The Queen of Spades from Salzburg

👍🏻
Conductor: Mariss Jansons
Director: Hans Neuenfels

Brandon Jovanovich, Hermann
Vladislav Sulimsky, Count Tomski / Plutus
Igor Golovatenko, Prince Jelezki
Evgenia Muraveva, Liza
Oksana Volkova, Polina / Daphnis
Hanna Schwarz, Countess
Stanislav Trofimov, Surin
Gleb Peryazev, Narumov
Margarita Nekrasova, Gouverness
Julia Suleymanova, Chloe

We called it Pique Dame.  This version of Tchaikovsky's The Queen of Spades on Medici.tv from Salzburg was conducted by Mariss Jansons, the same man who brought us the version from the Netherlands here.

The period is set in the libretto because it says Catherine the Great makes an entrance in the party scene.  Here she is a giant skeleton, so make up your own mind.  For me this production is standard minimalism.  It works like no minimalism I have seen before.  The giant skeleton is the only thing that could be called an inexplicable nonsense, a feature of many modern productions, but it gets over quickly and goes back to the standard plot.  There's no minor character dressed up like Tchaikovsky to distract you from the opera.  There's just the opera.  What a concept.

We watch with no translation and don't mind at all.  Instead of the usual Hermann who stands around like a stick of wood, we have the brilliant physicality of Brandon Jovanovich in this role.  His costume makes him stand out from the crowd and his passion dominates the action.  I realized that I have been waiting for him.

It was lovely to see Hanna Schwarz as the old Countess.  Hermann points a gun at her, and she dies of fright before she can tell him the three cards.  Later she returns as a ghost and tells him the cards:  three, seven, ace.  He plays them and loses on the third card.  Just now I realized for the first time that the ghost of the Countess lies.  The third card was the Queen of Spades.  Well.  I guess I'm slow.

This played without any intermissions and for me without any warning.  Musically it was very beautiful.  Thank you.  I can recommend this version with added translation.  Without translation listen for "dri karti," three cards in Russian.


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The Demon

Conductor: Mikhail Tatarnikov
Director: Dmitry Bertman

Demon: Dmitri Hvorostovsky
Tamara: soprano Asmik Grigorian
Angel: countertenor Vadim Volkov
Tamara's nurse: contralto Larisa Kostyuk
Prince Sinodal, Tamara's betrothed: tenor Vasily Efimov

In the semi-staged performance of Anton Rubinstein's The Demon from Russia we have Dima singing gloriously. There appear to be no subtitles. You may look up the plot in Wikipedia, of course. I watched it on YouTube. It's gone now.

Two weeks ago I did not know this work existed.  The music is not very adventuresome but inspires some wonderful singing by this cast.   The idea here is that someone can be condemned for loving inappropriately.  You would want this for Dmitri.   YouTube includes some other versions, including one with Kristine Opolais.

Iolanta / Perséphone

Conductor:  Teodor Currentzis
Production:  Peter Sellars

These two operas -- Tchaikovsky's Iolanta (1892) and Stravinsky's Perséphone (1934) -- were presented together at Teatro Real in 2012.  Both were staged by Peter Sellars.  I am considering this as the end of my Peter Sellars project.

Iolanta

René, King of Provence, bass, Dmitry Ulianov
Robert, Duke of Burgundy, baritone, Alexej Markov
Count Vaudémont, a Burgundian knight, tenor, Pavel Cernoch
Ibn-Hakia, a Moorish physician, baritone, Willard White
Alméric, armor-bearer to King René, tenor, Vasily Efimov
Bertrand, doorkeeper of the castle, bass, Pavel Kudinov
Iolanta, blind daughter of King René, soprano, Ekaterina Scherbachenko
Marta, Bertrand's wife, Iolanta's nursemaid, contralto, Ekaterina Semenchuk
Brigitta, Iolanta's friend, soprano, Irina Churilova
Laura, Iolanta's friend, mezzo-soprano, Letitia Singleton

Iolanta is a fairy tale sung in Russian.  It was not brought to its full effect in its semi-realistic setting at the Met in 2015.  The magic was missing.  We are presented here with abstractions.  Door frames are topped with mysterious dark objects that sometimes suggest birds.  Instead of a film, we have still pictures.  Iolanta carries a cane, as the blind often do.  Her own chamber music group accompanies her.  I think we may presume they are singing the original text rather than the Soviet approved one.

