• September Newsletter (9/12/2019) by Flamand

    We added many videos in August.
    There are now more than 7800 videos available via
    Over 4300 videos are full-length performances!

    Opera on Video links to videos which are published elsewhere in the Internet.
    As you are probably aware videos are published and disappear again on the various websites.
    To find the ones which disappeared we run a video link checker twice weekly and correct the missing ones.
    Unfortunately this method is not fail-safe as the web page with the video may not have disappeared but just changed content or show a different video.
    If you experience a video missing or being wrong on we kindly ask you to send us a short message pointing us to the faulty video. We will then correct it immediately.
    Your kind help is appreciated

    Here are the highlights for this month (published in August):

    Simon Boccanegra Salzburg 2019 Salsi Pape Rebeka Castronovo
    Orphee aux enfers (Orpheus in der Unterwelt) Salzburg 2019
    Idomeneo Salzburg 2019 Thomas Murrihy Fang
    Die Zauberflöte Glyndebourne 2019 Wettergreen Sherratt Portillo
    Ring des Nibelungen Trilogie abridged and modified Vienna 2017
    Les Contes d’Hoffmann Klosterneuburg 2019

    Cavalleria rusticana Matera 2009 Aronica Simeoni Gagnidze
    Ariadne auf Naxos Buenos Aires 2019 Holm Manzitti Holloway
    Berlin Open Air 2019 Beethoven 9th
    Belshazzar’s Feast (Walton) London 2019 Finley Rattle
    Europa Open Air Frankfurt 2019 Kleiter Demuro Gay

    Il viaggio a Reims Pesaro 2019
    Aida Garifullina Recital Buenos Aires 2019
    Joyce DiDonato sings Berlioz Les nuits d’été BBC Proms London 2019 Pappano
    Die Zauberflöte Verbier 2019
    Legend of the city of Yelets (A.Tchaikovsky) Yelets 2019

    La Grande-Duchesse de Gérolstein Cologne 2019 Larmore Hindrichs Cazel
    La Traviata Shanghai 2019 Yuanming Song Valery Peng Han Xiaoyong Yang
    La verbena de la Paloma (Breton) Madrid 2019
    Le grand échiquier Lille 2019 Roberto Alagna Aleksandra Kurzak
    Aida Helsinki 2019 Dzhioeva Danik Pohjonen Fyfe
    Serenata al Peru Lima 2019 Juan Diego Florez

    Enjoy Opera on Video

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  • Alcina Salzburg August 8, 2019 – A Review (8/10/2019) by Flamand

    Alcina: Cecilia Bartoli
    Ruggiero: Philippe Jaroussky
    Morgana: Sandrine Piau
    Bradamante: Kristina Hammarström
    Oronte: Christoph Strehl
    Melisso: Alastair Miles
    Obert: Sheen Park (Wiener Sängerknabe)

    Bachchor Salzburg
    Les Musiciens du Prince-Monaco

    Stage Director: Damiano Michieletto

    This staging of Handel’s Alcina was premiered at the 2019 Salzburg Whitsun Festival with the same singers. It was now re-staged for the Salzburg Summer Festival.

    In 1734 Handel was in trouble. He could not fill his opera house any more. So, he urgently needed a success to attract the fickle London public. He resorted to the success recipe of sorcery, ballet and stage tricks. Alcina became a huge success. Today the taste of the public is different. In the time of Marvel blockbusters a few cheap stage tricks will not do. Instead director Damiano Michieletto stages Alcina as a female psychological drama – much more in line with contemporary taste.

    Staging as a psychological drama
    He puts the drama of Alcina right in the centre. There is no enchanted island anymore and no lush green landscape. Instead the single set is a rather dull hotel lobby. Is this a lonely-hearts hotel? Alcina is the hotel manager assisted by her sister Morgana and the porter Oronte. The back of the stage is a large semi-transparent screen which also serves as a mirror. Behind the screen we can see the men transformed by Alcina’s spell. They crawl around zombie-like in underwear most of the opera. Fantastic images are projected onto this screen from time to time. This creates an impression of uncertainty. What do we see? What is reality? What is imagined? But this never changing scenery by Paolo Fantin gets tedious during the 4.5 hours performance (including intervals).

    The costumes by Agostino Cavalca are contemporary and dull. The lightning by Alessandro Carletti is mostly static and does little to illuminate the story.

    Alcina is confronted with her younger and older self several times to help her reflect on the change of time and her own vulnerability. All other characters rotate around the drama of Alcina with the single purpose of bringing her downfall.

    A great ensemble with two stars
    If the staging does not overwhelm the music and the singers definitely do. This performance is a feast for opera lovers. The entire ensemble is excellent with two outstanding artists.

    I have followed Cecilia Bartoli’s development for over thirty years: from the first Cherubino, via Mozart and Rossini to Bellini and Handel I have seen her in all her roles. Now in her fifties she is reaching new heights in her art. Her Alcina is truly exceptional. She uses all shades of her wonderful voice – from pianissimo to fortissimo – to illustrate the character and to create great emotions. She is Alcina. Her pianissimo endings of two arias are extremely touching and beautiful. And her coloraturas are a technical feast of course. If you are taking her engagement in projects and her management ability into account too, it is fair to say that Cecilia Bartoli is one of the greatest opera singers of our time.

    Philippe Jaroussky is one of the greatest counter tenors of today. His Ruggiero is sung splendidly. The technique dazzles and in the lyrical passages his singing is extremely beautiful. He is a great partner for the exceptional Cecilia Bartoli.
    Sandrine Piau as Morgana sings beautifully too. In addition, her acting is appropriately sexy. She is an ideal casting for this role.

    Kristina Hammerström is an experienced Bradamante/Ricciardo. She sang this role already 2010 in the Vienna Alcina performance. Her coloraturas are a wonder to marvel.
    Christoph Strehl as Oronte is an expert baroque singer. He is very good in this somewhat unlikable role. Maybe he could improve his coloratura a bit. The stalwart bass Alistair Miles is an appropriate choice for Melisso.
    The young Vienna Choir boy Sheen Park sings his arias very nicely and got a lot of deserved applause for it. I wonder what will become of him when he grows up.

    Les Musiciens du Prince-Monaco was founded only a few years ago on the initiative of Cecilia Bartoli. She is still the artistic director of the orchestra. And you can feel her influence. The orchestra gives a lot of space to the singers and breathes with the singers. It underlines the emotions of the arias very well. The solo instruments play beautifully.

    This was an exceptional evening which will always stay in my memory as one of the highlights of my over sixty years with opera. The performance was musically of a very high standard with a superb ensemble of singers. It was crowned by the presence of two truly outstanding artists: Philippe Jaroussky and Cecilia Bartoli.

