currently, in Madrid

can we hope for a tv stream?
(ps- oh, that’s Ivor Bolton conducting)

Edit: a photo set.

background ramblings

It’s been an unsettling time.. One of those moods where one feels realizes (again) being able to go into hiding implies you do have the luxury to do so, while others are being actively oppressed/hurt. On a closer to heart front (i feel a rant coming..), have the patience to see Antonacci portraying this mad woman will you? (time-tag 7m58s). Do you think Antonacci is this woman? is Antonacci mad? Is it that difficult to see an artist’s “realistic” and effective portrayal is a reflection of their craft but not an announcement this is who they are? Isn’t it clear their moving “performance” is not an invitation to freely project and suddenly “identify” with them and think they’re the answer to your life? I find it troublesome some people cannot seem to distinguish between a performance/writing/painting and the artist’s private personal space/life. Actually it must be quite frightening for an artist who has to perform in public, if that is something they suddenly have to worry about, instead of just focussing on their well beings and effective methods to communicate their arts. I think both V.Kasarova and S.Mingardo had in separate interviews (yay, i found S.Mingardo’s insightful Polish interview!!) talking about the needs to “unplug” from the stage, to define the clear line between “online” versus offline. Whatever people “project” on them based on their portrayals… well, it’s fantasy, that is all. there. random rant is over….

Sorry, i’ve been in a mood, blame it on the upcoming (or past already?!) eclipse, and current sad news. The purpose of this post is, actually, to retreat into a little safe place to enjoy this wonderful interview with Nathalie Stutzmann. I think being a female conductor she has through the years, as with E.Haïm, being asked a lot about it… What I like about this one is that it’s much more about her back story. I was hoping it was longer! quite fun to hear about her “incognito” audition for a conductor job 😀 😀 . And she discovered Mozart Mass in C from a cassette tape. Hey, i discovered Beethoven 9th Choral (and my entrance into classical music) from a cassette tape too! 🙂

That was also the time i accidentally found myself in Bergen!! and dragged a whole team to hear the concert :-). There is also this super short interview. What I liked from that was, according to my ears, she puts the “rock” into Bach. Quite fun. At first I wondered if I should check out this interview or not.. and 1 bar into the music, i was hooked! Think i have this whole concert (radio) saved somewhere as well… perhaps it’s time to dig it up while remain a little bit more in hiding away from the real world (as she said). Just a tiny bit more, to recharge.

Antonacci video broadcast alert

(Edit: just update to the correct link..)
Rai5 HD TV is making their last night broadcast of Anna Caterina Antonacci’s performance of La Voix Humaine in Bologna last month available to all international viewers! Yay! I don’t know for how long…
(now have in my drawer 🙂 ).

music for the working night

Since getting back from San Francisco, I have had a new appreciation for Anna Caterina Antonacci’s singing, if you can believe that. Anik was very nice to point out a tribute Parterre wrote up on the occasion of her appearance in SF this year.. which prompted me to dig up this spectacularly intriguing program (the same one in the tribute above) that i really wish she would sing more often. More importantly, I *did* sit through Gluck’s Armide in Wien last October, though admittedly still quite jet-lagged and not knowing the story at all. But of course this curated show did nothing but further stirred my interest..

I already was aware of the existence of various clips on youtube of ACA singing the role to great acclaim back in 1996 and 1999.. There’s also the entire version on youtube (just audio), though I’m afraid per usual, somehow during the processing, the poster damaged the quality of the audio, I suspect… Major ringing + headache inducing.. But no fear! I’ve just found a SUPBERB audio version, wav format, of the entire thing. So, here it is, a clip, the music to finally start the morning of (more) paper writing.

La chaine de l’Hymen m’étonne,
Je crains, je crains ses plus aimables noeuds:
Ah! qu’un coeur devient malheureux
Quand la liberté l’abandonne!