28 minutes in we have movement just in time for the wonder of Willard White.  I find this abstraction very beautiful, but when they sing of roses, no roses appear.  I like the soprano very much, but the tenor could be better.  This is Sellars' area of expertise.  He isn't here to provide you with pretty scenery.  He's here to provide you with a spiritual experience.

Perséphone

Eumolphe, tenor, Paul Groves
Perséphone Speaker, Dominique Blanc
Perséphone dancer, Sam Sathya
Demetra, dancer, Chumvan Sodhachivy
Pluton, dancer, Khon Chansythyka
Mercure, Démophoon, dancer, Nam Narim

Perséphone is a Greek myth about the underworld, here sung in French.  We are in the same set as the previous work, and visually the two are similar.  There is a tenor, a speaker, a chorus and dancers from Cambodia but no choreographer.  The director seems to have collaborated with the dancers.  The music is serene for Stravinsky.

A line caught my eye:  "never chase after what your eyes gaze on too lovingly."  The story of my life.

The pairing of these two works is genius.  The entire thing is a meditation on beauty.  Life is beautiful.  Love it more.  Do not go into the darkness never to return.  Open your heart to beauty.  Thank you, Peter.

Since I am counting this as the end, I repeat the score card here.  It omits works where Sellars is the librettist.

Score card:

Great things:  Mozart La Clemenza di Tito, Handel Theodora, Bach Matthew Passion, Iolanta / Perséphone
Hits:  Saariaho L'Amour de Loin, Mozart Don Giovanni, Nixon (1st)
So so: Mozart Figaro, Giulio Cesare
Misses:Vivaldi Griselda, Adams The Death of Klinghoffer, Nixon (2nd)
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Eugene Onegin from the Metropolitan Opera

The Prince and Princess Gremin

👍🏻
Conductor...............Robin Ticciati
Production..............Deborah Warner

Eugene Onegin...... Peter Mattei
Tatiana.................Anna Netrebko
Lensky..................Alexey Dolgov
Olga....................Elena Maximova
Prince Gremin......Stefan Kocán
Larina..................Elena Zaremba
Filippyevna, nanny....Larissa Diadkova
Triquet.................Tony Stevenson

Today was the Metropolitan Opera Live in HD presentation of Tchaikovsky's Eugene Onegin starring Mattei and Netrebko.  This was the third HD presentation of this opera and the second of this production.  I had no sense that I was seeing a repeat.

This time the production seemed perfect.  The first two acts are clearly in a country villa with villagers and land owners.  Larina, Lensky, Olga, Tatiana and Onegin represent the latter.

Every role was cast to perfection.  Tony Stevenson did a star turn singing the couplets at Tatiana's birthday party.  Larissa Diadkova is very attentive as Tatiana's nanny.  Olga and her mother were wonderfully sung by the two Elenas.  Alexey Dolgov as Lensky was perfection as the too immature man who simply assumes Olga is his forever and does not know what to do when Onegin flirts with her.  We will have to read the novel if we want to know what happens to Olga.  Stefan Kocán seems a little young for Gremin but sang beautifully.

But it is the amazing acting of Anna Netrebko and Peter Mattei that brings this opera thrillingly to life.  Anna has gone deeper into the character this time with astounding results.  Peter portrays arrogance and ennui better than any of his predecessors, and then caps his performance with an intense finish.

Here he appears at a party in St. Petersburg in the third act.

It is an opera about love.  I often think that I am happier in my old age because I no longer feel inclined to fall in love.  It is far better to watch others suffer at the opera.  This performance was a level of theatrical and musical achievement that comes only rarely.  Bravi.

Renée Fleming was our hostess.  In two weeks we will see her in Der Rosenkavalier.  We hope that isn't the last time we see her.

________________________________________

Comment from Stefan Kocán on Facebook:

"Dear my facebook friends ,
I just like to say one thing about Gremin.
He is NOT old!
At the end of opera is Onegin 26, [this is in the dialog.] Tatyana let's say 20-22 (?) and Gremin is around/after 30.
Gremin in his aria only refers to an old man and to a young boy in the bloom of youth...
That means the staging of the MET didn't felt short! ...but totally in accordance with Pushkin and Tchaikovsky potrayed Gremin as an adult ( not anymore boy) man with an war experience."

