Mariella Devia, tout simplement.

During four performances she gave passionate and amazing renditions in Marseille Opera House. I missed one out of four.
Tonight I will not try to say anything because my words would be inappropriate as only her art of singing can tell what she is.
I am utterly moved by what she gave us.
I am very angry that what we call 'culture' in this country, whoever is in charge of the classical music here, was not aware that in such a provincial city as ours- second after Paris... a true wonderful belcantist singer was performing in a rather non popular opera. In Paris, France Musique broadcasts lots of concerts from Parisian concert halls and theaters. Here, it is what we call 'the cultural desert land'... or may be Mrs Devia is not mediatic enough for having a session broadcasted ?
But for the lyric lovers of Bel canto, she is the last perfect one.
G. Donizetti is a fine composer and it was a real treat to follow the whole cast, the chorus and orchestra (even if it was too loud at times) through those performances. And if there are 'pirat' versions, no one can complain...
Last night, the four main characters were all cheered, because they all gave the best they could give in this last concert of Roberto Devereux, and I felt they were all acting better and better, as it is really a psychological drama, more than a drama in progress with lots of actions going on. (Apart from 'la spada la spada', which could be acted with violence !)
The elegance of Mrs Devia is not only in her singing, each night she had a new very suitable dress.
Light lavender blue was the colour of her last dress... a dream come true, like the way she sings, and smiles... so gently. Under thundering applause, she bent her head, almost hiding. What a wonderful artist!


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Madame Devia for Donizetti's birthday, in Marseilles Opera House, last round!

Yes ! last 'round' tonight at 20pm...








Mariella Devia in one of the most famous cavatina followed by a cabaletta sung live on the 27th: she brought the house down.. here's the proof LINK
This is a very amateur live, but what counts is the quality of the memories and the accurate amazing style of Madame Mariella Devia. With the help of a true classical connaisseur and conductor, my blogfriend Eyesometric, I managed to have a look at the score and more precisely( I am not a musician but I can read, as I practiced the piano in my younger days)at this aria:
Act I sc IV
"Ah! Ritorna qual ti spero,
Qual ne' giorni piu felici,
E cadranno i tuoi nemici
Nella polve innanzi ate.
Il mio regno, il mondo intero,
Reo di morte in van tigrida.
Se al mio piede amor ti guida,
Innocente sei per me!).....

Vieni, vieni, t'affretta.
Ah! Ritorna qual ti spero....

Here, there is a contrast between the rather heroïc first lines where the Queen expresses her power. Then there is a complete change: the woman in love has a fit of hope exoressed in this cabaletta with tremendous cascades of more and more acute notes flying above the scope, with acceleration and flutter ! It is a real feast for the ears with Madame Devia. I had difficulties following the score, but found it easier with the singing. (I only illustrated some parts of the cabaletta, it is not complete, here's the LINK Eyesometric gave me. It is worth exploring).
Sorry for the crackling noise on top of the saturated sound.
Applause and cheering for the Queen of Bel Canto at the end!
Tonight after the last production, I will feel at a loss ... still, I will survive!!! These are the pure amazing instants of what is the best of the performing arts, Opera!
Here is also a very fine LINK to Willym's blog. He has written beautiful pages on Mariella Devia. He has had the privilege of following this artist throughout her career.

Mariella Devia, Elisabetta for the third time here in Marseilles.

Somehow, it is impossible not to admire Bel Canto singers for the sheer beauty they offer us when they overcome the extreme difficulties of this type of musical work.
This Italian team on stage for these amazing concert versions of Roberto Devereux are true perfectionists in this Bel Canto world. The intensity of the singing abilities of the whole cast was striking this afternoon. This time, I had time to enjoy all the refined passages, feeling the weight on words, the tonal changes in the cabalettas and above all the tremendous emotion each singer poured in their parts, almost as if they were acting. Of course Stefano Secco did sing and act even more beautifully than on the first performance last tuesday. Mariella Devia also seemed to act more. In Act three, her voice was enriched with brassy shades, expressing the increase of the utter sufferings, when she rejects all she is and has, because of her lost love. I must admit I focussed on the couple Devia-Secco more, they offered a tremendous vocal chemistry and I noticed M. Devia took distance from the score. The House was packed, some of my friends came from Paris, and Italian fans made the journey to Marseilles! The applause lasted a long time and there was more crowd waiting for the singers at the stage door than ever! There is no need today to underline the love for Bel Canto in Provence! I was very proud of the head of this House, Mister Xiberras, who programmed such an opera with that cast. Mariella Devia has nothing to prove after a long and brilliant career and yet she gives her trills and most difficult singing art to us in one of the most difficult Donizetti's opera. I will definitely try to attend her performances either in Barcelona or Italy in 2013... Meanwhile I will be at the last performance here on Tusday the 29th. If only I could read the score and see the alterations in the cabalettas...

