EDITA : "ON VOUS AIME" (last encore, Salle Pleyel Jan 25 Mozart Concert)

Amazing night at Salle Pleyel!
I popped up to Paris for this Mozart concert, knowing I might not see Edita Gruberova in Paris in my next future.
Emotion could be felt all along the concert, partly because probably, like me, some in the audience were parting from their adored singer, and others were moved simply to see her performing a demanding program with so many skills, plus the energy of a young singer,  and the commitment of a top class singer with tremendous aura when she reaches her special realms where I think she is still unique so far.
Even Edita felt tears coming during a very moving"Welcher Wechsel...Traurigkeit" (Die Entführung aus dem Serail).
Again I had an autograph signed and a photo taken, my treasures,  I keep for the girls!
 It was a fine concert, Mozart sounded great with and without Edita's voice ! The young conductor Douglas Boyd has a passion for Mozart which could be felt in particular in Idomeneo Ballet music I had never heard on stage as it is always cut, therefore  I discovered and loved it, thinking that Rossini must have listened carefully to this work. Then, the Mitridate Ouverture and Aria were a treat. Before I left home I read  about the conductor, and during the concert I thought I was still paying tribute to Claudio Abbado's art   through this young man who founded the Orchestra of Europe. Then I simply thanked Edita Gruberova's fine musical taste for such a musical evening offering orchestral parts not often played during Voice concert, like Adagio in C minor K546.
For the second encore, Edita bravely sang Elettra again  without any restraint in quality and energy, as could be heard in her foolish laugh!

Edita Gruberova - Münchener Kammerorchester - Douglas Boyd

Airs de concert

Saturday 01/25 2014 8:00 PM

• Edita Gruberova : soprano
• Münchener Kammerorchester
• Douglas Boyd : conducting

Programm

• Wolfgang Amadeus Mozart
• Don Giovanni / Ouverture
• "Crudele?...Non mi dir" (Don Giovanni)
• 6 Deutsche Tänze in B-Dur
• "Welcher Wechsel...Traurigkeit" (Die Entführung aus dem Serail)
• Adagio et Fugue, en ut mineur K546
• "Martern aller Arten" (Die Entführung aus dem Serail)
• Entracte
• Wolfgang Amadeus Mozart
• Mitridate / Ouverture
• "Qual tumulto...Soffre il mior cor con pace" (Mitridate)
• Idomeneo / Balletmusik de l'acte III (1ère et 2nde pièces)
• "Giunse alfin il momento... Deh vieni non tardar" (Le Nozze di Figaro)
• Cosi fan tutte / Ouverture
• "Fiordiligi, Temerari, sortite...Come scoglio" (Così fan tutte)

After the first encore the audience was even more enthusiastic and would cheer warmer than ever, until a true 'déclaration d'amour' rose up from the audience!
It is all in this short video, and any time I play it I am really happy, a kind of childish happiness and I rejoice seeing Edita launching herself again in this very difficult aria she did as a first encore, she wanted to keep the Mozartian unity of the concert and she was right! She really gave us her musical singing high knowledge and all the energy of her deep love of singing and respect for her audience.
She is a true inspiration for me. Belonging to her age group, I often think how wonderful she is and how well she manages to keep her art of singing and  acting abilities,  after forty five years on stage.


                                  EDITA FOR EVER !
Elettra, d'Oreste d'Ajace(Idomeneo), end of the last encore (25-01-2014 Salle Pleyel /Douglas Boyd &Münchener Kammerorchester.(I am grateful for this link on this aria to Opera_cat I found on the web wanting to read a proper translation, here is also the roots of the tormented alianated soul seeing devilish creatures around her ) Edita Gruberova gave accents of delusion and horror in this overdemanding aria she sang twice....Last Laugh ... applause!

I must 'count my blessings'!....this season, because I enjoyed some smashing nights like Cecilia Bartoli's Mozart revival (Edita Gruberova 's concert is also a Mozart revival) and some personal highlights I have not blogged about like Firma on Jan 21 with my dear young friends, then, a fantastic Straniera in Marseille last November. I will blog about  it when I come back from Bastille Werther.(Feb 2)

                                                                                                    

Then, I will discuss my favourite living mezzo singers!

Coline opera in Nice: Norma

The red carpet stopped a few meters from the front of Nice opera house!
What a pity, because Edita Gruberova and the whole cast deserved the red carpet on Saturday night, first rendition of this well known masterpiece by Bellini with its 'casta Diva' immortalised by Maria Callas.


