tag:blogger.com,1999:blog-59769935902068285162024-03-13T11:27:19.323-07:00Classical Music LoverA Blog Devoted to the Love and Appreciation of Classical MusicHaimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.comBlogger36125tag:blogger.com,1999:blog-5976993590206828516.post-1159272596594160492013-07-17T13:19:00.001-07:002013-07-17T13:21:36.710-07:00La Donna del Lago at the Santa Fe OperaMy wife and I had the marvelous pleasure of enjoying a performance of Rossini's La Donna Del Lago (Lady of the Lake) at the Santa Fe Opera this past Saturday night. It is a beautiful venue and had a stellar cast of Joyce DiDonato, Lawrence Brownlee and Marianna Pizzolato. While I thought Lawrence Brownlee was a little light or weak in the first act, he rose to the occasion in Act 2. The surprise for me was the mezzo, Marianna Pizzolato who sang with depth, color and confidence. The only other time I had the pleasure of listening to her was on the Pergolesi Stabat Mater with Anna Netrebko. The opera was full of drama, passion and fantastic bel canto singing. Joyce Di Donato had previously performed the same opera at the Royal Opera House in London with Juan Diego Florez and Daniela Barcelona to great acclaim. Having seen the DVD of the latter production, I found the sets at Santa Fe to be spartan and it let you concentrate on the fabulous singing. Ms. DiDonato did not disapppoint and had the audience in the palm of her hand for her fiery final aria. She took encore and standing ovations graciously and invited the rest of the cast to join her. <br />
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<span id="ctl00_ctl00_bodyContentArea_primaryContentArea_lbl_synopsis"><b>A Mysterious Beauty With a Secret Identity.</b><br /><br /><i>La Donna del Lago</i> is Rossini’s most romantic masterpiece. Why is it so infrequently seen? One reason: the formidable demands of the title role. Fortunately, Santa Fe audiences will see it performed by the fabulous mezzo-soprano Joyce DiDonato — who has earned acclaim for it in world opera capitals including Milan and Paris. Leading <i>bel canto</i> specialist Marianna Pizzolato sings Malcolm, and sought-after coloratura tenor Lawrence Brownlee sings Uberto. Stephen Lord conducts.<br /><br /><span class="firstletter">I</span>n Sir Walter Scott’s <em>The Lady of the Lake</em>, the heroine is introduced as “a monument of Grecian art . . . the guardian Naiad of the strand” – an un-clichéd portrait of Scottish beauty. In the Royal Opera’s new version of the “melodramma” Rossini based on <a href="http://blogs.ft.com/photo-diary/2013/05/sir-walter-scott-restoration/" title="Sir Walter Scott restoration | FT Photo Diary">Scott</a>’s poem, she is first glimpsed as an exhibition frieze in a glass box. No cliché there either. That opening scene tells us we are witnessing a case study in cultural archaeology, as related by Scott (aka Serano, a minor character) to a chorus of early 19th-century academicians.</span><br />
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Scott’s popularisation of Scotland as a romantic place, locked in a semi-fictional past, was as misleading as the current image of a nation hell-bent on independence – but his massaging of reality was exactly what Rossini needed. It gave the composer a suitably mythical backdrop against which to profile the pyrotechnical vocalism his Neapolitan public craved.<br />
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This is a gorgeous venue that we have visited before to see Natalie Dessay in Bellini's La Sonambula and Handel's Aggripina both in outstanding productions. In fact, we preferred the Santa Fe La Sonambula to the confusing Mary Zimmerman La Sonambula at the MET.<br />
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Peter Gelb, the general manager of the MET was in the audience and has promised to bring this opera to the MET in 2014-15 season. Let's hope that he will live up to his word, as this rarely performed Rossini opera in a gem. As you can see from my photo, this is a covered venue that is open to the environment. One frequently saw heat lightning in the distance. The orchestra and chorus was robust and supportive.<br />
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Marianna Pizzolato (L), Lawrence Brownlee (Center) and Joyce DiDonato (R)<a href="http://2.bp.blogspot.com/-ENBlZkqZnQw/Ueb6jutlVgI/AAAAAAAAAaI/JRUFshc0yCs/s1600/970401_10153023980420534_1610967111_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" iya="true" src="http://2.bp.blogspot.com/-ENBlZkqZnQw/Ueb6jutlVgI/AAAAAAAAAaI/JRUFshc0yCs/s320/970401_10153023980420534_1610967111_n.jpg" width="320" /></a></div>