(ps- on the note of SF, she gave two really nice interviews with them. The first, hilarious comments on actresses versus singers 🙂 , and the second providing more info on her background. I’m beginning to love San Francisco more and more.)
(ps2- yes, the Juditha Triumphans write up *will* come, _after_ i finish these 2 manuscripts + 1 final project report + 1 review + 2 proposal edits…, because they must be done prior to me heading off to see more contraltos.. )

stunning Anna Caterina Antonacci in San Francisco

stunning! that was the first word out of my mouth as the light shut and applause rolled in. I don’t get how there are no 3rd and 4th calls.. In any case, I would have loved to linger a bit longer just to soak in the experience, but there was no time to waste thanks to a flight waiting. I have been debating the title of this post, but it’s not just “La Voix humaine” but the *entire* evening was captivating, so it fits this way. Today I showed up alone, which strangely enough I quite prefer. It’s one of those evenings you want to take the time to let things sink in. Something bugged me about the previous outing: ACA sang and phrased and I got lost in the words.  To ensure that wouldn’t happen again, I *studied* the text dear reader. I *memorized* them 🙂 . No no, not word by word, there’s not point to taht. But big picture, small picture, a whole phrase, how it fits in in context to the entire poem / piece. Yep. It helped that it’s in French (and not German), and that I had already sat through the show once, so I knew where i got tripped/entangled with words last time.

First off: as some of you said, especially for art songs, I don’t think everything is in just the music. So I studied more carefully the Berlioz’s and Debussy’s pieces (before my brain got saturated with text 😀 ). Second: the arc of the sentence/story helps tremendously with the brain intake because you know it is not about this word or that or this emphasis or that, but rather where it sits in context and thus where we are along in the journey, and where we’re heading to. I’m a big-picture person! How much does one benefit from it? Ahh, the reward of hearing the fine fine fine details in Antonacci’s phrasing ❤ . The sudden pull into quietness as Ophélie “tombe…” , as an exemplified sample. Thanks to dedicating time studying the text, I can also confess now to loving Berlioz’s “La mort d’Ophélie” the music. Though very short, it’s got several “scenes” to it (like how “La Mort de Cléopâtre” has). I love the middle “Ah!” (very prolonged), and i love the final “Ah!”  It’s so nice to discover this, however short it is.  Yes, it was there last time, but I didn’t catch on to its various mood change so got lost in where the piece starts and ends and what it was about. Let me look if she has sung it elsewhere.. ahhh, voilà! and there’s a version with orchestra! and score.

Onto Debussy! I have it sorted out: I like “La Flûte de Pan” the best, followed by “Le tombeau des Naïdes”, while there’s still too many things sitting uncomfortably in the inner body with “La chevelure”. What do I remember from these? Actually just the small details in her phrasing.. but perhaps I was still under the spell of Berlioz.. I mean, she came out of the gate with this avalanche of gorgeous warm voice coming at you… and Poulenc’s “La fraîcheur et le feu” song cycle, just more phrasing.. though I didn’t study the text as much. But yes, one particular note: the phrasing of the actual poem “La fraîcheur et le feu”, the contrast in her voice intensity between the word “fraîcheur” and “FEU”! There were more fine details, but it’s not useful to list them in a list really, just the joy of *hearing” the shape of the sentence/block.