NORMA


Vincenzo Bellini

Samedi 10 décembre – 15 h

Jeudi 15 décembre – 20h
Représentation supplémentaire salle Pleyel à Paris le 20 décembre.
NORMA

Vincenzo Bellini
Livret de Felice Romani, d’après la tragédie de L. A. Soumet
Version concert
Direction Andriy Yurkevytch
Norma Edita Gruberova
Adalgisa Sophie Koch
Pollione Massimo Giordano
Oroveso Wojtech Smilek
Clotilda Anna Steiger
Flavius Paul Cremazi
(Anna Steiger was replaced by Maïté... when the announcement was made I did not hear clearly her name ..M...)

Still, Edita Gruberova has been interprating this role with panache since she sang it for the first time at the Bavarian State Opera in Munich (January 2006). She was fifty nine then. Very soon on the 23rd she will be sixty-five and I felt all her energy and passion in this role she acted on Dec 10 in Nice. I loved her in Mozart, and of course her Adele made me dream of actually seeing her live. I have had to wait quite a long time to fulfill my dream.
What is striking is the huge high range she still has with no sign of ageing because she has a perfect command of her voice. She seems serene and faces difficulties with great artistic knowledge. She is so much at ease in stratospheric spheres that she adds top notes, like in her casta diva. She goes into furiousness against Pollione with such vocal energy and then cries her love for her children, unable to murder them, not like Medea. But what I like best is her duets with Adalgisa. I am used to listening to her singing with Vesselina Kasarova. (Many thanks to Smorgy for the wonderful uploads of both Edita and Vesselina, a real 'goldmine'!)

Here, on Saturday night Sophie Koch really moved me to tears.



Her sombre and rich voice suited this role, she acted the role with Edita and their friendship was sealed in an exquisite duet where, like young girls, they were shaking hands and marking the rhythm!
I enjoyed the music tremendously, the conductor kept a sustained rhythm, with striking brass effects as always with the summon of the Druid gatherings under Oroveso's commands. Bellini is a dear composer for voices and it is always elegant and moving. I particularly enjoyed the bass Wojtech Smilek. Massimo Giordano, after warming up was a very romantic Pollione, less martial with no roman attire! (that is always good with concert version, it avoids any nonsensical decor or costume).
This opening night, sponsored by the charity fund Coline Opera
, was a success judging by the numerous curtain calls and the last one only for 'Edita' as her fans from the Gods called her loud with the banner stretched out to welcome her back!
She came out on her own and waved good-bye and sent 'bacci'...

the artists were all at the stage door, in no hurry, happy to meet their admirers, even though they had a cocktail party organised by the Negresco at the Negresco. Edita Gruberova even let us step in the entrance and talked to her fans.
I will attend the secound round tomorrow. I cannot imagine missing the last Norma in Nice.
The same cast will be at Pleyel on the 20th. I expect it will be perfection and 'acted' by all of them by then.
I admired Mrs Devia's art of singing in Marseille, now this is Edita, another immense talent with coloratura abilities and a human dimension which is felt in this role, very rich with contrasting moods and feelings.
Mrs Gruberova acts Norma straightforwardly and sings in heavenly spheres...She is amazing!

Edita for ever : the 45th anniversary of her career in Vienna.

At last I was happy enough to attend La Straniera replayed in good conditions. ( It is still on until the 1st of March.LINK Vienna Musikverein is a marvellous Hall and Bellini sounded fine. watching the flutist and all the instruments was also a source of pleasures and emotion. As for the singers, they all were in their best form for difficult scores at times for all of them, but I must admit that La Straniera part is the most perillous one with extreme heights. It was amazing to watch the very skilled acrobatic tops being sung by Edita Gruberova who is such a great and fearless singer and musician! I could not help being almost crying when I saw the audience reaction at the end: they nearly all got up and came nearer to the stage to thank Edita, and the cast of course but Edita was the center of the evening in such a demanding role. She was offered a huge bunch of sunflowers... a very good choice as she is still shining bright after nearly half a century of devotion to the art of singing. NOTES FROM THE SITE: Edita Gruberova IsolettaSonia Ganassi Baron ValdeburgoPaolo Gavanelli Graf ArturoJosé Bros PriorSung Heon Ha OsburgoRandall Bills MontelinoLeonard Bernad ConductorPietro Rizzo Münchener Opernorchester Philharmonioachor Wien TV DirectorFelix Breisach THE VENUE: Vienna Musikverein Venue Details On the occasion of legendary soprano Edita Gruberova’s 45th stage anniversary, the artist will perform her very first live streamed concert. The event features an exciting international cast of renowned singers, including tenor Jose Bros, mezzo soprano Sonia Ganassi, and baritone Paolo Gavanelli. Several up-and-coming talents will also be performing: tenor Randall Bills—a member of the ensemble of Oper Leipzig, who will make his NYCO debut this spring—and basses Leonard Bernad, currently a member of the Opera Studio of Oper Köln, and Sung Heon Ha, a member of the ensemble of Nationaltheater Mannheim. The concert will be conducted by Pietro Rizzi, who leads the Münchner Opernorchester and the Philharmonia Chor Wien. Gruberova, a native of Slovakia, is one of the most acclaimed coloratura sopranos of recent decades. She made her professional debut as Rosina in The Barber of Seville on February 18, 1968, at the National Theater in Bratislava.