Mrs Devia, taking applause on the 22nd.
Mariella Devia was wearing a new dress today, in a different style, sober and classical, very elegant and classy too!

Mariella Devia and Stefano Secco, conflicting couple for a night at Marseille Opera House.

Last night, the opening night for Roberto Devereux, not only the Muses had a date with the singers but also Santa Cecilia was interfering... Therefore, that night at the Opera was a night of refined Bel Canto.
It was a concert version.

The tenor Stefano Secco who performed the opera in Lyon sang and acted his part whereas all the other protagonists sang this part for the first time and were more or less following the score. This is always frustrating, but this feeling did not last long. It was soon overwhelmed by the energy and quality of the singing and the great rhythm of the orchestra. (A pity it made the last cabalettas rather painful for almost all four parts, soprano, bass, tenor and mezzo in turn, because it was too loud, especially, in the brass section).

Mariella Devia had a royal look as soon as she appeared, and her voice never showed any sign of strain either in the low range or in the high flying light notes of the cabalettas.
Her singing was exhilarating, at ease in low and very high range, with elegance - no distortion of the face, a maestria in the gestures, and facial expressions which is amazing.

This is a marvellous opera which has not just one star but four with the two couples, Sara and her husband, bass and Mezzo, and the Royal Soprano-Elisabetta and her lover Roberto, count of Essex, tenor.

I see it like a battle of feelings between four human musical instruments, and last night, with this amazing cast, it was a real challenge for all four of them.

The last arias from the deceived Queen were stunning, and if anyone won this song contest I think it was her.

Mariella Devia sang all the affects with brio and was absolutely matched with Stefano Secco's voice and style. He was acting and moving, which made him sound more real and comfortable in all his great arias. Roberto has his arias at the end of the opera which does not make things easy for a tenor. He, too, was stunning.

Both the Queen and Roberto express until the end conflicting hopes.
She longs for him to come back to her and bring the ring she gave him as a token of love so that she can pardon him and save his life.
He is in prison and hopes until the last minute that she will get the ring from his true love Sara, Duchess of Nottingham,and then be saved by his Queen.

Only the music and the singing can deal with such conflicting affects. The cabalettas in their changed forms seem to increase the weight of the feelings and go deeper into the drama. It is like a whirl of passion. Bel Canto, either from Bellini, Rossini or Donizetti has an addictive effect on me. I am definitely hooked. So I am going for a second time on Sunday. I hope to be brave enough to go and thank these singers and have some of my photos signed.
A token of love of Bel Canto from an almost Italian cast, except for sweet Béatrice Uria-Monzon who enacted a very touching Sara.

Fabio Maria Capitanucci, was also very convincing in this difficult part of a disappointed husband and friend. I hope there will be a radio broadcast of this opera, Mariella Devia is definitely Elisabetta. There are simple light melodies flying in the course of the main arias which make her role amazing, and she sang these with real charm : the flash back to their happy days together:

Col pensiero io torno
A stagion più ridente:
Allora i giorni miei
Scorrean soavi al par della speranza!
.....
Un tenero core mi rese felice,
Provai quel contento
Che labbro non dice...
Un sogno d'amore... la vita mi parve!
Ma il sogno disparve... disparve quel cor!

This is so fine with the music, because truly, as she says, the words cannot express this dream of love and happiness.
Only the music can. Indeed!
This is what I am hooked on!
The tenor part has also passages of sheer beauty apart from the fascinating cabbaletas.
At the end, when hope is abandoned, he expresses total despair in his last aria with this touching poetic move towards his beloved Sara.
He does not want her to be accused of having deceived her husband, it was platonic love between them:

Io corro, io volo a chiedere
Per te soccorso a Dio!

And here is the melody from pure angels really:

Impietositi gli angeli
Ecoal mio duol faranno...
Si piangerà d'affanno
La prima volta in ciel!

So I shall go back on Sunday, keeping in mind I may never hear this opera again under such good conditions.

Just a thought: the Muses are waiting in Marseilles!

Getting ready for tomorrow night at the opera: Here are some views taken last saturday.
The beauty of the gates( bronze medallions and wrought iron, by the artist Castel) is always mesmerising me... now the building is under severe refurbishing and it looks like a huge white plastic ghost.

