La Belle Hélène: Karine Deshayes at Toulon Opera House (28 XII 2014)

Direction musicale  Nicolas KrügerMise en scène  Bernard PisaniDécors  Éric ChevalierCostumes  Frédéric PineauLumières  Jacques Chatelet

Hélène  Karine DeshayesPâris  Cyrille DuboisMénélas  Yves Coudray
Agamemnon  Olivier GrandCalchas  Antoine GarcinOreste  Eugénie DangladeAchille  Vincent De RoosterAjax I  Yvan RebeyrolAjax II  Jean-Philippe CorreLéoena  Hélène DelalandeParthoénis  Marie Bénédicte Souquet

What a treat to end the year!
 Karine Deshayes gave all her vocal and glamorous charms to this icon of love who set fire to  Ancient Greece : 'La guerre de Troie a eu lieu' .....

She was in smashing company of a young tenor, Cyrille Dubois,  I discovered and appreciated at first sight! He has an easy way of singing in top voice which reminds me of Juan Diego Florez. He is also so musical and clear to follow. Both had a great chemistry and it was  hilarious to watch them in this splendid production  which has rhythm. It was amazing to see them dance nearly all the time during the whole three acts.  I enjoyed the added funny hints, musical or witty :  Karine and Cyrille   both jumped on 'Là bas ' said by Calchas to sing 'Là bas Là bas  dans la montagne' ( Carmen)  for a short but cute instant. This was just a hint but the whole production is full of funny added bits to our contemporary time (during le Jeu de l'Oie, silly and hilarious which requires the text really ).
The whole cast was fitting nicely in all the roles. Menelas : I found  him terribly good   at whinging. Right from the beginning, he is wearing the sign of a deceived husband : a pair of  long feathers (just like the heros in Chinese opera) but here these are the symbols of   the cuckold husband wearing horns! He played the bullied king and husband so well!
Calchas was communicating with Zeus through the  thunder symbol and that was also so funny... certainly pleasing the young audience who for once was quite numerous this afternoon, including my granddaughters who simply loved the show and came out singing the last tune ...
 We had a wonderful treat at the curtain call: it was a parade with the orchestra, then Pâris  started singing his last tune'je suis gai' joined by all the artists on the stage plus the conductor and the producer while the orchestra was playing, and we had this twice so we joined in ...,I could not help it! It was such a jolly end, they were all singing and dancing ... after nearly a three hour show.

This production is not new but has lots of charms and is not pretentious, very clear to follow and giving lots of characterization for each role.  The singing was fine, absolutely somptuous from Karine Deshayes, and the music from the pit, charming,  with that touch of wonderful cellos and violins which is the Offenbach delicate moments among hilarious orchestral 'riots'.
Like  last end of  the year in Marseille opera house,  I came out thinking I should listen to Offenbach more often and even read the libretto carefully so that not one  single joke would be missed, because Meilhac and Halévy were tremendous writers for Offenbach and his witty turn of mind.
These two artists -singers who had the main roles this afternoon are also  nominated for the yearly contest and they are both selected for our votes :
Karine Deshayes as the artist of the year and Cyrille Dubois as the young revelation of the year.
VICTOIRES DE LA MUSIQUE CLASSIQUE 2015
I could add to this list the young Oreste- Eugénie Danglade, a lovely mezzo and certainly a very good artist. I was quite impressed by the whole cast this afternoon.

Christmas in Vienna from Arte Live Web (Dec 25th): Vesselina is here!

 Link to he concert:
http://concert.arte.tv/fr/christmas-vienna-2014

Vesselina Kasarova at her best among a lovely cast for a festive evening with Seasons's Greetings in , German, Polish, Bulgarian, Russian and English. It started with a disguised  'Minuit Chrétien' in German. This is Europe and the French words are in my mind so... it was beautifully sung.
It is worth  keeping this Christmas concert  as Vesselina sang a Bulgarian Christmas song: it is such a discovery any time her somptuous voice sings in her mother tongue.
Vesselina's Greetings: wonderful !
Who else could bring us so much joy for the New Year?

