Ariodante at Drottningholm, round 2

Not having yet enough, we returned for round two last night. The weather has been so gorgeous here we decided to walk across the bridge to enjoy the scenery and breeze instead of being snuffed in the bus. This post is not really a post, just more random thoughts on horns, Ginevra, Ariodante, the staging, and perhaps the meaning of “life” 🙂 .


The first great news is of the announcement of a radio broadcast, i believe on 17/Aug. And more importantly, the radio bus was here! which means the broadcast will be of last night performance, unless they recorded twice to gauge the sound? With all the mics set up (at the front, as well as mounted on nearly all instruments in the pit) everyone brought their A-game. To our relief, the row just in front was empty of 2 seats, and with us sitting behind some really tall Swedes, we decisively upgraded just as the ushers closed the doors. And look who we found right opposite ❤ (more later)..

I can’t say I understand more the staging. If anything, I now know where to put my focus, and on this day it was to see if I could understand Ariodante’s story better as well as that of Dalinda’s. I can’t tell if it’s the switching of side that resulted in us hearing Ann Hallenberg’s better (?), but it was a very clear case that she was in top form. Hearing her really made me appreciate how wonderful a human voice can be, as well as marvel what it (she) can do.
I’m no closer to figuring out what/who Ariodante is, but made a decision last night that I don’t care. With that level of pulsative joy and argony being expressed live, let us live and enjoy life! And as a lover of dancing, i confess all dancers were completely overlooked last night when Ariodante and/or Ginevra were on stage! Beside their symbolic oppression in association with Ginevra, I find them superfluous and at times a distraction. But why distraction in the first place? Because again we do not understand the staging very well, except again when it comes to Ginevra. With the radio mic placed up front, i find any flow/hint to the staging were squashed as often the singers, most noticeably the male singers, planted in front and sang statically, and a lot of ornamentations were added at the expense of drama.

No new info can be extracted for Dalinda’s storyline either (from me). My original theory of the staging with puppets being pulled around (by Polinesso as Degghi observed) in the first Act.. and supposedly gone by the 3rd when everyone was bare.. was smashed.. because Dalinda was still in her jerky motion all through 2nd and 3rd Acts. Thus it becomes a little bit of a “concert” performance. AHHH, i think i might have gotten it! especially now that I recall seeing Dalinda, after singing the duet with Lurcanio, simply got up and walked out the door where the bright light entered: The story is sort of like in that movie “Dark City” (in case you haven’t seen, one of my favs) , where humans were being pulled on strings by the aliens who had invaded the earth and used them (humans) for memory experiment to understand certain level of emotions they can not achieve. The entire movie is in the dark as each day humans’ memory were swapped and allowed to wake up only at night to interact with total strangers who were suddenly now their family members.. and in the final scene, after a battle and conscience discussion, a ray of light finally emerged on the horizon and with it humans can be themselves again:

In this setting, even those black-body dancers can be put into context, as they were indeed the one pulling strings, and embedded within them the “made up story” where humans would further inflict pains among themselves, with Ginevra being the chosen victim? Here Ariodante could be seen as traveling somewhat in “parallel” to Ginevra existence (hence they never touched) , with some close encounters (their wonderful duets) and supposed pains felt by Ariodante through “Scherza infida”? Anyhow, I’m definitely thinking a bit too much into this, as you can clearly see how confused we are with this staging..

In any case, I can now tell you definitively which section in the opera has horn in it! WONDERFUL horns. The poor king and his famous “Voli colla sua la tromba” was in no contest as the horns had my/our FULL attention. Suuuuuuuuuch a lazy (in the best complimentary way) sound, the kind you feel warm in the heart and know it can never overwhelm your hearing except to compliment ❤ ❤ ❤ . If you don't know how serious the 2nd Act is yet, now you do: Händel removed all horns until the 3rd Act. They joined in again both to signify the triumph of Ginevra (when she is finally awaken and let out), as well as complimenting the final chorus, alternating between the dual voices of Ginevra and Ariodante and the rest.