Saturday 7-02-2015 : "Radio Days" with Edita Gruberova and Anja Harteros !(updated free concert for Edita now!)

As it is really freezing outdoors, with patches of snow here and there and a white Sainte Victoire in
the background, these two concerts on Saturday are fantastic.

 At 2pm on BR Klassik:

Anja Harteros!( Demanding programme, certainly I have to follow the lyrics and get them ready  at hand).

 Then, at 7pm:

Edita Gruberova has an amazing bulletin and I get news because the Head Fan keeps all the members in touch (VK has also a Head Fan who does all the news dispatching for the members).
At 7pm there is the 45th Vienna Concert Anniversary.
I have booked my ticket to join the streaming.
It cost me 15€. It might be my only chance to see and listen to Edita almost 'live' so for once I got an internet ticket. (I reserved a ticket for Roberto Devereux in Munich in July, who knows) ?
Link, live stream:
http://www.staatsoperlive.com/en/live/138/galakonzert-2015-02-07/#tab_1
 Here's the link designed by the head of the list, celebrating this 45th Anniversary in Vienna, and it is gorgeous!(including the concert programme).
(Bild photo)
 BREAKING NEWS from Edita's Bulletin which is wonderfully updated!
Opera Slovakia gives a free code to the concert; VSO#8ONLINE
A summary of the artist's career with photos and articles: LINK

Edita for ever! Consecration for 45 years of success at Wien Staatsoper 7/II/2015.

The streaming   had two stops.
(not too long).
The thundering sustained applause lasted more than half an hour.
The artist came back on her own at least threee times, waving to her clapping audience and shaking hands to the ones standing against the stage wall. It was such a warm and touching celebration.

Dominique Meyer greeted this bel canto 'addicted ' artist with  happiness and certainly a touch of humour when she was presented with her lovely Zerbinetta costume from her beginnings in the House.
 The umbrella and the straw hat are so dainty!

Here, she is in her prime at the same place!(upload from fleurdefeu57bi )

 45 years as we say in French 'de bons et loyaux services'... she deserved two standing ovations!
(first one after Lucia act)
The camera focused on a balcony where a banner appeared, familair to me : I saw it in Nice when Edita Gruberova sang Roberto  Devereux. Edita Gruberova has the best organised fan group !

She is also an amazing singer after all these years of interpreting a demanding repertoire.

 The only singer I also know who shares some similar gifts and tenacity in the art of singing is Mariella Devia. They interpret the same roles but sing differently in  stratospheric spheres. I admire them both.
 What they have in common is the complete mastering of the art of coloratura, ornements and trills.
 The younger generation of singers do not seem to be able to compete with these 'champion trillers'!
She gave  us (as usual) the complete show of her skills and even sang an ornament in Lucia mad scene which suprised me. I will have to listen carefully to try to find  out the extraordinary modulations her voice is capable to accomplish. Now some shrills in high passages can  be felt, but not always!
 I am admirative of her ernergy, her tremendous power of work and musicianship which make her rather unique in this field.
 The live steaming worked quite well, and I almost forgot I was in front of my laptop.
The bows and applause brought me back to concerts in Nice and Paris where the same joyful atmosphere takes you away with her!
Here is the new banner and the same fans I saw  in Nice, I believe!
Long Live Edita and her fans!What fun!