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Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com2tag:blogger.com,1999:blog-5976993590206828516.post-3315560491412193782012-11-13T19:25:00.001-08:002012-11-13T19:25:14.759-08:00<a href="http://www.youtube.com/watch?v=ZYbloo3XNs4&feature=plcp">Joyce DiDonato Drama Queens</a><br />
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This is a fabulous CD of Baroque music. Joyce, a mezzo soprano from Kansas is celebrating her accomplishments and will be performing the music from the album in Kansas City’s Harriman-Jewell Center (<a href="http://t.news.emihosting.com/r/?id=h2273df92,75e46eeb,75e47180"><span class="s1">November 16th</span></a>), NYC’s Carnegie Hall (<a href="http://t.news.emihosting.com/r/?id=h2273df92,75e46eeb,75e47181"><span class="s1">November 18th</span></a>) and Sonoma California’s Green Music Center (<a href="http://t.news.emihosting.com/r/?id=h2273df92,75e46eeb,75e47182"><span class="s1">November 20th</span></a>). We are thrilled to attend this recital at Carnegie Hall. <br />
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We last saw her in Marie Stuarda in Houston which she will perform at the Metropolitan opera later this year. It is of interest that she is choosing to follow the same path as Cecilia Bartoli in uncovering old and rarely performed music.<br />
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Brava Joyce! Your CD is wonderful http://www.amazon.com/Drama-Queens-Joyce-DiDonato/dp/B008R9QB18/ref=sr_1_1?ie=UTF8&qid=1352863178&sr=8-1&keywords=joyce+didonato+drama+queens<br />
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<br />Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-85373520233583334352012-11-05T08:56:00.001-08:002012-11-05T08:56:27.586-08:00<a href="http://vimeo.com/52518293">vimeo.com/52518293</a><br />
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What a great performance at MET of Elisir D'Amore with Netrebko, Kwiecen and Polenzani. We were fortunate to have been there while this was being broadcast around the world.<br />
Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1tag:blogger.com,1999:blog-5976993590206828516.post-47250050378963619082012-10-22T08:07:00.001-07:002012-10-22T08:10:00.297-07:00<div style="text-align: center;">
<span style="font-size: large;"><b>L'Elisir D'Amore at the Metropolitan Opera</b></span></div>
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We had a grand time this performance. Polenzani was wonderful and sang an eloquent <i>Una Furtiva Lagrima </i>which really was sung well and he seemed to float the high notes with just elegance. Mariusz Kweicen was his jocular self and suited well to this role. Anna Netrebko simply fills the hall with a lustrous voice that has risen in stature, color and timber. She moves effortlessly and sings radiantly. This was simply a great cast that worked well together. This was a new and controversial production by Bartlett Sher which kept many of the opera's main venues intact. This was radically different from last year's production which featured Diana Damrau and Juan Diego Florez in a production that could only be characterized as a set full of pink cutouts. </div>
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The new production made great use of a proscenium which seemed to make the stage space small and more confined which may have helped the artists. Since this was a live HD performance broadcast to many theaters in the US and Europe and elsewhere it had to meet its great challenge. From many comments from my facebook friends, it simply was a remarkable event. The orchestra was conducted by Benini who is no stranger to the MET. He seemed to keep the music in line with the artists in a rather seamless effort. </div>
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Netrebko is no stranger to this role having previously sung this with Rolando Villazon at the Wien Statsopera and St. Petersburg. She has recently said that she will abandon her "Ina" roles such as Norina in E'Lisir, to concentrate on more dramatic and heavier roles such as Leonora in Il Trovatore. We all await her upcoming DG Verdi album. </div>
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We had the opportunity to meet another Facebook friend at the gift shop during intermission and share stories about our love of opera and the remarkable persona and voice of Anna Netrebko. Anna is very gracious and generous to her fans snapping pictures and signing autographs at the stage door. </div>
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We met Matthew Polenzani last year after a lackluster performance of Wily Deckker's La Traviata at the MET with an ailing Natalie Dessay. He did not appear to be engaged in that role, but it is clear that he has now developed both the mental focus and ardor required of a great tenor. Polenzani was engaged in E'Lisir and judging from the intermission interview it appears that he adores Netrebko as an artist an person. From his bookings at the MET, he is now becoming a "regular" something that will surely raise his exposure and ability to sing new roles with high level casts. </div>
Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-28608117047431329572011-10-21T13:36:00.001-07:002011-10-21T13:36:56.286-07:00Netrebko in the News<div><object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" id="d3c3ddc1-f771-2355-8d26-62de080a3740" style="height: 282px; width: 420px;"><param name="movie" value="http://static.issuu.com/webembed/viewers/style1/v2/IssuuReader.swf?mode=mini&printButtonEnabled=false&backgroundColor=%23222222&documentId=110923130126-90691ea983b94d1e9053ecec32599f7e" /><param name="allowfullscreen" value="true"/><param name="menu" value="false"/><param name="wmode" value="transparent"/><embed src="http://static.issuu.com/webembed/viewers/style1/v2/IssuuReader.swf" type="application/x-shockwave-flash" allowfullscreen="true" menu="false" wmode="transparent" style="width:420px;height:282px" flashvars="mode=mini&printButtonEnabled=false&backgroundColor=%23222222&documentId=110923130126-90691ea983b94d1e9053ecec32599f7e" /></object><div style="text-align: left; width: 420px;"><a href="http://issuu.com/rhinegold/docs/on_oct_2011_lo-res?mode=window&printButtonEnabled=false&backgroundColor=%23222222" target="_blank">Open publication</a> - Free <a href="http://issuu.com/" target="_blank">publishing</a> - <a href="http://issuu.com/search?q=music" target="_blank">More music</a></div></div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-46342079685210412952011-10-04T14:30:00.000-07:002011-10-04T14:44:54.595-07:00Barber of Seville at the METOn Saturday October 1, my wife Paula and I headed off to the MET for what proves to be an excitinng season. We were so pleased to see a sold out performance with many young people in attendence. It was quite a diverse audience with the aged, physically challenged and occasional young children in attendence. We had seen this production previously with Diana Damrau and Juan Diego Florez who always charm the New York fans. To our glorious surprise, the mezzo-soprano Isobel Leonard and the Swedish bartone, Peter Mattei stole show. Leonard as Rosina and Mattei as Figaro brought the house down with beautiful singing, humor and assurance in this utter frace by Rossini. <br />
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This production by Bartlette Sher is well known at the MET and features moving dooors, a cart, orange trees (a la Seville) and complete with the docile and well behaving donkey. <br />
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The ensemble consisted of: <br />
Conductor: Maurizio Benini <br />
Rosina: Isabel Leonard <br />
Count Almaviva: Javier Camarena<br />
Figaro: Peter Mattei <br />
Dr. Bartolo: Maurizio Muraro <br />
Don Basilio: Paata Burchuladze <br />
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If there was a breakout star here it was Leonard who amply filled the shoes of Diana Damrau and Elina Garanca in preceding years. The MET has had to scramble to have the orchestra led by a cadre of conductors. Benini did an ample job and has not had the harsh criticism launched at him similar to that of Marco Armillato, an Italian expert who led the opening night of Anna Bolena starring Anna Netrebko. <br />
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We were pleasantly surpised to meet a young couple seated next to us in the balcony. She a chemist at Boehringer Ingelheim and he working at Agios in Central Square in Cambridge, MA. This was his first opera and a great choice at that. She was from Denmark and told us of the beautiful new opera house in Copenhagen that we had seen on a tour. She suggested that the foyer is exquisite and worth a visit. <br />
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These two clips demonstrate the vitality and life in this production.<br />
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On the way home, we watched the DVD of the Salzburg 2005 Marriage of Figaro starring the allstar cast of Actors: Anna Netrebko, Dorothea Roschmann, Ildebrando d'Arcangelo, Bo Skovhus, and Christine Schafer <br />
The conductor was Nikolaus Harnoncourt and the somwhat avante garde production was directted by Claus Guth. On the DVD are bonus segments that reveal the artistry and committment of the artists to this production. I refer specifically to the comments made by Anna Netrebko in her efforts to get inside the character, be responsive to the conductor and inclinations of the director. <br />
