labels from Decca to Sony and will soon release a Verdi album at Sony.

Jamie wins the Song Prize

Here are the five finalists at the Cardiff Singer of the World contest:  Jamie Barton, USA; Olena Tokar, Ukraine; Marko Mimica, Croatia; Teresa Romano, Italy, and Daniela Mack, Argentina.

I know that Jamie Barton won the song prize because she posted it on Facebook.  Congratulations.

Daniela Mack is a former Adler Fellow and will sing Rosina next season at the San Francisco Opera.  She won the fourth night.

Jamie Barton

Here is some Jamie Barton for your pleasure.  The screen also shows her schedule.