Opera World Tribute to Edita Gruberova

Here is the link Yesterday afternoon, the 14th of November was Edita Gruberova Remembrance Concert in a church in Bratislava. (Katalin Szabo who has always been in charge of the Fan list informed me of this special memorial concert in Bratislava. I lit a candle and listened to Norma 2006 Munich Staatsoper. Be in Peace Edita ! Joys and feelings your voice and personality offered through your singing and acting will last for ever ... will I have enough time to explore all the operas, melodies, songs you recorded ? The day I was in that long queue at Pleyel and then faced your intense look I should have hugged you ... and in Nice when I was in the small front room waiting for you with other fans, when you appeared I regret not telling you loudly 'Merci du fond du coeur '!

Edita for ever!

Next monday, it is an absolute necessity to be on line for La Straniera. Last year, I was very lucky to attend two performances of Coline Opera with Edita Gruberova and a wonderful cast for Norma LINK

. So I am really pleased this time Edita Gruberova will be on line for this event. (photo from TV.movie).

Tribute to Edita .

Today is World Opera Day Celebration. I could not write a word all those days.

On Oct the 19th I discovered the sad news through Charles Castronovo's instagram and I cried...as it reminded me those ends of recitals and concerts I attended when I travelled for Edita.(I could have hugged this sweet tenor I also acclaimed several times in Paris, Toulouse, Baden Baden). Edita Gruberova passed on the 18th. Her life was spent on stage all over the world. Why was she so unfortunate to leave us so soon after she officially retired from opera stages ? My belief is she was a real workaholic from chidhood when she tackled music and singing. She was immensely talented, funny, utterly moving generous and sincere; She could never leave the stage if last enthusiastic fans were still cheering ! She gave endless encores with so much fun, energy, even after long Mozart recitals like she did in Paris (Pleyel Jan 2014) when she sang the acrobatic "Marten aller Arten" twice (opening and ending..) I have never witnessed thunder of applause like I did in Munich, Paris, Nice, ever since...She was special, energetic, dedicated to music and her voice and passionate. She did not have my favourite Mezzo -soprano" cello" voce but as she was in her own style a terrific belcantist and sang the three Donizetti's regina, I loved her a lot and admired her live as often as I managed to get tickets at the Staastoper and Paris. In Nice I attended the two concert versions of "Norma" without any ticket problem and enjoyed the atmosphere of "fête" from her fans until the last minute ! Today, world Opera Day, I have the feeling she has not left us: she will always be with us on line,( she has lots of admirers and uploaders on youtube). Here are my contributions on this blog with my photos and short videos ( not good quality but showing her generous and sincere self on stage). The best photo comes from an old good friend of mine Arnaud Kientz. Song for a Dream and a laugh! Edita ! "On vous aime" ! Coline opera in Nice Summer gap

I wish I had attended melodies and lied recitals ... what is recorded is so fine, so heart warming...like this upload which is heartbreaking now and so thoughtful too (Thanks to Charles Castronovo for his photo from instagram-screenshot, Arnaud,MonogramistaML for the Gypsie melody Dvorak ). Of course in my treasure-box there is the Gruberova/Kasarova CD which is a wonder...

Mariella Devia, the Queen again!

As it is,  Summer's gone and with Autumn we are now in rather rainy episodes.
We did a short escapade to Madrid which was very summary last week, and I caught my beloved Mariella Devia in Roberto Devereux at Teatro Real on Monday 28th sept.

She was as always very musical and stunning with precise singing and phrasing but did less coloraturas than the smashing Marseille renditions where she went over the top in exquisite vocal trills at the very end. Here she was staged in a heavy red dress with an outrageously high leathery black belt, and it looked like a carceral garnment which kept her Queen's power in a physical prison.  The setting  was rather neutral, which permitted the singers to sing without being bothered, unless Mariella felt disturbed at the last scene by this articulated spider she sat on as her  moving throne ? The symbolic was good but this long legged silvery spider had a gadget effect, the Spiderwoman.....
She did not chance the high variations like Edita Gruberova did at the Bayerische Staatsoper in July ( really sounded rather screaming at times, but the effects were overwhelming ) and did not touch me as much as she did at the concert renditions in Marseille. It was such beautiful singing which is always a treat from her ! I was glad to be there and promised myself to try to see her again in Gênes this time with Sonia Ganassi who was singing with Edita Gruberova at the BSO.
Gregory Kunde was in top form and also very safe in his singing of this role. His voice was ever so clear and loud, too much  to my taste. He had a thrilling evening and seemed to get more applause and cheering than Mariella Devia did. He also did not chance the high C but had a rather long and catching variation which I had never heard before and it suited his voice. That is what is amazing in these Donizetti's works, this possibility of adding a personal touch with the coloraturas variations. I would have liked to be more musical myself to be able to note what they both did that monday night!
It might be possible to find this Sept 28th  rendition on the net. (https://vimeo.com/140766182)
 Here are the highlights and it brings me tears when I listen to Mariella again in this terrible aria at the end. ( there is not the last cry after 'uscita'). As I was sitting nearly at the top of the house I discovered two screens with the filmed production actually on stage. I was surprised but glanced at the faces of the singers I could see so close... very moving indeed.

