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 !)

The Legend of the White Snake : Peking Opera at Marseille Opera House 25/X/14

LINK : cast and synopsis

The magic wand for me is the name of the magic plant which will bring back the young man, Xu,  to life.

l'amadouvier 

l'amadouvier

火种

Huǒzhòng

This fungus (it was represented like a red white spotted fungus which is on the rock representing Mount Emei, picked with the mouth of the white snake) has the magic power of burning, with an everlasting flame when rubbed with a steel blade.
I found that detail poetic, ancestral, fascinating!
It took me some time to find out this missing link. After some intense "googling" I eventually landed here LINK

This is a wonderful cultural link from Angers Opera House, to understand more and more the amazing rendition I saw yesterday at Marseille Opera House.

This fall, Peking Opera is touring France with the Legend of the White Snake to celebrate the 50th anniversary of diplomatic relations between France and China. General De Gaulle welcomed China as a state in 1964, and China gave a cultural answer with the first rendition of this opera in Paris.
It took me back to another journey, this time, the real one I made to Hanghzou in May 2013.
Flash back to the Pagoda and the West lake.
On a rather brisk morning, after visiting a Green Tea farm with museum on the site we arrived at Leifeng Pagoda.
I was quite ignorant of the legend but became really amazed by the quality of the wooden carvings of the legend all around the walls of the 4th floor of the pagoda. I read and read again to get the story because I realised it was just as known as Snow White here, considering the number of kiddies staring at the beauty of the White Snake and her servant,  running from one side to another, followed by their families including Yé-Yé and  Nai-Nai!  When I first understood the tale it reminded me of the Greek myth of Orpheus and Eurydice, because of the journey to the silent world to get Euridyce back to life. The journey to Mount Emei for the magic herb is also a mystic quest. But the comparison does not last as here there are amazing powers of duel similariries with the two snakes, blue and white, embodied in exquisite young ladies floating in the carvings and also 'floating' on the stage yesterday in their surnatural ways of walking,  drifting across the stage amid dream like costumes accompanied by   traditional instruments !  They fight against the Monk  and his forces, perhaps neither good or evil, (soldiers in red costumes, I have not quite decided  if the Monk is the guardian of the order of the world to keep the balance between the magic world and real one. I would like to read the text as I could do it yesterday following the surtitles.  I wish I could have done the same the several times I went to Yfu Theater in Shanghaï).  These fights are visual splendours.
The Pagoda and its modern escalator, busy with Chinese tourists that day:

The floating princess:

 Yesterday on stage:
They have to rescue the white Snake's husband,  Xu,  twice: he is prisoner of the Monk in the Temple, so they have to have another battle: the Flood. There are sceneries of blue flag acrobatic motions which are really wonderful. The colours are spendid with the movements, singing and orchestra.(I did not take photos, I just could not, so captured by the beauties of the dancers). They will not succeed to deliver him from the monk's powers, because the White snake is worn out (she is pregnant).
Their arrival by the lake at the end, when Xu has been delivered by a Monk's servant,  a popular character,  with humour.

They are both longing to meet again while the blue snake, embodied as the servant would like to kill him because in fact she has always been  in love with the white snake and does not understand her love for Xu who listened twice to the Monk's rather evil words against them.

They will be reunited by the Broken Bridge  under the umbrella as a family sign,  but  in the pagoda legend they will never be united as the Monk emprisoned the snake in the pagoda  for ever.
 The amazing light carvings :

The underworld creatures  being immortals cannot venture in the world of mortals: a touch of Greek myths again?

Yesterday afetrnoon in front of the simple landscapes retaining the poetry of the real ones .I was back on the shores of the west lake where I had a wonderful trip in the sunset, as the traditon tells you to have.

 I had almost forgotten this episode but after the show, it all came back and I almost cried... of intense gratitude for these amazing artists who took us so far away.

