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Apparently if you had a "what the hell was that" reaction to Agrippina, that is exactly what was desired.



We had a preview of Kate Lindsey's athleticism in San Francisco in 2015 when she played Cherubino in Nozze di Figaro and turned cartwheels on stage.

Agrippina in HD

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Conductor...............Harry Bicket
Production..............David McVicar

Agrippina.............Joyce DiDonato
Nerone, her son.........Kate Lindsey
Claudio, her husband the emperor.....Matthew Rose 
Poppea, her rival..........Brenda Rae
Ottone..................Iestyn Davies (countertenor)
Narciso.................Nicholas Tamagna (countertenor)
Pallante................Duncan Rock
 
Deborah Voigt announced that Handel's Agrippina, 1709, was the oldest opera ever presented at the Met.  As I mentioned after the last time I saw it, it was composed for Venice early in the era of Neapolitan opera.  That means lots and lots of da capo arias and a happy ending.  What is more Venice than Naples is the mixing of comic and serious elements.  The Venetians weren't fussy about that stuff.

This is the most I have enjoyed a Baroque opera maybe ever.  This is regie, of course.  The clothes are modern with lots of WWII military uniforms.  There is a bar scene where all the characters seem to meet by accident.  Maybe it's on the frequently mentioned Campidoglio. When Rome conquers England, they return with Elizabeth II's crown.  One of the scenes showed the ceiling of the Pantheon which brought some character to the mostly abstract sets.

What makes this a great opera is the well designed plot.  No matter how difficult the complexities are for our heroine, she conquers them all.

I was going to say there is no hit tune until Nerone sang "Come nembo" while snorting cocaine.  This is known because Bartoli recorded it.  The most unusual thing about this production is the staging of the character Nerone.  I think we are to presume that he is a very athletic, well-tattooed juvenile delinquent.  He loves his mother and acts up continuously.  Kate Lindsey said she had to train for this role.  We believe her.  Her rendition of "Come nembo" was excellent.

The music was always excellent, but no one topped the magnificent Joyce DiDonato who created a wonderful, perfectly believable evil character and topped it with gorgeous singing.

Poppea from Salzburg

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Conductor:  William Christie, with his ensemble Les Arts Florissants
Director:  Jan Lauwers

Poppea:  Sonya Yoncheva (Soprano)
Nerone: Kate Lindsey (Mezzo-soprano)
Ottavia:  Stéphanie d'Oustrac (Mezzo-soprano)
Ottone:  Carlo Vistoli (Countertenor)
Seneca:  Renato Dolcini (Baritone)

Monteverdi's L'Incoronazione di Poppea (1643) comes early in the era of Venetian opera, which included women, normal men and castrati in the cast.  It was commercial theater, so the casts were kept small to save money.  I guess 11 people were all, a much smaller bunch than our cast.  They handled this by casting everyone in many roles.  I am here to see the first three ladies:  Sonya Yoncheva, Kate Lindsey and Stéphanie d'Oustrac, all people I like.  Our girls sang pretty much in their standard operatic voices.  I have only seen Yoncheva in Verdi and Puccini, so I was surprised this worked so well.

This opens with a prologue by the gods Virtue, Fortune and Love arguing who is more important.  Part of the orchestra is on the stage in this scene.  Then they move to in front, though the space could hardly be called a pit.  Throughout the entire opera the stage is cluttered with dancers in unidentifiable costumes.  They seem intended to represent something, but we are not told what.

There is partial nudity and foreplay, which I consider progress in the subject of sex in opera.  Yoncheva can do anything, but by the end of the opera the music began to sound repetitive and uninteresting.  3 hours is too long.  It did not lure me from the version with Alice Coote and Danielle de Niese.  There are lots of DVDs to choose from, and I have not seen all of them.

Le Nozze di Figaro

Conductor: Patrick Summers
Director: Robin Guarino

Figaro: Philippe Sly (bass)
Susanna: Lisette Oropesa (soprano)
Countess Almaviva: Nadine Sierra (soprano)
Cherubino: Kate Lindsey (soprano)
Count Almaviva: Luca Pisaroni (bass)
Bartolo: John Del Carlo (bass)
Marcellina: Catherine Cook (soprano)
Basilio: Greg Fedderly (tenor)
Barbarina: Maria Valdes (soprano)

The San Francisco Opera has revived Mozart's Le Nozze di Figaro yet again.  It's a very traditional production such as the just retired one from the Met.  Susanna accompanies "Voi che sapete" on the guitar. Stuff like that.

I went for the very fine cast.  Some of the cast members are repeats from the last time:  John Del Carlo, Catherine Cook and Greg Fedderly.  Of the younger cast members Luca Pisaroni has moved to the elder statesman Count role.  The singing for everyone was excellent.

I think this version is designed around the Susanna of Lisette Oropesa, she who runs marathons.  There is a lot of athletic activity.  Cherubino doesn't just hide behind the chair--he runs wildly around the stage, even turning a cartwheel.  Susanna and Figaro wrestle around in the garden, and she does a martial arts throw at one point, sending him over on his ass.  Philippe Sly's Figaro is up to the task.

It's interesting that while the production is the same as last time, the directing is completely different.  It was designed for the maximum amount of confusion, at least for me.  Perhaps I should consider not trying to follow the plot.

The tempos were brisk but I did not witness the loss of coordination reported elsewhere.