It was a great night to be remembered with this wonderful cast. The Spanish mezzo,  Silvia Tro Santafé, was also very involved and moving  in Sara and the baritone, Marco Caria, made a fine job too in Lord Nottingham. Donizetti knows how to blend voices and the ensembles were so musical (rather rare in this opera but wonderful arias). I enjoyed Bruno Campanella's vision at the orchestra and what he does to accompany voices in such terrific arias. He has a real touch with singers.

Production Team & Cast

• Musical director: Bruno Campanella (Sep. 22, 25, 28 · Oct. 1, 4, 8)
  
•   Andriy Yurkevych (Sep. 24, 27, 30 · Oct. 3, 7)
  
• Stage director: Alessandro Talevi
  
• Set and costume designer: Madeleine Boyd
  
• Lighting designer: Matthew Haskins
  
• Choreographer: Maxine Braham
  
• Chorus Master: Andrés Máspero
  

· - ·

• Elisabetta: Mariella Devia (Sep. 22, 25, 28 · Oct. 1, 4, 8)
  Maria Pia Piscitelli (Sep. 24, 27, 30 · Oct. 3, 7)
  
• Earl of Nottingham: Marco Caria (Sep. 22, 25, 28 · Oct. 1, 8)
  Ángel Ódena (Sep. 24, 27, 30 · Oct. 4, 7)
  Alessandro Luongo (Oct. 3)
  
• Sara, Duchess of Nottingham: Silvia Tro Santafé (Sep. 22, 25, 28 · Oct. 1, 4, 8)
  Veronica Simeoni (Sep. 24, 27, 30 · Oct. 3, 7)
  
• Roberto Devereux, Earl of Essex: Gregory Kunde (Sep. 22, 25, 28 · Oct. 1, 4, 8)
  Ismael Jordi (Sep. 24, 27, 30 · Oct. 3, 7)
  
• Lord Guglielmo Cecil: Juan Antonio Sanabria
  
• Sir Gualtiero Raleigh: Andrea Mastroni 
• 
  

Coline opera in Nice: part II.

What with three performances of Roberto Devereux in Marseille and now two performances of Norma in Nice, my own Bel Canto Festival ( my reference to this nov-Dec period) is over.
I do realise how lucky I am, having listened to, and seen, two of the last belcantists, Mrs Devia and Mrs Gruberova. There is dear June Anderson also, whom I cherish and have seen in Marseille singing Bellini: Norma and La Sonnambula, both concert versions too. Very recently I had the pleasure to see June Anderson At Coline Opera in Toulon, in a wonderful evening too, where her art of Bel Canto was at its best!




Some of my photos at the stage door last Thursday night after Norma.
I was encouraged to wait and meet the artists by a group of Japanese fans who were kind enough to lend me their gorgeous pen and talk to me about their absolute love of 'Edita'. They follow her where ever she sings. The lady on the photo was offered this bouquet by Edita who was happy to see them!
My only question, when she signed the photo I really like in the Lied-duet Nightingale record was: 'Will you sing again With Mrs Vesselina Kasarova one day', she said nicely: 'no' in a smile ... so ... I will listen to this record even more!
It was a great night: the orchestra sounded even more confident, the rhythm was even more martial when needed. Oroveso struck me even more in his leader role.. Edita uttered two intense and rumbling 'Guerra'.
But the contrats with the romantic arias and dramatic ones were smashing. The chords and their deep movement at the interlude enchanted me.
The theme is then developped just after, in the most moving part of the opera I think, when Norma alone on the stage, watching her children sleep, has to decide whether to kill or not to kill them. Edita starts almost whispering ( not like Maria Callas), then reaches heights of maternal pains and despair where her shrill voice there vibrates the chord of all the sufferings of the world... this theme musically and humanly is deeply moving. These children will not be killed and probably escape slavery (by the Romans) but it is really a narrow escape in this drama. Watching Edita singing and acting this precise part was tremendous. She does not hide her feelings, she acts thoroughly and makes believe. What she sings takes you beyond, because it is so much in relation with the words, so precise.

