"Donna non vidi mai" - Manon Lescaut, Royal Opera House, July 2014

I love this opera. Thought I'd better get that out in the open before we go much further.  And I have a pretty long history with it, as bizarrely (given its comparative scarcity) it was one of the first full length operas I watched back in the early 1990's when I was first getting into opera in a big way.  Placido Domingo was really my way into opera - I loved his voice (still do) and I loved that he could act and make me believe in the character he was playing.  So when I investigated his video catalogue and found Manon Lescaut (which I'd never heard of) it didn't faze me one bit...and as a bonus it also starred Kiri te Kanawa and Thomas Allen.

I think its safe to say it was love at first sight...or first listen.  I just fell in love with the romance, passion and desperation it portrays.  And even in a traditional no-surprises sort of production, the plot is clear and concise, the singing soaring and melodic (even if Kiri was having an off night due to illness) and the music simply sublime.  Yes, I love Tosca and Fanciulla, but if I'm honest Manon Lescaut is my first love.  But since 1983 there have been no performances of Puccini's first great success at the Royal Opera...until now.

You can imagine then my excitement when it was announced that Jonas Kaufmann would be taking over the mantel of the lovelorn Chevalier Des Grieux opposite Latvian soprano Kristine Opolais as Manon Lescaut. Jonathan Kent was announced as director and Antonio Pappano conductor.  I had no qualms at all about Tony P at the helm. He is such a great Puccni conductor, almost feeling the music in his blood.  And he has such a magnetic and enthusiastic personality - I just love to watch him talk about music and especially Italian opera.

Jonathan Kent is a slightly different proposition, although it has to be said I have only had two previous experiences with his productions, one of which I love, the other, well I pretty much hated it.  I loved the ROH Tosca production, although I don't think you can really go far wrong with Tosca.  The other was a Flying Dutchman for ENO which started well but then deteriorated badly and changed Wagner's passionate opera of redemption into something else entirely.  So its fair to say I wasn't entirely sure which side of the fence Manon Lescaut would finally rest.  As it turns out, it was somewhere in between.

But lets get the good stuff out of the way first.  The most important question for me is 'is the singing any good?'. Kaufmann is a very well known quantity for me now so I had no doubts about his ability in the vocal department.  And sure enough he was outstanding as a lovelorn student forever in thrall to Manon, singing with a desperate passion that I have not heard from him before.  The voice seemed to soar effortlessly even in the dark and heart-rending scenes of Acts 3 and 4. Make no bones about it, Manon Lescaut is not an easy opera for singers and this is one of Puccini's most difficult tenor roles.  There were definite hints of Otello in his passionate Act 3 pleas and in the total desperation of Act 4.   There is such drama in the self-loathing and debasement the character feels, and Jonas gives it his considerable all. This part fits him like a glove and I'd go far as to say its one of his best roles.  Yes, perhaps you could say that the Act 1 arias could be lighter and more flirtatious, but that's a minor quibble and I thought he sang them well.  This is his début as Des Grieux and already he has scheduled two more new productions - one in Munich later this year with Anna Netrebko, and a rumoured production at the Met in New York, a co-production with Baden-Baden. Make no mistake, Kaufmann and Puccini are a match made in heaven.

Kristine Opolais comes to the part of Manon Lescaut with a pretty good track record in Puccini and a fast growing reputation as a singer to watch.  I caught her in Tosca last year and whilst I enjoyed her performance I didn't find her as exciting as everyone had told me she was.  I did enjoy her characterisation of Tosca which went a long way, but vocally I thought she was good but not extraordinary.  After now hearing her in Manon Lescaut, I still feel much the same way, although I think the part of Manon suits her much better.  Don't get me wrong, I loved the total performance and her chemistry with Kaufmann was extraordinary.  She's an effective actress and this was a great début in a difficult role (and a difficult production...more later) but take away the stage and the acting and the set and what do you have?  A very good voice to be sure but not one that I could pick out of a crowd. And that readily identifiable quality is what I miss in her voice - something special that marks her out from the crowd.  I also heard her sing Desdemona's aria at the Proms last year and on balance I actually think I prefer her Verdi.  But I'd definitely go to see her again - she's doing Butterfly next season and I will be there no doubt about it.

Christopher Maltman as Manon's brother Lescaut (another role début) was in very good voice indeed, in what is quite an ungrateful part for a baritone...but then Puccini wasn't really that interested in baritones as a rule.  As a result his part tapers off in Act 3 and he is never seen again.  I think an ounce more charm would make this character even more of a success, but Chris did what the director asked of him and it came off pretty well I thought.

If I've been cagey so far about the production there's a very good reason for that...its because basically I'm feeling a bit schizophrenic about it!  I loved half of it but then.....

But I'm rushing ahead.