 (Snapshot and short video from Arte streaming, medioce quality, sorry!)

Interlude II -The Squirrel ( from the new green vault.Dresden)

What is still on my mind after my Dresden trip and visit to Grünes Gewölbe  is a tiny porcelain squirrel acquired by Augustus the Strong.
The message about this statuette kept my attention. In those days of wars and conquests this rather extravagant monarch got an interest for this minute clever and crafty animal which seems coming from the forest in this luxurious display of miniatures. Simplicity versus  worthless Baroque Dinglinger jewellery art?
I kept wondering at this statuette which was true to life and so minute. 
I am fond of minute objects too. When I retired I bought myself a tiny tea-set made in Germany to put in my 'collection'... probably because  my Mother, who was an expert at knitting, made fantastic clothes each Christmas for rather small cellluloid  baigneurs which looked almost like  babies but I had to give them away as presents  each following Christmas at the Salvation Army stand on La Canebière... among tiny plastic furniture and tiny dolls also wearing Mum- made outfit... offered to me by my busy Mum when I was ill, but she wanted me to be charitable so I had to share my toys, though we were rather poor ourselves ... but so rich in our hearts! From Shanghaï I got back tiny wooden furniture to display on a painted wooden frame among cloisoné minute vases... useless and cheap ....I also selected minute objects for a tiny garden in Chinese style, and I realised how they are fond of miniature things which are so cheap at the Insect market!
My 'collection' does not have any particular meaning. 
The Little squirrel displayed in the Neues Grüne vault has an important meaning which has also a value now, in these dreadful days of utter violence because of religious intolerance from some, on others. 
Just before Christmas for so many of us, yesterday, there was a massacre in a school in Pakistan. The horror of this act is unbearable.
The message delivered by the squirrel has a universal meaning, symbolising"'the primarity of dexterity over brute force".
 Season 's Greetings to all my faithful readers and my blogger friends, Willym,  Eyes,  An , Smorgy without forgetting Il Diavolo from Italy ! Peace and happiness from my tiny garden without a miniature squirrel, yet.

Interlude I Dresden evening at Frauenkirche with Bach: Advent Concert.

My first  evening was spent at Frauenkirche.
It was rather difficul to find my way to the hotel from Mitte Hbf at  5.30pm in pitch- dark.
I eventually managed after inquiring at the tram queue in front of the station, and got nice help.
 In fact I need not take the tram: I was some two hundred meters away from B&B where I booked my two nights'stay.
Registration was fairly quick, enquiries for the journey to Frauenkirche went smoothly and I did not waste time to walk back to the tram station, got a 2.20€ ticket and hopped on the tram to Altmarkt.

I had a map and all the instructions. If the suburb around Mitte Hbf was quiet and dark, the Altmarkt was dazzling with all sorts of Christmas lightings!  It was packed with crowds of people and lots of families with children because of the Christmas markets all around.

 I was happy to be slugging along queues of people enjoying themselves and at the same time a bit worried to get to the church in sight but completely surrounded by swarming folks.

 I made my way along the excavations and works in front of Frauenkirche and could smell all sorts of nice roast food, ham, sausages, chestnuts, it was a feast...I thought I would taste some after the concert and walked through the crowd to the doors of the church. I then understood I had to find my entrance

on my ticket and walked round to find it. It was 7.15pm and I queued a little bit then I could enter.
There I felt terribly moved to be in front of the real things of beauty I had admired on  my tv screen nearly every Christmas for some years, when the Advent Concerts were broadcast.
I sat and gazed ... which is  one of my favourite occupation... so many cherubs to discover, plants,

vine running across pillars, angels, then the painted ceiling, endless discoveries and contemplation.
When the concert strated I was truly happy and relieved to be there after two flights, a very early departure and somehow an hasardous arrival: it always looks dead easy on internet then in reality it is very different. With the blazing trumpets and rejoicing chorus, with eyes lost in all the details of the baroque scenery around me, I suddenly thought it was like swimming in reviving waters, another amazing experience offered by music.