The theme of this tragedy is still readable by a XXIst century audience. As the Head of Coline Opera pointed out in his talk before the concert, childhood must always to be protected, anywhere. I was thinking about the industrial slavery of some children in some parts of the world, and of the weight and power of religion on the education of girls, as it was underlined in this message that progress in society is always led by women, so girls must get an ecucation, in spite of the weight of some religious belief. It seems to be far from the scope of Norma, but it is not really. The Druids were ocupied by the Romans in this tragedy so it does ring a bell...Norma is a religious and political leader and she falls secretly in love with the head of the occupying forces. In some parts of the world there could be similar situations, and human sacrifices are not uncommon with terrorism, unfortunately.
The musical treatment of such strong feelings transcends time.
That is why opera even when we think it is old fashioned, once linked to the words that express the feelings sung by the singers, is never obsolate.
In Norma, the Moon guides the celebrations of the Druids. The poetry involved in the text is so intense with the music. I will try to finish this festival expressing my love for Bellini's music.
This is a quotation which I like:
"In 1901, commemorating the one hundredth anniversary of the birth of Bellini, Arrigo Boito, the eminent librettist and composer, wrote in his Omaggio a Bellini nel primo centenario dalla sua nascita: “Chi non ama Vincenzo Bellini non ama la Musica” (“He who does not love Vincenzo Bellini does not love music”). A full century later, one can do little more than emphatically repeat Boito’s apt assessment of the “Swan of Sicily.”(D. Osborne)
Homage to the Moon by Cecilia Bartoli: LINK
(many thanks to the uploader).
And I was pleased to cheer the young mezzo soprano Maïté Maruri who nicely signed the programe and wrote her name. She was a fine Clotilda, and I address her my best wishes in this end of year period because she is the youngest of the cast!LINK
and very promising too!(many thanks to the uploader)
Here is a very precious link to Mrs Gruberova's Fan Page which is a great site (even the scores are available). It is a source of great information about Mrs Gruberova's career. LINK

Summer gap (3) Anja for ever ! of course, Edita for ever !!!!

It is quite hard to write these days.
Starting from July with my Aix Festival operas: Alcina and A mid Summer night's dream,  followed by two flights to Munich to catch Roberto Devereux and Arabella on the first trip,  then Don Carlo and Manon  Lescaut on the second one, I cannot put myself to writing in details as often.
All I have to say is the excellence of singing and acting from Frau Harteros both times.
That is why I decided to only celebrate her because after all I travelled to Munich twice for her this summer.
Arabella: 
She dazzled of sincerity, beauty and emotion, in a role she has sung many times now.
 Elizabeth:
 I wanted to see her in this role and was glad Rene Pape was also on the cast. I found the production absolutely true to the period of  the Spanish Inquisition, loved the costumes with the red and black contrast,  felt all the beauties of these artists'interpretations.  Of course it is such a reward to be part of the audience in the Bayerische Staatsoper! I was lucky to meet my Munich friends who also take me to the stagedoor after the opera to greet Frau Harteros almost each time I come to the BSO.
 I must also mention the night before Arabella.

I made a special point to see Edita Gruberova again in one of her signature role of the  second part of her career, and indeed I was not unhappy with that night either.
  After a rather difficult beginning this absolute coloratura singer gave such a heartbreaking rendition of the role with no economy of voice effects and she really goes over any musical limits, she gives all her talent and musical knowledge to us. She is amazing in her category, unique.
She stayed on stage until the last clap with so much respect for her audience. I was almost crying watching her thank her fans, alone on stage. (July 10th 2015)
At Arabella curtain calls the following night, thunders of clapping acclaimed Anja Harteros who bowed with simplicity, as usual. She stayed a little bit longer I think.
My Munich friend threw a splendid yellow bouquel, like sunshine! She  looked in the direction of my friend,  waved at him, smiled like a happy child with a sunshine present then picked it up, bowed at audience and orchestra while walking backwards to get in line with her colleagues, all done in a very simple way, without any sign of exaggeration, her way! (From my seat,  I could follow this because I know the ritual... and it is so charming to watch this tradition when one knows the friend who does this nice gesture).).
I wish I could celebrate her style of singing and acting any role, with more talent and knowledge on my part. But I did not study music for a living!
She is the best young singer I love seeing perform and I would try to travel for in the years to come, If it is still possible for me to do so.
(July the 11th. All my gratitude to my opera friends in Munich and Leipzig).
I am lucky to have this reliable friend in Munich who always helps me for tickets. Also I managed to get the Don Carlo ticket (a bit more expensive than usual) on the BSO forum and found another opera fan from Germany. My 'Opera' family is getting wider!
 For Manon Lescaut, my friend gave me his ticket and I had a smashing evening with splendid view but did not enjoy the singing as much as I did the previous evening for Don Carlo. The very good acting of Christine Opolais cannot compensate her rather unpleasant voice to my ears. As for Jonas kaufmann, I also admire his skills and looks but he is not my favourite type of tenor so far. But this production was outstanding with lots of very striking partis pris, the last act was the saddest of all ever seen on stage and Alain Altinoglu made Puccini sound unforgettable that night. The applause were tremendous for both singers.