Li Shengsu as Bai Suzhen,  the White Snake (photo opera Pekin)

and the sculpture the day in May where I did not know I would attend this tale at my Opera House and rediscover it all...
( if you care to reproduce the photos, just cite where they come from. Thanks!)

Interlude

youtiao, best ever

.

Breakfast at Zhujiajiao(28mai13)

Best recovery wishes, Mariella Devia!

Last night I received some news from my dearest friend in Paris, and of course, there was good and sad news.
The sad news was Mariella Devia's cancellation from the concert version of Moïse and Phorao.
 It was a real treat to welcome Mariella Devia for the third time in our opera house. Of course I was looking forward to this venue. It is a tremendous musical performance.(rare renditions of this Rossini's work).
I travelled several times to enjoy Mariella Devia's art of singing, because I do believe she is the last true belcantist. (when I listen to Anna Bolena sung from the Met I wonder if it is the same score....)
I will be at the opening night on nov 8th thinking a lot about this dear singer and hoping she will be back to us soon.
I know I will enjoy Sonia Ganassi 's voice I travelled also for !
 Here's the new cast for the coming renditions.
LINK
Mariella Devia will alsways be my best Anna Bolena (I saw her in on March the 15ththe opening night, the only production with orchestra before the sad strike).
She sang also this aria at the opening of the Festa della Musica june 21.  I was there too...
Best wishes dearest Mariella I will be missing you so much on the 8th and I will not be the only one in the house....missing you!

The good news was about RolandoVillazon's last performance at Paris TCE on the 22nd.
 My friend was wondering if I was there... I used to travel a lot for Rolando but this time is over!
 I know he is a "scream" but I have to concentrate my time and my money these days! My friend who loves sharing with his friends gave me an incent of what an encore was like that night, and I truly enjoyed and laughed! Rolando found a wonderful South African partner, she has got a refreshing soprano voice and is very graceful! Cheers to both!!!LINK

France Musique 22/10/14, 2pm, : Vesselina Kasarova's Tonhalle recital.

 (photo from France Musique site).
"Concert donné le 17 mai 2014,Tonhalle, Düsseldorf, Allemagne dans le cadre du Festival...."
Another broadcast of this wonderful recital this time on France Musique, not to be missed.
http://www.francemusique.fr/player/resource/52262-59454

La mezzo-soprano Vesselina Kasarova et le pianiste Charles Spencer dans des pièces de Schumann, Brahms, Rachmaninov et Tchaïkovski

  Concert donné le 17 mai 2014,Tonhalle, Düsseldorf, Allemagne dans le cadre du Festival Schumann
       

  Robert Schumann (1810-1856)
 Der arme Peter, Op. 53/3  

 Johannes Brahms  (1833-1897)
  Trois Lieder
 -  Junge Lieder ,Op. 63/5
 -  Lerchengesang, Op. 70/2
 -  Von ewiger Liebe,Op. 43/1

  Robert Schumann  (1810-1856)
  TroisLieder
-  Aus den hebräischen Gesängen, Op. 25/15
-  Stille Liebe, Op. 35/8
-  Stille Tränen,Op. 35/10

 Johannes Brahms (1833-1897)
 TroisLieder
-  Nicht mehr zu dir gehen, Op. 32/2
-  Wenn du nur zuweilen lächelst, Op. 57/2
-  Unbewegte laue Luft, Op. 57/8

Serge Rachmaninov  (1873-1943)
Six mélodies
- Ne poy, krasavitsa, pri mne (Sing not to me, beautiful maiden), Op. 4/4
-  Son (The Dream), Op. 8/5
-  Siren' (Lilacs), Op. 21/5
-  Poljubila ja na pechal' svoju (The Soldier's Wife), Op. 8/4
-  V molchan'ji nochi tajnoj (In the Silence of the Night), Op. 4/3
-  Zdes' khorosho (How Fair this Spot), Op. 21/7

 Piotr Ilyitch Tchaïkovski (1840-1893)
 Cinq mélodies
- To bylo ranneju vesnoj (It was in the early spring), Op. 38/2
- Net, tol'ko, kto znal (None but the Lonely Heart), Op. 6/6
- Otschevo? (Why?), Op. 6/5
- Kolibelnaya pesnja (Lullaby), Op. 16/1
- Den li tsarit? (Does the day reign), Op. 47/6

Bis :
Traditionnel bulgare, arrangement Krassimir Kyurkchiyski
Kalimanku Denku

Postcard to Mum.