The first cantate is familiar to me, then it is less easy and gradually I got lost  a bit. " Mary," the alto, had a nice middle voice but no low range, the soprano was not projecting  for some reason. The Evangelist was fine and the bass was really good. As for the musicians and chorus, they were like I enjoy listening to, in  Bach Cantates. Then I made up my mind after two hours I could not possibly stay until the end... so at the interval, I left, knowing it was a kind of sacrilege, but I had to face the journey back on the tram, then another very busy day, the only complete one in Dresden out of this trip. As I was always told by my very kind -hearted stepfather who brought me up and cared for Mum and me, 'tomorrow is another day '....Back in the cold night, with less people around I could notice the display of Christmas traditionnal gifts, the minute carved stars, angels, Frauenkirche, looked really crafty, food display of sausages everywhere, as well as beer and hot spicy wine stands.
I fancied a kind of grilled slice of bread with cream, ham and chives on top.
I ate it while walking to the tram stop. It was gone past 10pm, time to call it a day.

Semperoper Dresden :Strauss-Hofmannsthal Der Rosenkavalier 7-XII -2014

If I had my last card to play in this game of life, I will ask for another go at this temple of music quite far from my native South of France.

I will also ask for another evening with Anja Harteros in a lead role like The Marschallin, (Marie-Thérèse, or Rési).  I could watch her and listen to her again from a good spot in this well adorned house, with fantastic acoustics.  She gave me more than what I have always loved to listen to in this role from my cds, which include Lucia Popp and Elisabeth Schwarzkopf.

I will also ask for a very special conductor who can find in this Strauss scores the striking boisterous rhythms which reminded me of 'l'amour des trois oranges' at act III first part at the inn...with so much fun on stage and in the orchestra, and finds the intimate fragile glissendo of a chamber orchestra for autumnal Marschallin's  awareness  on her woman's life.
 As for the waltz which runs through the scores I only want to listen to that one I heard conducted there at the Semperoper by Christian Thielemann, because it is really very different from all the ones I know and I suddenly realised his must be the real one.  I was moved by the orchestra all through this performance on Sunday.
Then, as a very special treat, I would like the first violin and the harpist to stay at the first interval and rehearse for me like they both did on that Sunday dec 7  when I was there. The sound of the first violin alone in the pit when the harpist left, is unforgettable.
The baron Ochs -Peter Rose was not only funny like Falstaff,  he was also terribly witty and touching when energically scolded by his cousin Anja Harteros-Marie-thérèse, very authoritative in her position of Marschallin,  who had to tell him more than twice   that 'la comedia est finita'.
His low notes were splendid, he is a real singing bass not pretending  and transforming some parts in parlendo. He is the  best  Ochs I  have ever watched.
 Sophie-Christiane Karg was juvenile looking, pretty and light, sounded like an angel and matched  the two women voices at the heavenly trio. As for Octavian- Sophie Koch:  she was elegant, funny, touching, she surprised me in this role with splendid  harmonics I was not able to appreciate when she sang Charlotte. She makes you believe both her passion for Marie-Thérèse and her love at first sight for  Sophie. She masters this role in every corner of it and is at ease in this setting, like all the others, as it is pleasant with lots of action and people on stage, with elegant costumes ranging from modern to pre-first war ones. Among the Marschallin's open court there was a couple of carlins I think and I could not stop watching them, while le coiffeur was combing Anja's real hair to make a stylish bun adorned with a shining hair clip (which I noticed she was wearing no more when she appeared for her monologue at the end of the act,  may be she found it too flashy!). The Italian tenor (young Korean artist Yosep Kang) did not take the mickey out of the Italian singer, he gave a true serenade with top voice! I noticed the crowd was  suddenly motionless when the Italian singer started, in fascination, just like in my Fair lady at the race course... I loved this passage. The italian couple was also a  team of smashing actors and singers.  I was amused to see them pretending to be window-cleaners and  in fact spying on the young couple and getting evidence of their love by taking photos.. That was fun like it was planned to be 'comedia' by both Strauss and Hofmannsthal. This staging  is full of  funny tricks like this. The libretto has also French sayings which 'tombent à pic' and are very tasty...I loved the ones sung by Anja!
Now I only feel a kind of melancholy as I try to hear Anja Harteros 's long melodious phrases like she is the only one to master at the end of act III, when she reaches real high notes so naturally. Her musicality is so moving...always.  It is so difficult to keep in memory... it is beyond words.
That is why I went on this trip to Dresden, and would like another card to bet for ... another go....