Jonathan Kent made no bones about it in the lead up to the production that this was to be a modern contemporary version. If I was nervous about that, it was only because I'd already seen the Welsh National Opera 'contemporary' updating recently and was less than impressed.  I was so not impressed by it that I couldn't even blog about it - that's how much I disliked it.  I don't mind updatings and enjoy quite a lot of them, but I do hate it when directors change the story on me, to give me their own version or tell a completely different story to the one the composer is telling.  I have a particular problem when they do this with Puccini as his music is so specific and so theatrical that if you try to tell a different story, it doesn't match the music.  For me, the WNO production of Manon Lescaut had the same affect as nails down a blackboard.  Great directors work with the music, not against it.

I've now seen the new ROH production twice, once on stage and once on the big screen HD broadcast so I've had a chance to think about it and see what worked for me and what didn't.  Broadly speaking Acts 1 and 2 worked dramatically and Acts 3 and 4 were less successful.  Not helpful in the house were the restricted sight-lines experienced in some areas.  I notice that ROH Director of Opera Kasper Holten has now apologised for this with a promise to do better next time.

Apart from sight-line problems most of the directorial ideas worked well in the first act, although I found the slightly self-concious waving around of iPads amusing.  The gaming tables/casino set up on stage were a little odd and would it have hurt to put the supposed soldier Lescaut, into a uniform - at least for his introduction? Otherwise all was colourful enjoyment, even if there was a little too much running up and down stairs on this multi-layered set.

Act 2 was possibly my favourite although it appears I may be in the minority.  This is the act where Manon has left her young lover for the abundant riches of Geronte, here played as some high-level, filthy rich banker. She is comfortably ensconced in a Barbie-pink gilded cage of a boudoir, platinum blonde wig and minuscule dress, her dancing lessons transformed into some sort of soft-porn movie shoot, watched by Geronte and his hangers-on.  As bizarre as this sounds it works very well  and at no point do you ever feel that Manon is there against her will.  No.  This is the price she is willing to pay for the riches, jewels and fame that come her way.  Although the music provided by Puccini is faux- 18th century (including an elegant minuet at one point) this still works for the most part.  Where Jonathan Kent has got it absolutely right, is the depiction of sex - both successful and not quite so successful.  (Avert your eyes now if you're squeamish).

Manon Lescaut is about sex, passion, power, lust and desperate devotion.  No where is this more evocatively portrayed than in the music of Act 2 which musically describes not only the overwhelming physical passion of Manon and Des Grieux but a slightly less successful encounter between Manon and Geronte.  In traditional productions these two encounters are slightly less obvious, usually involving a dance for Manon and Geronte and then a passionate embrace for Manon and Des Grieux.  Listen again.  The music accompanying the 'dance'  builds in a slow but steady rhythm, the music rising higher and higher with suitable vocal encouragement from the hangers on, until suddenly the music suddenly skitters out of control, as Manon's more mature admirer suffers a bad case of errr...getting overexcited shall we say?  While not explicitly shown in this modern production, Manon was straddling her aged protector on the bed at this point, so I think the director knew exactly what he was doing.

As he was when he finally had Des Grieux burst onto the scene, once Manon's other admirers had left her bedroom.  After the usual recriminations Des Grieux capitulates to Manon's charms, allowing himself to be seduced...although in this production he is by no means passive in the seduction!  "I can fight no longer" he says, and the love duet proper begins.  The ensuing duet is a musical depiction of sex - passionate loving sex to be sure, but sex all the same, and the singers throw themselves into the action as required, culminating in a musical orgasm, complete with whispered sweet-nothings muttered in the post-coital glow.  When Des Grieux mutters "Manon, mi fai morire" (you make me want to die or you bring me close to death), he's not talking about actual death, but rather the more pleasant 'le petite mort' - an orgasm. And nothing wrong with that at all.  Unsurprisingly, when Geronte unexpectedly reappears there is consternation all around - lets face it, he has just walked in on them, in bed, basking in the sexual afterglow and while no  nudity is involved, I think this production leaves no doubt as to what as happened.  As an aside, I thought it was slightly  more 'passionate' in the dress rehearsal and slightly, only slightly, toned down for the HD broadcast.  Not sure if this was due to the inclination of the singers, director, opera house or possible DVD censors!  It still works but I'm intrigued.

Photograph Copyright Bill Cooper

And alas this is where my praise for the physical production more or less ends.  In Act 3, the original story has Manon (after Geronte has her locked up for being an 'immoral woman') sentenced to exile to the American colonies.  In this production Manon is sentenced to....I'm not really sure!  When Des Grieux and Lescaut arrive to rescue Manon, she seems pretty much able to wander about as she wants!  No ship awaiting to take her to exile, in fact no mode of transport at all.  It seems to be some sort of game show set up, although everyone looks to be a loser and their fate is to step through a ripped poster.  Now, call me old-fashioned but that doesn't really work for me.  The music and singing was as sublime, passionate and heartfelt as ever (especially from Jonas) but there was no sense of drama in the setting, no sense that he was about to be separated for ever from his love, that she would be exiled and never seen again. Luckily the two principles managed to overcome the lack of coherent drama, providing it all with their acting and singing -but what a let down!

