The Opera Tattler

Giulio Cesare at the Met

* Notes *
David McVicar's production of Giulio Cesare (Act III pictured left, photograph by Marty Sohl) had a fourth performance at the Metropolitan Opera last night. Having attended no less than six performances of the Met's previous production, it was nice to see that McVicar's offering is much less staid. The shifts in costumes must have been confusing for those not familiar with the music, especially if one was seated far from the stage. Cleopatra, for instance, had everything from a long braid to a bob. The set, designed by Robert Jones, is both quite simple, in that it is transformed using sumptuous cloths, and elaborate, given the mechanized seascape used as a background. Andrew George's campy choreography is a delight. There were many dance moves that I will be practicing at home to Händel's music for hours to come. The more serious scenes did not come off as nicely, Cornelia's blood lust in Act III was alarming, and hearing audience members laugh at this even more so.

Maestro Harry Bicket kept the orchestra in line, neat and square. Having the violin soloist on stage for Act II's "Se in fiorito ameno prato" was charming. One of the horns in the finale did not play particularly well, but the horn soloist made very few errors during "Va tacito e nascosto." The chorus, relegated to the pit, sang well as usual. Guido Loconsolo (Achilla) sounded gritty. Christophe Dumaux (Tolomeo) continues to improve as a singer, he is an excellent villain. His voice tends toward pretty and girlish, but he was able to convey the cruelty of his character. Alice Coote's voice contrasted perfectly with Patricia Bardon's, though both are mezzo-sopranos. Coote gasped slightly as Sesto, but was sweet and light, yet still had good volume. Bardon sang a rich, deep, and tragic Cornelia. The gravity of her role is a bit at odds with the production.

Natalie Dessay seemed to be giving the role of Cleopatra her all. She is fully committed to all her movements, and she is a pleasure to watch. She is vocally less consistent, there is an undercurrent of frog-like ugliness to her sound. Her high tessitura can glitter without any harshness, but there were times when her voice seemed to disappear. One of her notes in "V'adoro pupille" was rather strange and out of place. However, her "Piangerò la sorte mia" was lovely. David Daniels was perfectly fine as Giulio Cesare, his singing is robust, though he does have a lot of vibrato. There is a certain smoothness to the transitions between different parts of his voice.

* Tattling *
There were some problems with the white curtains during "Tu la mia stella sei."

In Family Circle there were many watch alarms at each hour and people chatted during the music.

Casting Change for the Met's Giulio Cesare

According to a press release, Natalie Dessay (pictured left, photograph by Marty Sohl) was ill for the second performance of the Met's Giulio Cesare. Danielle de Niese sang the role of Cleopatra instead.

 Production Web Site for Giulio Cesare | Casting Changes

Metropolitan Opera National Council Auditions 2013

The 2013 winners of the Metropolitan Opera (pictured left, photograph by Jonathan Tichler/Metropolitan Opera) National Council Auditions are sopranos Sydney Mancasola and Rebecca Pedersen; tenor Michael Brandenburg; bass-baritones Brandon Cedel, Musa Ngqungwana, and Thomas Richards.

Official Site

Met Opera National Council Auditions 2013 Finalists

The ten finalists of the 2013 Metropolitan Opera National Council Auditions are bass Matthew Anchel (Eastern Region; New York, NY); tenor Michael Brandenburg (Central Region; Austin, IN); bass-baritone Brandon Cedel (Middle Atlantic Region; Hershey, PA); soprano Tracy Cox (Western Region; Dallas, TX); soprano Sydney Mancasola (New England Region; Redding, CA); bass-baritone Musa Ngqungwana (Middle Atlantic Region; Port Elizabeth, South Africa); bass-baritone Richard Ollarsaba (Upper Midwest Region; Tempe, AZ); soprano Rebecca Pedersen (Rocky Mountain Region; Bountiful, UT); bass-baritone Thomas Richards (Central Region; Burnsville, MN); and baritone Efraín Solís (Western Region; Santa Ana, CA). They perform next Sunday, March 10 at 3pm with the Met Orchestra conducted by Marco Armiliato.