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<span style="background-color: white; color: black;">I would highly recommend this to any fan of updated operas. </span><br />
<a href="http://www.amazon.com/Mozart-Nozze-Figaro-Anna-Netrebko/dp/B000LC4TJ0/ref=sr_1_58?ie=UTF8&qid=1317762329&sr=8-58"><span style="background-color: white; color: black;">http://www.amazon.com/Mozart-Nozze-Figaro-Anna-Netrebko/dp/B000LC4TJ0/ref=sr_1_58?ie=UTF8&qid=1317762329&sr=8-58</span></a><br />
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<span style="background-color: white; color: black;">Of course we are looking forward to Anna Bolena with Netrebko as well as her solo recital at Carnegie Hall with a series of lieder of </span><a href="http://www.amazon.com/s?_encoding=UTF8&search-alias=movies-tv&field-artist=Nikolai%20Andreyevich%20Rimsky-Korsakov"><span style="background-color: white; color: black;">Nikolai Andreyevich Rimsky-Korsakov</span></a><span style="background-color: white; color: black;"> <span class="byLinePipe">(Composer)</span>, and </span><a href="http://www.amazon.com/s?_encoding=UTF8&search-alias=movies-tv&field-artist=Pyotr%20Ilyich%20Tchaikovsky"><span style="background-color: white; color: black;">Pyotr Ilyich Tchaikovsky</span></a><span style="background-color: white;"><span style="color: black;"> <span class="byLinePipe">(Composer). This hauntingly beautiful collection was recorded with Daniel Barenboim in an albulm entitled "In the Still of the Night" <a href="http://www.amazon.com/gp/product/images/B0033QEURM/ref=dp_otherviews_1?ie=UTF8&s=movies-tv&img=1">http://www.amazon.com/gp/product/images/B0033QEURM/ref=dp_otherviews_1?ie=UTF8&s=movies-tv&img=1</a></span></span></span><br />
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<span class="byLinePipe"><span style="background-color: white; color: black;">At Carnegie Hall, the keyboard will be played by Elena Bashkirova. Netrebko has performed this repetoire in Europe with her on several occasions with great reviews. It will be a great musical season for us</span></span>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1tag:blogger.com,1999:blog-5976993590206828516.post-40454693069847808142011-07-12T10:55:00.000-07:002011-07-12T10:56:55.858-07:00Norma at Tanglewood<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-VNIa2Lhe6HQ/ThyC0IeU6mI/AAAAAAAAAHQ/qVGWX-mvz_g/s1600/261691_2059661064819_1643433794_1998864_2340229_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240px" m$="true" src="http://1.bp.blogspot.com/-VNIa2Lhe6HQ/ThyC0IeU6mI/AAAAAAAAAHQ/qVGWX-mvz_g/s320/261691_2059661064819_1643433794_1998864_2340229_n.jpg" width="320px" /></a></div>Last Friday, July 8, 2011 we had the wonderful opportunity to witness part of "Norma" given at Tanglewood. the summer home of the Boston Symphony Orchestra in Lenox, MA. There were several heroes that night including Charles Dutoit who led the ensemble with great assurance. For Angela Meade, a rising soprano star this was a major breakthrough in her career. Despite having sung small roles at Caramoor and sing Ernani at the MET, she has largely been overshadowed by regning divas. <br />
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<a href="http://vimeo.com/26187178">Opening Night at Tanglewood 2011 (Excerpts)</a> from <a href="http://vimeo.com/user3627212">Larry Murray</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
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The concert begins with extended excerpts from Act I of Bellini’s Norma featuring the young American soprano <a href="http://www.bso.org/bso/mods/bios_detail.jsp;jsessionid=VMI20IIQK13HQCTFQMGSFEQ?id=43200135">Angela Meade</a> and Sicilian tenor <a href="http://www.bso.org/bso/mods/bios_detail.jsp;jsessionid=VMI20IIQK13HQCTFQMGSFEQ?id=43300032">Roberto De Biasio</a>, both debutting with the BSO, young American mezzo-soprano <a href="http://www.bso.org/bso/mods/bios_detail.jsp;jsessionid=VMI20IIQK13HQCTFQMGSFEQ?id=24400223">Kristine Jepson</a> and internationally renowned American bass-baritone <a href="http://www.bso.org/bso/mods/bios_detail.jsp;jsessionid=VMI20IIQK13HQCTFQMGSFEQ?id=24400194">James Morris</a>. One could feel the palpable energy of Dutoit as he guided the singers and orchestra through the difficult bel canto phrasing. Their were notable highlights from all of the solists, with the chorus providing a beautiful color and shading to the choruses. Despite the dismal weather this was an evening to celebrate both opera and the performers. Meade received her training at the Philadelphia Academy of Vocal Arts and was a finalist at the MET competition. While her singing was quite elegant, it appear to change over time into a forced vibrato which bordered on pushing it too much.<br />