The very short Act 4 (which basically consists of one long duet interspersed by a solo aria for Manon) was also scenically not ideal.  For a start, the action basically continued on without pause from Act 3, Manon still dressed in her tattered and now faded pink Barbie dress.  In the novel on which this is based, some time has passed and Manon and Des Grieux have settled happily in the colonies until once again trouble ensues, Des Griuex kills the Governor's nephew who had desired Manon, and they had to flee, ending up in some deserted wasteland far from civilisation.   Although Puccini didn't set any of this to music, I think it important to note that once again they are in trouble and its not just a continuation of the previous act.  The production here sets this on a half destroyed flyover/highway leading nowhere.  Honestly, if this is literally just supposed to depict 'the end of the road' then I'm disappointed and slightly miffed to be honest.   While I don't like to over-intellectualise at the opera, I don't like being treated as stupid either.  I presume the director wasn't aiming for stupid but that's what it felt like.  Anyway, this worked a lot better in the broadcast than it did in the theatre. The singers were placed precariously high up on the highway, resulting in a lot of sight-line problems in the house.  The singing was of course sublime and in many ways, made up for the lack of imagination and clear plot narrative displayed.  Here I thought, Opolais came into her own, as Manon finally realises how much she loves the man beside her.  "My faults will be forgotten, but my love will never die."  Frankly, if you're not in tears by this point, you've a harder heart than me!

So in all it was a mixed bag and yet I actually do like this production and I will buy it if it comes out on DVD. Somehow the singing and orchestral playing overwhelm any faults in the production - and the faults are not so huge that the piece as a whole is not worth seeing.  But I do also wonder if this production will be revived in the near future - and how revivable it is.  Exactly how good would this production have been without the combined vocal and dramatic talents of Kaufmann, Opolais, Maltman and Pappano in the pit?  How many top class sopranos do we have who can also pull off the skimpy Act 2 costume.  How many tenors can match not only the excessive vocal demands, but also the shimmying up and down staircases and ladders?  I don't know the answer, but I do know that this will be a hard cast to follow.  That plus the fact that contemporary productions date rather quickly.  Jonathan Kent commented that his Tosca for ROH had to be traditional to accommodate frequent revival with a variety of singers.  Does he then not expect the same for his Manon Lescaut?

At this point I must also praise Tony Pappano and the ROH orchestra. What a master of Italian opera and Puccini in particular Pappano is.  The famous Intermezzo was so richly played, the narrative so clear, the emotion so apparent, that I was almost in tears just listening to this piece.  I'm looking forward to the rumoured collaboration between the Maestro and Kaufmann in a recording of Puccini arias. I'll leave you with Pappano and the Intermezzo:

Dialogues des Carmélites - Royal Opera House 7th June 2014

I remember with utter clarity the very first time I heard a snippet of music from this opera.  It was way back in the mists of time (around 1992/3) when I was just starting to really explore opera and classical music in earnest. So I'd buy one of those magazines with a free CD featuring snippets of classical music and just listen. Some of the tracks I already knew, some I didn't like and some I really enjoyed wanted to know more about - it was a really good way of exploring music on the cheap!  Lo and behold one day a track from Carmelites blasted from the speakers and it stopped me in my tracks.  What the hell was this?  Singing nuns getting their heads chopped off?  Baldly stated it sounds bizarre but what I had stumbled across was the Salve Regina, perhaps the most famous 'piece' of the opera and its utterly devastating conclusion.  I didn't know the opera at all but it was love at first listen.  Unfortunately I never got a chance to see a live performance....until now.

And I have to say that it was worth the very long wait.  Much has already been said about this production by Robert Carsen. This is not a new production by any means, having originated in 1997 and has been travelling around the various opera houses since then.  Still, better late than never.  I've only seen two Carsen productions before and neither was a completely satisfactory experience.  Most recent was the Falstaff which I saw live at ROH.  An updating to the 1950's there seemed to be more surface than substance and the final act didn't really work.  His Zurich Tosca (seen on DVD) was also a 1950's based production, although this one taking its cue from film noir and Hitchock themes.  This had the novel idea of removing religion from the opera all together - the first act taking place in a theatre and not a church.  There were some good moments but this was mainly due to the performers and not to the concept. So I was still a little bit wary of what was to come.

In Carmelites, Carsen quite wisely lets the story and the music do the talking.  While the costumes evoke the period of the story, the stage is mostly bare.  Carsen uses the very evocative and clever lighting (designed by Jean Kalman) to great effect.  Combined with the use of the chorus and actors who fill the stage when required this is a simple tale, simply told.  There were no real jarring moments in terms of production although the finale has divided opinion.  As the nuns are gathered to meet their fate they indulge in some gentle almost tai chi like movements before falling gently to the ground one by one.  I think it would have been just as effective to have them stand utterly still but by this time I had tears in my eyes and I couldn't see anyway.

