"Opera is like funfair" says Rolando " (Spanish press today)

And he concludes: "anyone could try to have a go at the attractions with or even without a ticket!"
This is full of optimism and modernism. But he should know that there is no such thing as a free ride, not even on a merry-go-round.(My Father in law's saying, very wise, indeed).
If he manages to share all his fantastic views with the present cultural situation in operahouses nearly all facing some drastic cuts, it will certainly shake the old elephant.
I have not planned to see him at La Scala, knowing fairly well it is very expensive, both tickets and accommodation. So I am waiting for his "full" come back, next season 11-12, where he will tackle opera as before and with a larger choice around southern Europe and Paris, I hope! His voice will have settled and he will be a wonder as an actor of course.
My next date is Paris, his Mexican tribute, I will see him in his own culture and I might try to enjoy it, some of it. My limited knowledge in the orchestral Mexican groups makes me feel this Bolivar Ensemble sounds highly educated and less typical than some groups. They sound less ' folk'and more elaborate, transforming folksongs into classical (so to speak) pieces; I may be completely wrong. So I will see during his November live performance. Then there will be his Werther in Lyon. Till June for his Mozart, Il Re Pastore in Zurich, and that is really something to look for.
Great expectations!
Meanwhile he made a show on Paris tube with hardly any reaction at all from the busy crowd of passengers: A wrong place to taste his fame! I love his laugh just after his performance !
People in Paris or any big city in the world when they are put on tracks lose the common sense of joining in, only time and work are on their minds when they commute, there is also the fear of danger which is hammered by television lately. They dread the idea of having to make a charitable gesture in front of bored faces, and there are too many baskers anyway. These days in Paris who cares for a Gipsy looking basker.. a Gitano !!!


And ...there are lots of reasons why people hardly reacted, even if ... they recognised him...He was out of context!
Looking at his casual clothes, he was fairly smart in a way, nothing like an ordinary tramp.
If he could transform his laugh into words... I would like to read his thoughts...behind this quite operatic laugh!

Just a thought.

Last week-end was devoted to Heritage Days all over France. Lots of public and private places of interest were opened free of charge, or almost free.
I made up my mind to visit The Camp des Milles, for once on the list of Heritage days in Aix-en -provence. Les Milles is a few kms away from Aix.
As I was waiting for the zoo bus at Potsdamer Platz two years ago, my eyes suddenly got attracted by the glass sides, like an open book. The list of names was familiar, but the photo of a young man, Varian Fry, was not.
I forgot what I was meant to do and started reading, because I knew the story but had never put a face on the name of the man who rescued so many lives. The Camp des Milles is situated along the railway track and not far from Marseille, it was an ideal place to park all the undesirable human beings arrested by the Vichy government under the occupying Nazi Forces. There were also a large section of Italian communists mainly intellectuals, together with apatrid Jews, who had managed to escape horrors in Germany and got trapped in France, saddly. They were mainly intellectuals and artists. Because of the open situation, a very flat landscape with this tile factory facing the railway tracks, every one from the windows of the factory which had no window panes (the huge building being partly used to let the bricks dry in nearly open air and draft and out of the sunshine to prevent the clay from cracking.) could see their fellow sufferers leave and be pushed into the small waggons. Very often it would take two hours to embark. When convoys left, suicides were committed. The sight of beloved families with sometimes very young children, friends, fellow sufferers, leaving in such appalling conditions was obvious from the camp and utterly unbearable. Nothing could hide the crude reality. More suicides had been committed in this camp than in any other, a paradoxical situation really, the camp being an internment camp, not a concentration one.
That afternoon by the bus-stop in Berlin started with a long flash-back, liking Fry's story with what I knew so well from home.
What is striking in this huge refectory in the brick factory is the decoration which had been a command from the French guards to keep all these famous artists occupied, like that they were less interested in joining their knowledge and energy to plan to escape. The guards gave them paint and all the necessary equipment to decorate the rooms. Apparently the whole factory had been decorated even inside some tile ovens.
I tried to link the missing pieces of the puzzle which took place on our doorstep almost, during last saturday visit.
Some photos from the bus stop at Postdamer Platz Berlin oct 2008 and some pictures of the camp now, last saturday.
The Camp is under refurbishment to turn it into a Memorial Museum, which is really the least that the French authorities can do after more than 60 years. So, it is very often closed.
This place called 'blog' reflects parts of my life linked to art, some meaningful events, more or less with personal reactions.
This visit means a lot, and there will be some traditional music to make it easier to revisit in my memory, with sorrow. Always.
Link: Laurent Naouri, baritone, sings Mayerke (piano arrangement written by
Maurice Ravel)

Song : favourite one, La Divina : 'O patria mia'

It was yesterday and I could not write a word without the illustration of her voice. I thought about that celebrated high E flat in Act II of Aïda which is the most praised single note among her admirers. It was in 1951 in Mexico. I was a child and was going to Marseille opera house a lot when school was over, following my parents or waiting for them at home while listening to the radio.
Yesterday I looked for this famous 1951 live Aïda, I do not have it, instead I have the 1955 Scala where she does not sing the unwritten high E flat. But is that single note such a thrill in all her splendid renditions of the operas she performed? What I care for is her legato and the pain I can really feel when I play that aria which is with her kind of voice, gloomy at the low range, sometimes not even at ease at the top, almost fragile...so intense always, for ever and ever.
O Patria mia- Maria Callas live from La Scala. Aug 1955; Tulio serafin -Naxos

Music 'nd the City.