Finally, let us (me) discuss more about Ginevra and her music! Ever since the first live performance I heard in London a couple years ago, I've gained an appreciation for the music (it really requires an investigation because on sound alone you might exclaim “oh no, not another sad section!”). This has allowed me to fully hear how Roberta Mameli brought it to life. I must repeat again the way she delivers the recitative gives me such a tremendous joy of feeling connected to the music and rhythm. As you might have known, I don't speak many other languages typically sung in operas. and can't read music. What this means is apparently i can "hear" what is communicated only via the weighting and shaping of the musical phrasing rather than perfectly pronounced words in whichever language. And it is truly a simple joy of being able to hear these types of phrasings, as they connect the dots and allow you to understand the characters without wrestling for 5000 words trying to figure out what they are singing about.. Mixing with this was her commitment to the acting to make Ginevra's story very believable: for nearly 30 min starting with her first appearance in Act 2 trapped amongst wire and dark pulling hands and hunched down behind the curtain fighting to launch forward (away from puppet pulling?), to the end of the delirium (end of Act 2, end of fighting with the dark force in bed), it was SERIOUS wrestling! We were exhausted just from watching (and curious how she managed the physical demand). And in between delivering "Il mio crudel martoro" with full force? FULL OF RESPECT! (Händel really made it hard for the sopranos here, with the countless "morte, dove sei tu" (at least 10x?? I think even more)..

Anyhow, I'd like to cap this endless rambling off by offering Ginevra's last two short arias (her first three were serious dark mood). I liked them a lot also for their change of pace. Here is the 2nd to last which, as she struggled in isolation (mentally and physically), the mood change gives her an outlet with the full orchestra (vicious violin) in behind in support!

Così mi lascia il padre? Oh cor, stà forte!
il minor de’ miei mali è sol la morte.

Sì, morrò; ma l’onor mio meco, oh! Dio!
Morir dovrà? Giusto Ciel, deh, pietà
del reggio onor!

And the last one, truly sorrowful recit 😥 , followed by triumphant horns (wonderful exchange of smile with our horn players as they stood up for this!)

Da dubbia infausta sorte,
quanto pender degg’io
incerta tra la vita, e tra la morte, senza conforto,
abbandonata e sola?
chi mi soccorre, oh Dei! chi mi consola?

Manca, oh Dei! la mia costanza,
mentre ha fine il mio dolor!
Nè mi resta la speranza di morir…

So, that’s a wrap to this session of rambling! Below is the quite-up-close curtain call. I might not get to the next, but if i do, we might explore Ginevra’s music some more! The rain has stopped, the sun has come out, it’s time to explore Stockholm again! Until next time.

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Ariodante at Drottningholm, 5/Aug/2019


After missing out on hearing Roberta Mameli live earlier this year as Aminta (I was in europe at that time! could have taken a flight to Venice! sigh) and Vitellia a month later, I was quite excited to finally catch her in this tour-de-force role Ginevra. As I might have mentioned a couple of years ago, Ariodante is, in my opinion, quite more a challenging piece than Händel’s other famous works, especially that notorious 2nd Act bridging into half of the 3rd Act where you need singers with descriptive vocal expressions (and a good conductor) to sustain the tension.

Händel Ariodante
Drottningholms Slottsteater
Ariodante: Ann Hallenberg
Ginevra: Roberta Mameli
Dalinda: Francesca Aspromonte
Polinesso: Christophe Dumaux
King of Scotland: Johannes Weisser
Lurcanio:Martin Vanberg
Edoardo: Olof Lilja
Ian Page, conducting the Drottningholm Theatre Orchestra

We (Dehggi and I) were greeted with superb weather as we arrived several hours early thinking it would have been a long trip like going to Glyndebourne. The first stop was of course to scout out the theater before enjoying the surroundings.

But finally it was time! And Ian Page got us started with a refreshing sound from the orchestra. That overture has a lot of mood, if you ever have a chance to just sit through it a few time on repeat! But sure sure, I was already distracted with singers and dancers right in front of us (the teater is really intimate and small, enough for you to hear the singers taking deep breath prior to attacking the next phrase). My first impression, as Ginevra being the first character to sing, was how lovely warm and yet solid, earthly, and focus Roberta Mameli’s sound is. Hearing live up close it’s quite more warm and dynamic than in either stream/radio broadcasts or recording. I have heard her live before of course as Alinda in L’incoronazione di Dario, but I think that role is not offering as much dynamic as Ginevra’s.

