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.

Aria Code – Redial and Review: Ah fors'è lui...Sempre libera

I finally listened to the first installment of  Aria Code, the new podcast coproduced by WQXR and the Met. Each podcast addresses just one aria, giving it in-depth thought and consideration. Based on this episode, they don't just consider the music or explain the plot; they delve into how the music reflects the character's thoughts and feelings in relation to the story.  

This episode is a refreshing glimpse into the mind of the singer and character as Diana Damrau narrates Violetta's big Act 1 finale. She discusses how the music reflects Violetta's thoughts and emotions. I felt like I was being let in on the musical process, as well as Ms. Damrau's thought process as an actor/singer.

Host Rhiannon Giddens, who studied opera at Oberlin before embarking on a folk music career, called on two additional commentators to reflect on the cultural setting of the opera and the mindset of a woman in Violetta's position: Cori Ellison is the company dramaturg for Santa Fe Opera; and Brooke Magnanti, a writer and former escort (yes, that kind of escort).

The discussion is insightful, thoughtful, and informative; and it’s not overly scholarly or "arch," as some of the official Met podcasts can be. It feels more like a personal analysis than “this is high art” musicology or someone simply describing the plot (which most of us already know, anyway.)

Maybe best of all, this episode concludes with a complete performance of  Ah fors'è lui...Sempre libera by Ms. Damrau. (Each podcast will feature a complete peformance of the aria under discussion.) The only quibble I have with the whole production is the "title" of the episode, which (maybe in my own snobbery) I think: (1) is inaccurate, because Violetta seems classy already; and (2) unnecessarily cheapens the podcast's image. But that is a very minor quibble.

So, I finally listened, and I am glad I did. And now I cannot wait for the next episode. Take a half hour (plus or minus) and check out this wonderful podcast!

The Rush to Judgement – A Reflection Sparked by 2018 Bayreuth

An excerpt from the latest Bayreuth Lohengrin provoked critical comments from opera fans. We know there are many who are willing to criticize a production sight-unseen. Others will reserve judgement till they at least see photos or maybe a 5-minute video.

My readers know by now that I will argue that it’s not fair to pass judgement on a performance without seeing/hearing/experiencing the whole thing.

With most "non-traditional" stagings, it's very hard to grasp a production from excerpts. (Granted, this Lohengrin bit is a nice long excerpt.) Neuenfels' Lohengrin just seems gimmicky if you only see one scene, aria, or chorus; but it made sense (to me) once I watched it through. Decker's Traviata (like it or not) makes a lot more sense when you see it from start to finish, rather than just the Brindisi. And, (one of my unsung—so to speak—favorites) Richard Jones' Boheme from Bregenz (2002) kind of weirded me out until I saw the whole thing.

All we are saying is, “Give (the) Piece a Chance.”

P.S. At this moment, while writing about Lohengrin, I'm listening to a stream of Die Meistersinger, and experiencing what my granddaughter would call "cognitive dissonance" (even though I am pretty certain she's not quite sure what cognitive dissonance means!)

Opera Fugit (Especially on YewToob)

The fleetingness of opera online is well known—especially on that one video upload website that you and I watch on the tube. However, these selections seem likely to stay around, since they're published by the EuroArts Channel. (They also have a lot of non-opera concert performances as well.) 

Highlights include:

• Alcina from Vienna with Anja Harteros and Vesselina Kassarova
• Carmen directed by Martin Kusej
• Philip Glass' The Perfect American
• Peter Konwitchky's spare Traviata
• The "wild west" L'Elisir with Rolando Villazon and Miah Persson.

Most do not have subtitles, but hey, we're opera fans, we can figure that part out.

So many operas…so little time.

Hello, Ragazzi! (Part Four)

I’ve noticed (and no doubt my readers have noticed) that I've been mentioning/referring to Robert Carsen productions frequently in recent posts. This realization made me think. If the Met is going to continue importing some of its “new” productions from other venues (I understand it’s a more economical way to bring in new work than to create every new production from scratch), can we convince them to bring in Robert Carsen’s La Fanciulla del West? Since the Met was the site of Fanciulla’s origin, I think it’s about time we get a new production (or any production for that matter. It’s been 6 years since the last time they presented it.)