2nd phopto:
Raphaël Pidoux, violoncelle, Bruno Philippe, violoncelle, Elodie Soulard, accordéon. They gave a stunning Astor Piazzolla tango...under strong Mistral.
There was a series of free open air concerts in Aix-en-Provence on the best central squares and hôtels particuliers, like Hotel Maynier d'Oppède opposite 'Place de l'Archevêché'from Aug 23 to Sept 4.(Almost all 'pedestrian zone, a relief!).
Sometimes I had to queue, and most of the time I just had to stroll along to the next square to listen to the musicians. Unfortunately some days, a very strong 'Mistral' blew the notes away and shook dead leaves on the scores, annoying the performers and the audience.
But it was good fun and enjoyment to see passers-by stop and listen, even squat and sit on pavements when hooked on the music. It was a quiet mixture of mums pushing prams, rollerskaters, older citizens with their folding chairs sitting right next to the stage Place D'Albertas(the fountain had been turned down for the musical event, even the pigeons kept quiet when Félicia Doni played Chopin), a nice friendly atmosphere spread over the historical center, for once classical music was out of the concert halls and generously offered to all!In the eighties I participated to nice events also entitled 'musique dans la rue. I discovered in those days the young 'trio Fontanarosa' performing on 'Place D'albertas'. They were so young and talented!
I had to queue to see 'la diva de l'Empire' in the courtyard of Hôtel Maynier d'Oppède': 'Sous un grand chapeau Greenaway...says Erik satie's melody..

...After all, Kate Greenaway started the fashion of these dainty tops which carefully made it rather difficult to catch the lady's eye.
Hôtel Maynier d'Oppède, Michiko Takahashi, soprano, and Michel Bourdoncle, piano; Airs d'opéra et mélodies. Aug.27th 2010.





And this is an exquisite Diva de l'Empire...telling us all about the Greenaway
hat...

Le bonheur est dans l'oeil de celui qui regarde...

Song for a dream: Dame Janet Baker and Sir E. Elgar.

EMI classics GRC- Jacqueline Du Pre cello concerto
Sea Pictures -Janet Baker, mezzosoprano.
Sir John Barbirolli and the LSO. 1965.
" Where Corals lie" Richard Garnett.


The deeps have music soft and low
When winds awake the airy spry,
It lures me, lures me on to go
And see the land where corals lie.
The land, where corals lie.

By mount and stead, by lawn and rill,
When night is deep, and moon is high,
That music seeks and finds me still,
And tells me where the corals lie.
And tells me where the corals lie.

Yes, press my eyelids close, 'tis well,
Yes, press my eyelids close, 'tis well,
But far the rapid fancies fly
The rolling worlds of wave and shell,
And all the lands where corals lie.

Thy lips are like a sunset glow,
Thy smile is like a morning sky,
Yet leave me, leave me, let me go
And see the land where corals lie.
Could the power of music bring Peace where it is badly needed, and because of the calendar where celebrations are taking place? Could it be a land of quiet life for children? ( I keep wondering if this land where corals lie is not a land of love and tranquil life, flowing like this music and the sea...)

Carlo Colombara: The favourite song.

So beautiful, deep and moving.
I will be seeing him in Anna Bolena nearly in Spring at the Liceù. Meanwhile it is time to listen to him a lot.( Such ripe tones, almost like autumn flamboyant trees...)Many thanks to Johro7 who has a devotion to Carlo Colombara and I can understand his feelings and share that passion too.

Rigoletto:the making-of (Marie Guilloux for A. DuaultFR3)

Placido DOMINGO (Rigoletto) et Andrea ANDERMANN dans la "Chambre des Géants"" Réalisation : Pierre Cavassilas- Crédit : Radafilm, Photographe : Cristiano Giglioli

Ruggero RAIMONDI (Sparafucile) et Marco BELLOCHIO (Metteur en scène) Réalisation : Pierre Cavassilas- Crédit : Radafilm, Photographe : Cristiano Giglioli


BELLOCHIO (metteur en scéne) et Julia NOVIKOVA (Gilda) - Réalisation : Pierre Cavassilas- Crédit : Radafilm, Photographe : Cristiano Giglioli

