Song: Favourite one ...

I have a crush on this voice in this precise aria which makes me cry invariably...Why?
Mimi should never have trusted a poet and a tenor.
Colline is a "basso" a philosopher and a poet too. If he is departing from his old and tatty coat it is to get money to buy Mimi some medecine.
Colline will never bow to rich and mighty people, the low range of his voice speaks from his heart, he is a nonconformist and can be trusted.
Puccini wrote a sort of "marche funèbre": "addio "to the golden days, now it is time for worries and misfortune.

I have always imagined Colline's old coat with holes in the pockets, like another famous very young poet who was going away with his fists in his torn pockets...a sign of superiority of the mind.('Ma bohême' Rimbaud: another amazing story of a coat and more...)
In the legend of opera, Caruso did sing that aria on stage once; the bass had a sorethroat and mimed the singing while Caruso was singing this aria... unnoticed by the audience! (It has been recorded, just an oddity really!)
Ezio Pinza: opera arias.

Aix festival, last performance(Jul.21)

( 2 photos, from the programme)



Pygmalion

Jean-Philippe Rameau

Acte de Ballet, livret de Ballot de Sovot d'Après Houdar de la Motte

Créé le 27 août 1748 à l'Académie royale de musique de Paris

Précédé d'extraits d'Hippolyte et Aricie sur un livret de l'Abbé Simon-Joseph Pellegrin

Créé le 1er octobre 1733 au Théâtre du Palais Royal

* Direction musicale William Christie
* Mise en scène, chorégraphie et scénographie Trisha Brown
* Costumes Elizabeth Cannon
* Lumières Jennifer Tipton

* HIPPOLYTE ET ARICIE (fragments)
* Aricie Sophie Karthäuser
* Phèdre Karolina Blixt
* L'Amour, Une matelote, Une chasseresse, Une Prêtresse Emmanuelle de Negri
* Un suivant de l'Amour Ed Lyon
*
* PYGMALION
* Pygmalion Ed Lyon
* L'Amour Sophie Karthäuser
* La Statue Emmanuelle de Negri
* Céphise Karolina Blixt
*
* Orchestre et choeur Les Arts Florissants
* Danseurs Trisha Brown Dance Company

Production / Coproduction

Nouvelle production du Festival d'Aix-en-Provence, en co-production avec le Holland Festival, Amsterdam et Athens Festival.



It was by far the most enjoyable evening with Rameau sung by four beautiful and talented young singers taking part in this magic ballet company: the Trisha Brown Dance Company. Les Arts Florissants with their peaceful and witty conductor William Christie, highlighted the evening !(as always).
I am a new comer in the baroque opera, I have listened more to baroque music than I have attended live performances. Going to this performance (like I did last Dec when I went to Garnier to see Platée and in March I saw le couronnement de Poppée at' théâtre des Salins in Martigues), was like discovering a new territory.
It was like a dream: an exquiste display of soft and subtle movements almost all in curves, matching marvellous arias. No period costumes, no setting, the chorus was in the pit, and the singers were dancers, part of the eight dancers of the Company. They were wearing tunics showing soft shades of grey, orange and beige. Trisha's drawings, curves and arabesques, were the only setting. They were lit up according to the feelings expressed by the music and dancers ( I guessed, and thinking about it is still stimulating my imagination).
What a relief ! why should we try to adapt the XXI st century to remote XVIIIth century? Rameau's music sounded very modern that night. The French 'danses'(Rameau wrote the music of the five danses and Amour makes sure the statue gets a crash-course on them in order to be fully alive!) without the XVIIIth century attire seemed so normal and expressing vividly the feelings of the singers. This music, called 'baroque', but very different from Lully, became even more powerful and expressive with this very modern and fluid choreography.
At last my dream came true, I was able to see Sophie Karthaüser live!
In the first part she was Aricie and a shepherdess.
She gave a stunning rendition of a sweet tune which may well become her signature after this Aix festival 2010: Rossignol amoureux'(live from last performance Jul 21st).
She was the most graceful dancer and singer of the cast and I really admired her for her quiet kind of personality and tremendous talent.
In Pygmalion she was the divinity"Amour" her sweet aria by the side of the statue pedestal explains her magic powers which will make the artist's love for his statue come true! Then the generous divinity of Love will reach the ether in subtle and swift flights on the music while the tenor expresses his happiness: 'le triomphe de l'amour'. Sophie flew in the air above the stage with graceful attitudes and smiles, she looked like a fresh bud in soft shades of pink and gold, sharing the candid and almost peevish look that can be seen on these cherubs' faces painted by XVIIIth century portraitists. Could it be a vision of Tiepolo's chubby angels floating so happily on some Venitian ceilings? I noticed she was wearing a taffeta rose at the back of her hair. The plain and soft tops and trousers of the dancers followed the curves of the body with supreme elegance. I loved the texture of the whitish and bluish stone tan of the statue and above all her hair style, like a roman empress. There was a true message of love and peaceful happiness in this tale. The infinite combinations of intertwined movements of legs, arms, hands, always describing curves, even perfect circles of arms in the last ensemble, could illustrate the plenitude of love, the sheer happiness at last. The tenor Ed Lyon proclaims 'le triomphe de l'amour'. The harmony of love is expressed in the coupling of the dancers and the triumph of the artist joining his live statue for the final harmonies. At one point of the finale, before she can join her beloved sculptor, Emmanuelle de Negri had her feet leaning on the Artist 's chest, she was in total extension, her head and body being backed up by the dancers. She did not look so much at ease in this position! But she was very convincing as a statue coming gradually to life.
It was amazing to watch the singers becoming talented dancers. They all went to New York and spent some time with Trisha Brown's company to work on the choreography separately from the music. Ed Lyon had an elegant look and beautiful expressions in this role, his 'triumph' was also vocal, and he will be remembered in this role. I definitely will try to follow Sophie Karthaüser's career in France and see her in Ilia next season if I manage to travel as much as I intend to.