"Si mes vers avaient des ailes...." Mady Mesplé, V. Hugo, Reynaldo Hahn.

Juan Diego Florez in Marseille Opera House: less fireworks and more feelings and emotions, all about 'L'amour'!

I am late to report about that splendid sunday afternoon at Marseille Opera House, the very day I arrived from Italy (Milan Requiems) on 5th october.
I was not feeling on top of the world, as I left Milan Railway Station at 6am, arrived in Lyon at 11. 40, then got on the Aix TGV train later and arrived at 1pm at Aix tgv station where my friend P. was waiting for me. We drove to Marseille, parked Place de Lenche and walked down to the opera neighbourhood. There we had coffee and shared a cake. I could feel I was not well but thought the afternoon concert would cheer me up. Which it did....
We had orchestra seats, almost on the stage... I was a bit frustrated not to see the pianist from a little above but on the other hand, I did not  miss one single attitude of our dear singer.
In january 2011 he appeared in full costume and white shirt, looking a bit hampered. This time, he looked liberated in a fluid kind of Mao silky suit which seemed to breathe with his gestures. He looked much younger : I noticed he often ran out after taking his bows... He was in an incredible form!
I was glad to see him again here, because he is often abroad and has a smashing career as a Rossinian singer but considering what he gave us this time I think he will soon be singing another repertoire, more moving and less acrobatic. What I loved this time is his complete lyrical transformation when singing Werther, with beautiful French inflections and more feelings than ever. This role although he looks so Southern suits his voice and above all the way he feels this role. I am surprised he has grown this way, he is going to be a fine lyric tenor and I am so pleased because there are not  many tenors around and he has beautiful clear and powerful tops. He feels what he sings.
I was impressed in all the French parts he sang (Massenet, Gounod , Berlioz, Offenbach) and started being moved. But when he sang Jurame,(6th encore) the only song in his mothet tongue, I suddenly felt tears coming up, I was overwhelmed by his amazing generosisty, he sang six encore and told us we wera the best audience he ever met in the world... By the time he came back the whole house was on its feet clapping cheering and gradually coming down to get nearer to the stage. It was fabulous. And I was getting more and more upset  by his singing and his kindness. Even too much... I started to feel I should have special thanks, I could not possibly having only paid 30€ for such a treatt here, at home... I could have jumped on the stage and hugged him. All I could do at the very end was to shout ''Merci' again and again.
I promised myself to try to see him when he tackles Werther. And I have just found out he will create this role in Lima... !!! All the best to this splendid young man who gives us his heart when he comes to us in Marseille. It is a privilege to have him here.
"O nature " and "Pourquoi me réveiller" were more intimate with piano  accompaniment, they brought the house down!

Back home late in the evening I suddenly felt really tired and happy, ready to face bronchitis which is hardly finishing after two weeks... and yet we are having an amazing Indian summer..
Juan Diego Florez is a rare truly honest and caring artist. And so gifted...
L'Amour is a wonderful CD. He almost sang it all for us that sunday in Marseille. His pianist is also a marvellous supporter and I remembered how they worked as a team . They gave a simlar friendly companionship  rendition that sunday.
When he sang 'Pour mon âme' (I do not know which encore it was...) he even made jokes with us... and of course launched the fireworks he is the only to master at the moment... the audience was delirious...
Will he come again or will he be too busy touring the capital opera houses of this world?
My very best wishes to him.
Merci Juan Diego Florez!