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  • Verona – A tale of Romeo and Julia and the two Annas (7/5/2019) by Flamand

    Verona – A tale of Romeo and Julia and the two Annas (July 2019)

    Verona is mainly known for two things: Romeo and Julia and Opera in the Arena of Verona.
    I went to Verona for the latter: Il Trovatore and Aida in the Arena. Reviews of these later.

    Arriving in Verona I was struck by the heat. During the day it was impossible to walk the town.
    Nevertheless I made it to the house of Julia which is one of the major tourist attractions in Verona.

    Actually not much to see. A balcony which I wonder how Romeo ever could climb up to. The walls are full of wishes and small letters to Julia. Do people really believe in this or is it just for fun. By the way Julia never lived in this house. It is just a story like Rigolettos house in Mantua is a fake.

    But thanks to Shakespeare’s drama we got at least two great operas by Bellini and Gounod and one great ballet by Prokofiev.

    The other big attraction in Verona is the Roman Amphitheatre commonly called the Arena. It is the second largest preserved amphitheatre in the world ( the Coliseum in Rome is the largest). It was built 30 AD. Thus it is older than the Coliseum. The well preserved inner ring seats almost 22000 people.

    For the opera performances there are seats in the lower part of the arena. In the upper part there is unnumbered seating on the stone steps at lower prices. People are queuing early to get the best seats. The entrance opens two and a half hour before a performance which should be a world record as far as I know.

    The atmosphere in the Arena is unique with visitors from many countries. In particular Germans love to combine their Italian vacation with an opera performance here.

    With such a big open space and a huge stage everything becomes special here: acoustics and staging for example. Verona is famous for its grand and colossal mass scenes often involving animals on stage. The most famous and most performed opera in the Arena is Aida.

    So lets have a look how my two performances went:

    A Star Shines Brightly in the Arena (July 4, 2019)

    The Arena in Verona is a special place for Opera. And it has been so for over 100 years. All big stars of their time have sung here. From Callas and Corelli to Caballé and Domingo. Now it was time for Anna Netrebko to make her debut in the Arena. The first night was on June 29th. This was the second performance in a series of three.

    Zeffirelli’s Staging

    If you like traditional staging and hate modern directors who burden you with crap, then Zefirelli’s Trovatore is for you. It was staged first time 2001 and matured well. Zefirelli recently died. This performance is also in honour of him.

    The stage is dominated by three huge towers. The one in the middle opens up spectacularly in the convent scene to reveal a brightly illuminated golden chapel. Otherwise there is plenty of war gear on stage. The gipsy scene is transformed by brightly coloured drapery. The staging is best when huge crowds (chorus and ballet) are on stage. Otherwise the principles seem quite lost in huge empty spaces. In the convent scene Leonora and Manrico mount two horses and Anna and Yusif even sing sitting on the horses. When they leave the stage on horseback the Arena crowd exploded in a spontaneous applause not even waiting for the music to finish.

    The big chorus scenes are spectacular and very impressive. In act three the seldom played ballet was performed after the soldier chorus which the audience appreciated a lot.

    The costumes are straight forward. Soldiers and gypsies – dark and colourful. The lightening was dark when appropriate and exploded into spectacular coloured mass scenes in the gypsy camp and convent scene. Di quella pira was lighted adequately with the flames in the background.


    The Star

    There was only one star in this Trovatore – Anna Netrebko.

    Her voice had darkened a little bit more in the lower register since I heard her last in Baden-Baden in a Verdi concert. The top has become even more beautiful. Her singing was exceptional both in the lyrical parts as well as in the dramatic ones. Her Tacea la notte placida was extremely beautiful. But the D’amor sull’ali rosee was even exceptional with a sublime cadenza at the end. The audience gave her an enthusiastic ovation for it – the biggest and longest of the evening. Anna filled the Arena with her singing, interpretation and acting. She rose above everyone else in the cast.


    Yusif  Eyvazov as Manrico showed what an experienced and professional tenor he is. The proof of which was heard in Ah sì, ben mio and Di quella pira which he delivered with great fervour. Unfortunately he is not endowed with a beautiful voice or an exciting timbre. This makes it difficult for many people to love his performance. Still he was a very good Manrico and I think he gets better every time I hear him.

    Luca Salsi has a beautiful baritone which he made lot of use of as Count Luna. Il balen was very slow and almost got him into trouble once or twice. Strangely his overall performance left me cold. What a fine singing but dull Count Luna.

    Dolores Zajick made Acuzena her own role over 20 years ago. This evening one could still hear what an expert mezzo she is. But age takes its toll and there was often just not enough power to fill the Arena. Sometimes I could barely hear her.

    Riccardo Fassi as Ferrando sang impressively with beautiful timbre and great agility.

    The chorus was very reliable and performed impressively in the big chorus scenes.

    The orchestra under the baton of Riccardo Fassi was very subdued. This is partially due to the acoustics in the Arena which favors the singers. But knowing this Morandi could have applied more dynamics and fervour.

    This was a very enjoyable performance with a superb Anna Netrebko.

    AIDA with a great Anna (July 5, 2019)

    The age of opera began at the Arena of Verona over 100 years ago in 1913. It was a performance of Aida which marked that historic event. Ever since the opera has dominated the Arena with Aida being the most played (630 times). It is the most popular opera there.
    Gianfranco de Bosio was inspired by the original staging of 1913 and recreated the sets with some updates in 1983. In 2019 it has started to show its age.

    The monumental style suggested by the Aida story fits well into the Arena with its huge spaces. It has everything Egyptian you would expect: obelisks, sphinxes, monumental columns and huge statues of various gods. The costumes are fantasy Egyptian with white color dominating and some red and gold. There are the expected mass scenes and ballets.

    In this staging everything was predictable – no negative surprises nor any positive ones. The triumphal march had everything you would expect including horses and dancers. I have seen and heard more exciting triumphal marches.

    The choreography by Susanna Egri seems not to have been updated. It looked quite traditional and old-fashioned. The lightning by Paolo Mazzon is straight-forward without special effects

    Average Singing

    Giorgio Giuseppini as Ramfis and Romano Dal Zovo as the King sang nicely. Ramfis started a little bit wobbly but settled soon into a steady performance.

    Anna Maria Chiuri’s singing as Amneris was variable. Sometimes she sounded very beautiful and acted accordingly but as a whole she did not have enough power for the dramatic outbursts.

    Sebastian Catana as Amonasro did not make a big impression. He did not succeed very well in the lyrical passages and in more dramatic moments he often barked.

    The Radames sung by Murat Karahan was strange. He made a nice stab at “Celeste Aida” but ended it with a screamed last note. And he held that ugly sound too long. Thereafter he was very bleak most of the opera. In the final scene he made a good effort to sing beautifully and he actually succeeded partially. Overall he was not up to the standard you would expect for the Arena of Verona.