(photo Aix festival 09)
From Operabase, here are her Paris appearances:
Jun 11 Idomeneo re di Creta Ilia Paris(CE) C: Rhorer; P: Braunschweig
Apr 11 Der Freischutz Agathe fr Paris(Comique) C: John Eliot Gardiner; P: Jemmett
Feb 11 Fidelio Marzelline Paris(CE) C: K Masur;

In the first part 'Fragments of love from Hippolyte and Aricie"
I realised that the aria 'Quelle plainte en ces lieux m'appelle'Hippolyte n'est plus ' was as fine as Purcell Dido's death. Karolina Blixt was amazing. This mezzo part of Phaedra went well with the colours of her voice. Her tall and thin figure moves with the emotions until she leaves and slightly bends to the ground in total despair. The splendour of both orchestra and chorus from the pit reaches a climax. This last phrase grows on my mind and I keep hearing her deep rich voice uttering: 'Hippolyte n'est plus', echoed by the chorus while she disappears. She was in perfect contrast with Sophie Karthaüser's role and singing. And I loved them both.
At the end of 'Pygmalion' the audience was cheering !
There was a 15 minute applause and at least four curtain calls. William Christie came on stage and talked to the audience, expressing his faith in Aix festival throughout the years and then wished all the best to two collaborators who were leaving the cast after this production( the regisseur and a dancer). When William Christie cheered the dancer, he slipped into English, with overwhelming emotion and affection. The orchestra joined this festive and moving end of night of the 2010 Festival. I hope they had a nice party afterwards, they all deserved it!

Karolina Blixt's schedule from operabase:

Opera Role Location
Feb-Mar 11 Hemligheter Carl sv Malmo C: S Larson / Lönnqvist; P: Dunér
Nov-Dec 10 Serse Serse it Stockholm(Royal) C: Stoehr; P: D Slater
Sep-Nov 10 Rigoletto Maddalena it Stockholm(Royal) C: Tobias Ringborg; P: Hellwig
Aug 10 Orfeo ed Euridice Orfeo Stockholm(Confidencen) C: Östman; P: Segerström
Jul 10 Elektra 3. Maid de Savonlinna C: Patrik Ringborg; P: Staffan Valdemar Holm
Jul 10 Pigmalion Céphise Aix-en-Provence C: William Christie; P: Trisha Brown


Ted Lyon's schedule:

Jun 11 Atys Atys Bordeaux C: William Christie; P: Villégier
Dec 10 Pigmalion Pygmalion Wien(Theater) C: William Christie;
Dec 10 Anacreon Agathocle Wien(Theater) C: William Christie;
Dec 10 My Fair Lady Freddy Eynsford-Hill en Paris(Chatelet) C: K Farrell; P: Carsen
Jul 10 Pigmalion Pygmalion Aix-en-Provence C: William Christie; P: Trisha Brown
The music associated to contemporary ballet and a rather bare scenography reinforces the singing and acting; it is not abstract either because the singers really felt the emotions of their role and expressed them even more with the language of the body paired with Rameau. It all looked and sounded definitely modern to my ears and heart. It really gets to the heart of the matter when these eternal myths: Phaedra, Pygmalion are revisited like they were at the Grand Théâtre de Provence on Jul 21st. And what a 'triumph' for les Arts Florissants! My best souvenir of that night is the last curtain call when they were all kissing each other just like in 'love actually'...Cupid was still fooling around...