The 'Grand Foyer' is still very elegant in its pure
art-déco style. Soon it will be hidden too, the windows are closed already. In a year's time or so the whole of the House will be transferred to a new hall near the port area, where a new suburb of Marseilles is being developped under the label 'Euro Mediterranée'. This Hall has already been opened with a free recital starring Patricia Ciofi and the young Roumanian tenor Teodor Ilincai.
But now, the bel canto audience here is waiting for 'La Devia' ...in Elisabetta for the opening night, tomorrow! I will not miss her venue...

Bel canto and piano concert: a most enjoyable musical pause!

It took us more than two hours' drive to get to the coast, partly because I was, as usual, extremely bad at map reading and then darkness came so early, around 5pm, so we had a late arrival at this smallish seaside resort which looked deserted, with so many empty recent buildings along the coast, in deep winter slumber waiting for the Spring and Summer explosion. Crossing the forest of la Londe with its luxuriant vegetation was a treat.

The concert was a delightful pause far from noise and agitation. It was somehow outside of time. The young artists were as good as in their Summer performance, even better because the pianist has now a real knowledge of the singer. Her solo parts with Chopin were a complete dream, she does amazing crescendi and piani with so much precision and moving expression. She is completely in her piano playing, with no hints to the audience, in a deep sincere rapture with the piano and her art. The baritone gave us a lot, a generous programme, although I could tell he was coping bravely with a cold, but he made the most of it and was even more heart-breaking in the melodies.

I noticed the way he now chisels words and distills musical nuances. The Ultima Canzone (which was not the last song!) sounded terrific to me. This Nina who is getting married must have been so cared for by the poet Francesco Cimmino. The two refrains are strewn with so many flowers and plants to refer to his lost love... But not the last song!

The last song, a generous encore after a second part rich with beautiful opera arias
was la Calunnia, I rejoiced and felt like a spoilt child...this aria is always a flashback.

The sea, on the way back, was greyish and calling for rain, which came. A very peaceful musical break that was. Many thanks to these young artists who do not mind giving their time and passion to a very provincial and quiet audience, even a bit scarce in this autumn season by the rather empty Var coast.

The Ultima Canzone has secret links with the Flower Language and it is also some kind of hobby for me to spend time on the web looking for possible answers on this topic. Here it is a pleasure to glance at this while listening:








LINK
(P. Tosti) (L. warren 1958 Russian tour)

On "France Musique" (the French Classical Radio Channel), Lionel Esparza says" Rolando Villazon blows up our microphones with joy"!

France Musique, Monday 14th Nov LINK

Lionel Esparza, in the Magazine at midday today, was welcoming Rolando Villazon and said:
"Rolando Villazon fait péter les micros de France Musique de bonheur!" Quite right !
Here's the link for this wonderful hour (in French) in the company of Rolando.LINK

Later on, Rolando makes Lionel giggle heartily when he says that in French he sounds like Speedy Gonzales...

The musical programme chosen is superb and shows how great he is in his latest CDs. What is really moving is his optimism, his kindness to his singer partners, his warmth for the Mexican people and their struggle.

He finished the hour with a warm 'hello' to Teresa from Catalunya and to the French Villazonistes who are for him "like his family". There are, I am sure, more Rolando-lovers around the world than the 'declared' Villazonistas, and there will be more and more Rolando Villazon followers, those who will also enjoy his directing, as I did with his Werther in Lyon.

It is also nice to hear a Southern voice, that of Claude Henri Bonnet, the head of the Toulon Opera House, also appreciating 'a real tenor voice' in the baroque repertoire. Rolando will perform the Return of Ulysses with Emmanuelle Haïm! so more joys to come!
Rolando Villazon wants to follow his 'little voice' and follow his own path refusing labels like 'Rossini tenor' or whatever.

As I have often said here, I really like his voice in Baroque music. Combattimento, is still my favourite and although his Alessendro did not convince me I think Rolando brings a life into all the baroque music he sings, which was missing in the English tradition.

Don't miss 'Perhaps love', his karaoke while listening, and then his voice impersonifications when he was 12 and discovered Placido Domingo.. his lifelong hero... and now his friend!

Rolando does his own advertising with punch and fun for his Mexican concert (Dec 3, TCE Paris) and sings along with all his faith! I was surprised when I went last year, but I'd rather go and see his Nemorino in Berlin!

"Why Mozart so late?" says Lionel to Rolando. And Rolando thinks it is better not to begin with Mozart. Mozart changed the world of Baroque Opera, and now Rolando thinks after his varied singing repertoire that he can enjoy Mozart now and is ready for him! He loves above all the ensemble passages, chorus and singers. So do I!