Intermission rolled around. This time, I purposely stayed off just on own to observe the setting of the stage. As I arrived with my backpack (laptop + clothes + stuff) I chose not to sit front row and possibly distracting ACA. Though in hindsight it would have been quite an experience. No matter, I sat 3rd row, which was *really* close. What is the difference today compared to Saturday? It feels as if we’re *inside* her (“Elle”) apartment. We watched intently as she paced the place, circling her table, kneeling on floor.. Since I spent the weekend listening a few more times to “La Voix humaine” from Wigmore Hall, I noticed a few things: that she (ACA) paused often. There was “space” to the piece. It has moments of pondering, moment of rushing, of climax, of resignation.. I was wondering if by hearing only (no visuals) one could absorb these but in real life it was all a bit too much coming at once? Regardless, it felt like today ACA took much more time. There was quite more prolonged pauses (to hear the other side), of softer singings in moment.. of less desperation during a couple of the interuptions of the line.. There was at one point I myself even lost track of where I was, and wonder what had happened to the flow.. But soon everything came together! It can not climax without moments of pauses: one can not be frantic the entire time because at some point that particular emotion is overused / saturated and we don’t get the difference between *more* intense versus *high* intense moments. Here, because time was slowing down as the conversation got started, I really saw how everything developed slowly. This evening, she (“Elle”) started out almost in a mood of “whatever, i no longer care” . But soon she’s drawn in again to her own desperation and began to repeat the things that got her into this obsessive mess (something about as we keep repeating, we become). It hadn’t occurred to me until tonight that she did indeed hung up the phone after saying “bon soir”, but the other side called her back! One could ask why is the other party kept feeding her this unhealthy cycle. But of course one can see a decent human being perhaps is indeed concerned what the other person might do, feels guilty, and calls back. And yet this is how the cycle continues to no ends.

I must repeat again how much the piano plays such an important role in changing the mood. This whole piece is full of monologues, but there were very few places where there’s a full music line which Antonacci shaped GORGEOUSLY with the piano leading the way. If you listen on the radio link, you can spot them easily.  I might come back and highlight a few to get us all who wants to explore started.  It did occur to me sitting there that I could listen to ACA sings this more than 10 times, and by the 10th I’m sure i’d get the shape of this piece all mapped out. One could feel the pace increasing as the intensity ramped up to its max.. to the final “Je t’aime” in plain deep voice to no music. Elle is left holding the phone as the last note from the piano arrived, lights out.

I also like this ending a lot. Different that 3 nights ago. Almost a different human being. I’m quite sure my determination to skip the translation helped tremendously to feel the flow, experience the pauses (which I think she might have used extensively last time as well, but that I was too busy *trying* to untangle from the text to let the moments took place) and all the fine details. Stunning. And interesting how each night is so different. Made me really want to hear her on the last night as well :-). But that is a wrap this spring already for me and ACA. I’m already home thanks to an 11.45pm flight, very optimal use of time. I was hoping she’d come back to San Francisco next year, but I’m told they don’t have her on the program.. oh well, Vienna then :-). I can’t believe it’s over already. That was some experience.

La Voix humaine at San Francisco Opera

I first heard of this piece when Dehggi reported hearing Anna Caterina Antonacci live at Wigmore Hall in Sep/2015. That post triggered my 2nd round interest in her work, which became more intensified and culminated with trips to hear her first live Sancta Susanna in the 3000+-seat Opéra Bastille last December and “Elle” at the superbly intimate 300+-seat Taube Atrium Theater in San Francisco last night.


First, a shout out to the intimate space! It’s a real treat to have the opportunity to hear an artist of this caliber in such a small setting with good acoustics. The place was packed, which was nice to see. If this were taking place in Paris I imagine it would be sold out within 30min of the opening of ticket sale? I brought 2 new companions along, both who have traveled the world and seen far and beyond what I have, and as a bonus, 1 being fluent in French and *loves* Debussy. As he told me, Debussy has been in his blood since childhood, so he was quite looking forward to hear the song cycle. My other companion is a fan of the piano and passionate follower of “anything Puccini” and have often been to both the San Francisco Opera and symphony orchestra concerts. As for me, one could say, only by ear, a passionate fan of early music.