Some picts from both Edita and Anja: two true Divas dedicated to music and accurate singing, not relying on their image, but on their musicianship.

Here's a great admirer of hers who has also une très bonne plume: Monsieur André Tubeuf.
(I collect his books and have a signed copy of his Mozart, he used to give conferences at Marseille Opera house.)

He has a marvellous blog here:
http://blogs.qobuz.com/andretubeuf/

Just a thought: More about Edita Gruberova.

Orfeo
I am so pleased to find a review of this live collection from Vienna Opera House in Classica
Starting point: 197O when young Edita began professional singing in this House, until 2010.
It is a fine collection worth getting.
What is amazing is to be able to go and see this artist still performing and offering her best art of singing. This season I was very lucky to enjoy her Norma in Nice.
Her fansite gives all the venues in Europe. I would really enjoy a recital, as far as Liege?
Here is the soundtrack offered on the classical sample cd like every month.
Her voice now has kept the same clear tops and amazing flexible abilities. In this offer there is a live extract of her 1970 Lucia in Vienna. This is quite impossible to ignore!
And isn't it a bit too early for a Christmas present of my own?

Linda is longing for Carlo who left some pansies...
Oh, you are the radiance of my soul,
Delightful life and love;
On earth and in heaven,
We will be united.
Come, my dear
And find calm in my yearning heart
That sighs for your love,

Mariella Devia is Elisabetta in Marseille Opera house on Nov 22nd.

Bel canto lovers will be welcoming Mariella Devia in four concert versions of Roberto Devereux. This anticipation of her beautiful singing in this over demanding role of Elisabetta reveals the impatience of a child in my old 'me'...
I have never heard Roberto Devereux live, and at the moment I am getting ready to listen to the cast on Marseille stage, possibly not reading the subtitles if I have sufficiently listened to all the arias of this acrobatic score for all the characters. I prevented myself from watching the famous Edita Gruberova's DVD, because I really need to get into the music without the support of images. I know fairly well how Edita-Elisabetta finished the opera, the 'whig act' before she died.. I keep this for after the 22nd, this time knowing so well that having Mrs Devia is a unique opportunity here. I have booked for the 22nd and the 27th(the first and the last one). Mrs Devia is also one of the rare Italian belcantist who performs the tradition as it is written.
I know her Queens on cds, I have never had the chance to actually see her so far. The 22nd is going to be a great musical evening, the cabaletta rythm accelerates with tension in emotions and turns of mind.. here they are different in words and music endings, they are more difficult and acrobatic, for Elisabetta mainly. The richness of the music makes it very demanding on the singers who must master this art of bel canto, well illustrated by Bellini, Donizetti and Rossini.
Her part is highly adorned and flying high but
Sara's part ( mezzo) is also daring right from the beginning of the opera. She is secretly in love with Lord Essex and has a very melancholic aria in the opening scene: Perhaps it is the musician who right from the beginning gave way to his sorrow, through a touching aria: All'afflitto é dolce il pianto.
The year Roberto Devereux was created, Donizetti lost both chidren and wife.
Last year I happened to see Donizetti and Rossini nearly side by side in portraits up on a wall in the music room of the Musée de la Vie Romantique. Rossini was beaming with appetite for life(and " Gourmet Cuisine" as we know) and I could not help comparing this beaming fattish face to the gloomy, stern look of his neighbour Donizetti. In Roberto Devereux the melancholy is expressed by all the main characters, either men or women. The music goes far beyond the plot at the English Elisabethan Court.
Here is Sara's complaint, mezzo Sonia Ganassi is Sara, I loved her singing and acting at la Fenice in Elisabetta (Maria Stuarda).


