Ups and downs of my season.(part I).

There are motivations for my "ups":
I will not try to rank them, because in my mind they are not really separated.
Parts of my "ups" are the operas, often in concert versions, oratorios, recitals I have selected, chosen, like I choose a cake in a "Pâtisserie" shop according to my addiction to black chocolate, my fear of chantilly, and sometimes my devastating urgent craving for a lemon pie.
The Mezzo Voce is an absolute criteria!
Vesselina Kasarova
L'Enfance du Christ at Salle Pleyel. No gurgling! Musicality and emotion for Berlioz and great joy to actually see this oratorio performed! I love Berlioz, gosh! So beautiful that was! And who can resist Laurent Naouri's warm and deep voice ?


I saw Frau Kasarova three times this season:
L'Enfance du Christ (Pleyel). She was Marie with delicate and sustained colours in her warm and rich voice, she was so vivid and moving, showing a motherly side,(not counting with her rather sexy black dress showing on the left side glimpses of her slender leg...) and so musical in the duet with Joseph-Mathiew Brooke. On top of this huge pleasure of seeing Frau Kasarova in a complete different musical environment, there was also Lauent Naouri...and here's something to think about his beautiful voice and acting, with his wife Mrs Natalie Dessay ( one first down on my side: I did not manage to buy a ticket for her Traviata... the ones left were too much for me, I had too many outings to do... so I watched TV and loved it!)
Alcina TCE 2010-11-29(concert version)
Her extraordinary Ruggiero, where she managed to take the mickey out of her own previous performances and really made fun with this role! She does amazing support on her low range to soar to her very fine, strong top. Her gestures are truly hers, inimitable, she even danced this aria that night, she was gently rocking on her high heels, swaying to Mark Minkowski's wonderful tempo!
Here's my poor qualiy video, but true to the fun and passion of the artist Vesselina Kasarova.
LINK

Carmen, in Zürich:
Simply incredible!
And what about Karine Deshayes ?


Her Charlotte in Lyon?


a young and passionate Charlotte for once not an oldish plump mama who
follows the score and that's it!
I saw her four times this season, Charlotte (Werther)twice in Lyon.
Concert in Avignon.(Medea Cherubini)
Concert in Paris, l'Olympia, opera arias.
In the opening and the closing nights of Werther in Lyon, I loved every minute of her singing and acting in this Rolando Villazon vision of a rather boring opera if it is just following the 'tradition'. Then I went to an afternoon of arias in Paris (Festival radio Classique à L'Olympia) and again she was stunning, outstanding her partners to my ears...I hope to see her Rosine at Bastille in late spring...
Cécilia Bartoli!




when I discovered she was at the Corum in Montpellier, I felt the urgent call of her voice and passion, I phoned and booked whatever was left ... for "Sacrificium'
On the paper it was the same recital 'Sacrificium' I saw at the TCE in 2OO9 but major point with 'La Scintilla' and the wonderful Ada Pesch. I did not say a word about this performance at the Corum, I was perched at the top of the house, but her voice and gestures made her jump to me! It was an evening of sharing like I have not very often experienced. Because my prose is not up the standards of what she is and all she gives us I have said nothing so far. She offered three encores after a tremendous recital with a power cut, and both The scintilla and her carried through it as if it was bright sunshine!
LINK to the encore.
The last ones:


Riccardo Broschi : "Son qual nave" Artaserse (1734)
George Frideric Haendel « Destero dall’empia Dite » Amadigi (1715)
George Frideric Haendel: "Lascia la spina" Il Trionfo del Tempo (1707)


Last but not least:
Ewa Podles, in Clytemnestra in Nice... beyond words! A living legend for me!
After the Mezzo's joys and foolies, here come the two irresistible soprani:
Handel with Anja Harteros (along with Vesselina Kasarova) in Alcina....a wonder!
Then comes Mozart!
Mozart with Sophie Kartaüser ( Kate Lindsey and Richard Croft ...) in Idomeneo at the TCE...
I adored her Ilia, simply the best!
/>
I adore her voice and the way she sings, she does not have pretentious looks . She is acting like she sings, with precise gestures and refine taste.



