The Opera Tattler

Aida at the Met

* Notes *
I considered skipping the Saturday evening performance of Aida (Act II ovation pictured), as my flight out of New York left in the morning, but Sonja Frisell's production is being retired, so I'd never have another chance to see it in person. I have attended a performance of this Aida production back in 2009, but I was at a score desk and did not see it. It is nothing sort of spectacular, even without elephants.

Designed by Gianni Quaranta, the set is very grand, with enormous palace halls and watery vistas on the banks of the Nile. There are lots of ballet dancers and horses. Dada Saligeri's costumes look very much in keeping with an Ancient Egyptian setting. It was easy to be caught up in all the drama of such an elaborate staging.

The orchestra sounded just as grand under the baton of Maestro Paolo Carignani. There were some gorgeous oboe and flute playing. I was also impressed by the brass, there was only the slightest hint of fuzziness in the trumpets one time for the whole Triumphal March. I felt a bit bad that the audience kept clapping for the horses as it disrupted the beautifully played music. The chorus also sounded fabulous, very together and potent.

This was perhaps the least inspired cast of the three operas I heard in less than 48 hours. Bass Krzysztof Bączyk (the King) sounded thin and quiet, though bass-baritone Christian Van Horn was robust as Ramfis, all the more impressive given that this was his second show of the day. Baritone George Gagnidze was a gritty Amonasro. 

Tenor Jorge de León (Radamès) has a lot of power and conveys longing well, but there is not much nuance, he basically sounds the same no matter what words he's singing. Mezzo-soprano Olesya Petrova is an ethereal Amneris, she did very well with Act II, Scene 1. Hearing her voice in the last part of the opera was haunting, I really liked how the stage lowered with her on it, as the two lovers are buried alive below. Soprano Angela Meade was the star of the evening, and as Aida that seems perfectly appropriate. Her voice has rich, earthy tones, and there is something about her vibrato that is interestingly textural rather than painful. Her duet with de León at the end of the opera, ""Invan! Tutto e finito ... O terra addio" was incredible.

* Tattling *
This time I was back in Family Circle, but in an aisle seat with a partially obstructed view. It only meant that there was a railing in part of the stage for me, but this easy enough to ignore. There was no one directly in front of me, and the lady to my right was adamant about finding a better seat at intermission. She insisted that the man she was with come sit with her in better seats after the second intermission as well, and it was so clear to me that i simply stayed standing so he could get by more easily.

There were a few lozenges unwrapped during the music, but less coughing. No watch alarms were noted, or cell phone rings. Someone in Balcony Box 11 took a video of the Triumphal March with his phone.

La Bohème at the Met

* Notes *
La Bohème (ovation pictured) isn't an opera I go out of my way to see, but since I was already in town for the new Don Giovanni, I attended yesterday's matinée of the Puccini work. The staging is over-the-top, completely delightful, and certainly what people expect from the Met. But my favorite part was hearing Yannick Nézet-Séguin conduct the orchestra, he really brings out the lushness of this score.

Franco Zeffirelli's set is absolutely maximalist, everything is described in elaborate detail. The garret the Bohemians live in has a chimney with smoke coming out of it in the first scene and even has a tiny balcony. The pause between set changes in the first two acts is smooth, and the way the Cafe Momus is revealed is ingenious. Act II is filled to the brim with spectacle: there is a stilt walker, a dancing bear, and Parpignol's toy cart is drawn by a donkey. The waiters at Momus dive on the ground to see Musetta's hurt foot. Act III is also very pretty, an icy February with glittery snow.

Maestro Nézet-Séguin had the orchestra well in hand, everything was very much together. Puccini has never been my favorite composer, but the music was sweeping and very clear. I only wish they did not chose to bring down the curtain before the orchestra stops playing, so that we can savor the beauty and not rush off to applaud.

The youthful cast sang well. Bass-baritone Christian Van Horn is a fine Colline, he jokes well with baritone Alexey Lavrov as Schaunard. Their physical humor and chemistry were palpable, and they were particularly great in the Cafe Momus scene and when they dance in Act IV. Likewise baritone Davide Luciano made for a perfectly good Marcello and played off the others.