It was

Christamssy all around Dresden...and Frauenkirche. (where I spent my evening of arrival).

Karine Deshayes : live recital ( free) at Maison de la radio ( 1st DEC 2014)

What I have to say is : I was there  !
So happy to be at a live broadcast at Carrefour  de Lodéon ! (all I had to do was to register on the site to get a free entrance ticket.  My friend in Paris warned me,  as I had the train ticket ... for the cancelled Vesselina Kasarova recital at Lundis Musicaux... I hopped on this train and saw Karine,  my best French mezzo,  just back from San Francisco and going to Toulon on the 9th to start La Belle Hélène Rehearsals, busy life isn'it!)
 Frédéric Lodéon has been the vivid soul of this  programme for years on the popular France Inter radio,  then moved to France Musique where he hosts musicians and singers.
 Last night,  Karine Deshayes and Philippe Cassard gave us a thrilling performance of Chansons de Bilitis, then two of the 14 Duparc's melodies, the last one being : A Phidylé
Her very clear pronounciation and the colourings of her vibrant voice took me far away from this broadcasting place ' studio Sacha Guitry'!  her exquisite 'repose' reminded me of Regine Crespin. Karine Deshayes has some of her delicate and yet utterly moving  long  phrasing: similar to  the cello cord I love so much.

        
Carrefour de Lodéon : the broadcast of this live concert: on  Friday 5 XII 2014 (4pm-6pm).
 A Phidylé does not seem to be on the programme... I will treasure the memory of her voice  in this special one and wait  to find it in  her new cd of these  French melodies, one day, accompanied by
Philippe Cassard who convinced her to work on these Fauré and Duparc melodies. He is right!
And  of course Régine Crespin will always be cherished:

Streamed from Frauenkirche Sunday 30-XI- 6pm.ZDF(updated)

Because I am getting ready for a short trip to the Saxony country,  so rich in musical and historical past, I am concerned more than usual by the concerts broadcast from Dresde.

The Advent concert, which is outstanding, (as often  at Christmas time), will be streamed here:
http://musik.zdf.de/ZDF/zdfportal/programdata/7747c5ad-75d4-3599-8aca-0c0f5e0c4729/20375163?doDispatch=1
Link to the past from a site which explains it all .
I am still amazed at the prospect of this journey... I will imagine Young Bach playing at the organ  when he thought he could become Kapelmeister and made the journey to Dresde for the audition...
At 6pm, at home, on the web, 

With some drawbacks I eventually managed to have a good connection and enjoyed this Advent Concert, could feel the atmosphere of this evening in cold Dresden (the audience outdoors was wearing thick woollies. I have to be careful for my trip next week and remember to take gloves, scarf and bonnet). It was simply astonishing to be at home and listen to such grand music in this particular church. The photos of my computor screen tell so much about the passion of the audience indoors and outdoors. What a place! I was so pleased to see Elina Garanca again, and to discover Christiane Karg who is Sophie in Der Rosenkavalier at the Semperoper.