We are still trying to understand the staging: full costumes and jerky motions (being puppets pulled on strings) in the first, onto peeling off more layers in 2nd Act (wigs off) , to fully in boxers and underwear (bare?) in the 3rd. What truly works at ALL times though is Ginevra duetting with Ariodante. We were really in for a treat as to how Ann Hallenberg’s and Mameli’s voices meshed and intertwined, phrase by phrase, wonderful volume and finer detail adjustments to fit into each other like gloves, really a marvel to hear up close ❤ .

Ann Hallenberg and Roberta Mameli. ©Mats Backer

One often comes to Ariodante for Ariodante’s music. But to me, this staging builds it into a Ginevra’s story. And why not? Her story is often never told, such that for the longest time I wonder what the problem was with all the whining and lament that one has to prepare for once the cheery music in Act 1 finished. And often one does not come to Ariodante for Ginevra (?) .. As a refresher, the guys overheard that Ginevra was going to cheat, then saw through some blurry fence of someone looking like Ginevra flirting with Polinesso. No-one bothered to ask Ginevra herself any questions, it was decided she was an “impudica” (whore, as the translation goes in that Ariodante I saw at the London Händel’s festival 2 years ago). She was immediately condemned to imprisonment (death?) suffered in isolation and darkness, through internal turmoil and hallucination (and even self reconciliation that she forgave those who had wronged her). On the outside, they went on and on making decisions without her, and at the end, just opened the door for release without explanation! And there she’s to be very happy and grateful to be exonerated and resume her happy time with Ariodante…

With the exception in Aix, Dehggi and I discussed that none of the stagings come close to depicting Ginevra’s plight. So I’m happy to see one putting the injustice in more focus. I feel very lucky to have Roberta Mameli as the central character here, as she was fully committed in the acting and able to sustain the tension in the music throughout the entire last two acts. The most effective scene that leaves a long lasting image is “il mio crudel martoro”:

Roberta Mameli as Ginevra. ©Mats Backer

when upon being accused, Ginevra collapsed onto the ground uttering the word “impudica!”, convulsed, and overcome by “darkness” as dancers dressing in black surrounded and carried her into isolation. There a tiny bed, signifying perhaps conformity, is awaiting. She was to lie nicely and smily in it, any hint of struggle was addressed by the mass of shadowy bodies pulling her arms and legs, walling her in, and sitting on her if needed, to straighten her out and force a serene smile and calm expression as per snow-white lying in the casket. Quite tragically effective.

Vocally, her voice was a delight to the ears. Ginevra’s music can potentially tempt over-emoting in combination with over-acting to bring out her suffering. Not in this case. I think already by the end of the 1st act I was looking forward to hearing Ginevra’s music being expressed by Mameli. Her voice is extremely descriptive, with slight varying in dynamics, colors, texture, and many places of pulling into piano to balance out sections of forte, one feels the journey of the character instead of hearing a singer portraying it. Such a delight I find myself smiling on the inside at the arrival of the sound 😇 .