Lady Macbeth of Mtsensk

Conductor: Kirill Petrenko
Production: Harry Kupfer

Boris Timofeyevich Izmailov, a Merchant: Anatoli Kotscherga
Zinoviy Borisovich Izmailov, his son: Sergey Skorokhodov
Katerina Lvovna Izmailova, wife of Zinoviy Borisovich: Anja Kampe 
Sergei, a workman employed at the Izmailovs: Misha Didyk
Aksinya, a workwoman employed at the Izmailovs: Heike Grötzinger
Sonyetka, a convict: Anna Lapkovskaja

Lady Macbeth of Mtsensk by Dmitri Shostakovich streamed today from the Bayerische Staatsoper.  I have seen this opera twice before, both times at the San Francisco Opera.  This is different somehow.  Kampe is marvelous, but the most applause goes to Petrenko.

Fiery Angel

Conductor:  Vladimir Jurowski
Production:  Barrie Kosky

Ruprecht:  Evgeny Nikitin
Renata:  Svetlana Sozdateleva
Landlady:  Heike Grötzinger
Soothsayer:  Elena Manistina
Agrippa von Nettesheim:  Vladimir Galouzine

If you watch a lot of German opera productions, you probably expected something a lot wilder than this for Prokofiev's Fiery Angel from the Bayerische Staatsoper.  It starts as an ordinary hotel room, and the hotel theme carries throughout.

Renata had an imaginary friend as a child, only her imaginary friend was not another girl, or a giant rabbit, but an enormous fiery angel.  Puberty missed this up, since the angel didn't want to become a boyfriend.  Renata spends the rest of her life looking for him.

Our opera begins in the hotel room with Ruprecht musing and the hotel manager coming in for a talk.  Then Renata crawls out from under the bed.  This was my favorite part.  When did that ever happen?  Renata is completely mad.

After Act I, the rest of the scenes are interrupted by various groups.  Act II includes male dancers with lots of tattoos dressed in evening gowns.  Act IV is Faust and Mephistopheles holding their walpurgis nacht.  And finally Act V where people are supposed to be nuns, they are instead dressed as Jesus in his crown of thorns.

I kept thinking this was the perfect opera to follow our House of Usher duo, just to show how it is done.  Musically this is a spectacular piece.  All the singers were good, but Svetlana Sozdateleva was spectacularly wonderful.  Kudos.  She was perfectly cast for this very difficult role.

I am resisting the old person's inclination to reminisce about previous productions.

Iolanta in HD

CONDUCTOR:  Valery Gergiev
PRODUCTION:  Mariusz Treliński
DRAMATURG: Piotr Gruszczyński

IOLANTA: Anna Netrebko (soprano)
COUNT VAUDÉMONT, friend of the Duke:  Piotr Beczala (tenor)
DUKE ROBERT, Iolanta's Fiance: Aleksei Markov (baritone)
KING RENÉ, Iolanta's father: Ilya Bannik (bass)
IBN-HAKIA, Moorish Doctor: Elchin Azizov (baritone)

Tchaikovsky's Iolanta is based on a Danish play which is in turn based on the real life of Yolande, Duchess of Lorraine. For the simulcast from the Metropolitan Opera the story is moved in time to the twentieth century.

People around me expressed confusion about the production, but I didn't experience this.  There is a naturalistic looking set with a single room representing Iolanta's imprisonment that is turned to various positions throughout the opera, surrounded by a few trees and a stack of wood.  Between the stage and the audience is a scrim on which various things are projected, probably the source of the confusion.  The projections begin with a deer running through the woods.  It was immediately clear to me that this was to create the idea that we are in the middle of the woods, far from human civilization.  The projections changed to ominous looking branches when the desired atmosphere was dark and mysterious.  Why is this confusing?

Because the women who surround Iolanta are dressed in uniforms, we assume that she is being kept in some kind of institution.  She talks to Marta, the head nurse, and tells her she is sad.  She then asks Marta why Marta is sad, and though Marta does not tell her, Iolanta concludes that this is due to the tears flowing from her own eyes.  She tells us that eyes must be for tears.  This is the plot, you see.  She does not know what they are truly for because she is blind and has not been told.

A doctor arrives to treat her, and he insists that Iolanta must be told everything.  Father refuses.  Young men arrive with skiing equipment, one of whom is her fiance.  This is the most farfetched piece of the story.  No, not the skiing part--the fiance part.  He has never met Iolanta and talks about how much he is in love with someone else.  He rejects Iolanta without ever having seen her.  He leaves.

