Not Your Father's Traviata

Although My Dad would have liked it.

I just saw a gripping La Traviata on YouTube. The title for the post included "Poor Verdi" so you know I just had to see/hear it!!

It's not at ALL traditional—a little grimy, but very moving, I thought. There was a total of four Violettas on stage (five if you count Germont’s daughter, who was kind of another Violetta). Two singing, one dancing, and one as a child. Was Giorgio Germont really Violetta's dad or was it just symbolism of how badly well-heeled men treated lesser-born women?

It’s also slightly out of score order. It should not be one’s first exposure to the opera! But, that said, I highly recommend it to anyone who is open to new interpretations of well-known classics.

Met in HD Encores – Three Left this Summer

Three Met in HD summer encores are left this year. I  missed the gorgeous Butterfly last week because I was out of town. 

I am not sure I need to see this Trovatore again, but I’ll probably go anyway. 

I used to have the Onegin on DVD (I cannot find it...who did I loan it to? Sorry; to whom did I loan it?); and I think it's a "don't miss" performance and production (all those leaves!). I reviewed this one, and here is the first part. My Uncle (my Dad's brother) had some thoughts about this production of his favorite opera. 

And I simply must see Nina Stemme as Turandot.

Here are the dates the encores playing in my neighborhood (all Wednesdays):

• 06/27 – Trovatore 7:00 PM
• 07/11 – Eugene Onegin 7:00 PM
• 07/18 – Turandot 7:00 PM

Too Many Leaves; Not Enough Sex

Kwiecien and Breslik in Munich- More (implied) sex; fewer leaves.

So, I just chatted with My Uncle (now that Dad has passed on, we'll be hearing more about My Uncle, who is My Dad's younger brother). My Uncle loves opera, choral music, and music in general. He has a beautiful voice, plays piano wonderfully by ear (doesn't read a note of music), and has a rather surreal sense of humor.

He and my cousins saw Eugene Onegin at the Lyric Opera of Chicago last week. Lyric has a pretty stellar cast (Mariusz Kwiecien, Charles Castronovo, Anna Maria Martinez), and the old Met version: Robert Carsen's production with the leaves. My Chicago relatives are not fond of the "new" productions. They prefer rich costuming and scenery to look at as they take in the lovely singing. 

My Uncle's neighbor (a retired music professor) asked how they enjoyed the performance (she happened to attend the same one). 
My Uncle said, "I'd like to see more sets." 
"More sex?!?!" she asked. 
"Well, that too," he added. 
I guess it just depends on which production you see. Hopefully they'll see more sex in Carmen.

Thoughts about Star Quality (and My Dad)

There are a lot of qualifications to become an opera superstar. Great singing and acting, of course, top the list. And there are many we all love, admire, follow, and yes, even worship. But the best of the best, as far as I am concerned have that extra something – a likability factor.

My Dad watched the latest Jonas Kaufmann interview the other day, and we chatted about what makes JK special. (Dad saw him in cinema broadcasts: Lohengrin from La Scala and the Met Parsifal, and has the Wagner CD.) Of course JK sings super-well, he is very easy on the eyes, and he is a pretty good actor. But what my Dad commented on was JK’s intelligence, friendliness, and approach-ability. Dad said that he’d like to be friends with JK, to hang out, have a beer, and talk about stuff—opera and otherwise.

And I think that’s the magic element to super-superstardom, at least in the opera world. Sing good, act good, and be someone that people would want to be friends with. I think about who I’d like to hang out with: Jonas Kaufmann, Joyce DiDonato (duh), Thomas Hampson, Annette Dasch (after seeing some of her German TV clips), Beverly Sills (OK, that’s now impossible, but you know what I mean.) There are others of course, but these are singers who put themselves out there and let people know them as people.

There also are singers who put themselves out there, whom I would not like to hang out with. I won’t name names, but some of these singers come across as arrogant, unapproachable, and “I am a superstar, and don’t you forget it!” Whatever, I don’t feel like I want to have a beer with them...

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I started writing this blog post about a year ago. I never finished it, because I couldn't find a way to wrap it up neatly. But I came across it when searching my files for the key word "Dad." Although I try not to go off topic in this blog, I do have to pause to talk about my Dad; in many ways, he is very on topic.

My Dad passed away last week, early in the morning on December 26, at the age of 91. Last week, he sang in his church choir for midnight mass on Christmas Eve; and, among other things, he heard his great-grandson play the violin on Christmas Day. 

In addition to being the nicest man in the world (I'm not just saying that. Ask anyone who knows him!) my Dad had star quality and unending curiosity: 

Star quality that drew everyone to him. Like JK, my Dad was likable, approachable, intelligent, and friendly (and nearly as handsome). 

And curiosity that kept him exploring life, art, religion, theology, science, and music (including opera) throughout his entire life. He was working his way through one of those "Great Courses" DVD sets about the history of music. In our daily phone chats, he often shared some new-found (or brought back from memory) musical fact. Having sung in a madrigal group in his earlier adulthood, he was excited to learn more background of music he'd been singing for years. My Dad actually was excited about the origin of chant, and organum, how polyphony was developed, and the circumstances surrounding the creation of the first opera. 