I mentioned our various backgrounds because, I would say at least for me, this concert program is really out on the edge of my listening experience, La Voix humaine included (though i’ve had it on several times beginning with the Wigmore Hall radio recital). So, Debussy.. I now recall the same feeling I had when first hearing another piece of the same composer in her radio-broadcast recital in Brussels: that it sits somewhat in a strange not quite comfortable place :-). Like all ACA’s non-early works I have been trying to get accustomed to listening, Les Troyens, Penelope, La Ciociara, La Voix humaine, Sancta Susanna, etc., I think the ears do need time to get adjusted. Additionally, when it comes to song cycles, for non-native speakers, we look to identify with something in the music, the “conversational” communicative tone (musical phrasing). For this, I somehow identify so much more with Poulenc’s La fraicheur et le feu cycle. As was my non-Debussy-in-blood companion! There is something big picture that sits within one’s experience and arch of identification I think! This cycle is more on big picture, at times melancholy, at times feisty. Altogether, quite a treasure to sit in such a small space and experience ACA communicating this live. Let me attach my Brussels radio broadcast capture here, for those who wish to explore the cycle further, and I to listen along while typing.

During intermission, the stage is set for a single orange phone, a small lamp table, a few love letters, a chair, a few cushions, and one just have enough time to prepare for the switch in intensity. Now that I have had 1 overnight to think about it, I realize how an enormous challenge this show is: a solo artist, with her pianist, but this one was really her front and center, all exposed for 40 minutes to hold the audience’s attention. These are by far my most favorite types of settings, minimal props, just enough for us to have an idea, and the rest is up to the performer! Though admitting at times I got distracted because it *is* a lot of French dialogue and I got lost in it at times and tried to sneak up a few glances at the English** translation… These glances indeed took away the ability to follow the flow and identify with “HER”. But one can’t help recalling there was one time or another one perhaps was desperately waiting by the phone just to hear a voice. As ACA explained it in her interview on the piece with SF Opera, and my companion and I discussed post concert, the piece is about searching, yearning, reaching for a connection. In fact I wonder if it might even work in a setting of sending and receiving letters ( I grew up during that time! we got 1 letter PER year and the whole family rushed out the greet the mail person..), where these conversations “Elle” carried over the phone could be played out in her head as she composed the letters..

But this monologue is quite more intense over the phone because you “realized” ACA’s “Elle” is hearing something from the other side and reacting. At times she is desperate, pulling the phone far from her ears to let out a scream of despair or panic, perhaps not wanting to admit openly over the phone to her sympathetic (but quite done with her) lover. We see her though the course of the evening/night switching constantly between trying to by cheerful by lying about the casual things (dressing up, dining out), to admitting it was all a lie and in fact she has been retreating to a dark corner consuming some pills.. but “no no, do not worry, i won’t overdose and harm myself again..” Through all these, there were occasional exasperation when the operator interupted to pass on the neighbor’s caller, or when the line got disconnected. I haven’t lived through this, but my companion had! and was explaining to me how the phone used to be shared between her family and the 4 neighbors in the building, with an operator pushing button 1 for family A, 2 for Mrs Smith, 3 for Mr. John, etc. This, in combination with the occasional technical difficulty when “Elle” could not hear well her lover and kept uttering “Allô, can you hear me?!“, intensified the desperation level, and one (me) is worried what would happen when this conversation ends..

I really love the piano in changing the mood / scene. One felt a bit sick to the stomach hearing her asking the lover to not go to the place in Marseille where they used to spend their time.. It is inevitable the lover might not return another phone call ever. In this one we are left unsure what will happen to “Elle”, as the light simply went off with ACA’s sinking back into the chair head down arms still reaching over the hung-up phone. I like such ending as well because it leaves it to the audience to continue the dots in their heads based on their intake of the event. As the light came up, my companion finally breathed and we stood up to give tribute to such a performer / performance. I repeat again, regardless of how one can feel the flow, whether one thinks the performer is over- or under- doing the emotional flow, I am in deep admiration for ACA and her ability to carry these solo (with piano) communicative pieces across.