                                                              

Interlude. November.

(Background music:  Puccini's Crisantemi, Crisantemi.)

'Arabellissima' Anja Harteros!

(photo@Marco Schmid)
I can imagine her sweet smile after the last run of La Forza when she received this colourful bouquet from the hands of her  best fan who  has followed her right from the beginning of her career  at the National Theater where she mainly sings and all over the world.
Now she finished the Arabella performances at the Semperoper in Dresde. She had a great success and it was possible to read titles where she was acclaimed as the Queen of the Opera, and 'Arabellissima,' expression used  for Lisa della Casa when she sang this role.
I had the privilege to meet her in the same corridor outside her room. But I was really too impressed by her kindness and natural way of meeting us that I could not possibly take a photo. Then I got this wonderful one from my friend in Munich.
This bouquet suits her so well... In the Arabella trailer, her voice soars then too quickly vanishes.. (I have searched the radios around Dresden... for a broadcast....not yet found ...)

Série 11, Philarmonie de Paris ...."Sing along with me..."

Why am I closer to 80 than 8.....?
Never mind! I will join at least one of these wonderful afternoons at the new Philarmonie de Paris !
There are three events called 'concerts participatifs' where you can join in the singing and get some practice before. It is such a thrilling prospect! You can even download the scores and get ready at home.
 I will be there for Carmen!!!!!with the whole family.... singing in tune (let's hope, after practice...)
 (photos from the concert hall Philarmonie de Paris site).

 Série 11 


Schubert avec orchestre     (June)                                                 
                                                    
Claire Gibault

Enrique Mazzola

oncert participatif en famille

Chantez avec l’orchestre !

Orchestre national d’Île-de-France - Enrique Mazzola

Orchestre national d'Île-de-France

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Enrique Mazzola, direction
Stéphanie d'Oustrac, mezzo-soprano

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Georges Bizet
Carmen (Habanera, Choeur des gamins, Danse bohème)
Manuel De Falla
Le Tricorne (Suites 1 et 2)

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Pour ce concert, venez chanter avec l’Orchestre national d’Île-de-France ! Le public est en effet invité à chanter des airs de Carmen avec l’Orchestre. Il répète sous la direction d’Enrique Mazzola et avec la mezzo-soprano Stéphanie d’Oustrac.
Comme l’orchestre, vous pourrez répéter de chez vous, avant le concert, à l’aide d’une partition et d’un guide d’écoute (disponible deux mois avant le concert sur orchestre-ile.com et philharmoniedeparis.fr).
Ce concert est précédé d'un atelier de préparation en famille à 11h30.
Coproduction Orchestre national d’Île-de-France, Philharmonie de Paris

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Date

Samedi 28 mars

Horaire

13h30

Lieu

Grande salle - Philharmonie 1

Public

Tout public

Tarifs

12€/8€

Achetez

Disponible en abonnements

La Flûte à chanter (February)     Debora Waldman
                                                                            




                                                                                         

Manon Lescaut on air at 19pm from BR Klassik

Much awaited performance from the Bayerische Staatsoper with a smashing set of singers,  which shows that nobody is unreplaceable....
All the best to all of them on this new production which seems very interesting and of course so far from the traditional Muti family's  one seen in Rome not long ago.

Teaser from BSO
Radio link
Here's another link from Danish radio (found on Parterre Box, more than useful reading for very precious links of performances all over the planet) where it is possible to listen again if the live from BR klassik had been interrupted. It is also possible to see a curtain call picture of Jonas Kaufmann and Krystine Opolais. (twittter link). They really looked completely in it and I'd rather see them in normal clothes than period costumes. The drama looks more real and naturally their singing is also truer to passions, real ones! (well with the added pinches of pathos necessary for the oparatic cuisine, such a  rich broth, especially Puccini !).

Le monde a besoin de Musique: Opening of the new concert hall at Maison de la Radio.