Its very hard to highlight individual performances as this is very much an ensemble - no diva turns here!  Of note to me was the cameo of Thomas Allen as the Marquis de la Force, surely now in the winter of his career...but what a winter.  Richly characterised as always, he made the most of this small role and was warmly applauded at the end for his efforts.  Yann Beuron as his son made a good impression but this opera is not really about the men.  Sally Matthews as Blanche, the novitiate nun who is pretty much afraid of everything, was outstanding as was Anna Prohaska as the perky Sister Constance.  I'm a big fan of Sophie Koch (especially in French opera) and I wasn't disappointed here.  Another standout was Deborah Polaski as the aged and dying Mother Prioress.  She really threw herself into the agonies of the dying nun and you can imagine poor Blanche being terrified.  If Emma Bell was less notable than the rest of the cast, it was only because she had little enough time to establish her character.  Quite honestly there was no weak link in the cast.

So what was it all about?  I suppose on the surface it was about a group of nuns who succumbed to the zeal of the French Revolution.  Others have said it is about the transference of faith - that the faith shown by Constance and the other nuns is somehow transferred to Blanche, enabling her to return to the nuns and die with them. For me personally, it was about overcoming fear, or rather overcoming the fear of fear and thus being able to move on.

In many ways, I had a very similar experience with this opera as I did when I saw Parsifal for the first time and I approached it in much the same way.  This opera is a journey and you have to slow down and let the composer take you on that journey and not want to rush ahead - the conclusion is all the more devastating for the slow pace in getting there.

I have only one criticism and that is a technical one.  The sounds of the guillotine, while still devastating, were greatly over-amplified in the theatre -  at least in the lower amphitheatre where I was sitting.  It just brought a slightly false-note to an otherwise perfect night at the opera.  I'll  leave you with that devastating final scene.

Goodness Triumphant - La Cenerentola Met HD Broadcast 10th May 2014

May 10th was a busy day for me operatically speaking; first I had a matinee performance of Nozze di Figaro at the Royal Opera, swiftly followed by the final Met HD broadcast of the season with the enticing Joyce di Donato and superlative Juan Diego Florez.  That I've decided to concentrate this blog on La Cenerentola is no reflection on the standard of performance of Le Nozze di Figaro.  With a cast containing Gerald Finlay, Rebecca Evans and Camila Tilling it was certainly one of the finest performances I've attended recently. However, this was my very first Cenerentola...and apparently Joyce di Donato's last and it just felt right to dedicate this post to Cinderella herself.

I must admit to not being entirely comfortable with Rossini - especially comic Rossini - the endless coloratura and interminable crescendi don't really do it for me.  I suppose when it boils down to it I like my opera laced with a bit of tragedy and if there isn't at least one dead body by the end of the evening I feel slightly disappointed.  However, I do love Joyce's voice and this was her last outing in one of her signature roles so I was prepared to put doubts to one side and dive in.

This was only my second experience of a Met HD broadcast and once again I was not disappointed.  The cinema was packed - not a single seat was empty and the audience seemed keen and enthusiastic.  There was a lot of laughter and applause during the evening.  And not without cause.  The opera fairly fizzed along with barely a moment to pause for breath.

The plot is slight but very familiar so it was all about the singing and characterisation for me.  I'm not really a bel canto expert but I was really overawed by the vocal skills on display - by all of the cast.  There was not a single weak link amongst the performers.  This production has been gaining rave reviews in New York, mainly concentrating on the virtuoso tenor skills on display; firstly a 'star is born moment' for Javier Camerena in the role of the Prince and then Juan Diego Florez returning to the role in a case of 'anything you can do I can do better.'  Mr Florez was simply stunning, with not a single note out of place and giving a touching performance as the Prince who falls head over heels.  In previous performances there have been encores of 'Si, lo ritrovarla.'  Tonight, Juan Diego restricted himself to a solo bow to acknowledge the wild applause, perhaps as an acknowledgement that this was Joyce's night after all.

Ms DiDonatao was not outshone in any way and her long partnership with Juan Diego made this special night was all the more special.  I'm not sure exactly why she is retiring the role, but surely not for want of technical ability on her part.  She was immediately believable and sympathetic as the downtrodden Angelina and the audience were behind her all the way.

The rest of the cast were no slouch in the vocal or dramatic stakes either.  Rachelle Dirkin and Patricia Risley as Clorinda and Tisbe were an absolute hoot, even if some of the stage 'business' sometimes descended into farce.  Surely it must be far more difficult to perform comic opera as opposed to dramatic?    Of the male trio of bassi appearing, Pietro Spagnoli as Dandini was the most impressive for me, with expert comic timing and exhibiting a believable relationship with the Prince he was impersonating.  Alessandro Corbelli made light of some taxing patter songs and was believably 'wicked' as Angelina's step-father.  I enjoyed Luca Pisaroni as Alidoro but didn't really know what to make of the role.  What he did was good but alas all too brief I thought.