Official Site

The Met's 2013-2014 Season

September 23- December 12 2013: Eugene Onegin
September 24 2013- May 8 2014 : Così fan tutte
September 28- October 26 2013: The Nose
September 30- November 1 2013: Norma
October 11-31 2013: A Midsummer Night's Dream
October 21- November 14 2013: Two Boys
October 29- December 28 2013: Tosca
November 7-26 2013: Die Frau Ohne Schatten
November 11- December 7 2013: Rigoletto
November 22- Dember 13 2013: Der Rosenkavalier
December 6 2013- January 11 2014: Falstaff
December 16 2013- January 4 2014: The Magic Flute
December 31 2013- February 22 2014: Die Fledermaus
January 9- February 1 2014: L'elisir d'Amore
January 14- April 18 2014: La Bohème
January 16- May 9 2014: Madama Butterfly
January 23- February 15 2014: Rusalka
February 6- March 8 2014: Prince Igor
February 18- March 15 2014: Werther
February 26- March 20 2014: The Enchanted Island
March 6-22 2014: Wozzeck
March 14- April 1 2014: La Sonnambula
March 24- April 12 2014: Andrea Chénier
April 3-24 2014: Arabella
April 17- May 10 2014: I Puritani
April 21- May 10 2014: La Cenerentola

The Met announced the 2013-2014 season today. The 6 new productions are Eugene Onegin, Nico Muhly's Two Boys, Falstaff, Die Fledermaus, Prince Igor, and Werther.

Online 2013-2014 Brochure | Official Site

Parsifal at the Met

* Notes * 
François Girard's production of Parsifal opened at the Metropolitan Opera on Friday. The contemporary set features stark imagery. The red lake that dominates the second act (pictured left, photograph by Ken Howard) is particularly striking. The angular choreography fits nicely with the staging and the clean costuming. The video is difficult to view in Family Circle, but seems benign and includes images of clouds, aurora borealis, and water. At times, the rippling effects were a bit overblown. The lighting is pleasing. The last scene involves Parsifal putting the Holy Spear in the Grail held by Kundry, a nod to the pagan fertility rituals that may have given rise to the Arthurian romances on which this work is based. For some reason this struck me as clumsy compared to the sleek modernity of Act II.

Conducted by Daniele Gatti, the orchestra played moderately, sounding neither austere nor sprightly. The brass was clear. The chorus was as impressive as ever: perfectly synchronized, strong, and full. Katarina Dalayman was not an alluring Kundry, but she did seem more than half-mad. Evgeny Nikitin was a convincing Klingsor. Peter Mattei was likewise believable as Amfortas, and his voice is immediately appealing. René Pape shone as Gurnemanz. His voice is warm and rich, and he sounds imposing. Jonas Kaufmann did well with the title role, though I find his voice less readily likeable than others, perhaps because of his nasality. Kaufmann was riveting in Act II Scene 2. He has a keen understanding of what he is singing and can convey this to the audience.

* Tattling * 
Every sort of bad behavior was on display for the prima. Watch alarms sounded, mobile phones rang, photographs were taken, some talked, others snored, and there was applause after the first act. During the performance of Act I, someone in Family Circle demanded, at full volume, that he not be touched again.

Casting Change for the Met's Les Troyens

According to a press release issued today, Bryan Hymel (pictured left, photograph by Dario Acosta) will sing the role of Aeneas in the remaining performances of the Met's Les Troyans this season, replacing Marcello Giordani, who has withdrawn the role from his repertoire. Giordani will return to the Met for Francesca da Rimini in March 2013.

 Production Web Site for Les Troyens | Press Releases

Don Giovanni at the Met

* Notes * 
The Michael Grandage production of Don Giovanni (Act II pictured left, photograph by Marty Sohl/Metropolitan Opera) is currently having a first revival at the Metropolitan Opera. The performance last Saturday was good, but not outstanding. Edward Gardner conducted a lively and speedy orchestra. Raymond Aceto could have sounded more commanding as the Commendatore. Ekaterina Siurina's voice is creamy and sweet, and seemed perfectly fine for Zerlina. Emma Bell's Donna Elvira was slightly unhinged, but never out of control. Erwin Schrott was an amusingly silly Leporello.

Charles Castronovo (Don Ottavio) has a dark warmth to his voice, but he struggled with some of the high notes. Susanna Phillips was promising as Donna Anna, her voice is strong, but has a nice bell-like quality. Ildar Abdrazakov, on the other hand, lacked brightness in "Fin ch'han dal vino." It seemed like the role was just a bit high for Abdrazakov, but he projected well for "Deh vieni alla finestra."

The production dates from last year, yet was not particularly fresh or inventive. The large set is monolithic and rumbles when moved. The handling of Don Giovanni's descent is certainly the most exciting visual moment, as it uses real fire.

* Tattling *
At least one cellular phone was heard in the Family Circle during Act I.