Soprano Sylvia D’Eramo is a sassy Musetta, her voice is a bit shrill and cold for my tastes, but you could never mistake her for the other soprano, Eleonora Buratto as Mimì, which is always nice. Buratto is much more bird-like, and she's well-cast for her role. She's a perfect match for her Rodolfo, tenor Stephen Costello, whose powerful, warm sound did not overwhelm hers. They blended prettily, and their duets were all lovely. Costello was very moving, especially in the last act, which had me in tears.

* Tattling *
I was not able to get rush tickets for this performance, so I sat in the rear orchestra. In many was it was ideal, there was no one in front of me or directly next to me. Unfortunately there was someone who chose to use his phone to take a video of Act III, at least no one was singing. There also was a cell phone that rang one and a half times during Mimì's "Donde lieta uscì" in this same act.

Don Giovanni at the Met

* Notes *
Director Ivo van Hove's debut production at The Met, Don Giovanni (ovation pictured), opened last night. The direction is sleek and contemporary, but best of all was baritone Peter Mattei in the title role.

Essentially the set is part of a square with five grey, brutalist buildings. There are lots of rectangular openings, arches, and stairs. It looks like a stripped down piazza. Nothing much changes for the first act and most of the second, which makes Don Giovanni's descent to hell all the more stark and surprising. This part of the production really does work well. 

The staging is contemporary, the men are in suits and dress shirts and the women in cocktail dresses. Everything is very black, white, and grey. This also means there are no swords, and the duel in the first scene involves a gunshot. It also means that the Commendatore is not a statue, but simply the singer wearing his bloodied shirt.

Maestra Nathalie Stutzmann made her debut with yesterday's performance as well, and the orchestra sounded very clear, and there were only the slightest synchronicity issues of getting ahead of the singers. Woodwinds and brass were lovely. The low strings were particularly beautiful in "Batti, batti, o bel Masetto” and the mandolin solo from John Lenti for "Deh, vieni alla finestra" was gorgeous. I very much enjoyed the continuo, it was jaunty and playful, especially Jonathan C. Kelly's fortepiano playing.

The cast is solid. The three sopranos all sounded really distinct. Ying Fang has a light, bright voiced Zerlina, while Ana María Martínez is icy and histrionic as Donna Elvira. Federica Lombardi was somewhere in the middle of these extremes, she certainly conveyed the feelings of her character Donna Anna. She has a big, dramatic voice, but sounded almost angelic in "Non mi dir."

Bass-baritone Alfred Walker is a grounded Masetto, bass-baritone Alexander Tsymbalyuk is a powerful Commendatore whose low notes are still audible over the orchestra, and bass-baritone Adam Plachetka is charming enough as Leporello. Tenor Ben Bliss gave the stiff and formal character of Don Ottavio some freshness, his arias were sweet and effortless but full of feeling as well. But best of all was baritone Peter Mattei as Don Giovanni, he struck the right balance of seductiveness and lack of empathy to play this rake. Sometimes it's difficult to see the appeal of this character, but Mattei really sells it, his voice has warmth and nuance. His "Fin ch'han dal vino calda la testa" was appropriately light and frothy, while his "Deh, vieni alla finestra" was plaintive.

* Tattling *
I flew in to New York at 7 in the morning for this performance, but only figured out there isn't standing room this season at 10am when the box office opens. I was surrounded by unmasked coughing ladies in Row F Seat 7 of Family Circle, which I'm just not used to anymore. It might have been fine, but there was a lot of rifling through purses for cough drops, offering of cough drops, declining of cough drops, and ultimately unwrapping of cough drops that was all rather loud and happening during the music. I hightailed it to the back of Family Circle, which was much nicer for me.

Someone was even more upset than I was near the score desks, house right, for he called out "Quiet" right before "Ho capito! Signor, sì." I guess I'm glad to see that we are all back to normal after the pandemic days of no opera performances. There were the usual watch alarms at the hour, of course.