(photo site France Musique)

France Musique is celebrating the opening of the brand new concert hall with lots of concerts for families during the week-end. They are broadcasting the three days' events.
Highlights for me: All the Berlioz concerts, Nathalie Dessay singing Poulenc, and La Flûte enchantée for kids... I will try to follow all the concerts!
What is fantasic is that somehow our taxes manage to allow this cultural investment (as well as the opening  of the new Philarmonie at New Year), when at the same time,  we are getting deeper into the economical crisis. When times are hard,  joining musical events in brand new halls give a feeling of fraternity, sharing emotions together help to  face the crisis.We need music like daily bread to feel good and stronger in our mind to face hardship.
Link to the 3 days programme France Musique.
Link sat 15 programme 
Link sun 16 programme.

Where are my favourite singers? what are they up to?

Karine Deshayes is in San Francisco, singing Angelina and I guess that yesterday, which was the opening night, she had a great success!












Anja Harteros is at the Semperoper (Dresden), giving life to Arabella. From the pictures on the opera site, she looks really exquisite for the role. Reviews are praising her singing and acting. (link given by my friend from Munich).photo:Matthias Creutziger

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At the beginning of December she will be in Dresden with another Strauss opera: Der RosenKavalier, she will be singing the Marschallin. She sang her first Marschallin in 2011 at the BSO and Sophie Koch was Octavian. They will sing together and I think they both share  aristocratic looks if not an aristocrastic way of singing when necessary! I will be there! (fingers crossed...)
photo from the conductor's site, Anja Bihlmaier.

Vesselina Kasarova  finished singing Carmen in Hannover. I was going to her recital in Paris (les Lundis musicaux) but that was cancelled and I feel sad because I will not travel to Cologne( like I did last year for her Dalila) for La Damnation de Faust. I will regret it a lot but I have to make choices: this is my Strauss year  with the best soprano in this repertoire, according to my ears: Anja Harteros.
I do not know when I will be able to attend a live concert to enjoy one of my favourite mezzo...Vesselina!
Breaking news: If you are ready to fly to Wiener Konzerhaus on the 18th: Vesselina Kasarova will sing Berlioz'la mort de cléopâtre during a concert dedicated to French composers Ravel, Berlioz Debussy.
She has a wonderful approach to Berlioz, I remember her singing Marie some years ago at Pleyel 'L'Enfance du Christ' . A pity this is not in Paris, I would have made the trip!

(photo france musique)

Ludovic Tézier caught a bad virus which compelled him to abandon Scarpia at Bastille. I read he also had to cancel Colline Opera. I hope he will be back to singing and recovering soon. But he is on my radio for a while among the best of the'Barytons français' present and past: France  Musique Lirico Spinto
Jonas Kaufmann was also on sick leave for quite a while and had to cancel several appearances, but now is back to his native town Munich, favourite opera house: BSO, rehearsing Manon Lescaut he already sang at the ROH. Whimsical Anna Netrbko cancelled (like she did for Faust but this time for other reasons than her new voice shape).  From what I saw and heard on the web,  Jonas and Kristine are great.  All the best for both on  the 15th!
Coffee break: photo K.Opolais

Patricia Ciofi was at the Liceù with Traviata, and I know what she is like in this role! I will see her twice  this season, and I am always pleased because she has such  dramatic commitment in all the roles she tackles.  The Traviata run with Charles Castronovo ( I also know what he is like in De Grieux), finished end of October. But I will not be lucky enough to see Charles Castronovo just round the corner like Patrizia Ciofi who is a regular singer in Marseille, Avignon and Orange!