All'afflitto é dolce il pianto...
la gioia che gli resta...
Una stella a me funesta
anche il pianto mi viet

Della tua pi cruda, oh quanto,
Rosamonda, la mia sorte!
Tu peristi d'una morte...
Io vivendo ognor morr)

Verdi's Romances are interpreted by Mariella Devia, and I enjoy these as premises for further opera arias.
This is one I like most:

Perduta ho la pace.
Verdi.
(Wolfgang Goethe, Faust) Translation Luigi Balestra in Italian,in English: LINK
My peace is gone,
My heart is heavy,Perduta ho la pace,
ho in cor mille guai;
Ah, no, più non spero
trovarla più mai.

M'è buio di tomba
ov'egli non è;
Senz'esso un deserto
è il mondo per me.

Mio povero capo
confuso travolto;
Oh misera, il senno,
il senno m'è tolto!

Perduta ho la pace,
ho in cor mille guai;
Ah, no, più non spero
trovarla più mai.

S'io sto al finestrello,
ho gl'occhi a lui solo;
S'io sfuggo di casa,
sol dietro a lui volo.

Oh, il bel portamento;
oh, il vago suo viso!
Qual forza è nei sguardi,
che dolce sorriso!

E son le parole
un magico rio;
Qual stringer di mano,
qual bacio, mio Dio!

Perduta ho la pace,
ho in cor mille guai;
Ah, no, più non spero
trovarla più mai.

Anela congiungersi
al suo il mio petto;
Potessi abbracciarlo,
tenerlo a me stretto!

Baciarlo potessi,
far pago il desir!
Baciarlo! e potessi
baciata morir.



I will find it never
and never more.

Where I do not have him,
That is the grave,
The whole world
Is bitter to me.

My poor head
Is crazy to me,
My poor mind
Is torn apart.

My peace is gone,
My heart is heavy,
I will find it never
and never more.

For him only, I look
Out the window
Only for him do I go
Out of the house.

His tall walk,
His noble figure,
His mouth's smile,
His eyes' power,

And his mouth's
Magic flow,
His handclasp,
and ah! his kiss!

My peace is gone,
My heart is heavy,
I will find it never
and never more.

My bosom urges itself
toward him.
Ah, might I grasp
And hold him!

And kiss him,
As I would wish,
At his kisses
I should die!
Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.

Wo ich ihn nicht hab
Ist mir das Grab,
Die ganze Welt
Ist mir vergällt.

Mein armer Kopf
Ist mir verrückt,
Mein armer Sinn
Ist mir zerstückt.

Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.

Nach ihm nur schau ich
Zum Fenster hinaus,
Nach ihm nur geh ich
Aus dem Haus.

Sein hoher Gang,
Sein' edle Gestalt,
Seine Mundes Lächeln,
Seiner Augen Gewalt,

Und seiner Rede
Zauberfluß,
Sein Händedruck,
Und ach, sein Kuß!

Meine Ruh' ist hin,
Mein Herz ist schwer,
Ich finde sie nimmer
Und nimmermehr.

Mein Busen drängt sich
Nach ihm hin.
[Ach]1 dürft ich fassen
Und halten ihn,

Und küssen ihn,
So wie ich wollt,
An seinen Küssen
Vergehen sollt!

song for a dream and a laugh!

EDITA FOR EVER!

(Many thanks to my dear friend Arnold for the photos from the memorable Dec the 17th Edita Gruberova's concert at the TCE in Paris).
That is also the end of my road.
Perhaps spring will bring new energies.
Who knows?
Special thanks to my three faithful readers, who always signed their comments.
Special thanks to all the singers and musicians who gave me so much happiness whenever I managed to go and see them in operahouses.
Happy new peaceful year for all of us.
So long!

Mes divas aux bouquets wishing you a rich new season to come!

All the best to my "divas', Anja Harteros, Karine Deshayes, Mariella Devia, Edita Gruberova, Patrizia Ciofi and Vesselina Kasarova!
Smile... they all smile,
and yet as  Charlie Chaplin's song says
... when your  heart is aching....
It can be a difficult exercise.
Their smiles and bouquets  are here to open wide the new season door and I hope to see them as much as possible...Munich, Paris, Marseille, Avignon, Gênes..

(thanks to Getty Echo Klassik 1999, Forum Opera, Norma Bozar, Romeo et Juliette 2011 Marseille, singer for all seasons, http://lanotazzurra.blogspot.fr/2013/10/recital-di-mariella-devia-al-petruzzelli.html, http://dnevnik.hr/showbuzz/clubzone/njemacka-sopranistica-anja-harteros-u-zagrebu---415434.html).