I have to admit EVERYTIME i see her entered, in my head, i had the opening line to “Tancredi…, che Clorida un homo stima.. ” and had to shake it to absorb the new music :-). Since there’s a plan to come back on Tuesday for a 2nd performance, I have decided that I’ll sit through this audio and read through the original text at least a few times today and tomorrow, so as not to get lost in the conversation. It’s not so much the conversation, but I think the piece has a few “moods” (flow) to it and I just need a better grasp at it. I’m still debating if one gains more by understanding the text.. Perhaps when not very familiar then we rely on that, but theoretically one should gain simply from relying 100\% on the emotional expression in the voice?!

**On that related note, I sent a request to the SF Opera Lab to also project the French text if possible… for the audience who can not follow French, English is great. But for those of us who can at least follow roughly the French text, I *think* it is much less distractive if we can catch quickly the glimpse of the French and not need to “convert” it into English. I’d argue it is much less distraction because the language has its own flow and expression, and it’s moving too fast the thoughts for our head to switch gear to figure out how she’d say such and such in a different language… I could be wrong, but I think the original language contains the original arc through which the singer is communicating, and thus it’s useful for us (who might need it at times…) to catch on.

That’s pretty much it for the first night report. My Debussy-fan companion loved the evening, said the Debussy piece was the best, and that Poulenc was a bit too depressing :-), but that ACA was GREAT. My other companion and I discussed how, though able to separate ourselves, we could feel a human in need of help, and how difficult it is for a performer to keep the intensity level, and how she really has to be fully committed and not a moment distracted/losing sight. Be 100\% in the moment. With that, we parted.
A little more ACA music to wrap it up then, how about some Chausson, from the same recital in Brussels last year’s April.

(ps- oh, look what i found in the hall way:)

music and musings to cap 2016

Edit: did i hear it right, she will be singing Britten in Vienna! (starting minute 32mn20s, David McVicar stage director)
Currently listening: Another interview with Anna Caterina Antonacci on francemusique, on 19/Dec/2016, including many fantastic samples of her singing (Barbara Strozzi, Berlioz, Hahn)

Ok, my French listening comprehension is improving, but her French is a bit more difficult to understand 🙂 . hehe, she’s discussing which roles she likes (Didon , not sure from Berlioz which she hasn’t sung, or Purcell). If my comprehension works ok, She enjoys singing Elletra, Vitelia, Cassandra and *detests* Dorabella 😀 . There’s also discussion on Sancta Susanna, which is also available on francemusique The piece starts at 1hr20min20sec. Before that is Cavalleria rusticana:

I think one can try to compare how the singing is delivered here versus the intimate recording linked 2 posts ago, to get an idea the difference between a huge orchestra in a gigantic hall versus a smaller setting.

This caps a year of super fun internet gathering over at Anik’s to discover new operas/singers/opera-buddies as well as the few live performances I managed to see and greatly enjoyed. Oh, and on the subject of French comprehension, I was highly impressed with myself 😀 , this past trip to Paris, i was able to *communicate* !! sure, the vocabulary is lacking as ever, but wow, suddenly it was simple to use the 1% available bit and pronunciation wasn’t an issue at all! all thanks to Mitridate and extensive listening to French radio and broadcasts this whole year. Onto some musings on the road.

March 2016, “Ariodante” in London

thadieu: (jetlagged, falling hopelessly asleep..)
Dehggi: “whore!”
thadieu: huh?
Dehggi: the translation is rather blunt
(on stage: Genievra whining nonstop and isolated on an island)
thadieu: (thinking in head: what’s wrong with her? why is she whining nonstop?! aohhhhhh, i got it! she’s being wrongly accused of being a slut!)

(while stopping to admire Ariodante’s jaw)
thadieu: my bubble is popped! i’ve always thought Ariodante a courageous handsome knight! but he’s a total dweeb! i so sad!

October 2016, “Alcina” in Wien, in standing-room waiting line

Anik: in “Verdi Prati” she (Ruggiero) was just standing there and she (Bradamante) didn’t act at all!
thadieu: did they roll around?
Anik: what rolling around?
thadieu: , what do you mean?! Kasarova and Hammarström were on top of each other! i was confused for some 6 years**!
Anik: (?)
thadieu: wait a minute, (googling on phone), here.
Anik: nooo, they didn’t do that! just standing.