The production by Cesare Lievi came across well on the big screen, although I found it a bit sparse and in parts without any recognisable logic to it - although perhaps as a fairly tale it doesn't really need it?

And then at then end of the evening, when the girl has married her prince and all hurts have been forgiven, the real emotion set in.  I will admit to a tear in the eye when Joyce acknowledged the applause - all the more so as she looked slightly overcome herself. It must be a difficult decision to give up a much loved role - especially when going on on such a high note.  But then perhaps that is the best way...always leave them wanting more!

Addio del passato......La Traviata, Royal Opera House, 30 April 2014

I wasn't originally going to attend this set of performances of Verdi's classic opera; performances are split between two casts and I was saving my pennies for the second cast - more of which later.  But thanks to the offices of a Twitter friend (thanks Ruth), a standing ticket became mine for this matinee performance.  Even better, due to the slow tickets sales in the more expensive parts of the house, I found myself sitting in the stalls - a very rare occurrence.

This is a handsome and well-known production of Traviata, first seeing the light of day in 1994 and I remember it well from the tv broadcast with Angela Gheorghiu who made such a splash in the role. My hoard of programmes also reveal that I saw this production in the Albert Hall in 1998 during the period when the opera house was closed for refurbishment.  To be honest, I can't remember that much about the Albert Hall experience so I was keen to reacquaint myself with Richard Eyre's production.

The physical production is as traditional as they come but is relatively uncluttered and tells the story well - which is all you can ask of a a production be it traditional or modern.  I liked the contrast between the sumptuous Parisian settings of Act 1 and the second half of Act 2, and the more restrained and slightly abstract look for Violetta and Alfredo's country hideaway at the beginning of Act 2.  Act 3 of course, was all whitewashed desolation as Violetta met her tragic end.

Diana Damrau as Violetta, was one of the main reasons I wanted to catch this cast.  She has only recently taken the role into her repertoire, having previously concentrated on the purely coloratura soprano roles. Reviews have predictably been mixed after performances at La Scala and at the Met.  I wasn't exactly sure what to expect but in the end I found her portrayal of this iconic character very moving.  The first act vocal hurdles caused her no problems at all, although I was less keen on her physical embodiment of the character, with a slight case of overacting and over the top gestures.  'Old fashioned' is the phrase that springs to mind. This gradually settled down as the opera progressed - or perhaps I just got used to it.  Either way, she was very physically into the role, certainly fainting and collapsing very impressively on several occasions.  The final act was the most impressive of all and I don't think I have seen another soprano embody the physical frailty of Violetta quite so well.  She even managed to carry off the final 'swan-song' in this production - where the soprano has a last burst of energy and runs around the stage before collapsing. She managed to make this look not only plausible but heartbreaking.

Vocally there were no complaints at all from me.  Not only did she fearlessly throw off the coloratura of the first act (complete with high E to finish), but also negotiated the more dramatic and emotional requirements of Acts 2 and 3.  The audience were suitably appreciative and she received the biggest applause of the day.

Dmitri Hvorotovsky is no stranger to this production, in fact he made his ROH debut as Georgio Germont at the Albert Hall performances which I attended in 1998.  He is probably a little more suited to the elder Gemont now, although he did sound a bit 'throaty' to begin with, he soon warmed up and his duet with Violetta in Act 2 was a masterclass in controlled and beautiful legato.  His physical interpretation was also interesting, suggesting an attraction to Violetta which he manfully tried to hide.  I actually quite liked this approach which makes the elder Germont seem less of a one-dimensional 'baddie' than I have seen portrayed in other productions.

In fact, I did wonder at times why Violetta didn't run off with Papa Germont rather than his son! That's not to say that there was anything wrong with Francesco Demuro's portrayal of Alfredo - just that I didn't really feel there was any special chemistry with Damrau and so I was less involved with the 'tragic romance' aspect on this occasion.  Demuro has a fine lyric voice well suited to this role his Alfredo was impetuous, naive and somewhat self-absorbed and selfish.  I haven't always noticed this about Alfredo before, as in other productions the emphasis can be towards the romance and the undercurrents are forgotten.  It worked well but as I said, I did begin to wonder why Violetta had fallen in love with him.

All in all it was a very satisfying performance of an old favourite.  I tweeted after the performance saying it was 'delightfully old-fashioned'.  This is not a criticism by any means although there was a touch of (deliberate?) nostalgia about the whole thing.  Interpolated high notes, all cabalettas included, sumptuous sets and costumes and end of act curtain calls made the whole things seem like a throwback to another time.  But there were also the old fashioned virtues of fantastic singing, an understandable narrative and total commitment from all involved.

As I mentioned, I'm going to see this production again with the second cast.  Ailyn Perez stars as Violetta with her husband Stephen Costello portraying Alfredo.  And if that wasn't enough there is also the attraction of Simon Keenlyside as Georgio Germont.  To say that I'm looking forward to this would be understatement indeed.