I love listening to her, she is my exception. That evening, I waited to have the Cypress record signed and I discovered a wonderful kind hearted young lady. Our steps took us to the same underground and we sat together and had a quiet chat, very simple and generous, she was talking about the important thing she had on her mind as a young mother, after all she gave us on stage, she stepped out of this operatic world with so much simplicity. I was really moved when I said good-bye. My photo is blurred, as often but her smile is there!


She is a wonderful person! And a special singer to listen to the sort of days when life is uneasy and bumpy.
Link

Abendempfinfung. Sophie Karthaüser, Soprano. Stephan Loges, baritone, Eugene Asti, piano .w.a.Mozart Complete Songs for Voice and Piano. Cypress record.

Verdi's Requiem from the Proms.

Verdi: Requiem

Marina Poplavskaya (soprano)
Mariana Pentcheva (mezzo-soprano)
Joseph Calleja (tenor)
Ferruccio Furlanetto (bass)

BBC Symphony Chorus
BBC National Chorus of Wales
London Philharmonic Choir
BBC Symphony Orchestra
Semyon Bychkov (conductor)

This Prom will be repeated on Tuesday 26th July at 2pm.


Some time ago I was a prom goer without thinking it was such a privilege to get tickets for the concerts, students' days were happy and relaxed, I could afford the restricted view seats. I even left a performance, overwhelmed by the screaming and squeaking of the soprano,(the one and only indelicacy from my part, I will not reveal now who put me off, it was too long ago). With my blog friend eyesometric it is impossible to be ignorant of the Prom Season, so last evening I was there, my Mac tuned to BBC radio 3 (on air for seven days) and connected to amplifiers, which is my way to convert my lunchroom into a concert hall. Then I am facing the yard and the small walled garden which opens to the sky, ideal position to let the music flow. My knowledge of the Albert Hall helped me to feel its special atmosphere again and recall the view from the spot where I used to sit. I have seen two of the four soloists, the soprano Marina Poplavskaya and the tenor Joseph Calleja, last summer at the ROH in Simon Boccanegra, I missed Ferruccio Furlanetto'voice (bass) that night, only his voice! He was replaced by Sir John Tomlinson who sang the part while F.Furlanetto was acting...
The richness of the orchestral part and chorals (380 singers)is more impressive then ever, the orchestra is rumbling, the voices are soaring in despair, almost fighting against it. Maria Polavskaya tops are gracefully surfing over it all.
It is brilliant and dazzling. I have noticed so many careful contrasts in this performance, beautifully shaped with solo instruments and voices.
Semyon Bychkov is narrowly sculpting this piece.
I will listen to it again and again, for seven days onward...It is worth repeating this outstanding Verdi's Requiem.
There was an impressive silence of the full Albert Hall house when the music stopped. The clapping came much later. I could feel a huge wave of emotion, miles away from it.
The Norway tragedy was on our minds: the radio announcer dedicated this Requiem to the victims and families. The japanese tragedy is still on my mind too.
RIP.

no title.

In this country village where I live at the foot of the Luberon, some people own a gun because they are hunters. They are registered and pay for this hunting pass only during the hunting season. When I had my dog I resented the hunting season, because while taking the dog for long walks I had the nasty shooting and banging noises going on and it was dangerous, in a way, because of the stray bullets, to go for walks during that period. After all, we share the same countryside, and why should they have the right to own a gun and disturb the peaceful countryside, kill little animals like rabbits they do not need for food anyway.Now I can hear them when I go mushroom picking in autumn and I do not like their noise. Very often they are overfed elderly men and also heavy drinkers. I stand against hunters and their gun permits. The Norway massacre could have been avoided in a society with NO GUN permit. Why should we own weapons?
I hope the people in Norway will not want more guns for the people as a reaction to this dreadful one man disaster. If another man had a gun on this island he could have shot him and save some lives. That is possible, but the heart of the matter is really the first one who owns a gun, and in a society with NO GUN it is impossible to shoot at another human being, it is impossible to kill, either animal or human being. Utopia? Why not? We could give it a try all around the world, and become more pacifist and richer, with less money spent on weapons generally speaking.
RIP for the victims, the youngsters who all shared generous ideas, and their families. What with the upset weather, the increase of the homeless in France, the growth of the Far right in Europe, It seems that life is less secure around us but there is no need to be frightened. The solutions are social and human, a question of sharing more equally what we have. There is no title and no music for my humble thoughts.