December 2016, “Don Giovanni” in Paris,

1 min before curtain raised
thadieu: they put Donna Anna in a suit!! Anik showed me a curtain call video
Dehggi: (ignoring..)

post opera, while Dehggi taking touristic photos of the venue
thadieu: he’s so whiny. no wonder she delays the marriage for 10 years!
Dehggi: 10? i thought it’s only 1 year
thadieu: oh, it’s our liveblog! and every time the statue showed up, i heard your voice in my head “its mouth is moving!”

So, that wraps up 2016. Not as many live performances as I would have liked, but the rare fews were true fun, and the summer festival liveblog, as well as discovery of Mitridate (and a certain soprano) were true gems. Rolling on to 2017 🙂 .

** though we settled that perhaps it’s like the green grapes.

music for the working fighting-with-printer sunday

woke up with Poppea’s creamy tune in my head! and in anticipation of fighting with the big printer in a couple of hours… if successful, I’ll be happy with a gigantic 1,1m x 1,5m poster in hand, else will be doing some scrambling tomorrow in Berkeley, fingers crossed…

But yes, Poppea, creamy…

poor Ottone.

first impression, sancta susanna at opéra Bastille, 3/dec/2016

Yesterday I met up with the charming Al at Jardin du Luxembourg for a nice stroll in the sun-shinining early afternoon. After an initial kiss and greet (we haven’t seen each other in nearly 2 years!) we immediately were drawn to “what was your impression of last night at Opéra Bastille?”, Al’s being on the opening night and mine on the 3rd of December’s performance.

thadieu: the first piece is too long!
Al: and the 2nd piece is too short?!
thadieu: YES!!!

And that pretty much summarized our impression of the opera night(s). Apparently the two pieces have similar duration(?)***. That the first made me edgy, a tad angry, bored, feeling my jetlag, amongst other things should say something. Very briefly: I find the music and especially the story not particularly interesting (girl loves boy who loves other girl who was married, big drama scene (in the music) and apparently boy died at the end, not sure who killed him, likely other girl’s husband.). Likely due to the size of the hall, the tension is peaked in the music right from the start, along with the “show-down” in the opening scene in the church on who gets to sit where. Given the set up (and perhaps all the adrenaline in anticipation of finally hearing ACA for the first time, in Hindemith), the body and brain are ready for some life-altering event.. Things quickly fizzled as soon as the story unfolded, all via very loud singing and big posturing (to keep up with the drama in the music, and) to fill up the gigantic stage. As to why this piece is revolutionary/famous I am quite puzzled. As for the lead singers, my only impression is that I’d like to hear Elina Garanca singing Romeo in this huge hall and perhaps I’d have more interesting observations :-). Her character slowly revealed that she has been shunned by the town, but we don’t know why or how. In the initial showdown she was already seen as an outcast, and yet still talking to the boy’s mother. Is she responsible for him not talking to his mother? All this we don’t know, except that the tension is very highly built in the music, and yet reduced to “you love me?”, “you don’t love me?”, “how dare you?”, “no you lie to me”. This is the 4th time I have “accidentally” seen Yonghoon Lee live, I think he is singing louder than ever before, which I heard is what’s required for this piece, while the acting remains “do this to appear over-macho, do this to appear sad”, similar to in Il Trovatore in Munich. Oh, the chorus has some nice sections and the overture was interesting though! Let us leave it at that. Perhaps this is also the feeling when you come for Hindemith and its compelling storyline and intriguing music and got greeted by 1 hour of something totally its opposite.

Onto Hindemith! criminally too short! we need more time! more time to hear Anna Caterina Antonacci sing, and definitely more time to hear the music!