Jonas Kaufmann - Wintereisse at the Royal Opera House, 6th April 2014

Jonas Kaufmann is something of a modern-day operatic phenomenon and unarguably one of the best singers on the operatic stage today.  He also happens to be an enthusiastic proponent of the art of lieder, art songs with piano accompaniment, and it was a lieder recital which brought him back to the Royal Opera House on a wet Sunday evening in April.

Lieder is something of an acquired taste and one which I'm currently working on acquiring, so this was an ideal opportunity to catch up with my current favourite tenor and advance my knowledge and experience of lieder and of Winterreise in particular. I will freely admit up front, that I'm spectacularly unqualified to comment on the nuances of lieder, so this is not a technical review, merely impressions from someone who loves singers.  I'll admit to feeling a certain amount of apprehension as the house lights dimmed, wondering what on earth I had let myself in for!  I've been to a few recitals before but never a song-cycle in German - surely this would demand fierce concentration and musical intelligence?  Still, safe in the familiar surroundings of the Royal Opera House and with a tenor whose voice I already know and love, I was ready for anything....

....except I wasn't really for the set from Act 3 of La Traviata, which is what greeted the audience as the curtain slowly rose.  Actually this isn't as bizarre as it sounds, and the neutral and somewhat desolate set provided the perfect background for this recital about lost love and unbearable grief.

The opera house is probably far too large a venue for this sort of recital and yet it worked incredibly well...mainly due to the artistry of Kaufman and Helmut Deutsch, his long-term collaborator. Very cleverly, Kaufmann started softly, quietly, settling the audience and inviting them to listen rather than expanding his sound to fit the venue.  It worked for me as I settled in my seat and paid attention.  The surtitles helped of course, although by the end of the evening they were almost superfluous as the singer had woven such as spell that the meaning was quite clear. I was quite taken aback by the sheer tonal beauty of the voice.  I know this probably sounds ridiculous but I'd forgotten (or never realised) what a simply beautiful voice he has.  With orchestra, costumes and other peripheries stripped away it was like hearing the voice for the first time.  Recordings simply do not do him justice.  However, it has to be said, that for all the gorgeous meza-voce singing, when he occasionally let the voice off the leash, you understood why he is one of the best opera singers today.  It also occurred to me, that this was probably the first time he has sung in his own native tongue on the stage of Covent Garden.  I do hope it won't  be the last time.

I can't analyse every song but suffice to say, I was swept unerringly along towards the devastating conclusion...at least it was devastating in the hands of Kaufmann and Deutsch, so devastating in fact that the audience was left in stunned silence, hardly daring to breath, until at last, Kaufmann himself took a deep breath and came back from the brink.  Just amazing.  I may have shed a tear or two then.  I can only compare it to a similar emotional experience I had when watching Parsifal a few months ago.  Quite, quite breathtaking.  The audience finally erupted with applause, calling the pair to the stage four or five times before they were permitted to leave.  Kaufmann in particular seemed stunned and out of it for a while, although both he and Deutsch had quickly wiped away a tear on conclusion.  I know how they feel.

Reading reviews and Twitter reaction today, there seem to be several criticisms....most of audience behaviour it has to be said, but also other elements such as location, marketing ploys etc etc.  I wouldn't normally bother responding but I had such an emotional reaction to the recital that I feel moved to put forward a few comments of my own.

The following rants are my own views and not aimed at anyone in particular.

Firstly, the audience.  There has been much comment on coughing between songs.  Frankly it didn't really bother me that much - I'd much rather they coughed in the pauses, then when the singer is actually singing.  Not sure what singers think about this but I'd be interested to know.  Unfortunately, the pauses almost seem to invite a clearing of throats and I'm not sure what else can be done.  Make an announcement beforehand?  Anyway, with an audience of almost 3,000 people, it is unreasonable to expect total silence. No one around me had a coughing fit but perhaps I was lucky. Although I could have done without the hearing aid feedback at the beginning!

Location.  Yes the opera house is big, but as described above Jonas totally made it work.  Not sure what the sound was like at the back of the auditorium was like, but again I'd be interested to know.  In my experience with opera, the auditorium is usually where the best sound is.  Given Mr Kaufmann's current level of fame, I'm not sure that there is any other solution in London.  The Wigmore Hall holds around 600 at best so getting a ticket for a Kaufmann recital is virtually impossible there...unless he had a week long residency (totally impracticable given his hectic diary and I don't suppose the Wigmore's coffers can stretch to that) then I'm not sure what the solution is.  If they held more suitable recitals or orchestral concerts at ROH I'd definitely go.

Marketing.  Here's the thing.  All opera singers with a high enough public profile record an album and then tour to promote it, whether that album is opera, lieder or Mario Lanza tributes.  Not every single album, and not all the time, but like every artist of whatever genre, they've got to get out there and sell it - that's why record companies sign them up in the first place. Recent examples; Rolando Villazon, Joyce DiDonato, Joseph Calleja and yes, Jonas Kaufmann.  And the problem is?