    Great Aida

    Aida was sung by Anna Pirozzi. She is a very experienced singer and classifies herself on her website as a dramatic coloratura soprano. There is not much coloratura in Aida, but she sang the lyrical parts very beautifully. The dramatic parts were fine too.

    I know one should not compare singers when they perform in different circumstances. I recently heard Anna Netrebko sing the Nile aria in a concert. Pirozzi’s performance of the aria was impressive but Netrebko’s was exceptional. The difference you experience between four stars and five stars-de-luxe. Pirozzi’s overall performance and acting as Aida was great, but maybe not great enough in comparison with the amazing Trovatore we experienced the previous evening.

    The orchestra conducted by Francesco Ivan Ciampa was very good overall. Only in the triumphal march would I have liked a little more fervor and dynamics.

    This evening was a mixed experience. I had the feeling of attending a dull routine performance with some average singers. Only Anna Pirozzi brought excitement into an otherwise average evening





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  • Verdi Nabucco Zürich Opera June 23, 2019 – A Review   (6/24/2019) by Flamand

    Verdi Nabucco Zürich Opera June 23, 2019 – A Review   This review was published by Opera Gazet on June 24, 2019.

    Nabucco, opera by Giuseppe Verdi to an Italian libretto by Temistocle Solera. First performed at the Teatro alla Scala in Milan on 9 March 1842. Premiere of this production at the Opernhaus Zürich on 23 June 2019.

    Nabucco: Michael Volle
    Ismaele: Benjamin Bernheim
    Zaccaria: Georg Zeppenfeld
    Abigaille: Anna Smirnova
    Fenena: Veronica Simeoni
    High Priest of Baal: Stanislav Vorobyov
    Abdallo: Omer Kobiljak
    Anna: Ania Jeruc
    Philharmonia Zürich
    Chor  und Zusatzchor des Opernhauses Zürich
    Conductor: Fabio Luisi
    Staging:  Andreas Homoki
    Nabucco is Verdi’s first master work. He wrote it when he was 28 years old. It contains rousing choruses and great melodies. In addition there is an interesting and engaging plot with love, hate and politics. No surprise that the Italian public fancied it when it was premiered in 1842 at La Scala. It is easy to understand that they identified themselves with the plight of the suppressed Hewbrews as they felt suppressed by the Austrians at that time. Thus Nabucco became a political opera in the Italian struggle for freedom and unity. Verdi for sure never intended that. And the famous “Va pensiero” chorus became the centerpiece symbol of it.Therefore it is not very far-fetched to move the plot to the time of the Risorgimento as Andreas Homoki does in his staging. Many previous stagings moved the story to the more recent history of the Jews, some with great success.
    But actually this staging is not particularly pinned to Italy in Verdi’s own time – it is much more general and nothing links it to Italy of 1842. It could be another country during that time.
    Moving a plot in time always has one major problem – the text. What means “Hebrews”, “Babylon”, “Jehova” and “Baal” in the 19th century? But if you ignore these anachronisms it works quite well.Another main feature of the Homoki staging is his emphasis on family. During the overture he shows us the Nabucco family with father, mother and two small daughters. The mother dies on stage leaving the father with two small children. Already now Abigaille shows more interest for the crown (which is present throughout the opera) than empathy for her father. The two young sisters re-appear throughout the opera to remind us of the family connection. I have never been so aware of the Abigaille – Fenena relationship in any previous staging.

    The stage is empty save for a huge slab of turquoise marble (designed by Wolfgang Gussmann) which moves and rotates. I assume it is intended to symbolize the power of the ruling class. There are absolutely no props whatsoever on stage. This gets quite boring after some time. To compensate for this Homoki has worked a lot with the chorus. They rush around all the time and even perform choreographed routines. No standing around here. Sometimes I wished he had directed the principals a bit more too. They were often quite static and fell to the floor frequently to creep around there.

    The costumes designed by Wolfgang Gussmann are loosely connected to the Risorgimento. The ladies of the ruling class all in Sissy-like green dresses of the same color as the marble slab. The gentlemen in black with top hat intermixed with some uniforms. The suppressed class is more diverse in predominant beige and many with French! berets.

    Otherwise I have to say the staging worked much better than anything I have seen from Homoki before.
    He added a special twist with both Nabucco and Abigaille listening to “Va pensiero” from front stage with Abigaille covering her ears.

    All singers of high standard

    Georg Zeppenfeld made much of Zaccaria with his profound bass and excellent legato.

    The two unrewarding roles of Ismaele and Fenena were sung nicely by Benjamin Bernheim and Veronica Simeoni respectively. Simeoni’s aria at the end was beautiful.

    Abigaille is a notoriously difficult role. During rehearsals Anna Smirnova replaced Catherine Naglestad who had to withdraw due to personal reasons. Smirnova has the large piercing voice required for Abigaille and she used it a lot. I think she fell for the temptation to concentrate solely on the evil and negative character of Abigaille, leaving aside the complexity of the role. Only during “Anch’io dischiuso un giorno” and her death scene (suicide with pistol!) did some softer tones appear.

    So what about Nabucco? Michael Volle is an experienced Hans Sachs, Wotan and Holländer. He once got the advice not to sing Italian opera which he obviously ignores. He has successfully sung Scarpia and Falstaff among others. He gets off with some barking in the first scene but soon steadies in to his interpretation of the role. Some will expect Italianate legato from a Nabucco especially in “Oh! mia figlia” and “Deh perdona”. Not so Volle. He swells individual notes all the time. I think he does this on purpose to underline the troubled and problematic character of Nabucco. And I think it works. For sure he can sing a cantilena. I have heard him do it as Wolfram and Holländer. His vocal characterization of Nabucco is great and he touches my heart. Michael Volle is a great singer actor.

    The two main protagonists

    The real stars of this Nabucco were the orchestra conducted by Fabio Luisi and the chorus.
    The chorus is on stage most of the time and sings much more than just “Va pensiero”. The Zurich chorus with extras  was trained by Janko Kastelic. The singing was great and very expressive. “Va pensiero” was even more impressive as it should be and finished on a never-ending pianissimo.

    Fabio Luisi led the Philharmonia Zürich to new heights. With great dynamic and rhythm, as there should be in Nabucco the orchestra really took the audience with a storm. The final applause for Luisi and the orchestra was accordingly enthusiastic.

    A very interesting evening with a somewhat different Nabucco. I rather enjoyed it.

    Further performances at 26, 29 June, 2, 5, 9 and 12 July 2019.