Yes, there’s Ariodante! sung by Ann Hallenberg!! You know the last time i heard her live up close her wizardry left me so intoxicated I left my work laptop at Carnegie Hall?! (that was a panic..) I think with Hallenberg, you can only just smile when the sound arrives at your ears. What I found puzzling was the staging putting her way in the back, simply criminal. There’s no story really to tell from back there that can’t be told from closer to the front!!! Especially when the difference is huge when it comes to sound projection! (ok, we’re VERY greedy, we ended up in 2nd row and if you get to experience her sound at that distance you ALWAYS want it at that!! but it’s true there’s a significant change in sound projection for all singers when they were put way in the back..). Character-wise, I’m still unsure what to make of Ariodante. Ok, the character is a bit of an airhead (by our feminist standard?).. what with not asking your beloved directly but trusting some shady characters and making foolish decisions committing suicide (geez) only to come back and acting like nothing had ever happened to Ginevra (boiling..). In this staging, Ariodante came as noble as ever in the first act (gosh, that duet is drooling in its deliciousness) and the music (Con l’ali di costanza) flowed with joys (especially to our ears). The tension for “Scherza infida” was somehow not quite built right.. I wonder if it has to do again with the orchestra right in front of us and Ann Hallenberg being way in the back and the sound balance is just not right.. I’ll check it again today.. but yes, I think if the recitative leading into it is along with the leading music not creating a good balance, it can be difficult to sustain the emotion through the aria.. It is through this, perhaps peeling the pride off oneself?, that Ariodante slowly removed the “costume”.. Ah, I might have got it: then when (s)he came back from the attempted suicide, now cleansed (?), the last layer of clothes are removed and Ariodante is bare? It could have been now at the bare level they (all characters) can just communicate to each other directly and skip the pretentious formality? I’ll have to report again how “Cieca notte” fit in, because by the time “Dopo notte” came around Ginevra was still lying in isolation (right in front of us 🙂 ) and everything was somewhat in disarray…

I can’t remember yet whether the backdoor of the stage finally opened to let all light in during Dopo notte or after Ginevra has woken up and saw the light at the end of the tunnel.. But yes, apparently the door opened, and many characters now headed toward the back as if to have finally the cage-door released and they could escape? Ginevra very much wanted to leave, but her multiple attempts (through “Bramo aver mille cori” and the final chorus) to “will” Ariodante to come with her was faced with hesitation. She left through the door at the end while Ariodante still lingered, perhaps in the only conformed world (s)he had ever known?

Yes, I know, this is getting to be a very long ramble.. but Dalinda! First, I will have to get used to hearing her in such a voice size of Francesca Aspromonte.. I have heard her (Aspromonte) live twice before, as Angelica in the Venice’s Orlando (that was a discovery, super love her vocal expression instantly) and as the full-of-swagger Alceste in Halle (do check out that photo!!) which I absolutely loved. But perhaps I’m so used to hear Dalinda through singers with slender voices (?) that the brain is still adjusting.. will sort it (brain) out again on the next performance. The jerkiness of her movements (part of the staging) is still quite a confuse for me.. I can’t tell if Dalinda the character was left room to develop in this staging.. The strongest impression I had was when she took Ginevra’s wig to give to Polinesso (and expecting returned affection for doing what Polinesso had asked) and got the wig thrown directly back in her face (on the floor, not face), and at that moment she had realized it was a scam to both her heart and that of Ginevra (that moment supposedly Paul (or whichever apostle) had after lying about/to Jesus and got 3 coins thrown at his feet?).

As for Polinesso, as you might (or not) have known, I knew of this character through many beloved contraltos, and missed terribly the low notes.. In my opinion, the missing of the low notes translates to missing half of the character, specifically the half that can do seductive phrasing with tremendous warmth.. Left with the high-end I think the character becomes a tiring one-dimension, which seems to be the trend in the recent monopolizing of the role through what i find as gender-stuck casting.. (semi done ranting..)

ok, this post has gotten VERY long.. let me just wrap it up.. sorry, i don’t yet have impressions on Lurcanio or the King of Scotland… hey, one has only so much in one’s attention span! And they don’t get a lot of points for treating Ginevra so terribly.. But hopefully more to come after my second round!

ps- oh jes, the “technology”! I absolutely loved the “low tech” aspect of it.. reminded me a lot of what they did with Orlando in Venice: you don’t need very expensive special effects as the brain is fully capable of extrapolate and put oneself immediately into the “sea” or “forest” with just some changes .. we were curious about the material, but judging by this cute goat, i think they were/are made of wood!