Piotr Beczala is left behind to meet and fall in love with Iolanta.  She can't tell the difference between the white and the red roses, giving away the fact that she is blind.  He tells her this and explains about light and seeing.  This is the most beautiful part of the opera.  Light was the first act of creation, he explains.  There is a poetical beauty that is rare in opera.

All live happily ever after.  Iolanta is cured, the fiance and father agree that Iolanta will not marry him, God is thanked, and joy abounds.  A large chorus appears and Iolanta asks what this is.  People, father explains.  Netrebko then comes backstage to tell us it's Valentine's Day, and we should go home and enjoy ourselves.  These are not appropriate Valentine's Day operas.  We knew that.

This was very beautifully done, very emotionally done, with beautiful playing from the orchestra which is exactly perfect for this music.  (You know I don't always think this.)  Gergiev knows his repertoire.  The singers were all gorgeous with wonderful solos for all 5 of the listed characters.  Anna Netrebko sings Russian music like she was born for this. For me she successfully suggested blindness.

I couldn't help thinking about Queen of Spades, an opera that is very familiar to me, and how I have never heard the perfect one.  Anna.  Please.

P.S.  The New York Times has informed me that this opera has been very popular in Russia, that to make it acceptable in the Soviet Union the libretto was altered to omit all references to the deity.  The communists praised nature and not God.  That Netrebko and others of the Russian artists insisted on singing the version they had learned, that is the religiously cleansed version.  The motivation was undoubtedly the lack of desire to learn a different Russian text.  The surtitles translated the original libretto and not the one the singers were actually singing.  Curious.

Others have pointed out that this version of Bluebeard is actually interesting.  I left early on, but perhaps I will go on Wednesday.

The Nose

Today we were blessed with The Nose by Dmitri Snoztakovich live from the Metropolitan Opera in HD, sung in Russian.  You have no idea how long I've been waiting to tell that joke--stolen from Emily Pulley.

Conductor: Pavel Smelkov
Production: William Kentridge
Stage Directors: William Kentridge, Luc De Wit
Projections: Catherine Meyburgh, William Kentridge
Set Designers: William Kentridge, Sabine Theunissen
Costume Designer:  Greta Goiris
Lighting Designer: Urs Schönebaum
Live in HD Host:  Patricia Racette

Cast

Kovalyov: Paulo Szot
Police Inspector: Andrey Popov
The Nose: Alexander Lewis

The only person to be interviewed for this simulcast was William Kentridge who explained that his own nose was the model for the character The Nose.  He turned to show us a profile.

This performance is an art work on three levels.

I.  The short story by Nikolai Gogol.  The opera plot follows this story, written between 1835 and 1836, very closely.

II.  The opera by Dmitri Shostakovich (1906-1975) written in 1929, an early work.  My reaction to this was that I was viewing an opera comique complete with spoken dialog.

III.  The production by William Kentridge, which is fully an art work in its own right.

Before I get too far into this, I feel that 2:15 is too long for an opera with no intermission.  A short period to relax, complete with an interview with Paulo Szot, would have made me enjoy this a lot more.

Every time there was piano music in the score there was a film of Shostakovich playing the piano.  The other person whose photograph frequently appeared was Joseph Stalin whose reign had just started two years before.  At this time Shostakovich had not yet fallen from political favor. 

While his owner lounges around in his bedroom staring at himself in the mirror and feeling sorry for himself, the nose has a full and exciting life.  He participates in swim meets and track and field contests.  He loves to ride a horse, and rises to a higher place in the political hierarchy than his owner.  We see all this in the projections on the set.

There is a lot of crashing and banging in this score full of complex and varied orchestral colorings.  There are many soloists, supers, chorus and actors on the set.  I must say I really only enjoyed the parts where Paulo was on the stage.  He is a wonderful performer with great variety and presence.

I was asked on exiting the theater if I would go again to see Nixon in China, and I reported that I had already seen it 3 times in 3 different productions.  I love it, and they hate it.  Maybe once will be enough for The Nose.

This review is supposed to include an extended discussion of the deeper meaning of The Nose.  All I seem to be able to think of is that if a barber actually cut off your nose, your face would have a hole in it and not a flat piece of skin.  And occasionally I would remember the photograph of the man who is growing a new nose on his forehead.  Nothing was done to make Paulo seem not to have a nose.  Perhaps it is all a dream.

