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.