Kaufmann Fans.  Yes, guess what, there were a lot of Kaufmann fans in the audience.  Funny that.  And yes, perhaps many of them had never been to a lieder recital before (although I'm sure a lot had).  What a great opportunity then for them to experience another facet of Kaufmann's artistry and yes, maybe even venture into exploring further. Even if only one or two go to another recital or buy a lieder CD, isn't that worth it? Isn't that a result of some sort? Rather than bemoaning the fact that its taken the appearance of Kaufmann to get them into a recital, why don't we celebrate the fact that they're here?

I could go on but I think I've ranted enough.  I was going to comment on perceived elitism and lieder but perhaps I'll leave that for another day.   Suffice to say that for the moment at least, I feel more comfortable attending a recital in the vast space of the opera house, whatever its faults, than the smaller confines of say Wigmore Hall.  Maybe one day that will change - I hope so.

Anyway, to end on a positive note, I thoroughly 'enjoyed' my first Winterreise...not quite the right word but you know what I mean. Jonas Kaufmann is currently on top vocal form, singing with gorgeous tone and musical intelligence.  Long may it continue.

The Devil Rides Out - Faust, Royal Opera, 4th April 2014

I've probably said this before but I don't normally do first nights.   I like to see the production and singers once everything is 'bedded in' as it were.  However, Since this particular first night fell on a Friday, and was one of the few dates I could actually get to see Faust, I brushed aside any hesitation and booked.

Of course, when I originally booked for this opera, Anna Netrebko was scheduled to sing Marguerite - something I looked forward too as I've not managed to catch this diva live before.  Alas, I (and countless others) were to be disappointed when she pulled out citing role incompatibility. I tend to agree with her assessment, however the late timing of this announcement left something to be desired.  A replacement was hastily arranged and luckily for us, Sonya Yoncheva, a young soprano making a name for herself,  shuffled her hectic diary and agreed to step in.

The rest of the cast was not to be sniffed at either; Joseph Calleja as Faust, Simon Keenlyside as Valentine and last but infinitely not least, Bryn Terfel as Mephistopheles.  With such a cast, you can understand why this was a highly anticipated event for the Royal Opera.

Okay, another confession.  Before this performance I'd never seen Faust on the stage before!  Yes, I know.  It seems totally shocking even to me.  Faust is one of those opera that is almost compulsory it seems - or at least to me.  Don't get me wrong, its not like I don't know the music, but somehow actually attending a live performance had seemed like something I could do another day - I didn't feel any strong compulsion to investigate the opera further.  However with this cast I really couldn't resist.

In the title role, acclaimed tenor Joseph Calleja delivered the goods with some lovely heartfelt singing and an especially good 'Salut, demeure chaste et pure.'  However, I want to like the voice more than I actually do.  I recognise it as an impressive voice but I don't love it - possibly the distinctive vibrato which marks him out from his peers is slightly too much for my personal taste.  But as I say, his is an important voice but just not one that personally appeals.  His acting is limited but on this occasion he threw himself into the action without necessarily revealing any particular insights.

Sonya Yoncheva I have encounterd twice before; once in a Domingo Operalia concert (she was a previous winner) and the next time as Musetta in La Boheme.  As Marguerite, she finally came into her own at Covent Garden.  The voice is distinctive, secure, lovely and lyrical - ideal for this role.  If her trills in the Jewel Song were a little approximate then no matter - she made up for it with a finely characterised portrayal which tugged at the heartstrings in the finale.

I like Simon Keenlyside.  A lot.  I think he is a very fine singer and actor.  However, I'm not entirely sure why he is singing Valentine.  Nostaglia?  Because there just doesn't seem enough for him to do here in comparison to the rest of the cast.  Yes his aria was nicely sung and yes he also had a very good death scene - but is that enough when there are so many other roles he could be doing? Given the stellar company in which he found himself, I also found his voice less immediately 'distinctive' than Yoncheva, Calleja and Terfel.

As yes, Terfel.  Possibly my main reason for booking to see this opera.  I have a bit of a bass-baritone thing going on at the moment and I was keen to see Bryn away from his usual diet of Wotan, Scarpia and Falstaff.

I was not disappointed.  He strides through this production like the devilish operatic colossus he is! He dominates every scene that he appears in - with force of presence and cannily managed vocal resources. According to some comments he is not as good as in younger days.  I have no idea as I never really heard him sing when he was younger, so I have nothing to compare him to.  To me he was the very embodiment of the Devil himself - probably one of the best operatic actors on the stage today.

I've not spend much time on David McVicar's production but I enjoyed it very much.  I've seen people (me included) describing it as a 'show'.  And that's exactly what it is.  There is so much going on, so many scene and costume changes, that it sometimes resembles a Broadway or West End show.  But that's not a criticism at all and this would probably be an ideal starter for the operatic novice.

Having said all of this, I now find myself wondering if I really want to see this again - I have a ticket for another performance.  This is more a reflection on the opera itself, than any criticism of the performers.  Even with such a cast, I'm not sure that seeing Faust again would give me any added insights.  Then again, the chance to see Bryn in action might just sway me!