Pause pour Vittorio GRIGOLO (le Duc) Réalisation : Pierre Cavassilas- Réalisation : Pierre Cavassilas- Crédit : Radafilm, Photographe : Cristiano Giglioli.
Four singers, two from the top class old generation we all have loved in various operas, and another pair from the younger generation, a promising good looking tenor and for me a complete discovery, this young Russian soprano from Saint Petersburg who was finalist at operalia in 2009. She was relieved to sing with Placido she already knew and told us she would not have taken part in this adventure otherwise.
Somehow she reminds me of Marina Poplavskaya I saw as Placido's daughter in Simon Boccanegra last july at the ROH. Placido has a definite tendancy to adopt as daughters on stage, young, fair and graceful Russian singers. ( I did not think Angela Gheorghui looked in the least like a daughter, nor did Anja Harteros to my taste anyway!)
This film after the show explains the goals of this tremendous adventure: a complete television film, with a very good team
and fantastic cameramen. So the musicians, the singers, the dancers, the orchestra, among 350 crew members worked hard during three weeks for two days of live casting.
I resent filmed live operas, I have never seen one in a cinema house, and yet, I really enjoyed this production made for tv viewers. Like Tosca filmed in Castle San Angelo where this natural location had a great role, Palazzo Te was part of the drama. In fact I would have liked to see more of its faboulous ceilings and paintings!
On the whole I found Placido Domingo less at ease vocally than in Simon Boccanegra. These terrible close-ups revealed he was not quite as comfortable as in Simon Boccanegra. The hunchback jester, so much in despair because of the love of his life, his daughter, was terrific! He made a real artistic move but the singing was not what I was expecting. Still it was a dearing performance for these two elderly singers, Domingo and Raimondi!
As for the young lovers, they were adorable in their "Addio" duet in the garden: Vittorio Grigolo acted like Roméo, sweet Gilda- Julia Novikova, who could be a nice Juliette too, sang like an angel! (I have to admit I react quite often like a teen-ager...)
Images in such a project came first and Verdi's music came second. Zubin Mehta did his best, it must have been terribly complex for the singers and the orchestra to be synchronized in all the entire location of the action, Verdi did not sound like it does in the opera-house, of course. So this is unfair really. After all it is not a 'film music' it is an entire score which is equally part of the drama.
Opera chic qualified this artistic 'product' as 'hybrid', yes this is the term to go into its complexity. I do not ignore it is as well a big business enterprise, with perhaps the excuse of bringing culture to the 'masses'...
What prevails nonetheless for me is a deep feeling of admiration for all the 350 crew members in these two days live opus on tv, broadcasted in 123 countries.
And really, confidentially and selfishly I send a request to Placido: do not over do it, keep lots of energies for 'El Postino', I have got my ticket at le Châtelet, and this is your creation, a fantastic one which will belong to you only on stage , so ...keep well dear Placido and lots of thanks for all the fabulous emotions throughout all these years!

A press cut and photos which recall the atmosphere of the
rehearsals.
It is interesting to know that Sébastien Guèze was on the premises of the filming and rehearsing on friday night, being Vittorio Grigolo undercover. Vittorio Grigolo had a sorethroat and did not know if he could actually sing on saturday night. (this is the summary of the last paragraph). I am very fond of this young tenor, he was Vincent in Mireille last June and has a real fine voice. I do hope to see him perform in Marseille again.

Nearly the end of my summer: Arioso under a starry night and a lit-up olive tree.

I did not quite recall where it was exactly. I was not driving. I remember the exuberant palm trees and flowers on this road leading to the Var sea-front. Then we parked and walked at sunset through this charming Var village by the sea. The concert took place in the courtyard of a public building, a garden which had a convent look with its olive tree in the middle. The harpsichord was quietly tuned up and the audience was settling gently in the peaceful light of a glowing sunset with no wind for once: all that made a serene setting; I could feel joy and artistic thrills in the air. I always rejoice in anticipating atmospheres.

Amarilli (G. Caccini) is, in this rendition, so subtle and soft. I like this delicate phrasing and elegant legato which express sorrow in a subdued manner. It was the signature of the extreme sensitivity and sincerity of both artists that night at Clairval: Arnaud Kientz, baritone and Ian Verrault, harpsichord.

Songs...Rolando ...' L'alouette' and 'El Reloj'

Love after all is always a question of time. I am very nostalgic of 2006 and this fantastic Vienna "Roméo et Juliette" where both Rolando and Anna gave thrills of happiness to their lucky audience: their youth and talent dazzled.
This 'Alouette'reminds the lovers that time runs too fast in Gounod opera, just like this clock' does in this traditional Mexican bolero 'El reloj'.
The intensity of the dramatic situation is less overwhelming in the Mexican song but the voice is expressing similar feelings: the anxiety of separation. Rolando's voice is giving more charm to the song, being what he was in Roméo in Vienna, LA, Salzburg and the Moscow and Paris recitals where he performed this aria with Anna Netrebko.


Still, if I could set the clock back...
(Many thanks for these youtube uploads, that precious one from the Moscow recital, and this new one from Rolando Villazon new album).