Juditha Triumphans at Carnegie Hall, 7/Feb/2017

Silke Gäng, Francesca Ascioti, Delphine Galou, Mary Ellen Nesi, Ann Hallenberg

Yeah i know, this is 7 months late.. and memory is fading, and I didn’t take any notes, so this is all from memory, likely in bullet point format. But I wanted to write about it to perhaps self analyze what exactly one hears. And a warning: this will likly turn into an Ann Hallenberg swooning post. In fact, so much swooning that we (Stray and I) spontaneously made friend with (a very surely White SHirt) friend who was sandwiched between our seats and had to hear our opinions hurling back and forth, and proceeded to discuss with said friend and her other friend for more than 1 hour after the concert.. and it wasn’t until near midnight that I realized I *forgot* my laptop at Carnegie Hall coat check stall, with a flight out at 5am the next morning… That was an interesting experience trying to break into the hall*. But let’s get to the concert.

Tuesday 7/Feb/2017, Carnegie Hall
Venice Baroque Orchestra
Andrea Marcon, Music Director and Conductor
Delphine Galou, Contralto (Juditha)
Mary-Ellen Nesi, Mezzo-Soprano (Holofernes)
Ann Hallenberg, Mezzo-Soprano (Vagaus)
Francesca Ascioti, Contralto (Ozias)
Silke Gäng, Mezzo-Soprano (Abra)
TENET (female chorus)

Edit: This is part of a series, with Dehggi’s take at the Barbican here, and Anik’s take at theater an der Wien here.

Am not sure why they scheduled it on a Tuesday evening, which made trips from out of town very difficult to arrange without possibly losing nearly 2 days of work. But yes, Tuesday evening. Which means yours truly already arrived to the concert hall after some crazy-early-hour flight and fighting through NY metro signs to navigate into Manhattan. The absolute best thing for these kinds of hectic planning is to meet up with fellow equally (or even more?) enthusiastic fan/friend (Stray), who can immediately chill you down and talk real business (singers swooning, for their voices of course.. ). We booked a little bit late way back last year and got tickets on the extreme right side *behind* the singers. The only thing i could say was great was we got a superb view of Ann Hallenberg boots, and wonderful manteau, and swagger. Also on our side was Mary-Ellen Nesi’s swaggering Holofernes. Oh, and a nice view of the Theorbo ensemble!

First up, the Venice Baroque Orchestra (and Andrea Marcon). You know this immense feeling you sometimes have when things are just so *right* your inner cells are dancing with joys and your (missing) apple are coming up in your throat? That’s the feeling I got hearing the VBO playing Juditha. Those who have read my blog in the past might recall my first traumatic Juditha experience. Enough for me to sit there in Carnegie Hall thinking: “jeah, this, they know what they’re doing! They “feel” the flow, it’s in their beings. They Jive with it, they live it, they toss each other little phrases, challenge each other with an extra dose of energy and strumming, jeah, take that, you return something better! wink. .” And they smile widely while being challenged and together bring forth the music. I think there’s a huge difference between having “baroque” in your blood (drink?) versus “following” instruction on what one is supposed to do… And Andrea Marcon conducting Juditha? it’s like water flowing: no matter the course, water will “naturally” meander and flow downhill after trickling in every little extra corner to explore if such space has a path forward. And the contrast between this and having the feeling “why is this conductor forcing the water to go up this uniform ramp, across these strange steps? why are these steps chosen? was it because the conductor thought: hmm, not sure where this is going, let me draw up some steps, and tell my troupe to follow me”.. Enough dig, but yeah. SWOONING. (But a small note, as you can see by our seats, we were *behind* the orchestra. The sound was not good. Carnegie Hall is huge, and likely the stage too I think. Such that a small band like the VBO fitted tightly at the center and seats to the side will not get the warm baroque/focus sound. After intermission i climbed my way 5 seats in and that was what needed to catch Ann Hallenberg at her best.)

Onto the singers. Juditha the role I think is quite a difficult one. If you have a voice with enough colors perhaps you can shade her various (altogether rather somber) moods well? This was the first time I heard D. Galou live, and she has the disadvantage of being on the very far side at almost a 15-20 deg angle to my seat, with her voice projecting out at 90deg angle.