Photographs courtesy of the Royal Opera House

Toute mon âme est là! - Werther Met HD Broadcast

After reading so many reviews and blogs and tweets about the current run of Werther at the Met Opera, needless to say I was practically champing at the bit to experience this production, if not live, then probably the next best thing.  The fact that Werther is portrayed by the 'tenor du jour' Jonas Kaufmann only added to the anticipation.  I'll try not to let this blog post descend into 'fan girl' gushing but its going to be hard!  As it happens, this was also to be my very first experience of a Met HD broadcast in the cinema which was also an intriguing prospect, so I'll expand a bit more about that aspect of my experience.

My cinema of choice was the Curzon in Mayfair, a little gem with only two screens and a world away from the large multi-screen cinemas more commonly found.  Seating just over 300 in total, the auditorium was ample without being oversized, with comfortable seats, attentive staff and a nice line in Prosecco, Chardonnay and Merlot which you could sip at your seats - very civilised indeed!  The auditorium was about three-quarters full as a guess - not bad for a 5pm start I thought.  My fellow opera fans were slightly more 'mature' than I...which is quite something given that I'm not exactly a spring chicken myself!

My once concern before the broadcast started, was the thought of the possibly overwhelming volume levels.  Don't get me wrong, I don't mind my opera loud when it needs to be, but this is Werther, and something a little more subtle is required, rather than the normal volume at cinemas which tend to rattle the walls!  Luckily my doubts about the quality of the picture and volume were soon put to one side - I couldn't really fault either, apart from a couple of little 'glitches' in the stream, but they only last for a couple of seconds.

So, to the opera itself.

I don't really have a big history with Werther.  I know the most famous tenor aria of course, but I've never seen a live performance before.  I have seen the DVD of the 2010 Paris production, also coincidentally starring Jonas Kaufmann and Sophie Koch as his Charlotte. I enjoyed the performances of both very much but the actual direction of this DVD I find annoying in the extreme.  Unfortunately the director shows us shots of the singers waiting in the wings, the back of the conductor and the orchestra and more or less kills the mood that the singers are working so hard to establish.  Bizarre.

Luckily this new production by Sir Richard Eyre was filmed in a pretty straightforward way for the broadcast.  Close-ups were more or less on-cue and appropriate, the singers always totally in character, the larger picture also lovingly detailed.  The production itself was in the traditional mould but none the worse for that.  There were a lot of projections - this seems to be a 'thing' now and I think that directors are still getting the hang of how to use and more importantly how much to use!  My recent Don Giovanni at ROH, used them a little too frequently I thought.  Here they were used sparingly but effectively, especially when they eased transition from one scene to another, the house and garden of Charlotte and her family, magically transforming into a ballroom where Charlotte and Werther dance and fall in love.  I would be interested to know how effective the projections were in the theatre as opposed to the broadcast - they certainly seemed impressive on the big screen.

This was the last performance in this particular run of Werther and I think it probably showed in the performances.  Rarely was there a moment when any of the cast were not totally committed and in character - a difficult feat to pull off when the camera is constantly on you.  And yet I believed in all of the characters - even the annoying ones!

This opera is a slow burner - there is a lot of scene-setting in Acts 1 and 2 and Sophie Koch as Charlotte paced her performance accordingly, only allowing us a glimpse into her changing emotions in Act 3 and then the ultimately tragic consequences in Act 4.  She is a believable warm presence as Charlotte, with a voice to match and an utterly convincing actress in this part.  David Bizic as her husband Albert was new to me and his voice was smooth and darkly coloured. But this is not an especially grateful singing role for a baritone, with few opportunities to shine.  Lisette Oropesa has a bright-voiced winning soprano and in the role of Sophie she is sweet without being saccharine, suggesting hidden depths and empathy with her sister's plight.

But let's face facts here - Werther is all about the tenor.  And when the tenor is Jonas Kaufmann you can be sure you are in for an emotional roller coaster ride.  The voice of course is wonderful, perhaps darker and more burnished than before, which is unusual itself when this role has traditionally been sung by the likes of Alfredo Kraus, Nicolai Gedda and more recently Roberto Alagna.  Kaufmann makes it work though, his darker tones suggesting a more brooding presence from the start. But its not just the voice - wonderful as that was - its the full commitment to the role that impresses.

The final act is a master-class in acting from both singers as Werther commits suicide (quite graphically here) and Charlotte arrives too late to save him - but not too late to comfort him and finally admit her love.  There were moments here when I was quite literally holding my breath.  And, strange as it sounds, there were also moments when I actually forgot that they were singing and everything was just the drama being played out. That for me is the ultimate in operatic acting.

So for me, my first Met Live HD experience was a thrilling one and one I'm definitely going to repeat at some stage.  No it can't replace the special thrill of being in the opera house and hearing singers live, but when that's just not possible then this is the next best thing.