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  • Wiener Staatsoper 150 Years – a personal hommage (5/27/2019) by Flamand

    The Staatsoper (as it is called in Vienna) has been present in my whole life.
    Already in the 1940s as a small child I was very much aware of the “Haus am Ring”.
    I knew the half-ruined building on the Ringstrasse and I was aware that it was going to be rebuilt.
    In the meantime the Staatsoper Ensemble played at the the Theater an der Wien. It was there I saw my first opera eight years old: Die Entführung aus dem Serail with Julius Patzak. My family was not very well off after the war. So there was not much money for opera tickets. I went more often to the theater which was cheaper.

    On November 5, 1955 the Staatsoper was going to be reopened. All Vienna talked about it. Me being a very curious teenager just had to be there. Of course not inside but outside! So I was there and saw all the rich and famous people arriving in their fabulous evening dresses. It was then I decided that I will have to go the opera too. Inside of course.

    This came faster than I expected. The local government launched a program “Theater der Jugend” (Theater for the Young”) which enabled me to get cheap tickets (seats) for the Staatsoper (and also Burgtheater). I had to use most of my pocket money for it but it was worth it. I do not remember all performances I attended but the following I do: La Boheme with Ljuba Welitsch and Karajan conducting Fidelio and Tosca.

    As teenager I started with ‘Stehplatz’ (standing room). I used to go with a class mate. That made it easier to keep the place in the queue (line). For a popular performance the line was very long and it took many hours to a day. One performance I remember well was Tosca with Birgit Nilsson, di Stefano and George London. La Nilsson made quite some impression on me. Curiously di Stefano did not. A special memory is the duet in the third act when in the a cappella bit Nilsson and di Stefano got totally out of sync. At the time there was much criticism in Vienna of the Staatsoper having many famous guest artist flying in without having any rehearsal time. Many Viennese wanted the famous Wiener Ensemble back again.

    Already during my time at university I left Vienna in search of adventure. Soon I had a family to take care of and not much time for opera. But during each visit back to Vienna attending a performance at the Staatsoper was a must.

    One of these performances was the remarkable Arabella with Lisa della Casa, Anneliese Rothenberger and Eberhard Wächter which is deeply rooted in my memory.

    Working for an international company made travel part of my job. I got round the world. And of course I visited the opera house in each city. I moved to London and visits to Covent Garden became frequent. But every visit to Vienna still included the Staatsoper. I remember many fine performances there with Domingo, Carreras, Pavarotti, Gruberova, Baltsa, Janowitz and many more.

    Nowadays I am retired and visits to Vienna have become more seldom. But I watch all the beautiful performances on video.

    Here are all Staatsoper videos for you watch on

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  • High-tech Opera Videos (5/21/2019) by Flamand

    Video has evolved with new and better? techniques in recent years.
    There is now opera on Blu-ray disc even in 4K resolution.
    The 3D fad has faded but there are still some three dimensional operas available.
    You need a TV which supports 3D.

    AIDA from Verona is a classic performance and 3D adds some new dimensions to it.

    CARMEN from Royal Opera House London is a well known and well worn staging. You can view it in 3D now.

    UHD (Ultra High Definition) short 4K provides you with a very high quality image provided you have the TV and BD player which supports it.

    There are quite many operas available on 4K BD. I will give you my personal favorites here:

    Le nozze di Figaro Salzburg 2015 with Pisaroni and Fritsch

    Die Walküre Salzburg 2017 with Seiffert, Harteros and Kampe, Thielemann conducting

    I due Foscari La Scala Milan 2016 with Placido Domingo

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  • Massenet Manon Zürich Opera April 7, 2019 – A Review (4/8/2019) by Flamand

    This review was published by Opera Gazet on April 8. 2019

    Fotos (Foto: T+T Fotografie Toni Suter)

    Manon, opéra in five acts by Jules Massenet to a French libretto by Henri Meilhac and Philippe Gille, based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by the Abbé Prévost. It was first performed at the Opéra-Comique in Paris on 19 January 1884. Première in the Zürich Opera House on 7 April 2019.

    Manon Lescaut: Elsa Dreisig
    Le Chevalier des Grieux: Piotr Beczala
    Lescaut: Yuriy Yurchuk
    Le Comte des Grieux: Alastair Miles
    Guillot de Morfontaine: Eric Huchet
    De Brétigny: Marc Scoffoni
    Poussette: Yuliia Zasimova
    Javotte: Natalia Tanasii
    Rosette: Deniz Uzun
    L’Hôtelier: Cheyne Davidson
    Philharmonia Zürich
    Chor der Oper Zürich
    Conductor: Marco Armiliato
    Director: Floris Visser

    When Abbé Prevost’s L’Histoire du chevalier des Grieux et de Manon Lescaut was published in 1731 it was a scandal. The book was forbidden in France but became a huge success anyway. At the time of the premiere of Massenet’s opera in 1884, Manon was still frivolous and scandalous. But what does Manon mean to us today, when society and morals have changed so much? Well, today we would say “let the girl have some fun”. And she would become an It.girl, be famous on Facebook and make a lot of money as an influencer.

    I think the director Floris Visser realized that and resisted the temptation of situating the story in the present. He did move it, but only to the Belle Epoque of Massenet’s time, when the prevalent morals and society could still give meaning to the Histoire de Manon.

    Floris Visser renders a fairly traditional staging at the Zürich Opera. He tells the story as intended by Massenet. The only faux pas is a naked Madonna/Manon double at the end of the St. Sulpice scene. Visser’s direction is very detailed and impressive. The story flows continuously, all characters are drawn exquisitely and he pays great attention to detail.

    The stage is set as a sort of peepshow box. It is completely enclosed and only open to the auditorium. This makes us feel like voyeurs having a peep at the scandalous Manon. The stage changes only when different props are added. The back opens with huge sliding doors to expand the scene when necessary. The back then becomes a huge mirror.
    The scenery and the costumes are designed by Dieuweke von Reij, another member of this successful Dutch creative team. The costumes are appropriate for the staging.

    All singers of the ensemble except Piotr Beczala are debuting in their roles. The ensemble as a whole performs with great conviction and without insecurity.

    Lescaut is portrayed by Yuriy Yurchuk, who is very experienced playing supporting roles, mainly at Covent Garden. And minor supporting roles is what he should continue doing. His acting is good though sometimes over the top. But what he completely lacks is vocal characterization. How that should be done in a supporting role is something he could learn from the stalwart Alistair Miles, who sings le Comte des Grieux with great success. Even Mark Scoffoni as de Bretigny shows more vocal individuality although his acting is very dull.