Eugene Onegin in HD

Onegin and Tatiana in the city

I have long been an admirer of Chekhov, the Russian writer of plays and short stories, so when Peter Gelb compared his new Metropolitan Opera production of Tchaikovsky's Eugene Onegin to a play by Chekhov, I was prepared to enjoy it.

Conductor:  Valery Gergiev
Production:  Deborah Warner

Tatiana: Anna Netrebko
Olga: Oksana Volkova
Madame Larina, their mother:  Elena Zaremba
Tatiana's Nurse:  Larissa Diadkova
Lenski: Piotr Beczala
Onegin: Mariusz Kwiecien
Gremin: Alexei Tanovitski

I liked enormously the sets for the house in the country.  It created an atmosphere of reality and strengthened the sense of the relationships between the characters.  There was too much contrast in the last act with the bare stage and huge columns.  There was no sense of artistic unity for the opera as a whole.

Lensky and Olga in the country

The beginning and ending had a new symmetry.  As Onegin rejects and coldly dismisses Tatiana, he looks at her face and kisses her before walking away.  Netrebko's Tatiana rises to equal Onegin's coldness and arrogance in the final act.  She tells him she loves him but will not sacrifice her life for him.  She stares him down coldly and then kisses him before she walks away in the snow.  There was a kind of perfection to this.  Perhaps Mariusz is the right singer for this conception after all.

Netrebko sang extremely well, giving the letter scene a special intensity.  Alright.  I'll say it.  She looked terrible in the girl's dress.  But the mature Tatiana's outfits made her look beautiful.  Few singing actresses could bring so much strength to a character. 

I couldn't help wondering how this would all play in the house.  Chekhov is not for the huge theater.  Could the softness of the singing be heard in the house?  Could such an intimate and interior conception be seen, heard and indeed felt in the huge expanse of the Met?  Chekhov's sense of humor seemed to be missing.

Beczala was the best Lensky ever.  My favorite was the Nurse, a wonderful actress.  The sense of it all being truly Russian was very powerful.  I would like very much to see this kind of treatment of Pique Dame which somehow just misses for me.

P.S.  Netrebko seemed to be in the mood to argue with Debbie in her interview.  I wonder what that was about?

PPS.   The plot of Onegin is from Pushkin (1799-1837). I know that. What was being discussed was the PRODUCTION which was moved to the time of Tchaikovsky (1840-1893) which it just so happens overlaps with the time of Chekhov (1860-1904). My remarks referred to the production and not to the opera.   Gelb is the one who brought up Chekhov.  I liked this and went with it.  The production comes from British theater people who are undoubtedly far more familiar with Chekhov than with either Pushkin or Tchaikovsky.

A truly Chekhovian ending would require much more ambiguity.  Instead of perfect symmetry we would need to be left wondering if perhaps they might get together on occasion, just as we are left wondering in the story "The Lady with the Little Dog."  If she is not required to sacrifice her life and her husband, would Tatiana occasionally meet with Onegin in secret?
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Eugene Onegin at the Wiener Staatsoper

There's going to need to be a film of this.



This clip of the final scene from Eugene Onegin from the Wiener Staatsoper is to give you something to compare with the Met.

Boris Godunov in HD

Boris Godunov...........René Pape
Prince Shuisky..........Oleg Balashov
Pimen...................Mikhail Petrenko
Grigory.................Aleksandrs Antonenko
Marina..................Ekaterina Semenchuk

Conductor...............Valery Gergiev
Production..............Stephen Wadsworth

Perhaps 4.5 hours of Boris Godunov live from the Met in HD is easier for us on the west coast.  9 a.m. to 1:30 doesn't seem so bad.  Especially not when you are watching the absolutely spectacular René Pape.  The entire role of Boris, especially when sung by René, is a mad scene, it would seem. He's been watching too much Anna Netrebko mad scenes, or perhaps Natalie Dessay.

I understand we were seeing an uncut version so there were probably a few scenes I had never seen before.  My main previous memory of this opera, in San Francisco possibly in 1983, is of the chorus work which was spectacular.  It is one of the more powerful choral operas and was again spectacular today.

I notice that on its last appearance in SF in 2008 the role of Marina was completely cut.  The scene with Dmitri, sung brilliantly by Aleksandrs Antonenko, and Marina, sung today by Ekaterina Semenchuk, was wonderfully sexy.  Sex at the opera always keeps things moving.