RÉCITAL

JUAN DIEGO FLÓREZ

Dimanche 05 Octobre 2014 > 16h00

2014 TOUR - L’AMOUR FRENCH ARIAS
Piano Vincenzo SCALERA
Soliste Juan Diego FLÓREZ
Une revue personnelle du répertoire lyrique français rarement chanté sur scène, proposée par le ténor bel-cantiste. Juan Diego Flórez révélera la puissance expressive de grands airs, de Rossini, Massenet, Gounod, Offenbach...
PROGRAMME
Première partie
GIOACCHINO ROSSINI
La Lontananza
Bolero      
Addio ai Viennesi   
HECTOR BERLIOZ
Les Troyens - « O blonde Cérès »
GEORGES BIZET
La Jolie Fille de Perth - « À la voix d'un amant fidèle »
JULES MASSENET
Werther
« O Nature, pleine de grâce »
« Pourquoi me réveiller ? »
Deuxième partie
FRANCESCO PAOLO TOSTI
Ideale      
Malia       
Parted      
LÉO DELIBES
Lakmé - « Prendre le dessin d'un bijou »
CHARLES GOUNOD
Roméo et Juliette - « L’amour ! »
JACQUES OFFENBACH
La Belle Hélène - « Au mont Ida »   

Exit Lundis Musicaux at Palais Royal.

Surprising E-mail received just now, which means I will not see Vesselina Kasarova on Dec the first ( train booked already because of cheap advanced booking), and Karine  Deshayes later in the season..
For Vesselina Kasarova I feel really moved and sad because it is not easy to have the chance to see her. I feel a 'loss' here and  wonder how these artists will face this argument "economic problems'"which means they will work less and lose money there.
Frankly I do not understand.
In that precise case getting my money back will never replace what I feel about the artistic value of the venue of artists who were part of the season 'Les Lundis Musicaux'.
Business is killing Art.
Here it is:

Bonjour

Pour des raisons totalement indépendantes de la volonté du THEATRE DU PALAIS-ROYAL, la programmation des LUNDIS MUSICAUX a été annulée par la Société de production 2CCOM, pour l’ensemble de la saison, à cause de problèmes économiques.

Nous vous invitons à vous rapprocher de notre service de réservation : 01 42 97 4000ou resa@theatrepalaisroyal.com pour les modalités de remboursement.

Avec toutes nos excuses pour la gêne occasionnée.

                                                                               La Direction du Théâtre du Palais-Royal

La Scala for two "Requiem" for Claudio Abbado by Riccardo Chailly.(updated with RAI news)

Out of three nights in Milan I spent two at La Scala, dedicated to Verdi who is haunting this town.
He did not create his Requiem for his friend Manzoni at La Scala but not far from Manzoni's house at  San Marco the day of Manzoni's burial.

Like  I did when I stayed in Salzburg, where I visited all the sites where young Mozart lived, I tried to follow Verdi's memories in the city center as much as I know about him. I walked to San Marco Chuch from Lanza; passed Manzoni's house first and through the arty pedestrian lanes arrived at Piazza San Marco to find the church was closed. I tried to imagine what it must have been like the day the Requiem was created and conducted by Maestro Verdi.  

Spending sometime there I also discovered young Mozart stayed in the house next to the chuch.