La Clemenza di Tito at the Met

* Notes * 
A revival of Mozart's La Clemenza di Tito (Act II pictured left, photograph by Ken Howard/Metropolitan Opera) opened at the Metropolitan Opera a fortnight ago. Last Saturday I found myself in Family Circle Standing Room for the matinée performance, which was also broadcast live in HD. The cast included those with considerable talent, not least of which was mezzo-soprano Elīna Garanča, who sang the role of Sesto. Garanča's voice is pleasantly light and pretty, but well-supported.

Barbara Frittoli made for a comical Vitellia, her voice is somewhat shrill, but not inappropriate for the part, and kept her distinct from the other soprano. Kate Lindsey sang Annio with grace. Lucy Crowe sounded brilliant and sweet as Servilia. Only Giuseppe Filianoti (Tito) disappointed, he sounded a little raveled, and his notes were not precise. That said, the resonances of his voice had warmth, and he seemed less apt to crack than in other recent appearances.

The orchestra played somewhat ponderously under Harry Bicket, who kept time metronomically. The music is quite beautiful and does seem difficult. Bicket never overwhelmed the singers and seemed respectful of the score. The chorus was luminous and together.

Jean-Pierre Ponnelle's 1984 production is functional but still very descriptive. The set is elaborate, but the scene changes are made easily and do not create much noise.

* Tattling *
During Act II, a cellular phone rang when Vitellia confessed her involvement in the plot against Tito.

The Tempest at the Met

* Notes * 
The Metropolitan Opera, dark for two nights because of Hurricane Sandy, reopened on Halloween with a third performance of The Tempest by Thomas Adès. The production, from Robert Lepage, is enchanting. The piece is set in a version of La Scala, which starts almost as a paper theater, but ends up being rather detailed and substantial. Act I is from the stage, Act II from the audience, and Act III has a scene from backstage, followed by one in cross section (pictured left, photograph by Ken Howard/Metropolitan Opera). Projections are used to conjure the tempest and the sea. Entrances and exits are made using the prompter's box, curtains, and even the chandelier. The acrobatics involved make for fine spectacle.

The orchestra was lead by an enthusiastic Adès, the playing was clear and the music rather eerie. Adès eschews sentimentality, but can be somewhat harsh, and some of the singers did sound pushed to their limits. The chorus sounded sturdy and together.

Kevin Burdette (Stefano) and Iestyn Davies (Trinculo) excelled as the comic relief of the evening, moving gracefully. Audrey Luna is an otherworldly Ariel, her notes so high she seemed to be squeaking in a cetacean language. Isabel Leonard was a little acidic, but she is a pretty Miranda, and was plaintive in Act III. Alek Shrader sang Ferdinand with sweetness, and with a characteristic metallic sheen in the high notes.

Caliban is a rather sympathetic creature in this opera, and Alan Oke sang with a certain gentleness when necessary. William Burden gave a nuanced performance as the King of Naples, his voice sounded bright and strong. Toby Spence was a believable Antonio, and his sound is distinct from the aforementioned tenors. Though Simon Keenlyside's voice is not particularly robust, his Prospero has much fire and beauty.

* Tattling *
There were a number of talkative audience members in Family Circle, both in seats and in standing room. Given the lack of public transportation, it was not surprising that the hall was not entirely full. There was also noticeable attrition at the intermission. The ovation was, however, ebullient.

Casting Change for the Met's Maria Stuarda

According to a press release issued today, Matthew Polenzani (pictured left, photograph by Dario Acosta) will sing the role of Leicester in all performances of the Met's Maria Stuarda this season, replacing Francesco Meli, who has withdrawn the role from his repertoire. At the moment, Polenzani is singing in the current production of L'Elisir d'Amore at the Met.

 Production Web Site for Maria Stuarda | Press Releases

Met Cast Changes 2012-2013 (as of 8/20/2012)

From a press release on August 20, 2012.

Janai Brugger makes her Met debut as Liù in Turandot on October 30 and sings the role on November 2, 5, and 9. Brugger replaces Takesha Meshé Kizart, who is recovering from recent abdominal surgery.

Guanqun Yu replaces Sondra Radvanovsky as Leonora in Il Trovatore on October 17, 20, and 25. This role marks her Met debut as well.

Met Cast Changes 2012-2013 (as of 5/17/2012)

From a press release on May 17, 2012.

Gwyn Hughes-Jones will make his Met role debut as Manrico in Il Trovatore on September 29 and sings the role on October 4, 8, 12, 17, 20, and 25.