The Clemency of Titus

Conductor:  Harry Bicket
Production:  Jean-Pierre Ponnelle

Tito:  Giuseppe Filianoti
Vitellia:  Barbara Frittoli
Sesto:  Elina Garanca
Servilia:  Lucy Crowe
Annio:  Kate Lindsey

Today was the simulcast of Mozart's La Clemenza di Tito from the Metropolitan Opera.Why isn't this opera more popular?  It has some of Mozart's most beautiful music.  The libretto is by Metastasio with additional material by the court poet Caterino Mazzolà.

The production is by Jean-Pierre Ponnelle who died in 1988 and places the opera squarely in the 18th century.  No authentic Roman while residing in his capitol city would be seen in anything but his toga.  They loved the toga simply because if you were not Roman there was no hope of you keeping it on.  The people in our opera are dressed in wigs and trousers somewhat like people in the 18th century would have worn.

The single set looks a little like Rome, but the buildings are rough and falling down like they are now rather than relatively new looking as they would have been when Titus was Emperor.  During his reign the coliseum was completed, Vesuvius erupted, burying Pompei, and Rome burned.  This opera refers to the fire and his romance with Berenice, a Jewish queen.

Giuseppe Filianoti is an Italian lyric tenor, and I liked him enormously today.  He made a point of mentioning that he studies with Alfredo Kraus.  He is in good hands.

Barbara Frittoli sang Vitalia beautifully and portrayed her at her most nuts.  One can't help wondering if any of them deserve the clemency they are receiving.  She was excellent singing the almost baritonal "Non piu di fiori."

Kate Lindsey sang a fine Annio.  Susan Graham listed off Kate's pants roles at the Met, like Siebel in Faust, Tebaldo in Don Carlo, Stéphano in Roméo et Juliette, Cherubino in Figaro and most notably Nicklausse in Tales of Hoffmann.  She makes a very handsome young man, but I was surprised to see that she is not as tall as Elina.  Lucy Crowe made her Met debut as Servilia.

Elīna Garanča as Sesto received star billing and star bows.  It was she who led out the conductor Harry Bicket at the end, though she did not stand near the center of the stage.  She received a well deserved ovation for everything about her work in this role. Though written for a castrato, the role fell beautifully into her voice, and her dramatic phrasing was inspiring.  Susan Graham who also sings this role in this production was impressed by how Elina walked down the steps without looking down.  You probably had to be Susan Graham to be impressed by this.

I loved this.  This is some of Mozart's best music, but is generally dismissed as uninspiring.   My handout doesn't name a replacement director for the long dead Ponnelle, but someone must have led them to this intensity of acting.  All the performers bring great emotional depth to their roles.

This interview with Filianoti has a lot of interesting things.



Most interesting to me is his remarks on how hard it is to sing the recitatives by Franz Xaver Süssmayr compared to the arias by Mozart.  Maybe that's why they dropped them in Zurich.

Tales of Hoffmann in HD

Here is the cast for the simulcast from the Metropolitan Opera of Les Contes d'Hoffmann broadcast live on Saturday:


Olympia Kathleen Kim
Antonia /Stella Anna Netrebko
Giulietta Ekaterina Gubanova
Nicklausse/ The Muse Kate Lindsey
Hoffmann Joseph Calleja
Four Villains Alan Held
Conductor James Levine

The director, Bartlett Sher, has obviously read my idea of staging an opera as Austin Powers. Olympia's father, Coppélius, was dressed as Dr. Evil. I waited in vain for him to raise his pinkie.

The production was fun and didn't quite know what it was doing. Kathleen Kim was exactly what she was supposed to be.

In this production Nicklausse hovers in all the scenes, controlling and ultimately destroying all of Hoffmann's relationships. Why didn't I notice this before? Nicklausse wants Hoffmann to have bad relationships so he will be a better poet. Did Goethe have a lot of unhappy relationships? (I always compare any poet to Goethe, the man who makes German sound good.) Kate Lindsay was charming and pleasingly androgynous.

I see now why Anna Netrebko wanted to sing Antonia. In her version the character is wonderfully intense and dramatic. On the HD screen she lies dead with a tear running down her cheek. I thought Anna looked good and sang well.

The three villains are always James Morris for me. Alan Held was ok I guess.

I can't make up my mind about Joseph Calleja. His voice has an odd flutter, but I thought his characterization of Hoffmann was perfect.

The order of Giulietta and Antonia is sometimes reversed. The Giulietta scene was very close to an orgy.

[See Kinderkuchen History 1870-90]

Giovanni in Red

Don Giovanni was the last of my five straight nights of opera at Santa Fe. The set was done all in red, even the trees. Donna Elvira was also all in red. It wasn't too much red for me. Dramatically it worked quite well, and I don't really feel like writing about all the details.

For me this was the best night overall for singing. In order of my preference:

Susanna Phillips as Donna Elvira. I liked her sound and her feeling. She was a Santa Fe Opera apprentice in 2004.

Kate Lindsey as Zerlina. She is billed as a mezzo but didn't sound heavy at all. She was an apprentice in 2003.

Elza van den Heever as Donna Anna. Her voice is big without being heavy and dominates the ensembles.

Lucas Meachem as Don Giovanni. He fought the current trend and didn't take his shirt off.

Matthew Rose as Leporello.

Other people liked Charles Workman as Don Ottavio better than I did. He seemed to be trying to darken his voice more than I like for Mozart. He seems to be the guy that sang Jupiter to Cecilia Bartoli's Semele in Zurich.

After five days of opera, it is hard to form opinions any more. Lawrence Renes conducted.

[See Kinderkuchen History 1780-1803]