Amazing Cecilia Bartoli is touring the best concert halls with her new discoveries, but I did not travel to listen to her two nights at the TCE in Paris. She was fantastic as always! If she comes down South I will go (like she did in the past years in Montpellier, let's hope!).
There are also so many singers I appreciate either in concerts and operas, but these are the ones I made a journey to listen to them and will try to see again if I can...
There is  the case of my favourite tenor of course: Rolando Villazon. It is difficult these days to be' fan' like I was.  I did not attend his last recital at the TCE. I used to. I can see him on TV, where he is quite often, very mediatic and funny! I keep my best memories of him, nearly ten years ago.... already!
Last saturday, although I enjoyed thoroughly Sonia Ganassi's energetic and brilliant Sinaïde, I would have liked to listen to Mariella Devia's voice live once more. She will be in Valencia in March, with .Norma.
Now, the younger ones: I have tried without success to see where young JenNy Kim was after her Chatelet appearances in The King and I. May be I will get some  good news. I hope she will succeed!

Moise et Pharaon, Marseille Opera house.8/XI/14

 (Teaser :Paulin Raynard, Youtube)

 I have sometimes felt the music was better than at home in some special opera houses like the BSO and la Scala lately.
Some seasons when I used to go to Bastille more often, I felt  our orchestra was not as good when I was back home.  It is no longer the case now because there are lots of improvements : Lawrence Foster is at the head of the Philarmonique (2011) and there is a permanent invited conductor: Fabrizio Maria Carminati. There are also new comers in the orchestra: the violinists are younger and produce a unique and beautiful sound most of the time. The brass section  also sounds more homogeneous than ever. I also believe in the powerful influence of the Italian conductor Paolo Arrivabeni: he  kept a magnificient pulsation all night for  this Rossini ' Grand opera'. It was more like an oratorio for such a musical concert version. The muisc made me imagine all the miracles accomplished by Moïse.
I will go back next sunday matinée, because this is exceptionnel and needs to be listened to again. I will follow the Prayer  live once more with the nine soloists responding the orchestra and chorus. Precious musical moments gone too quickly!(we did not clap enough, no 'encore' took place I am afraid).
(photo S. Duffaut )

Yesterday, what came from the orchestra, chorus, and the nine soloists was somptuous. Singing  from Annick Massis, Philippe Talbot, and Sonia Ganassi was remarquable.  Then all the others were great but not so smashing to my ears. I enjoyed Pharaon and Moïse less, not that they did not lack presence and vocal beauties, but I was expecting more warmth in the voice from this charismatic  Moïse, not only strength, a Samuel Ramey type of voice, ( I listened a lot to Samuel Ramey's renditions of this role) and Pharaon was fine but  not always convincing in his versatile role either on the Hebrew side or against,  he did not quite sustain the tension of this religious fight .
The young bel cantist voice of his son Amenophis-Philippe Talbot  was more convincing and really touching in the last act opposed to his beloved Anaï-Annick Massis. He was just wonderful with clear tops and his diction was really 'Rossinian' for me. So was Annick Massis: very moving rendition with all sorts of adornments in  stratospheric difficult arias.She was touching in her sacrifice.
Sonia Ganassi  mastered her role with ease. She was the only one to sing opposite her son without following the scores,  and he also responded with  spontaneous acting which was fine and  more natural vocally. She got tremendous applause,  perhaps more than the rest,  although the whole cast and orchestra received triumphant applause at the bows.
Special disctinctions for the two young tenors : Julien Dran and Remy Mathieu. Julien Dran  had to face an incident which could have been worse.  Before he sang  his first difficult high tops, a musician collapsed, we all heard the fall and witnessed a group of musicians carrying her out. The conductor stopped, and suddenly the whole audience felt a disquieting feeling shared by the soloists who turned to the orchestra. Then the music was resumed and Julien Dran, (Eliezer) had to restart his aria with concern as if nothing had happened. I admired his cold blood and beautiful voice.
The chorus had also a great sound in the ensembles last night. Pierre Lodice who has been in charge of the chorus for years has to be thanked for what he does when there are very special occasions like this rare opera and also in the repertoire. The chorus for me is often a source of pleasure.
Link culture box
 photo christian Dresse.