Carmen Giannattasio will replace Sondra Radvanovsky as Leonora in Il Trovatore on October 12, 17, 20, and 25. These performances are in addition to the previously announced dates when Giannattasio will sing the role.

Sondra Radvanovsky will replace Karita Mattila as Amelia in Un Ballo in Maschera on November 8 through December 8. The role of Amelia for the performance of December 14 is to be announced.

Marcelo Álvarez will sing Gustavo III in Un Ballo in Maschera on November 27, replacing Roberto De Biasio. Álvarez will now sing all performances of the role in the 2012-13 season.

Dolora Zajick will replace Olga Borodina as Amneris in Aida on December 19, 22, and 28. As previously announced, Borodina will sing the role on November 23, 26, 29 and December 3, 7, 12, and 15.

Erwin Schrott will make his Met role debut as Dulcamara in Bartlett Sher's new production of L'Elisir d'Amore on January 30. He will also sing the role on February 2, 6, and 9 matinee.

Sondra Radvanovsky will not be singing any performances of Don Carlo in the 2012-13 season, and her replacement as Elisabeth de Valois is to be announced.

Italian baritone Marco Vratogna will make his Met debut as Iago in Otello on March 27. He replaces Thomas Hampson, who will still sing the performances on March 11, 15, 20, 23, and 30.

Götterdämmerung at the Met (Cycle 2)

* Notes * 
The second Ring cycle the Met this season came to a rather disappointing conclusion with Götterdämmerung yesterday. Though there were many fine individual contributions to the piece, in the end both playing and staging fell short. Robert Lepage's production was not consistent with the earlier parts of the cycle. Why should Grane finally appear as a horse puppet (pictured above, photograph by Ken Howard/Metropolitan Opera) in this opera, and not in Walküre or Siegfried? Why is it that the projections have Siegfried and Hagen walking on water? It just seemed a bit sloppy. The statues used to portray the Gods looked like they were stolen from Caesars Palace in Las Vegas. Even still, there were nicely rendered scenes, as with the prologue with its tree-like web.

The orchestra did not seem terribly concerned with Maestro Luisi, the musicians were not always together, and there was rushing, especially near the end. Singers were overwhelmed now and again. The harps did sound gorgeous during Act III. The chorus was cohesive.

Eric Owens had a sore throat, so Richard Paul Fink sang Alberich instead. Fink is secure in the role, and has the right mix of beauty and menace. Hans-Peter König sang a threatening Hagen. Wendy Bryn Harmer sang a pretty Gutrune.

Katarina Dalayman was fairly good as Brünnhilde, though her changes in volume were abrupt. Jay Hunter Morris was a strong Siegfried, sounding youthful and poignant, although he lacked baritonal warmth.

* Tattling *
The French-speakers in Family Circle Standing Room Places 25 and 26 talked a lot in Act I, and had to be hushed. They were preoccupied by taking Seats 202 and 204. It was odd that the male half of the couple seemed so worried about sitting, yet slept through most of Acts II and III. Both halves of this pair had not seemed to have bathed in some time, and their odor could be detected from several feet away.

2nd Performance of Věc Makropulos at the Met

* Notes *
The second performance of The Makropulos Case (Act III pictured left, photograph by Cory Weaver/Metropolitan Opera) at the Met this season was held yesterday. The production, by Elijah Moshinsky, is fairly static. Some scene changes are made when only the orchestra is playing, and most of these are not strictly necessary, though perhaps elucidating the plot. The offices of Kolenaty and wherever Marty is staying are stylish enough. The sphinx in Act II was not terribly clever. Howard Harrison's lighting was perhaps the best element of the production.

The orchestra showed dynamic range under Maestro Jiří Bělohlávek. The cast is even. Emalie Savoy's Kristina was a touch too mature, but her sound contrasted with Karita Mattila's. Johan Reuter does not have much warmth to his voice, but as Jaroslav Prus, he does not need it. Richard Leech sounded bright and loud as Albert Gregor. Karita Mattila was again splendid as Emilia Marty, searing but beautiful.

* Tattling * 
This was the worst audience I have observed at the Met. Latecomers sat on the steps of Family Circle, and one particular woman coughed and coughed. She got into an altercation with the woman next to her, and much violent discussion was heard. Another woman with a standing room ticket tried sitting in the aisle for Act II and was scolded by an usher. My companion noted that the people in Family Circle K 116 and 115 were looking at pornography on a mobile phone during Act III.