I liked everything about this.  The last scene after Boris is dead does seem a bit superfluous.  I flagged this opera as eagerly anticipated and it was definitely worth it.  Magnificent.

After trashing Rheingold, am I required to comment on the production?  It did what productions are supposed to do:  provide an illuminating context while not trying to take over the story.

Pique

I am finally getting around to watching the DVD of Tchaikovsky's Queen of Spades with Valery Gergiev conducting, or as it is appropriately called on the cover: Pique Dame. I say appropriate because you can hear them saying it in Russian.

I always have something irrelevant to say. The third scene is a ball. We cut it entirely in Ulm, but must surely have moved the wonderful aria by the Prince. We can't surely have cut that. Never mind. In San Francisco there was always a surprise at the end of this scene. The chorus makes an elaborate announcement that Catherine the Great is coming. Her retinue makes its appearance. So does she enter or not? That is the surprise. Perhaps they could not afford the outfit or could find no one to wear it because sometimes they would announce and announce and the curtain would go down with no Catherine. I am excited watching this scene: will she enter or not? She does. She looks like a super and not like the Empress of Russia.

Maria Guleghina is a well sung Lisa, but she frowns all the way through. It would be difficult to imagine a better sung Lisa. Olga Borodina as Pauline is still thin in this.

Pique Dame for my taste contains some of Tchaikovsky's most beautiful music. The best scene musically and dramatically is the scene of the old Countess's death. Some wonderful actresses have performed this scene, and it was sad in Sacramento that they omitted it. It would have required a lot of added rehearsal, but they should have attempted it.

Herman is an asshole. For me he is the reason the opera ultimately fails and people prefer Onegin. The Met player has a version with Placido Domingo which I should try to see. Herman is on the stage almost constantly, and I'm not really sure we can bear an opera where the villain is also the hero. We prefer Onegin because he does not take her down with him. Gegam Grigorian is acceptable, plays the part with a lot of intensity, but does not redeem Herman. Perhaps no one can.

Gergiev makes the music sing.

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The Gambler

I went to see Sergei Sergeyevich Prokofiev's opera The Gambler (1929, during his exile from Russia), based on the novel by Dostoevsky. Until I saw it in the Metropolitan Opera's schedule, I didn't know it existed. Valery Gergiev was conducting. I liked The Fiery Angel (1927) and Betrothal in a Monastery (1941) quite a lot and thought I might like this, too.

I didn't. Musically I remember staccato trombones and tubas, heavy annoying voices and very little else. The plot is annoying if you have no interest in gambling. I made it only about half way through.

P.S. Further research tells me that Prokofiev's The Gambler was first performed in 1929, but it was written during World War I, before the October revolution. This makes it early Prokofiev. Contemporary with Fiery Angel made no sense at all.

Eugene Onegin in Portland

Eugene Onegin....Dmitri Hvorostovsky
Tatiana.................Renée Fleming
Lensky..................Ramón Vargas
Olga....................Elena Zaremba
Prince Gremin......Sergei Aleksashkin

Conductor...............Valery Gergiev
Production..............Robert Carsen

This is what opera is about. Those of us who go to opera whenever we can are waiting to see this: Eugene Onegin from the Metropolitan Opera with Dmitri Hvorostovsky as Onegin and Renée Fleming as Titania.

The reason everyone thinks Renée Fleming isn't doing any of her interpretive quirks in this opera is because this is the style her quirks are designed for. This is Renée Fleming at her very best. She also brought out the best in Dmitri, getting him fully engaged in the action. The opera was involving and heartrending.

Juan Vargas as Lensky and all the other singers were also very fine. And need I mention that Valery Gergiev was wonderful? It was the best that opera has to offer.

The production was a kind of compromise minimalism that worked for me. There were no real sets. In the scenes in the first act, through the scene where Onegin rejects Titania with an absurd arrogance, the set consists of some suggestions of trees, a trap door in the stage and piles of leaves. In the second half chairs suggested scenes.

This style of production focuses the attention on the actors. When they deliver, it works, and this time it was perfection. The costumes were period and very beautiful. Dmitri in particular looked gorgeous. He is such a beautiful man.
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Betrothal in a Monastery

I find this completely charming.

Young people are in love, as they inevitably are, and papa is standing in the way. He wants his beautiful daughter to marry his old rich fish merchant friend. He seems to think of her as a financial investment.