Maybe we could cast it with Nina Stemme and Jonas Kaufmann (though I understand he’s travelling outside Europe less due to changes in his domestic life). Alternate tenors: is Brandon Jovanovich ready for this role? He acted a good prince in Rusalka and sang a pretty exciting Florestan in concert a few years ago. How about Anja Kampe or Patricia Racette as Minnie? I am sure there are many other dramatic tenors and sopranos (and barihunks)—who also can act—who could fill out this production. Who would you like to see in a new Fanciulla?

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.

Two More Traviatas on the Tube

Both of these productions are/were controversial, but for different reasons. 

One is the Zefferelli film: you either love or hate it's "cinematicity". (I'm not a fan of Mr. Z's style, and the lovely Teresa Stratas sounds like she wasn't in good health when she recorded the soundtrack.)

The other is the 2012 La Monnaie production, widely hated by many (and lauded by some) for its unsettling setting. (I like the staging and appreciate the concept, but it is rather unpleasant. Well, it's supposed to be. Meanwhile, Simone Šaturová shines  as a jaded Violetta; and Sébastien Guèze's Alfredo is an adorable young pup.)

A Trio of Traviatas

Here are three Traviatas you can view (for now) in their entirety. Each has its charms (and foibles) and all are (mostly) beautifully sung.

A classic 1968 film version (with initially distracting lip-synching):

A more recent (2007), yet still "traditional" star-studded version (though I personally was not thrilled with the baritone in this one):

A very recent (2014), rather controversial version (although I'm a Regie fan, I had trouble with this staging, and with poor Violetta's unfortunate wardrobe):

Libiamo!

La Traviata from La Scala – Final Note (maybe)

Yesterday, the subject of Apropos Musik (Ö1 Radio – available in archive for another six days) was a 1.5-hour program of excerpts from the newest La Scala La Traviata. (The announcer mentions at the end that Beczala, Tcherniakov and Gatti were booed. I didn’t notice Gatti’s boos. I think any boos for Beczala and Gatti were actually meant for Tcherniakov, but slightly off target!) 

I suggested in my review(s) of this production that a radio broadcast would be much more satisfying, and this program confirms my suspicions. I really wanted to appreciate Tcherniakov's concept. But I was unconvinced, especially when watching the singers struggle with the concept themselves, and I was distracted from the primary attraction of opera: the singing. Listening to these excerpts, I found it well-sung; and without the annoying staging, I really enjoyed it a lot more. 

Anyway, all of this is to recommend listening to this edition of Apropos Musik. I also am going out on a limb to suggest that you try simply listening to the online video of this production. (Meanwhile, I am drafting a post about listening/feeling versus thinking at the opera. My current thoughts may be surprising to my readers.) 

Related Posts:

Piotr Peeved with La Scala's Loggionisti

Meanwhile, Back at La Scala with Piotr and Diana...

La Scala La Traviata on La Arte La-ive Web

Boo Who? – Awkward La Scala La Traviata (Part 1)

Boo Who, Part Two

Boo Who, Part Two (The Awkwardness of La Traviata at La Scala)

*Speaking of Act 2, Scene 2, DT seems unsure of what to do with the two (generally superfluous—these have got to be tough for any director to make sense of in a modern production) party choruses. In this performance, the chorus is not masked, and their performances are focused mockingly on Alfredo; they chase him around during the Gypsy and Toreador choruses. Then he exits quickly at the end of the second chorus; only to immediately reappear so the chorus can sing, “Alfredo! What are you doing here, and where’s Violetta?” If this was all meant to be symbolic, the symbolism flew right past me. (And I try pretty hard to “get” this stuff.)

Boo Who? – Awkward La Scala La Traviata (Part 1)

Piotr Beczala shouldn’t be cranky about his buuhs; he should be cranky about this whole new La Scala production of La Traviata. For me, this is the kind of show that gives Regieoper a bad name. It’s so freakin’ awkward. Does Tcherniakov have lousy ideas, is he just lousy at Personenregie, or what? I’ve already complained about his handling of the chorus, and presenting Alfredo as impetuous, immature, and petulant has worked in other productions, but it’s not working here. Diana Damrau and Mr. Beczala are not bad actors, and they’re pretty darned good singers! I hate to go over to the “other side,” but I have to say it: This production was a waste of nearly everyone’s time. (Although, a radio broadcast of it would be nice and mostly satisfying.)

La Scala La Traviata on La Arte La-ive Web

Now we can see for ourselves what all that kerfuffle was about at La Scala. (If you want to cut to the chase, Intermezzo posted part of the curtain call, where Mr.Beczala got three—count 'em, three—boos; the rest were reserved for the Regisseur, Mr. Tcherniakov.)