    Now for the principals:
    Piotr Beczala is almost an institution at Zürich Opera where he made his debut over 20 years ago. Indeed, he sings here so frequently that he feels at home in Zürich. He even took Swiss citizenship in 2012. His debut as Des Grieux goes back to 2012 at the Met.
    His voice and character are ideal for Des Grieux. He is very believable as the romantic and weak idealist. His “Ah! fuyez, douce image” in St. Sulpice is extremely beautiful and very touching at the same time. The only wish I have is that he would temper his often loud volume and show a bit more variation.

    Which brings us to Manon. There was a great deal of expectation regarding Elsa Dreisig’s debut. She was an Operalia winner in 2016. She is a permanent member of the ensemble of the Berlin Staatsoper, where she has sung Pamina, Euridice and Traviata among others. She has been labeled as a young singer (28 years) on the rise to stardom. I was especially curious as I had never heard her perform before.

    Miss Dreisig has a rather small voice with a very beautiful timbre in the middle and higher range. This makes her very believable as the 16-year-old Manon in the first act. But the first duet with Des Grieux already raises questions about her voice’s suitability. This is put to a severe test in Manon’s two key scenes. First is her big scene at the Cours-la-Rein ewhere she is supposed to dominate the scene and the crowd with her charms and sexuality. Miss Dreisig comes nowhere near doing so: neither her characterization nor her voice is up to the task. The second test is the St. Sulpice duet. She starts “n’est-ce plus ma main” quietly, which is extremely beautiful and very touching. But then she lifts her voice to a louder volume for more dramatic effect. This sounds forced and unnatural.

    At no point during this opera is Miss Dreisig a femme fatale. Only her 16-year-old girl is believable. Although she does a very nice and professional job with this role I think she was ill-advised to attempt Manon at this point in her career. But I would love to hear her as Pamina.

    Marco Armiliato in the pit is his usual highly professional self. He conducts with great aplomb and romanticism without providing any deep new insights.

    I thoroughly enjoyed this evening which had so many positive sides even though I missed Manon and got Pamina instead


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  • Operas with a special place in my heart (2/13/2019) by Flamand

    Sure I love all opera and I love some more than others but there are a few operas which occupy a very special place in my heart.
    Well, you say how can one choose between great masterworks and prefer one over the other? Is La Traviata better than La Boheme? Do you prefer Otello over Falstaff? Is Der Rosenkavalier a greater work than Salome? These comparisons are futile. It is always a matter of personal taste and preferences and very different for different people.

    Why these operas hold a special place is very personal. These operas bowl me over each time I see them. The reasons are very personal emotions. Other people have such operas too but they are different because of different personal emotions.  What is common to these operas? First there may be a special personal experience connected to it. What all have is what I call magic moments: These are moments in the opera which could be a spot in the libretto, a great melody or a chorus.. But although I know these magic spots so well each time I experience one it sends warm shivers through my body. Have you experienced this?

    Here are my operas with a special place in my heart (in historical order without any preference):


    Le nozze di Figaro

    This opera has an almost perfect plot and libretto and it is about very real people. I think it is so great because it was the first Mozart/Daponte cooperation and you can feel how much fun those guys had in creating it. And it is based on a very successful play.
    I virtually grew up in Vienna with Figaro and that formed a livelong relationship. The arias and ensembles are so great that not only Vienna sang and played them but it was the popular music of the time in the whole of Europe.

    Now about the magic moments: two of them are really silence: that is when the Count discovers Cherubino in the chair and the second when the Count finds Susanna instead of Cherubino in his wife’s closet. The greatest magic is right at the end with the Countess entrance and the Counts “Contessa perdono”.


    Un ballo in maschera

    As you know the original Ballo told the story of the murder of king Gustav III at the Stockholm opera. And with Stockholm and the Royal Opera I have a very personal special relationship.
    I have seen Ballo more often than any other Verdi opera (including La Traviata) and it is one of the two operas which I have experienced with all of the three tenors. The other one is Tosca.
    The magic starts in the overture when the melody is interrupted by the conspirators theme. The next magic occurs with Riccardo’s La rivedrà nell’estasi. È scherzo od è follia is true magic especially when Pavarotti sang it. And the second act aria and duet are truly great.


    Die Meistersinger von Nürnberg

    Meistersinger? and not Tristan some will say. True also Tristan has magic moments but also very lengthy passages. Meistersinger has a special place with me and even though it runs for four and a half hours I never find it boring. Like Figaro it has a great plot and real people with real emotions. And it has a certain subtlety which otherwise is not very present in Wagner’s operas. Although I have seen Meistersinger many, many times I am still waiting for the perfect performance.
    Magic starts with the overture which always bowls me over. The next magic moment comes with Am stillen Herd. Magic continues with Dem Vogel, der heut sang  in the Flieder-Monolog and Mein Freund, in holder Jugendzeit. The glorious conclusion comes in the third act with the Prize Song in all it’s permutations from the Schusterstube to the Festwiese.



    Pagliacci is Verismo at it’s greatest. What a story, such emotions, love, adultery and murder mixed with commedia dell’arte. And glorious music.
    I have seen it with Domingo in Vienna and I will never forget.
    Magic starts in the prologue with Un nido di memorie. The duet Nedda/Silvio is magic for me. As fine as Vesti la giubba is, for me No! Pagliaccio non son! is the real magic.


    Turandot is a perfect fairy tale. It is a pity that Puccini did not finish it himself.
    The magic starts with the moonlight chorus. The riddle scene is great but my magic always occurs before. The march which connects the scene of the the three masks to the chorus is magic for me. It starts pianissimo almost in the background and rises gradually to a resounding fortissimo. I saw Lorin Maazel’s last performance as director of Wiener Staatsoper (Marton was Turandot) in 1984. The Vienna Philharmonic played this superbly. Unforgettable.
    And last but not least Nessun dorma can provide great magic if sung by a great tenor. With lesser tenors it can be annoying.



    Again some of you will lift their eyebrows and say Arabella, why not Der Rosenkavalier. Yes, Rosenkavalier is a truly great opera but it took me many performances and quite some time before I started to appreciate it fully. On the other hand my first Arabella ever (Vienna with Lisa della Casa, Rothenberger and Wächter) just bowled me over. I have seen many Arabellas after but no one came near Lisa della Casa. The other best ones were Renee Fleming and Kiri Te Kanawa.
    Not surprisingly the magic starts with Aber der Richtige and the following duet. In the second act magic continues with Ich habe eine Frau gehabt and Und du wirst mein Gebieter sein. And it reaches a glorious conclusion in the final Arabella/Mandryka.

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  • Opera Movies – an historical overview (2/9/2019) by Flamand

    At Opera on Video we distinguish between live performances, opera movies and concert performances. There are hybrids such as semi-staged performances and live performances in a studio.

    Opera movies are operas filmed in studio and on location to a previously recorded soundtrack. Directors are often quite liberal with music und libretto and cut or add to it. Some movies replace the singers with professsional movie actors. That is why Sophia Loren and Gina Lollobrigida feature in opera movies.