Flying device. Sophie karthaüser is practising (I think!).
(photo from the programme Pygmalion Worshop, GTP Nov.09 Elisabeth Carecchio).
This production was broadcasted on Mezzo and is now on Youtube ( it is marvellous really that this performance can already be shared by all the Rameau lovers on youtube: many thanks to Oedipus Tyrannus who loaded the first part on youtube for my great pleasure).

Song for a sleepless summer night.

Chanson triste
Sung by José Van Dam, it brings back serenity when it is badly needed.
Bass-baritone voices do have a soothing charm sometimes.
Many thanks for sharing my songs from this blog, I feel happy when I see in my mail that some one has shared my boxnet.
Many thanks for the ones here and there who are patient enough to read me.
It is amazing to watch the red dots and flags on the map.
A peaceful passion shared through the language of music throughout the world....

A rose from Bagatelle Rosegarden, June 20th, why is the letter P missing from this old-fashioned label? Gone with the rain...
It is Friendship, isnt'it ?

Song to feel young, for ever!!!

http://rs125.rapidshare.com/files/407369457/08_Lennon___Mccartney__Yesterday.m4a
Recorded by Placido in the 80's ...
Early 'cross-over' this 'perhaps love' CBS Cd, John Denver is playing the guitar for his song 'Perhaps love' and for Annie's Song.

Addio...????

Could it be possible that Placido Domingo's grand tour of his favourite opera houses should ignore the two French national scenes, Garnier and Opera Bastille?
If the rumor of his leaving in January 2011 has any sense, his French fans will not have the pleasure of saying goodbye to this great artist like the other fans in Europe did? That is very strange indeed.
What about 'Il Postino' at The Châtelet in June 2011, then?
What is sure is that Simon Boccanegra will have been performed at the Met, the Staatsoper unter den Linden, la Scala and on Wednesday the 13th of July at the ROH with a free projection all over Britain; in London it took place at Canary wharf, Trafalgar Square and the ROH Library. That last detail, announced by a sweet lady,(who could be Elaine Padmore, director of the ROH), who came to the front of the stage before the performance on Wed evening, made the packed house laugh gently; she was there also to tell us that Ferrucio Furlanetto was going to mime his role 'unable to sing' so John Tomlinson was going to sing from the side of the stage. There was a general sigh of approbation from my neighbours who knew that singer better than me. I would have liked to hear Ferrucio Furlanetto. I watched him singing Fiesco on TV on the 10th of July from my mobile home in Kent, when this opera was broadcasted all over Britain. I missed my equipment at home in Provence quite a lot because I would have downloaded the opera. D. tried hard to get it through iPlayer on his computer, but BBC material is really highly protected!
Because I hurried to Covent Garden in very unusual conditions, I left my camera behind, so all I have is what I remember from this special evening.
I have had my ticket since March and had never dreamed that Placido Domingo might not be on stage! He has hardly ever missed a performance and does not look fragile; he has given hope to all of us who may one day have to face the same problems, and we all know he is a very sensitive person because his voice tells us so much. I had never seen him on stage before and I remember getting up very early one summer morning in 1992 to follow the live performance on TV direct from Castle San Angelo to hear him sing Mario Cavaradossi. For me he is unchallenged in that role with sensual Catherine Malfitano in Tosca.
It is perhaps extravagant to pay nearly £88 for a seat in the fifth row right in the middle of the amphitheatre in the Royal Opera House, leaving husband and grandchildren to attend such a performance, or perhaps it is a privilege for a senior citizen who worked quite a lot and now has some time and money for her passion. I nearly went in plimsoles and shorts and forgot everything except my binoculars. I did not want to miss any of Placido's expressions while singing, so I ended up having cramp in my right arm and hand. But it was worth while!
The first notes of the prologue set the high profile of Pappano's conducting of Verdi with a Rolls Royce orchestra! The balance of the orchestra and the chorus was amazing throughout the opera. The singing then was like a jewel in a beautiful orchestral shrine: Pappano really loves his singers and is so attentive to them.
I did not appreciate the miming of Fiesco, very soon I stopped looking at Furlanetto and concentrated on Tomlinson doing his best, seated by the pillar in front of the stage, reading the scores and watching Pappano. I had a fantastic central position which allowed me to see the whole of the stage and orchestra pit.
The setting appeared to be very efficient and elegant, matching the Renaissance atmosphere of the story without the weight of unnecessary accessories: the Fieschi palace door and then the wonderful gallery facing the sea took me to Genoa for sure. The plebeians with their graffiti on the wall plus their roars during the riot scenes added real flavour with a touch of poetry in the costumes and colours. This prologue is vital to foresee the growth of Simone Boccanegra and his deep sorrow: Placido made a wonder in this role, starting still young in the prologue then aging gradually to be the mature Doge in full power and then in the 3rd act turned into the old man dying under slow poisoning and clutching his canes to finally meet his lifelong enemy Fiesco on the dark wooden bench for the most moving scene in the whole production when both aging men weep together for their lost love, a daughter for one a lover for the other; 'piange' from bass and tenor (not a frequent voice match)and the revelation of the true identity of Amelia for Fiesco. The dramatic tension is tremendous in this opera, and I prefer it to Rigoletto.
Amelia-Marina Poplavskaya seemed so frail in the gallery scene wearing what looked to me like a pale celadon plain long dress which suited her fair complexion and long blond curls! The beauty of the lighting made it feel like a real sea view, and yet it was unreal with the poetry of the music, feeling the gentle breeze of real waves. She has discrete top notes which can be heard if the orchestra is willing to help, and it is charming because she does sing with lots of grace. Maybe she does not have 'italianita,' but she was very credible in her newly found daughter role; aging Placido and her made a special team, very elegant and touching.
(the photo is borrowed from the programme).