I had spent part of the day at Brera pinacotecca, where I met Giuditta Pasta, frankly not interesting the people who seemed to be more intrigued by The Kiss at the opposite end of the wall. I paid a quiet visit to the singer and tried to explain I was in Milan first for the music and then for the rest!
 I liked her rose resting slightly by the side of her head!She was the belcanto diva, Bellini's favourite but I do not know if she sang Verdi: he certainly saw her sing as a young man. He admired Bellini's long melodic phrases and was inspired by him.
I had a parterre box ticket for the 3rd, I was not comfortable, perched on the last stool in the box but had a good view and beautiful acoustics. Still, I stood for the second part, finding it less stressing than sitting on the stool! The house was packed but from this rather sheltered spot I did not have a full view of the house. I noticed my neighbours were not Italian, it was international opera goers, two Russian young people, two Canadian father and son, a Swiss lady who talked to me a little and did not like when I took photos, though it was not during the singing, and always without the flash.  I felt like a kid being scolded for naughtiness....
I was thrilled to be in La Scala for the first time, and even more for this homage to Claudio Abbado !
Riccardo Chailly did his first act as the new director of La Scala with this Requiem and he set the level high  the way he interprets this music  There was a prestigious selection of singers; even if Jonas Kaufmann was missing, I did not find Matthew Polenzani was not fitting and quite liked his angel type voice. I felt that like Anja Harteros did, he put a lot of feeling in his singing. Anja Harteros was all in black both nights and with her rather classy look, more fragile than ever,  she gave a stunning interpretation, especially her Libera me. She has the last words, here she let us share the fear of the end with whispered last words followed by a long silence, last vibrations of instruments, the whole house lost in deep thinking, because that is what this Requiem is about, thinking. Clapping came much later on the first night.
 Her voice soared over the orchestra with grace, high notes floated  like pure pearls sustained by the length of her strong breath. As I was watching her doing this prodigious singing I thought she was really an amazing person.

Elina Garanca appeared stronger next to frail Anja Harteros. I discovered  her live that night. Looking at the two young women so concentrated on this musical challenge I admired them both ! Lacrymosa was a  gorgeous blend of their voices, so well matched. The men side was also harmonious,  the bass-baritone Ildebrando d'Arcangelo has a rich robust voice and his 'mors mors' aria was scary. Of course he had beautiful accents and also was very contrasted with the tenor who had a lighter voice than J. Kaufmann,  and  beautiful clear tops for Ingemisco.
What made  it an outstanding production was to be able to follow the chorus, a mass, confronted to the orchestra, the brilliant trumpets, the stunnings drums, sometimes I felt I had not enough eyes and ears to cope with this tremendous work of art.  The quality of interptation was beyond words and I noticed how M. Chailly gave full part to the side musical sentences of one instrument at the end of  tremendous passages, like a demoniac last thought pervading the thinking, as nothing is really secure when it comes to  what is after death.
When I crossed Piazza del Duomo to catch tram 2 I knew I would come for the second night.
I had read about the queuing system on internet and I thought I will try to come at 4.30pm  and get in the queue for cheap tickets for the 4th. (130€ for a box stool, 12€50 for  balcony 2, top of the house !)
And I succeeded ! I got a sitting ticket on balcony 2 rear end, and moved in the middle to stand and have a full view of the house! I loved it !

The second night was also amazing and this time I was among Italian poeple the famous ones who boo and cheer ! It was not very different from my Marseille opera crowd.
What I enjoyed most was the wonderful parts when the two women singers blend their voices, 
 Their voices in these parts have true affinities.  I was able to listen to this miracle live!
At the curtain calls, (both nights there were lots of them, people stood and clapped with no intention to part!) Elina Garanca turned to Anja and  grabbed her, they both hugged!
Here's is a photo from Ildebrando d'Arcangelo, found on the net, which shows the warm atmosphere between the singers;

What a wonderful team for two amazing nights for the memory of Claudio Abbado who was Riccardo Chailly 's mentor'. So as the new Scala Director,  every beginning of October he will give an homage to Claudio Abbado here.
I was impressed to be at la Scala.
When  you walk down the staicase from top balcony  to ground level the billboards remind you that here is the real temple of Bel Canto  with amazing conductors and singers past and present.
Let's hope this will last!
Rai 3Maestro Riccardo Chailly on the 3rd talking his heart. A very short insight in the Requiem. Perhaps it will be possible to listen to the whole concert .