He and I shared a particular love of opera, and spent many evenings chatting on the phone (I've mentioned some of these debriefings in other posts) discussing the most recent Met in HD broadcast, a webcast from Brussels or Munich, or an opera DVD. He was particularly intrigued by Willy Decker's Traviata, and he watched the DVD several times before attending the Met in HD. I dare say he was one of the few folks in his retirement village who really "got" that production. And he wasn't content to just "get it" for himself; he made it his goal to bring his fellow opera-lovers on board. 

Dad participated in local amateur opera productions back in the 70s. He did the father and father-like roles: Bartolo in Nozze, Krušina in The Bartered Bride, Dr. Grenville in Traviata, and one of the uncles in Gianni Schicchi, to name a few. He recently shared with his grandsons that he wished he'd done more opera. He was a bit shy back then, but now he felt ready to really step out there. Although he stepped out in only a few operas, he always stepped up in life. 

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Again, I am stuck for a tidy wrap-up for this blog post. But this time, I am not going to let that keep me from posting it. I guess I can wrap up by saying that I really miss my Dad, but I can't begrudge him the rest. He lived a long, full life, always following his curiosity and always with star quality! I love you, Dad! 

As Seen On Facebook – The Always-Gracious Malin Haretlius

It’s not surprising that Malin Hartelius is such a gracious lady! And I agree with her: Luftansa rocks (even when they accidentally assigned the same seat to both My Dad and me—we do have the same name—at least they fixed it right away!)

Malin Hartelius

11 hours ago

A Huge Thank You to the lady at the check in desk and the rest of her colleagues at Lufthansa, who mede get on my connecting flight from Sochi today. After checking out my luggage, I had 1/2 an hour before departure to get to the next terminal, check in and get to the plane. I made it! God Bless You!!!

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Monday Mahler with Christian Gerhaher (and a Little Mozart, too)

Too good to be true? Yes. Yes it is. The Berliner Philharmoniker never gives anything away, and so they fade out before the end of the song! But it's still worth posting and watching/listening. Plus it was time to turn the spotlight away from Matthias Goerne—briefly—to remind us how amazing Herr Gerhaher is.

I had to give up my annual Digital Concert Hall subscription, but there are programs that are worth paying a few bucks to see, one-at-a-time. (Including the Schumann Faust concert!) Or pay for a month, then stay home and watch non-stop to get the most for your Euro.

Meanwhile, today’s post was going to be my debrief of Saturday’s La Clemenza di Tito from Munich, but I am still mulling it over. I've had two good conversations with My Dad about it, and I am working on conclusions. 

There’s an App for that – medici.tv

Last week, I reminded my Dad that if he was free on Friday afternoon, he might want to check out Don Carlo from the Salzburg Festival on medici.tv. He replied, “Yes, I read about that on your blog.” (Hey, my Dad reads my blog! Cool!) On Friday, he called me at work during a scene change to let me know he was watching the broadcast, and he wanted to know if I felt envious. (Nice. Of course I did!)

La Boheme – ROH, 2013 (OK Tevye, Tradition Ain’t All Bad)

Dmytro Popov, Stefania Dovahn, David Bižić, 

Nahuel Di Pierro, and Audun Iversen

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There is something to be said, I guess, for a nice literal traditional opera production. Even more so for one performed by a non-superstar cast. It allows one to become more engaged in the story. My Dad and I went to see this at the local indie/arts cinema last night, mainly because they announced it when we were there on Saturday for the Lohengrin transmission (more about that in a separate post…yes there’s always more for me to say about that Lohengrin!)

It's called "Reggie" (and other things overheard at the opera cinema)

Cissy, Wilf, Reggie, and Jean (in the film Quartet)

Seriously, in the lobby after the first act, while everyone was complaining that Lohengrin was a twitching neurotic (possibly morphing from swan to human) mess, someone said, "It's called Reggie Opera." I thought I must have heard wrong, but he repeated it, at least three more times. 

The Dangers of Listening to Rossini While Driving

About a week ago the Earworm hosted a brief discussion about the dangers of listening to classical music while driving. I now have practical living proof that it is at least inconvenient, if not downright dangerous. So, I was listening to this track while driving to the airport to pick up my Dad. Tenor Martin Mitterutzner is a new name and voice to me, and I listened thoughtfully as he sang.

Expecting L'Elisir d'Bore – Got L'Elisir d’Like: Met in HD

Maybe it’s because I read all the lukewarm reviews of opening night and was prepared for the worst; maybe it’s because I was excited by finally getting to see my first Met in HD broadcast; or maybe it’s because it just wasn't all that bad.

La Traviata, Salzburg 2005: I Have a Theory, and it's Mine

Probably no one needs to say anything more about the Willy Decker production of La Traviata. But I never let that stop me before, and with a blog called “Regie, or Not Regie?” I feel obligated to address it. In this post, I will present several theories, answer a few questions, and make a suggestion.

The First Post: In which the author expounds a bit on Regieoper

Welcome, dear reader(s), to my little opera blog. (As if the world is crying out for more opera blogs -- just like Washington, DC needs more chamber choirs!)

Recently, I have become frustrated by what seems to be almost willful misunderstanding (and therefore, dislike and rejection) of what is known as Regieoper. (There is another term, which will only ever appear ONCE in this blog, but you'll have to wait for the next post to read it.)