I might have mentioned D.Galou’s narrow-beam focus (to my ears) elsewhere. And admittedly at this extremely unfavorably angle, I’d also say somehow her color is quite uniform. Enough such that at times I did scratch my head thinking “hmm.. Juditha music is long”. I think for this type of music, this particular role, you really need someone who can shape things in 3-D (Please wait patiently, i might have more hand-drawn pix for Ann Hallenberg vocal shaping.). M.-E. Nesi was closer to us. Also, I think her voice is “warmer” and is a bit more in volume than Galou’s. But still a little bit on the similar-in-color-throughout family. Hearing both of them, I kept thinking of the voice tone being trapped inside a circular steel pipe that could not go beyond that narrow solid boundary to add more dynamics, colors, and texture (More precisely: that my ears need that wall to be more like cloth/bamboo, not steel). In any case, beyond all that.. what was suuuuuuuuuuuper enjoyable was how D.Galou joiceously (i made that word up) scaled up and down Juditha’s music without *any* hinderance. AAHHHHHH the beauty of having a contralto singing this role ❤ . She and M.-L. Nesi’s Holofernes also had a nice exchange with the champagne glasses. Too cute.

Apology for not many words about Silke Gäng’s Abras.. she did not leave me with much impression.. But Francesca Ascioti!!! JEAH!! She has the “authority” in the tone. First, a mention about the role itself (let’s listen to R.Basso while we check out the fuss about heft and the role as I type):

Feel the scowling? the growling? and in the marching sound in the music? jeah! I don’t care about technique at this point (not that I know any), but what I absolutely loved was Ascioti’s authority in tone and the feeling “she means what she’s singing”. I did wonder about having her as Juditha, whether the role might be too low for her? but I responded much better to her dynamics than to both the two prior mentioned singers. Altogether though, sorry to sound like i’m whining, because it’s nonsense. It was a GREAT evening in the presence of this level of deep female voice. ❤ ❤ ❤ .

Then Ann Hallenberg stepped up. I’ve only heard her in recording on youtube before.. I am telling you, there is NO preparation for hearing her live in this Vagaus role. Actually I’m very convinced I’d greatly enjoyed her in the role of Juditha too, or Holofernes. Let me resort to my hand-drawn pix again, for an attempt to demonstrate how her vocal expression blossomed / exploded / flourished in my brain. No, actually, let’s go with this image I found on the net:

Ann Hallenberg’s sound wave and dynamics, as registered in thadieu’s brain. © unknown

Or here’s another screen cap of my search on the internet. Because it seems that’s what my brain was responding to her incoming sound. Post concert, Stray and I sat there asking out-loud: how did she do it? HOW?? Let me attempt with some hand-waving words.. First, the dynamical range, and the speed at which she can do it: Range: ppp to fff. speed: ranging from an explosion to a steady ramping up, and same in reverse. I think there are few occasions in music where you need to have this “tool” to express. I know i talk about ACA a lot, but it is also this tool, a burst/pull of it, *just* at the right time, to convey the *exact* milisecond of a reaction. Also: color. I think a voice with a “ping” as an asset can be very effective for this kind of “explosion”. Like that which should be used in Ostinati (e tal sarà) in Romeo’s entrance aria. Let it rip as I think of it. It should be used very rarely, but have it at one’s disposal. This is different than when such tools are not accessible to one’s voice, and the singer might then utilize a different approach to the phrasing for that moment, for a different effect in the listener’s brain. And then, the rest: just the technique (now you hear comparison to how i heard M.Papatanasiu in Alcina, the things that she did, which I always thought you just do it, like how VK had done it for decades.. but it was explained to me it’s technique. And know when to use it.) Ann Hallenberg’s voice is not the most powerful. I mean as far as categories go, I suspect she fits in the “thinner” side as we might box? But that is the basis. What is available at her disposal was this tremendous bag of assets. Just listening to her recit alone was an experience. Actually, one can compare a little bit hers to the recent brain-opening experience I had listening to Alice Coote’s Vitellia phrasing. If anything, besides all that have been described, I’d say for me Alice Coote has more “heft” in her toolbox and because of that she can pull more shades if/when needed. Something a more thinner voice wouldn’t be able to pull through because there’s not enough heft to begin with to scale back.