A room with a view at 'Le Lavendou'!

I heard the mermaids again... and followed the call of the wild seas ... last tuesday for a nice concert, my annual one by the seaside at Saint-Louis du Lavendou which celebrates the end of my 'opera' season.
I enjoy this trip although it takes me as long as going to Paris by fast Inter city trains like the French TGV, on local buses, along very busy summer traffic roads of the Var coast. I always share this last concert with either D. or some good friends of mine. This time, my dear old friend P. who loves opera had great pleasure to travel with me. This time, I chose a room with a view on the Lavendou port, overlooking the bay and the hotel exotic garden where my favourite tree, the palm tree, stands out on the blue of the sea.
At sunset there was a swinging and whistling warbler swaying in the wind at the top of the cypress!

It had rained the whole morning, it was chilly and windy and the sandy beaches were almost empty. Still the narrow streets of the Lavendou were packed with holiday makers enjoying icecream and shopping instead of bathing. We settled in La Calanque and admired the view. I lived by the sea some years in my life either in Nice, Marseilles or Swansea, Brighton and La Ciotat, I happen to miss it sometimes. So there I was to attend the opera arias recital and piano concert of my summer, and it was raining!
This time, there were duets with baritone and tenor, the most difficult and moving ones of the repertoire . There are not many duets for tenor and bass-baritone, so it was really a kind of delicatessen choice!
The highlight of the evening was Verdi's duet 'O Carlo Ascolta' between Posa and Don Carlo.
Antonel Boldan was
also brilliant, along with Aline Piboule who accompanied them with care and virtuoso!
The Calunnia has been my opera 'best of' since childhood.
Arnaud Kientz is giving an intelligent and striking rendition, choosing to end the aria on the high opening range with wide arm gestures!
I jump into my strange but happy chidhood any time I have the opportunity to do it, that is when I attend my friend Arnaud Kientz's recitals.I "sing" the tune with him in my head, in French back to my early days when this tune was rehearsed in the tiny flat we occupied Rue Longue des Capucins... and I used to squat under the piano and sing along quietly though:
Et l'on voit le pauvre diable,
Menacé comme un coupable,
Sous cette arme redoutable
Tomber, tomber terrassé .

with the baritone who influenced so much my passion for singers. Another tune I love even more, which brings tears to my eyes with memories of this time when music and singing were all around me, is 'Stances de Nilakantha'(Lakmé-Léo Delibes). I loved to hear Arnaud sing it with so much passion! His 'ciel' are too much... I have to hold on to my seat...


We enjoyed a fine' Kuda Kuda', and a moving 'la fleur que tu m'avais jetée' from Antonel Boldan, plus, as an encore, a witty and jolly '"All'idea di quel metallo" duet between Figaro and Almaviva from act 1 of Rossini's opera.
Chopin,
Chopin's Ballade and Nocturne had a real Russian touch played by Aline Piboule.

I told Arnaud Rossini suits him a lot,I could see him in Don Basilio or Figaro, but Delibes suits him too! He is a very gifted singer and actor. I hope to see him on stage one day.
But when?
Time is flying....
So long to the dedicated organisers, the singers and pianist! Next year in Le Lavendou!

Eglise Saint-Louis du Lavendou-19 VII 2011
CONCERT DE PRESTIGE - OPERA BEL CANTO – PIANO




Donné par des solistes internationaux



Aline Piboule - Piano Antonel Boldan – Ténor Arnaud Kientz - Baryton

Eglise du Lavandou – 19 juillet 2011 – 21 h 30



Programme:
Mozart, Don Giovanni - Il mio tesoro A. Boldan tenor
Mozart, Le nozze di Figaro-Non piu andrai farfallone amoroso A. Kientz Bass-baritone
Chopin,
Bizet, Carmen- La fleur que tu m'avais jetée.A. Boldan tenor.
Delibes, Lakmé-Stances de Nilakantha.A.Kientz.
Bizet, Pêcheurs de perles, Duet 'Au fond du temple saint'A.Boldan, A. Kientz.
Interval.