    Movies can add new dimensions to the opera interpretation which are just not possible in the theater. That can be a positive addition if well done. Some purist may argue that one should stick to the composers original intention – but who does that nowadays in the theater anyway.

    Thus there are great opera movies and fairly poor ones. I will try to give you an overview and point out some personal favourites.

    Opera Movies were first.
    In the beginning filming was the only technical means available. Filming in the theater was technically virtually impossible. TV started first in the 1950s. Live recordings began to appear from the 1960s onward.

    One of the earliest opera movies is Dreigroschenoper from 1931 – well if you consider it an opera rather than a play with songs.

    In the 1930s there were many movies predominately in Germany which featured opera singers such as Gigli and Joseph Schmidt. And there were many filmed operettas. All not really opera movies.

    In 1939 Luise (Charpentier) was filmed with Moore and Thill in France.

    The first real opera movies appeared in Italy in the 1940s . Tito Gobbi featured in L’elisir d’amore, Il  Barbiere di Siviglia, La Forza del Destino, Rigoletto and Pagliacci with Lollobrigida. That trend continued with more Italian opera movies in the 1950s and 1960. There are recordings of Corelli in Carmen, Pagliacci, Tosca and Turandot. Anna Moffo recorded several operas too. Sophia Loren recorded Aida with Tebaldi singing in 1953 and La Favorite the same year. Mario del Monaco appeared in many movies such as Otello. Some of these movies are really staged performances filmed in a studio.

    A famous early opera movie is Les Contes d’Hoffmann by Michael Powell and Emeric Pressburger with Beecham conducting. There are BBC movies of Billy Budd (1966) Peter Grimes (1969) King Priam (1985) Owen Wingrave (1971) The Beggar’s Opera (1963)

    Opernfilme as it is called in Germany started in the 1950s and reached their height in the 1970s. There are many of them such as Zar und Zimmermann (1956 and 1969), Hoffmann by Felsenstein and several recordings from Hamburg. Karajan filmed Otello, Carmen, Butterfly and Rheingold. Böhm conducted in Cosi, Elektra, Salome, Fidelio, Le nozze di Figaro. Solti conducted Hansel and Gretel, Arabella, Falstaff and Bluebeard’s Castle.
    There were also many operetta movies which I will not cover here.

    Russia has a rich history of opera movies: Boris Godunov, Iolanta, Khovanshchina, Mozart and Salieri, Otello, Pagliacci, Pique Dame, Prince Igor (1951 & 1969), The Miserly Knight, The Tsar’s Bride, Aleko, Bluebeard’s Castle, Rigoletto, The Demon, The Gambler, Cheryomushki and more.

    Hungary filmed quite a number of operas too: Bank ban, Hunyadi Laszlo, König Stephan, Unnamed heroes, Mozart and Salieri, Gianni Schicchi, Cosi fan tutte, Fidelio

    The really great opera movies were all by famous film directors and came in the 1970s and 80s.
    One of the most famous is Die Zauberflöte by Ingmar Bergman (1975).
    Otello (1986), La Traviata (1982),  Pagliacci and Cavalleria (1982) by Zefirelli
    Don Giovanni by Joseph Losey (1979)
    Carmen by Francesco Rosi (1984)
    La Boheme by Luigi Comencini (1987)
    Macbeth by Claude D’Anna (1987)
    Parsifal By Syberberg (1981)

    Jean-Pierre Ponnelle filmed Barbiere (1972), Carmina Burana (1975), La Clemenza di Tito (1980), La Cenerentola (1981) Rigoletto (1982), Cosi fan Tutte (1988), Le nozze di Figaro (1976), Madama Butterfly (1974), Mitridate re di Ponto (1986).

    And then there is the famous Harnoncourt/Ponnelle Monteverdi cycle (1978/79) which is filmed in the opera house and studio applying many movie techniques. All Ponnelle’s movies are very good.

    Petr Weigl shot mainly movies with professional actors using a previous opera audio recording: Eugene Onegin (1988), Lets make an opera, Lady Macbeth of Mtensk, Maria Stuarda, Rusalka (1977), Werther, A Village Romeo and Juliet, The Turn of the Screw.

    Another famous director is Peter Sellars the enfant terrible of opera movies. He filmed the Daponte Mozart operas 1990 which caused quite some stir. Figaro is set in Trump tower, Cosi in Despina’s seaside diner in Florida and Don Giovanni depicts Leporello and Giovanni as two coloured twins. There is also a Giulio Cesare by him.

    Then there appeared some very good movies in the 1990s and in the new century for example Porgy and Bess with Rattle, La Boheme with Netrebko and Villazon.

    A special case are opera movies which have been filmed on original places: There are two Toscas from Rome with Domingo, La Traviata from Paris and Rigoletto from Mantua again with Domingo (as baritone).

    But in recent years opera movies have become much scarcer. What could the reason be?? Is the market saturated because there are already so many movies available? Or has the public preference been shifted towards live HD transmission (Met, Vienna, London etc.)? I feel it would be great if we could get the occasional opera movie from a great film director. Woody Allen made an attempt to direct in the theater – but alas no movie. There are so many excellent movie directors – please have a go at opera.

    Which are my personal choices for best opera movie?
    I love Ingmar Bergman’s Zauberflöte. Some people may be turned off by Swedish – not me I am fluent in that language.
    Ponnelle’s movies are all very good. Except for the Butterfly which I do not like. Ponnelle’s Monteverdi Cycle is superb.
    Zefirelli’s controversial Otello (cuts), Cavalleria/Pagliaccio and Traviata are all very impressive.
    Don Giovanni by Losey with excellent singers is great too.
    Salome by Götz Friedrich with Teresa Stratas and Carmen by Rosi with Domingo and Migenes are opera movies I can enjoy watching over and over again.

    I did not provide you with direct links for all movies because there are so many. Please use the search to find them.
    You can browse all opera movies on here. (including operettas)
    Take your time and enjoy a good movie.

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  • Nudity in Opera (2/2/2019) by Flamand

    In my youth when I started going to the opera (1950s) topless girls were taboo in newspapers, magazines and even movies. Nudity in opera was quite unthinkable. But things changed very quickly in the 1960s and 70s. With flower power and women’s lib female breasts became quite ubiquitous in all media. It was just a matter of time until opera followed the common trend.

    I do not know which opera performance first staged nudes. One of the earliest ones I found is surprisingly from Bayreuth: in Tannhäuser 1978 Gwyneth Jones as Venus shows her breasts under a transparent costume. Barbara Bonney appeared as Pamina in a similar costume in Die Zauberflöte, Geneva 1985. I remember a very upset critic who called it a scandal that a leading soprano reveals her breasts.