When Joseph Calleja-Gabrielle Adorno started singing from the wings I felt he made it! That evening was his: each time he sang there was strong response from the audience, with lots of clapping between arias, which is rather unusual here, or is it the effect of the broadcast all over Britain which gave this audience a touch of southerness?
It created enthusiasm which gave more stamina to the cast, orchestra and chorus! what a warm evening!
The grand renaissance style of the Doge's office in Act II was fascinating:
the old maps displayed on the long table, the decanter which dazzled in Simone's hands when he poured the poisoned drink, the compass which in Paulo's hands almost became a weapon to threaten Fiesco, and the sextant to remind us that these people mastered the seas, conquests and wealth, perhaps "pirates" as Fiesco insulted Simone, but learned ones sometimes, made a fine composition. Placido gave a fantastic rendition of the Doge's power and fairness and I thought this role was his too, suiting his voice and his wisdom.
When he walked for the last time in direction of Amelia, his hand stretched to touch her and missed her calling "Maria' then collapsed on the ground, I found this tremendous, the last touch of incredibly good acting.
Now I will try to recall what gave me jarring impressions in the singing; quite honestly, apart from the gimmick of the miming and strange syllables from the bass noticed once or twice, I enjoyed the whole cast really. Paolo, the villain, sung by Jonathan Summers looked very Shakespearian in his conspiracies and violent behaviour. I was very impressed by his singing and acting.
Special mention for the chorus and orchestra: Pappano was acclaimed at the curtain call, looking wet as if he had crossed that sea he so skillfully created for us that night with his splendid orchestra.
I would have enjoyed seeing Placido Domingo at the stage door and all of them really.
I would have liked to have seen the famous blogger Gert because I know what she looks like from her blog. I had to hurry to Victoria station to catch my train.
At the interval I had a chat with two ladies, one from Wales, and I told them how really good I thought the orchestra and chorus were, compared to what I had just heard on the 21st of June in Garnier... that will be my conclusion, if only Antonio Pappano had conducted that Donna del lago in Garnier in June... perhaps Joyce Di Donato would have felt better about that nonsensical production.. at least the music would have enhanced the show and helped the singers in a difficult Rossini opera, one of the finest too.
Whether I will have the pleasure of seeing Placido Domingo at the Châtelet in 'Il postino' remains to be seen, and what is sure for 2011 is that he has apparently not been invited by the ONP director.
By the way, Rolex seems to rule the opera world, Paris, London, elsewhere ? certainly...
Money and Culture, when there is an international economic crisis, where can the money come from?
( photos from the ROH programme Simone Boccanegra, July 13)
Just a thought!


I wonder what Placido Domingo thought of his last daughters who were so different vocally and physically?
Personally I took a real liking to the fragile looking Amelia-Marina Poplavskaya.
And I listened to A. Harteros in that role with real admiration for her wide range and very strong and warm tone when I followed the broadcast from La Scala on Arte.

So long!

I'll be back some time, I am off to cooler climes.