Verdi, I Lombardi- La mia letizia infondere A. Boldan
Mozart, La cenerentola-Miei Rampolli Femminini.A.Kientz.
Tchaikovski, Eugene Onegin- Lensky aria,Kuda Kuda. A. Boldan tenor.
Rossini, Il Barbiere di Siviglia - La Calunnia . A. Kientz.
Verdi, Don Carlo-duet Posa, Carlo 'Ascolta'
Encore:
Rossini, Il Barbiere di Siviglia-All'idea di quel metallo" duet between Figaro and Almaviva from act 1 of Rossini's opera.

Just a thought: the call of the seas...

Lots of islands in this dreamy call of the wild! Aruba, Bermuda, Bahamas, Jamaica... key largo...let's rock gently and slowly with Kermit...while landing on Marseilles airport, over the Frioul Islands...

Just a thought: Shoes... blue suede ...?

Dear Willym... this is from Zürich for you...
And don't you step ... lalala!

Just a thought: Pace!

Today is National Day celebration, and yet there is no real incent to celebrate the spirit of the French Revolution. At the moment there are quite a lot of casualties in wars which are beyond our means. Today we have to think of the 70th soldier who lost his life for obscure reasons, in Afghanistan. The human cost has never been so high in France among all the wars where the French young men have decided to enroll, as our Army now is professional. Still we often do not feel we have to be in these conflicts. As a Peace member, and knowing France is not so rich lately I do not agree on keeping the army in conflicts where nobody knows the issue. The money spent on these wars is taken out of our taxes and as a matter of consequence, Education, Culture, Health budgets are facing drastic cuts. I hope the presidential 2012 issue will see the end of these heavy losses immediately.

Il Ré Pastore in Zürich Opernhaus: Somewhere between Tivoli and Le Petit Trianon.

Il Ré Pastore-Mozart
Zürich Opernhaus 09-07-2011







My second night at the opernhaus was quite different. First of all because I had plenty of time to arrive and gaze around the building, the building yard, and the view left around it. Then I discovered my horrible seat at the back of what they call a box, perched on a stool, with no view at all. I was not alone in that uncomfortable position but as I am rather small... the neighbour in front of me is naturally always huge, it was not even 'restricted'view I had to put up with it was no view what so ever! I politely asked the usherette if I could stand out until the lights turned down and move to the gods to stand and at least have a view of the stage. The answer was quite abrupt and negative, in Zürich, that is not done! So during the whole opera I stood and navigated from one side to another between the back of the two 'boxes' and managed to see a little bit. At the curtain calls I decided I had enough of this and stepped out in the passage way to at least take a few photos and enjoy the applause!
What was really great is the frienship which resulted between my neighbour and me sharing the same bad fortune! We had a nice chat and a drink afterwards!
I was so thrilled to be able to listen to La Scintilla this time under William Christie. I had seen them in Montpellier last october accompanying Cecilia Bartoli in her one 'woman' show Sacrificium! (I had seen her in Paris and had to see her again !)
The first scene which I managed to see by means of moving as I explained gave me the key-word of the evening: a fairy tale with Greek statues winking at us, Diana and her deer, cherub Eros with its arrow, and the turtle at the center of the fountain which opens up and transforms into a gilded 'fontis' where Elisa cups out water with her hand while wooing dear Aminta, which is after all going back to the beginning of the mythology, with the water power of the turtle. Not counting with Alessendro 's crowd, all satyrs in splendid clothes, like every one on stage. I was really amazed by the soft and beautiful tinges of all the costumes, the peaks being Alessandro's, Elisa's and Tamiri's ones. I had the impression of following some landscapes from Fragonard's paintings from one costume to another. This rococo fountain which is the departure of the dream like fairy tale reminded me of my visit to Tivoli and not long ago to Le petit Trianon, the two lovely girls looked like bone china sheperdesses who fooled around Queen Marie-Antoinette in her model farm just before the Revolution.. This heavenly setting where tulips appear and a nice flock with two black sheep (and no dog) greet us (even if they stink a bit...agenore made it clear that it was so), inhabited by XVIIIth century atmosphere and style made a gem for Mozart early musical beauties. Nobody is evil in this tale, not even Alexander the great! So love can be sung with refinement announcing later greater arias. I loved it. I came really to hear Rolando Villazon in a new role, tackling Mozart for the first time like he did with Monteverdi in Combattimento I heard live in Saint-Denis Cathedral. I was a bit confused by the harsh edges of his voice more noticeable because of the contrast with the other tenor's voice so smooth and used to baroque singing. Not that he was not good, it was different, not so elegant and aerial. But he had to be more martial being Alessendro the Great! So, he was as usual a great actor with funny attitudes, clowning a little with good taste (like throwing a biscuit and just putting one in his mouth when we all thought he would catch the one in the air...). The Scintilla was a pleasure and I particularly enjoyed the violin solo and duet between Ada Pesch and Aminta-M. Jankova Act II 'L'amerò, sarò costante:
Fido sposo, e fido amante
Sol per lei sospirerò.
In sì caro, e dolce oggetto
La mia gioia, il mio diletto,
La mia pace io troverò.
Her voice is gliding on the violin notes, it is a wonder..
(Do forgive the annoying crakles)
At some point I just gave up trying to 'see' and enjoyed the sweet Mozart's flow not even trying to read the surtitles (yes, they had those in English!) which was also quite a fight... but I would do anything to listen to Mozart on baroque instruments. That night I added to my collection of refined Mozart voices (where Sophie Karthaüser leads 'my' group): Aminta- Martina Jankova who was such a lively, nice looking and convincing shepherd -king to be! Elisa - Malin Hartelus, her dear lover was also very well matched with Aminta's voice. I found Agenore-Benjamin Bernheim very charming, both voice and attitudes, sometimes not really knowing what to do during all the rather long arias (in a sense of preparation, which I love listening to, introduced then developped, but not easily staged). The "star" had the applause he deserved, but I thought that the real 'singing' stars of this show were to my taste,B. Bernheim, M.Hartelus and by far M.jankova. But the absolute star was Mozart , William Christie and the Scintilla... plus this incredible house, well suited for Mozart.