    My first confrontation with nudity in the opera house was in Paris 1979 in Die Frau ohne Schatten. And it was not female but male nudity when Die Färberin is presented with a naked young man as a gift.

    What do I think about nudity in the opera house? Well, I am not a prude so I think it depends. There are operas where nudity fits naturally with the plot and characters. Examples of this are the Dance of the Seven Veils in Salome, the Venusberg in Tannhäuser or the Bacchanale in Samson et Dalila. In Lulu sex is such a predominant part of the story that nudity fits well in. Cleopatra in Giulio Cesare is quite a sexy beast too. And the list could go on ….
    Nudity can be a pleasing experience in the theater if is staged with care and good taste

    On the other hand if the director employs nudity out of character and plot. Or even presents nudity in order to shock or to create attention – then I am rather against it. Could you imagine Suor Angelica or Dialogues des Carmelites with nudes?

    Speaking of Salome – Maria Ewing did the full strip in her London 1992 performance and Karita Mattila did the same at the Met 2004. There are so many Salome recordings with a nude Dance of the Seven Veils – because it makes sense!

    In Vivaldi’s Ercole su’l Termodonte Spoleto 2007 the hero Hercules is nude except for the skin of the lion he has slain. This is quite a challenge for the tenor (and the other singers), but it makes sense and fits into the overall context.

    This Venusberg Scene in Tannhäuser Munich 2017 is a little bit harder to understand.

    I find it quite unnecessary to present the Marschallin naked in bath at the beginning of Der Rosenkavalier as in Glyndebourne 2014.

    There have been some very shocking or inappropriate stagings in recent years.
    Why are there nude people in Turandot, Turin 2018 ?
    Brussels went to the extreme with Parsifal 2011 almost being pornographic.
    Calixto Beito is infamous for often applying nudity out of context. Have a look at his Entführung – what do you think.

    In recent years opera stagings with nudity have been numerous. It is not my objective to provide a lengthy or complete listing of all these recordings.

    I am sure nudity will continue to be used in opera staging.
    But please do it with taste and where it is in line with the story and characters….

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  • Opera in South-East Asia ?? (1/29/2019) by Flamand

    When opera in Asia is mentioned most think of the numerous glorious performances of visiting companies in Japan starting with del Monaco and Tebaldi. View these here.

    Or you might think of the many excellent performances in South Korea by very good local artists. View here.
    And China has many excellent singers too: View videos here.

    But opera in South-East Asia?
    Well, you probably be surprised. Recently I was on a cruise from Hong Kong via Vietnam to Singapore. So I thought that was a good opportunity to look into the state of opera in this area. Let us start with Hong Kong.

    Opera Hong Kong was founded 2003 by Hong Kong tenor Warren Mok. Since then it stages all the great operas regularily mostly at the Hong Kong Cultural Center with a mix of local and international artists. Opera Hong Kong has published videos of some of their performances which you can view here

    Vietnam has three grand opera houses built by the French in Hanoi, Saigon and Haiphong.

    Hanoi Opera House opened 1911 and played French and Italian repertoire with touring artists to the predominately French audience. After the colonial period there was an occasional visit by a Russian company. The Opera also saw world premieres of operas and musicals by Vietnamese composers. Today the house is used mostly for cultural events and sometimes for ballet.
    The Saigon Municipal Opera House (or Municipal Theatre of Ho Chi Minh City) was built 1897 by the French. There were occasional opera performances by touring companies. But the theatre declined steadily and was even bombed in 1945. In 1955 it was restored but the decline continued and the building is in very poor condition today.

    Singapore Lyric Opera opened 1991 with Die Zauberflöte and has staged one major opera each year since. It performs at the Esplanade Theatre with a mix of local and international artists. 2018 Aida was performed with Nancy Yuen from Singapore in the title role. There is a second opera company in Singapore – New Opera Singapore Founded in 2011 it has performed Die Fledermaus, The Turn of the Screw and others.

    Indonesia Opera Society was founded 2006 and staged mainly shorter works such as La Serva Padrona, Bastien und Bastienne, The Telephone, Der Schauspieldirektor. The society is based in Djakarta and employs mainly local singers. There is of course Javanese Opera (Wayang Orang) being performed in Indonesia but that is a different story…

    Cambodia did not have any western opera performances until 2018 when Die Zauberflöte was staged in Phnom Penh. It was a staging which included Cambodian folk tale, ballet and even Cambodian music. Papageno is playing a local instrument not a Glockenspiel. There were no local singers available so the cast was Asian. There are plans in place to stage this Magic Flute at the temple of Angkor Vat this or next year.

    The Cambodian Ministry of Fine Arts has endorsed the “Cambodia Opera Project” which launched with a performance of “Cavalleria Rusticana” September 2018. The event was televised on National Television.
    It seems that although Cambodia started very late there might be a bright future for opera.

    Laos: It seems that there has never been an opera performance in Laos even during the French colonial time. And I was unable to find any reference for any plans.
    Laos is one of the last white spots on the map of opera.

    Malaysia: Kuala Lumpur City Opera (KLCO) stages western opera. It was established 2012 to promote opera in Malaysia. Performances are at the Kuala Lumpur Performing Arts Centre. It mainly employs local artists with occasional international guests. 2018 performances were: Madama Butterfly, Hansel & Gretel, Eugene Onegin.
    Rheingold Opera Siam
    Thailand: Opera Siam (formerly Bangkok Opera) was founded 2001 for the purpose to stage “Madana” the first full-length opera by Thai composer S.P.Somtow. Later performances include Turandot, Die Zauberflöte, La Boheme. S.P.Somtow is the artistic director of the company and several of his other operas were staged by Opera Siam. He also started a project for Wagner’s Ring. Performances are mostly at the Thailand Cultural Centre with a blend of local singers and international guests. Several of Opera Siam’s performances have been recorded on video for you to watch

    As you can see opera is thriving in South-East Asia (more or less). On your next visit to any of these countries why don’t you plan to attend an opera performance…

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  • When opera goes wrong… (1/12/2019) by Flamand

    I am sure it happened to you too – something went completely wrong during an opera performance.
    I have experienced myself a few incidents and collected others.
    Here for you to enjoy:

    A glitch in the machinery can be fateful – Mefistofele Theatre Antique Orange 2018
    The usually so safe and reliant stage machinery goes totally wrong in this performance of Mefistofele Theatre Antique Orange 2018. Faust and Mefistofele climb into a basket that raises over the stage. But the basket starts to lean to the left. Faust (Jean-François Borras) and Mefistofele (Erwin Schrott) have to move around to keep the balance. Then the basket starts to wobble. The singers hold on best they can trying to keep the balance. The audience is starting to get really worried. After a long time the basket is balanced again and lowered down.
    You can watch the whole scene here.