Daughter Louisa and her duenna find a solution in deception. The proposed bridegroom has never met Louisa, and the duenna proposes that if Louisa does not want him, she will marry him and his ducats herself. She likes beards, and she likes money.

They all find a monastery full of drunken monks who will happily marry all three couples--Louisa and her beau, Louisa's brother and his love, and the fish merchant and duenna. Everyone lives happily ever after.

We have purchased this dvd of Prokofiev's Betrothal in a Monastery from the Kirov Opera with Valery Gergiev because Louisa is sung by Anna Netrebko, our current fascination. All of the comic singing actors are delightful, especially the duenna and her fish monger, but it is Anna we love. The role does not really show off her voice--composers in the twentieth-century don't seem to understand how to do this--but her singing and acting are utterly charming. There is simply not enough Anna to go around.
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Eugene Onegin

 👍🏻
I know I’ve seen Tchaikovsky’s Eugene Onegin before, in fact, I know I’ve seen it with Mirela Freni as Tatiana, but I felt last night that this was the first time. Perhaps it was sitting in the “stalls circle,” the raised area that surrounds the floor of the Royal Opera House, which creates an unusual feeling of intimacy with the players and orchestra.

Perhaps it was the beautiful conducting of Philippe Jordan, the most romantic and gorgeous playing of this piece that I’ve heard. This is the first time I have thought that an opera by Tchaikovsky was truly by the same composer as his other works.

Perhaps it was the simple, architectural stage setting that clarified the action so well.

Perhaps it was our guys, Rolando and Dmitri. I must confess I can’t resist either one of them. Rolando Villazon is the reason this opera is sold out, as is just about everything he does these days. I understand that he was ill on Monday, but my luck held. My earlier conclusion that he is a lyric tenor, even a somewhat light lyric tenor, held here. One loves him for his dark tone, passionate intensity and musicality. He’s really quite wonderful to see, and died fabulously. Let’s hope he doesn’t hurt anything falling down like that.

I would call Dmitri Hvorostovsky a lyric baritone, with a beautiful tone and complete comfort in Russian repertoire. He began stiffly. Was this intentional? Onegin tells Lensky that he finds Tatiana beautiful, but when she falls wildly for him we are somewhat puzzled. He hasn’t exactly made that much of an impression on us. Perhaps the moment was just right for her.

Perhaps it was the staging which worked particularly well. Perhaps it was the charming couplet in honor of Tatiana’s name day, sung by Ryland Davies.

It wasn’t Amanda Roocroft, who looked good but wasn’t up to Tatiana. She was dramatically but not vocally effective.

Complete Operas of Rachmaninov

The CD of the complete operas of Rachmaninov is actually quite nice. Of course, you would have to want to listen to vocal music by Rachmaninov. My favorite music in this category is the Vespers for a capella choir which I have commented on before. If you have not heard this, make a point of finding out about it.

There isn’t a huge demand for short operas, though there seem to be quite a lot of them around. Stylistically the Vespers is ethnic Russian. These operas are very much in the European post-Romantic idiom, especially Francesca da Rimini which includes an extremely assertive humming chorus. Humming choruses are the fault of Debussy, I believe, and were in vogue for only a short time around the turn of the twentieth century.

[BB -- post script -- I suddenly recalled humming chorus in Rigoletto. Maybe it's all Verdi's fault.]

Rachmaninov’s Francesca is seen from the point of view of Dante who sees the afterlife as a freezing of a moment in the person’s actual life. Francesca and Paolo were killed in the act of ecstasy and are condemned to live that moment forever. I always feel that if this is God’s judgment, then he is mistaken. Why isn’t Lanceotto the one rotting forever in hell, since it is he who committed deception and double murder? I always feel that God made us to love and will forgive this first.

The recording is Deutsche Grammophon with Neeme Jaervi. The singing, all in Russian, is excellent: Maria Guleghina, Anne Sofie von Otter, Sergei Leiferkus and Sergei Larin, among others.
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Ruslan and Lyudmila

This video of Glinka’s Ruslan and Lyudmila is a joy. In an interview with Valery Gergiev at the end I learned that Anna Netrebko was a mere 23 at the time, infancy in singer’s years. She was chosen for her voice, for her youth and for her beauty.

I learned also that the production was a reproduction of a production from 1892. I particularly like the way this looks—very much like a fairy tale.

I saw this live in San Francisco in 1995, also with Valery Gergiev and Anna Netrebko, and with the same production.  We were thrilled and loved Anna instantly.

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