Anyway, her Umbrae Carae was a hypnotizing display at expert level. I thought of attempting to do something about the sound intake but selfishly opted for just letting the jaw dropped and experienced that live moment. Sadly there wasn’t enough of her fans in the hall to capture the piece, sigh. So you’ll just have to take my words for it. and Here’s the rest of the photos, and a tiny curtain call video:

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boots!

more boots!

Galou’s smile

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* if you forget things at Carnegie hall in the middle of the night and desperately need to gain access, don’t try to climb on the gate, go behind the hall, next to the dumpster, there is a security door. It’s locked, but knock on it, there is someone sitting there 24hr/7days to help you out. Many thanks to Stray who was accommodating me on my trek back and strange attempts at midnight to gain access.. I was also secretly hoping to catch Ann Hallenberg coming out at that hour 🙂 .

music for working afternoon

Update:
excerpt, for (me) download to phone for listening while commuting:

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click on image to go to bbc radio 3 radio broadcast

screencaps for the weekend

Ann Hallenberg (Arsace), Myrtò Papatanasiu (Semiramide), Vlaamse Opera, Dec 2010--Jan 2011

Ann Hallenberg (Arsace), Myrtò Papatanasiu (Semiramide), Vlaamse Opera, Dec 2010–Jan 2011

There are reasons to not know the story when listening to operas! Now that my (dreaming) bubbles have been bursted, I’m quite pissed at the ridiculous storyline that prevents these caps from having meaningful effect.. you can check out the story of Rossini’s Semiramide if desire.. or just go with the flow here.. I must admit i’m very impressed with M.Papatanasiu’s phrasing in this, as well as her acting. After scanning the first round a few days ago I thought it was the proper time to re-acquaint the ears with the power-house. WOW! talk about bringing the haus down! Ewa Podles! But while I have been a (secret) admirer of Darina Takova’s singing since that gorgeous Amenaide in Tancredi, here i thought somehow she left me out cold… (i even re-listened a couple of times to make sure i didn’t miss it…) and that brings us to this duet! The difference in this live recording (A.Hallenberg and MP) compared to that one with Takova and Podles (same conductor, same haus!) I think, among other things, is the pace: with the power-house singing the music was significantly more robust. In this one it’s very interesting to hear how much more details but much less showcasing of the voice: one would be tempted to just ignore the “Rossini’s (flashy) effect” because it’s more about the drama (it is showcasing but in a different way, here, see if you can hear the difference both in the orchestra and in the singing details in A.Hallenberg’s version of the same aria E.Podles sang). I must admit I came in quite skeptical of MP’s singing of this role (not that I know it at all, but I was not sure if she has the heft, the high sustained notes exposed to little orchestration, the coloratura…). What is most pleasant to discover is that Semiramide’s music is quite low (I think! compared to Mozart) and thus she shines with her strong low notes as well as with some impressive long legato lines where her musical phrasing came through wonderfully. On 2nd round of listening I also enjoyed A.Hallenberg’s detailed singing much more (after blocking out the powerhouse Rossini’s aspect…), and their voices mesh very lovely in this duet (ahh.. one can only dream..madre=[step-]mother)

Arsace-Semiramide

In any case, here’s one last cap for “my” night. And a review that really says it much clearer than what I wrote here. Too bad A.Hallenberg was not present for that reviewed performance. So there, Semiramide, I’ll listen again when up. Oh, and I’m still searching for her Iphigénie, and accidentally ran into this fb post instead: that’s what it takes to achieve “diva” status in the US, by simply asking for the most basic thing 😀 . I’m impressed she managed it though, and I’d have come to hear her Traviata just because the AC was off! It’s not easy to pull that off in the US!
Arsace_Semiramide02

monday music

oy, i actually woke up for a 9am class which i should have known about at the _beginning_ of semester… class was superb, and even more superb is this, yay

also, as i posted over at anik’s, there was a broadcast which i saw last week but missed, but can be re-listened to here. head over to Anik’s for looooovely photos + analysis of the performance.

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ps- since the embedding is disabled, while you’re on that YT-ber’s channel, there’s also Anna Bonitatibus in that same concert… and of course we remember Bonitatibus and VK in _that_ other agrippina…