For those of us who want to find out why they were booing the director, we have about three weeks to see the entire opera at Arte Liveweb. So go see and listen for yourself. 

Did Piotr Beczala deserve boos ? I think not, and though it's hard to take rejection, I hope he puts it all aside and moves on. Did Dmitri Tcherniakov deserve boos? Maybe, but probably not. But the loggionisti do so love to hear themselves go "Booooooo!" 

Meanwhile, I think Diana Damrau is a divine Violetta. What do you think about the performance?

Meanwhile, Back at La Scala with Piotr and Diana...

Things are looking pretty good to me! It seems that Mr. Beczala surely didn't deserve his buuhs!  And neither did Mr. Tcherniakov. I think the loggionisti just like to hear their own voices. Diana Damrau not only sings the heck out of Violetta, she deserves kudos for the way she rocks that cigar! Here's La Scala's official La Traviata trailer:

Here's The New York Times Review

And here are a handful of captures from the live broadcast:

Piotr Peeved with La Scala's Loggionisti

He's not smiling tonight!

Posted by Piotr Beczala on Facebook about 2 hours ago:

"My last production in La Scala... I think They should engage only Italian singers ... Why I spend my time for this" schmarrn" ... Arrivederci ..."

I hear he and Diana Damrau both were booed at their La Scala Traviata this evening. I'd be annoyed too. But don't the loggionisti boo pretty much everyone?

The production was staged by Dmitri Tcherniakov. Maybe that had something to do with the audience reaction! Meanwhile Mr. Beczala's fans are reacting with sympathy.

Related Posts:

Meanwhile, Back at La Scala with Piotr and Diana...

La Scala La Traviata on La Arte La-ive Web

Boo Who? – Awkward La Scala La Traviata (Part 1)

Boo Who, Part Two

La Traviata from The Met – Only 3 More Days of the Radio Broadcast Archive

If you missed the Met's direct webcast of this year's La Traviata, then zoned out last Saturday and missed the radio broadcast (like I did), BBC Radio 3 is giving you one more another chance! There are still 3 days left to hear this performance. 

Violetta Valery...........Diana Damrau
Alfredo Germont...........Saimir Pirgu
Giorgio Germont..Placido Domingo
And a host of others…plus

The Chorus and Orchestra of The Metropolitan Opera, New York

Yannick Nezet-Seguin, conductor. 

La Traviata and The Perfect American – Still on View at Arte Live

This is a reminder that the La Monnaie La Traviata will be available on Arte Live for about 75 more days. And here it is:

Simona Šaturová thoroughly inhabits Violetta, and Sébastien Guèze is cute and impetuous as Alfredo. If you have any interest at all in Regieoper and you are not ultra-sensitive, I recommend you take a look and listen while it's still available. It's a somewhat disturbing production, but it's not boring. Here is my review of this Traviata.

La Traviata – Duet from Debut of Damrau and Domingo

Diana Damrau and Placido Domingo debuted Thursday night as Violetta and Germont pére, and some enterprising opera lover captured some of the live audio stream. 

Mike Silverman of the AP said Damrau "was nothing short of sensational," and Domingo's "portrayal of the stern father was unusually tender and melancholy."

The Curious Opera Lover – Inquiring Minds Want to Know

I was just thinking that I'd really like to know more about Ortrud, Telramund, and Elsa. Before the opera starts, Telramund is a good guy. Elsa and Gottfried’s Dad entrusted them to him, and the Männer von Brabant seem to hold him in high regard. The King comes to Telramund find out what’s up in Brabant. So, what happened to Telramund?

La Traviata at La Monnaie, Brussels – More Disturbing Than Shocking

Šaturová as Violetta

The Brussels staging of La Traviata by Andrea Breth generated quite a bit of controversy. I found it relatively unpleasant but not terribly shocking, and I am glad I saw/heard it, though I might not visit it again. Here they are depicting a more realistic grimy underworld of prostitution and drugs versus a more standard romanticized 18^th Century series of ever-so-slightly decadent, but elegant formal parties. 

The staging definitely is uncomfortable, especially in the party scenes. The female nudity is more depressing than erotic; perhaps the stark black and white setting serves to distance us. But I think the point could be made without so much overt S&M activity. It wouldn't take much compromise to make this less controversial. Then again, why should the director and company compromise their vision?  (That’s a rhetorical question, but I don't mind if a discussion/argument breaks out here.)

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.