The first welcoming sight was the influx of woodwinds to the orchestra pit as the Cavallieri Rusticana’s cast taking a bow. As the curtain opened, it’s a also a huge relief that the infinite stage was reduced to 1/20th of its depth and approximately 1/16th of its cross-sectional area, with Susanna’s chamber at the center just above the orchestra pit. The first bar of music and one is ready to grab on the the seat preparing for the journey. This will be a first impression on the entire show how everything fits. I find the staging quite effective: a dark and simple room with a small-sized cross and tiny window above-head level where moon light comes through. The scene gives the feeling of entrapment in a tight and defined (regularized) space with freedom in the form of flower scent, moon light, and breezes traverse unconstrained on the outside. The burying ground underneath reveals the existence of condemned desire. When Susanna finally undressed herself to feel the flesh, a larger than life cross descended from “heaven”. She descended with it into the underground, hugging the human-sized figure of Jesus on the cross as the “mob” arrived for condemnation and shutting the tomb sealing her on the inside, the same way they had done forty years ago. Musically it remained intriguing and engaging and tense throughout, and before you could breath a sigh, any sign, it was over! ARGH!!
Singing-wise, ACA’s voice is everything I’ve anticipating. My first impression: omg, i would like to hear her singing non-stop for the next 3 hours. My second impression: she can not be thinking of retiring any time soon!!! not with this voice, must keep track of what she’s singing for the next few years!! For this piece, I will have to admit Susanna is part of a “whole” in the music. She sings about equal amount as Klementia, so one would have to give equal credit to both in the ability to carry along the narrative. The acting is highly compelling (and offered a good contrast to that during the first piece). That said, I strongly believe Opera Bastille is too big for this piece, such that it loses its intimacy in the communication between these two characters. Some part of the conversation can even be “heard” as internalized process and as such the ability to sing softer would be welcomed. However, because the orchestra (modern) was quite loud, likely to fill the entire house, the singers can not really afford to reduce the volume. I had a very good seat on the first balcony, and all sound came without any hinderance. Thus I wonder if the orchestra played softer one could ever achieve a more intimate feeling; likely not because I am told this is probably one of the biggest houses if not the biggest in France, and perhaps even Europe? It draws comparison only to the MET (the MET is bigger, but if you’re in the same conversation… I’d also mention LA opera, or San Diego auditorium.. *huge*..) . From a recent interview ACA mentions she might also sing Sancta Susanna in New York (Carnegie hall? isnt’ that also very big? but I’ll come to that for a more “chamber-like” feeling). We are coming back tomorrow for another round, this time I’ll be on the 2nd balcony. Will report how sound will come from there.

My discussion with Al did evolve around the point of what Susanna is expressing desire to (I am still unsure), whether it is spiritually offering both her flesh body and soul to the higher divine, or whether it is a deviation from her devoted spirit and unwavering physical desire of the flesh. In addition, we are still pondering the symbolic meaning of Jesus on the cross, whether it is a relation to the divine figure or a male figure or both..

Also, similar to Dehggi’s and her “enter-the-shrine” feeling in Munich, Opéra Bastille is that glorious hall for me where V.Kasarova debuted her Roméo. All these years, and finally here we are :-). Oh, Al also informed me C.Bartoli is singing the title role of “Ariodante” in Händel’s opera this 2/Jun and the Salzburg festival!! I better sort out my schedule.

This is a report of the double-billed of Pietro Mascagni’s Cavalleria Rusticana and Hindemith’s Sancta Susanna on Saturday 3/Dec/2016. For a less biased opinion on the first piece, please check this review out. If that is true that Sancta Susanna was only ***20min long, i’m indeed *very* miffed!

Antonacci radio alert

Edit: I put the whole thing here for those who would like to re-listen:

Act 1 & 2
Intermission, interview with ACA (and others)
Act 3 & 4

today, 22.Jun.2016, 1800GMT , 1400 EST, 1900 CET
Live from Turin, via Rai Radio 3, Anna Caterina Antonacci sings Carmen.


Full info:
And a nice from her fb fansite, 1hr before curtain rising! toï, toï, toï !