    The tale of the missing soprano – Tosca Vienna 2016 Jonas Kaufmann
    Jonas Kaufmann sang “e lucevan le stelle” so splendidly that a da capo was demanded. And Jonas sang the aria once more which is very unusual in Vienna as it is against the house rules. After finishing the aria a second time the duet with Tosca Angela Gheorghiu should have begun. But to Jonas and everyone surprise Tosca did not show up on stage. But Jonas started to sing anyway: “non abbiamo il soprano” ( we do not have the soprano). After some pause Angela Gheorghiu finally showed up and the performance continued.
    Was it the bis which angered Angela Gheoghiu or ….? Nobody knows….
    Watch it here

    The case of the disappearing soprano – Ballo in maschera London 1981, Montserrat Caballe and Luciano Pavarotti
    This ballo was going to be a highlight of the season. After an auspicious beginning there came one of the highlights- the big duet of Pavarotti and Caballe. But to everyone’s astonishment La Diva walked off scene right in the middle of the duet and left a dumbfunded Luciano alone on stage. The orchestra stopped and the curtain was drawn. Then a speaker announced that madame was not well and she is trying to recover and will try to continue shortly. After a while which seemed like an age Montserrat Caballe appeared again and the duet was resumed where she broke off. Later she sang a glorious “Morro, ma prima in grazia” with her high floating pianissimo. Certainly it was not the voice which was indisposed. After the performance there came rumours that there were other funnies ongoing backstage with Pavarotti being very difficult about something. Never mind it still was a great performance and I was in the audience.

    The Heldentenor who could not move and barely sing – Götterdämmerung Vienna 1986 Hans Beirer
    At his 75th birthday Hans Beirer was offered a birthday present by the Wiener Staatsoper: an opera performance of his choice. And what did he choose? No, not Salome where Herodes would have been fine – No he had to sing the hero Siegfried in Götterdämmerung. To make things even worse he broke his leg in the days before and was unable to walk. It was a curious performance I attended: A 75 year old Siegfried who could not move at all and barely sing – it was awesome to watch and listen to. I hope he was happy with his birthday present. Otherwise the performance had some great singers: Gwyneth Jones, Walter Berry, Christa Ludwig …

    The handicapped Rosina in the wheelchair – Il Barbiere di Sivigla London 2009 Joyce DiDonato
    Quote from The Telegraph:
    She did so days after breaking her leg during the premier of a five-performance run at the venue in Covent Garden in central London.
    DiDonato, 39, thought she had just twisted her ankle when she slipped on stage while playing the female lead role of Rosina during the 100-minute first act of Rossini’s opera on Saturday evening.
    She gamely carried on until the interval with nothing more than a stick to support her.
    Returning on stage with a crutch, she was applauded when she sang the line – with added comic effect – “I’ve a cramp in my foot”.
    After the curtain fell – to a standing ovation – she was taken to hospital where doctors discovered she had actually fractured her right fibula, the thinner of the two lower leg bones.

    An unforgettable night at the opera 07 Jul 2009
    Joyce DiDonato breaks leg during Barber of Seville opera 07 Jul 2009
    They wrapped her leg in plaster and told her to take it easy, warning her not to put any weight on it.
    Before the second performance, on Tuesday night, all talk was of whether she would perform.
    But DiDonato, who is world renowned for her performances in operas by Rossini, Handel and Mozart, made good her pledge that the show must go on.
    Between performances she had written on her blog that she planned to sing from a wheelchair, promising to give it “everything I have”.
    She also joked: “From here on out, I declare that no one (please!) ever ever ever wish me again, in the American fashion (despite it being Independence Day), to: ‘BREAK A LEG’.”
    A source at the Royal Opera House said Tuesday’s production had been re-choreographed “very carefully” so that the other singers, who included Juan Diego Flórez, the Peruvian tenor, did not have to relearn their positions.

    Watch it here

    Have you experienced an operatic mishap or funny incident?
    Please let me and our readers know.
    Please add it in a comment below (you have to be logged-in)

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  • My most unforgettable experiences in the opera
    (1/10/2019) by Flamand


    You may know that I have been attending live opera performances for almost 70 years now.
    The number of exceptional performances I have seen is huge.
    People always ask me to name the most unforgettable extra-ordinary experiences I had over the many years.
    Well here is a try at my personal list of  my very subjective all-time bests:

    Lisa della Casa and Anneliese Rothenberger in “Aber der Richtige” and 1.Act duet of Richard Strauss Arabella (Vienna 1970)
    ..the most beautiful female voices in a perfect duet
    Edita Gruberova in “Grossmächtige Prinzessin” Richard Strauss Ariadne auf Naxos (Vienna 1984)
    … I have heard many Zerbinettas but none came even near to this performance
    Jose Carreras in “Recondita armonia” Tosca (Stockholm 1981)
    … Carreras at his best voice – warm and very emotional (with Katia Ricciarelli as Tosca)
    Luciano Pavarotti “Quando le sere al placido” Luisa Miller, Verdi (Vienna 1984)
    … the second verse was at pianissimo – out of this world
    Piero Cappuccilli “Nemico della patria” Andrea Chenier (Vienna 1983)
    … after this fantastic performance he sang it once more da capo
    Placido Domingo 2.Act of Les Contes d’Hoffmann (London 1981)
    ... the most beautiful tenor voice with an extraordinary legato cantilena
    Cecilia Bartoli in the  Final scene of La Cenerentola (Zurich 2014)
    … and its not only the coloratura but the beautiful warmth of the voice

    I have included links to the operas mentioned (some even with the right singer and location)  – Enjoy !!


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  • Cecilia Bartoli 30 years on stage at Zurich Opera
    (1/10/2019) by Flamand


    In 1989 a virtually unknown singer made her debut as Cherubino at the Zurich opera with Nikolaus Harnoncourt conducting. It was the start of an incredible career for Cecilia Bartoli. I was in the audience 1989 and although her costume was less than ideal her singing was superb. After that a world-wide career started immediately but Cecilia always regarded Zurich as her home theater. You may know that she lives here and married here.

    She launched many of her new and great roles in Zurich which I had the great pleasure to see most of them: Fiordiligi, Donna Elvira, Cenerentola, Desdemona (Rossini), Nina, Semele, Count Ory, Norma.

    She performed at most Silvester-performances (31.December). I saw all of them and her final scene of La Cenerentola is unforgettable.

    She was honored for her 30 year jubilee at the recent performance of Handels Semele  and with a Jubilee-concert shortly after.

    I hope she will perform many times more in Zurich where everybody loves her.

    Here are Bartoli’s video recordings


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