il re pastore
Mozart

When
Sat, 9 July 2011 - 19:30

What
Opera

Ticket prices
VII: CHF 320.- / 250.- / 220.- / 98.- / 38.-, Student Tickets from IV: CHF 45.- / 33.- / 25.- / 20.- / 15.-

Venue
Opernhaus Zürich

Sung in Italian. With German and English surtitles

A cultural commitment of Credit Suisse

Conductor
William Christie

Director
Grischa Asagaroff

Set design and costumes
Luigi Perego

Lighting
Hans-Rudolf Kunz

Choreography
Stefano Gianetti

Featuring
Malin Hartelius (Elisa, nobile ninfa di Fenice, amante d'Aminta), Martina Janková (Aminta, pastore, amante d'Elisa), Sandra Trattnigg (Tamiri, filiuola del tiranno Stratone, amante d'Agenore); Rolando Villazon (Alessandro, re di Macedonia), Benjamin Bernheim (Agenore, nobile di Sidona, amico d'Alessandro)



The second Festival première on 4 July will be devoted to Mozart’s little-known “Il re pastore,” which will be performed for the first time in Zurich under the musical direction of William Christie. In Grischa Asagaroff’s production, designed by Luigi Perego, Martina Janková will be singing the role of Aminta, which was originally composed for the soprano castrato Tommaso Consoli. The star tenor Rolando Villazón will be heard for the first time in a new production at Zurich Opera House in an exciting role début as Alexander the Great.

Carmen, Vesselina Kasarova, Zurich 8-07-2011

Acte 3 sc 1 L'air des cartes
Donnez, que j'essaie à mon tour.

(Elle se met à tourner les cartes. ­ Musique de scène.)
-------Carreau! Pique! [tournant encor les cartes] La mort!
J'ai bien lu!..

En vain, pour éviter les réponses amères,
en vain tu mêleras!
Cela ne sert à rien, les cartes sont sincères
et ne mentiront pas!
Dans le livre d'en haut si ta page est heureuse,
mêle et coupe sans peur,
la carte sous tes doigts se tournera joyeuse,
t'annonçant le bonheur.
Mais si tu dois mourir, si le mot redoutable
est écrit par le sort,
recommence vingt fois, la carte impitoyable
répétera: la mort!
Oui, si tu dois mourir, recommence vingt fois,
la carte impitoyable
répétera: la mort!
[tournant les cartes]
encor!.. encor!.. toujours la mort!------