The cast and production:
Moïse et Pharaon
Opéra en 4 actes
Livret de Luigi BALOCCHI et Étienne de JOUY
Création à Paris, Opéra, le 26 mars 1827
Première présentation à l'Opéra de Marseille
VERSION CONCERTANTE
Direction musicale Paolo ARRIVABENI

DISTRIBUTION

Sinaide Sonia GANASSI (8, 11 NOV)
             Enkelejda SHKOZA (14, 16 NOV)
Anaï Annick MASSIS
Marie Lucie ROCHE
Moïse Ildar ABDRAZAKOV
Pharaon Jean-François LAPOINTE
Aménophis Philippe TALBOT
Eliézer Julien DRAN
Osiride / Une voix mystérieuse Nicolas COURJAL
Aufide Rémy MATHIEU

Orchestre et Chœur de l'Opéra de Marseille

Happy Hour! Anna and the mousetrap.

Bad enough to have nightmares after singing Lady Macbeth, on the eery Halloween night, Anna N had a vision.
A kind hearted witch whispered in Anna's nightmare:
"beware of the rats in this House, you will be trapped while getting to deportation...Jonas has already faced them, but you,  you, sweetheart Manon-mouse as you are, you will be trapped, and without your splendid rabbit skin silk lined coat to protect you,   not even a skinny mouse fur... so run Diva, run...."
Which she did as soon as she got her senses back.
Meanwhile, her fans from all over the world are wondering if it is worth reselling their expensive tickets... or attend another ratty opera of any sort for the sake of the new production and the faithful singers who did not have a vision and will fulfill their contracts, in this Operatic rat race.

Interlude.

 

Moon gate from Shaoshan surroundings.( Oct 26th D. pict )

The best of "Prayers" at the Opera: Scala 1946.

Rossini is my favourite composer in that matter: praying.
I am not a specialist in the exercise but with music, the door of this immense world is  ajar for me to sneak in.

  Rossini is the winner of my heart with his ' Petite Messe Solennelle' where I feel tears coming when the mezzo sings her last aria at the end.
Then, there is this Prayer, written as a prayer where Moses at the end of the opera is asking protection to finally reach the Promised Land ( last act of Moïse et Pharaon).
Amazing Youtube helped me to make my choice: young Tebaldi, Toscanini and the re-opening of La Scala after the WW2(owing to CzarDodon).
Now I know how it feels to be in the audience of this prestigious Opera House and I just can imagine myself there, again and again....

Soon I will listen to a concert version of Moïse et Pharaon at Marseille Opera House. Sonia Ganassi ( I love too and saw in Italy twice) will replace Mariella Devia.(so sad but singers are huaman beings and have a lot to put up with).
In Florence I saw them both in an unforgettable Anna Bolena.
 I was also completely subdued by her Maria Stuarda at  La Fenice.
Saturday night will be absolute bliss for me: Annick Massis and Sonia Ganassi ... and wonderful voices for tenor bass and baritone...
The prayer will be gone too fast...(we could applaude for an encore!)
 I plan to go on Sunday matinée too... I have never enough of Rossini... and I love concert versions too because we do not have to put up with tits and boobs and rolling on the floor at any slight sexual occasion plus stupid productions with political insights made for Opera only.... often stereotyped, rather boring and dull.
 Here is the link to the complete 1983 production in Paris which is very precious, with singers I love, Samuel Ramey, Cecillia Gasdia,  Shirley Verrett and Georges Prêtre who is still young and beautiful ! (he turned 90 last August!)
This opera is a treat with beautiful ensembles and stunning harp arias. (many thanks to the uploader of this gem, Shawn Melon).
Here is my second best Rossini's Prayer

Marseille cast: Sinaide and Anai

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Fleur bleue ?

Just for the whole soundtrack and Colin Firth...and much more.... great movie on a dull day!
(Thank you 240252 for this upload !)