Then he sends a warm 'hello' to Docteur Leca who saved him ... making fun of the people who gave their own diagnoses about him... he was panicked to come back on stage.. and I think he went through a terrible phase. He is a real optimistic human being. Now that he feels better, he can control his voice even better : 'Andale' ça va super bien 'Heaven, I'm in heaven'... And he sends kisses to Tony Pappano!

This broadcast can be listened to again and again for Rolando's energy and true generosity... and the baroque illustrations with his voice are very well chosen.

I will come back to this page often...Bravo to Lionel, and his guests.. his joyful guest who made me travel and will make me travel soon to Berlin...

Claude Henri Bonnet is so pleased to meet Rolando!
A new political party: 'Les Villazonistas'says Lionel jokingly,and if you listen carefully you can hear one guest whisper... "On rêverait d'avoir un Président" (wish we could have a president...) I leave the ending open... 'Votez pour moi' shouts Rolando... Vote for me...

I have done so often, and I will again!!

Just a thought: November news updatedabout Alice and Arnaud.

The second half of November is going to be very festive and creative although I have often experienced its saddness, with the feeling it was the worst month of all for me. .. Still, the prospects of new productions and concerts starring young singers I happen to know because I have tried to keep in touch with their singing, bring a positive incent for going out and listen to them.
Alice Gulipian and her beautiful, well informed site: LINK

She is tackling Hansel on the 17th and of course I keep my fingers crossed! She will be touring France with this new production and also Traviata, which will give me a chance to see her at last!
I keep in mind her striking Amour in Gluck's Orphée et Eurydice.LINK

Arnaud Kientz, baritone, is giving a thrilling concert with Aline Piboule accompanying him and
also interpreting : Frédéric Chopin (1810 – 1849)
Ballad N° 1 in G minor opus 23 and Ballade N° 3 in A flat minor opus 47.
As for the bel canto recital, the first part is for me a great treat with melodies I enjoy listening to like Mozart's 'Dans un bois solitaire', Fauré's 'Après un rêve' the baroque ones like Selve Amiche (Caldara)and Ombra mai fu (Handel) he sings so nicely... so no doubt I will talk about this event which takes place at Cavalaire on the 18th.LINK
He will also sing opera arias in the second part. What is new is 'la valse infernale' from Robert le Diable, where Bertram shows his devillish powers, and Arnaud will display the depth of his voice as well, a discovery in his repertoire in recital for me.

This afternoon, where bright sunshine and mild temperature were making things easier than last week pouring endless rain, I was in the yard listening to a free concert from tits and sparrows feeling it was a Spring day, visiting the last grapes left for them on the climbing vine, hastily and stealthily...Mimi, our cat is no longer here to keep an eye on them...

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 ever treasured, Nov 2nd

Solveig's Song has been on my Treasure Island since childhood and I was so lucky to have it sung by my Mum.
Here's Lucia Popp, always, like you, Mum.
"Perchance both winter and spring will pass
and next summer, and the entire year: —
but at last you will come, that I know for sure;
and I'll still be waiting, for I once promised I would."

Tales of Hoffmann in Munich. Useful links.

Links
Rolando Villazón kurzbehost im Olympia-Akt von "Hoffmanns Erzählungen". Foto: Anne Kirchbach

and the first critic of the opening night (in German). I thought Angela Brower seemed to get more applause last night when I followed the BR-Klassik broadcast. But here it is said Diana Damrau stole the show. Rolando Villazon was at first very tensed and then was much more brilliant with easier tops with some brilliance recovered that I did not hear in his Alessandro in Zurich opera house. (he even seemed to add some length to the notes). It is a pity it is not possible to listen to the broadcast again. The orchestra sounded very enegertic and ' grand operata' style than ever,(as Antonio Pappano said when he conducted the seven Tales in 2008 at the ROH) specially in the Olympia act. There are more pictures here on this page, also to be found his schedule present and past with some critics as well.
I will be hearing him in Berlin in March 2nd for his Nemorino, and will be happy to see what he does in this role now. Hoffmann will be watched on Arte tv on the 21st of November. This setting seems to convey fantasmagoria and comic effects. Let's hope it retains the poetic and lyric aspects of Offenbach in these Tales. I like Angela Brower's voice a lot and she is a nice looking Muse too!

More links, updated, while scanning the web today nov 2nd:
Villazón in München: Triumph mit Offenbach LINK