Here, normally I am moved, but that night at the Opernhaus, from my central seat with a complete view of the orchestra, the stage and the singers' attitudes and feelings if not face- expressions, (but I do not go to the opera to see face -close ups)I felt in rapture with this guttural voice when it is at the edge of her tremendous low range, this rough and subtle way of going through the French words and her soaring cello like voice in the high range with so much radiance and warmth, which made her Carmen irresistible. Vesselina Kasarova in her black dress with only a red rose on the side of her bun set low on her neck, looked like a sacrificial goddess, a fascinating apparition kneeling at the front of the stage, uttering several times the terrible and fatal 'La mort'. At that point the audience was absolutely with her sharing the fate, a Greek invention... and a thunder of applause came like a relief after such a terrible burden: her freedom she is so proud of is giving way to the fatum, as ridiculous as this game of cards, where she foresees her end and Don José end too, she believes in the fate inscribed in a pack of cards... very moving Vesselina, I cannot describe... only the music of her voice can, this short live pays tribute to her amazing rich voice if not to her dramatic playing, intense, contained, terribly elegant like a Greek goddess victim of fatal love.
I really enjoyed this modern production even if some crude gestures from the modern looking police forces (meant to be la Garde!!!) made me laugh with some sort of exasperation! I must say Vesselina has also short witty gestures. For her first habanera, a fast swirl of her hand on the trala la... was almost like winking at us to say'of course you all know that don't you'! before launching herself into her own version, fantastic ... like poisonous fragrances! I had some trouble due to plane delay at the last minute to arrive on time to the performance.. I was all worked up but so happy to be there and now I know how amazing that performance was, I dread to think I very well could have missed the beginning of it...I did not ask the cards though.
Don José-Thiago Arancam proved better and better as the drama went on and the Third and fourth acts were just really overwhelming for the two of them. Escamillo was also worth discovering sung by Massimo Cavalletti, who had the panache for the role. I had fun when I discovered the rather sexy looking Micaëla- Isabel Rey (normally they all look so prudish)here she is even deprived of her dress (a very short black one) by the members of the police...and appeared in her white laced corset and petticoat... the police members are more interested in pornographic magazines than anything else...rather refreshing but a bit heavy though during the first act... perhaps very true to the general mental capacity of police forces these days... funny to find such critical views on an opera stage. (I enjoyed this kind of perverted vision!)

That was a performance to remember in a very special place: I am not surprised that Cecilia Bartoli always performs her new roles in Zürich opernhaus, it is a real architectural jewel with great acoustics for both orchestra and voices. I found the house even nicer than Garnier, opening on to the lake, and facing the mountains. The building yard in front of it is a bit of a nuisance... at the moment.
From the Opernhaus site:

Carmen Bizet

In französischer Sprache mit deutscher und englischer Übertitelung
Mit Unterstützung von Evelyn und Herbert Axelrod
Conductor
Zsolt Hamar
Producer/production
Matthias Hartmann
Set design
Volker Hintermeier
Costumes
Su Bühler
Lighting
Martin Gebhardt
Choir rehearsal
Ernst Raffelsberger
Choreography
Teresa Rotemberg
Orchestra
Orchester der Oper Zürich
Choir
Chor der Oper Zürich
Mit

Vesselina Kasarova (Carmen), Isabel Rey (Micaëla), Sen Guo (Frasquita), Judith Schmid (Mercédès); Thiago Arancam (Don José), Massimo Cavalletti (Escamillo), Morgan Moody (Zuniga), Boguslaw Bidzinski (Remendado), Davide Fersini (Dancaïro), Gabriel Bermudez (Moralès)

""She has long become a legend – Carmen, the freedom-loving gypsy girl who finally pays for her liberty and independence with her life. To this day, the variety of this music, in which bright lyricism, radiant insouciance and humour can be found as well as demonically profound drama. Mediterranean clarity is combined with a sensuality that never becomes sentimental. Nothing about the score of “Carmen” is conventional; everything is characterised by an immediate, impetuous originality of inspiration and execution.""

My deep regret is the lack of actual photos of this cast in the programme, the 2011 one ... it is strange to use the 2008 black and white pictures...Vesselina looked so attractive in her short black dress with the red rose on the side of her hair...What a relief to have hardly any Spanish references in this modern staging; it gave more efficiency to the drama in terms of universality and humanity.
That night of July the 8th was a great one for Vesselina and all members of the cast. I loved this Carmen a lot.