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We have seen Ms. Meade at Carnegie Hall as a soloist in the Rossini Stabat Mater and at last year's Richard Tucker Gala. She definately has sufficient technical skills, but only the future will be able to judge her ability to act and convey emotion. I was quite impressed with the mezzo and tenor and this made for a joyous evening. The legacy of James Levine was palpable in that this was his type of concert. Only in recent years has this venue performed operatic excerpts. Dutoit deserves hearty accolades as a last minute replacement for the ailing Levine. His zeal and energy were quite evident from our birds-eye view from the 1st row. <br />
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John Oliver, the longstanding leader of the Tanglewood Musical Festival Chorus was stunning in his ability to direct the chorus to support to the singers. You owe it to yourself to enjoy the beauty and serenity of Tanglewood. It has the ability to drwan you in for a joyous ride into sheer blis.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1Lenox, MA 01240, USA42.356475 -73.28482880000001442.3415605 -73.301777800000011 42.371389500000006 -73.267879800000017tag:blogger.com,1999:blog-5976993590206828516.post-3380521384519596032011-03-18T12:49:00.000-07:002011-03-18T13:32:36.015-07:00Agrippina - a Tale of Sexual Power, Corruption and Deceit<div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-trMzP0MHi14/TYOwn09NU1I/AAAAAAAAAHA/ZOuZFzwn00w/s1600/agrippina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" r6="true" src="https://lh4.googleusercontent.com/-trMzP0MHi14/TYOwn09NU1I/AAAAAAAAAHA/ZOuZFzwn00w/s320/agrippina.jpg" width="261" /></a></div>As a means of introduction, we have seen Agrippina once before at the Santa Fe Opera and were most pleased by the current Boston Lyric Opera production held at the Schubert Theater. Aside from the updated, comedic presentatiion of the opera there was stellar singing and playing by the orchestra. There were 2 real stars, Caroline Worra who portrayed Agrippina and Kathleen Kim as Poppea. There were overtones of excessive alcoholism, cocaine use and sexual rivalry that made this for an enjoyable evening. <br />
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<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><a href="https://lh4.googleusercontent.com/-TJbyg0TgN2o/TYO3npqqZAI/AAAAAAAAAHI/kkGO7FDxWKw/s1600/top_ht4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" r6="true" src="https://lh4.googleusercontent.com/-TJbyg0TgN2o/TYO3npqqZAI/AAAAAAAAAHI/kkGO7FDxWKw/s200/top_ht4.jpg" width="160" /></a><a href="https://lh3.googleusercontent.com/-xS4c0-seMzQ/TYO3Y4Q8p4I/AAAAAAAAAHE/d_JH6Z1YElQ/s1600/Kim.jpg" imageanchor="1" style="cssfloat: left; margin-left: 1em; margin-right: 1em;"><img border="0" height="200" r6="true" src="https://lh3.googleusercontent.com/-xS4c0-seMzQ/TYO3Y4Q8p4I/AAAAAAAAAHE/d_JH6Z1YElQ/s200/Kim.jpg" width="140" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"> Caroline Worra Kathleen Kim</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Caroline was a strong singer who sang with strong passion Kathleen Kim, a petite Korean soprano was most definately the star of the performance. She sang with purity, coloratura, humor and dazzle. Ms. Kim had previously sung at the Metropolitan Opera in the Tales of Hoffmam with Joseph Calleja and Anna Netrebko, where she played Olympia, the wind-up doll.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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The story per se is a convoluted story of greed, deception and motives to place people in power of the Roman Empire. This production was marvelous at portraying the twists and turns of misguided lovers. The support of the various male roles as countertenors was unusual in their stylistic humor. Some of this including hiding under Poppea's bed to elude competing suitors was simply hysterical in its comedic overlay. <br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Agrippina's Family: Julia Agrippina was the daughter of Germanicus and Agrippina the Elder, making her a sister of Emperor Caligula. In A.D. 28, Agrippina married Gnaeus Domitius Ahenobarbus who died in A.D. 40. During this marriage, she produced a son who would become the Emperor Nero.</div><br />
Agrippina's Later Marriages: Agrippina married her second husband, Gaius Sallustius Crispus Passienus, in 41. She married the Emperor Claudius in A.D. 49 and persuaded Claudius to adopt her son Nero as his heir in the following year.<br />
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Agrippina' Other Great Claim to Fame: Early historians accused Agrippina of murdering Claudius. Following Claudius' murder, the 17-year-old Nero came to power, with Julia Agrippina the Younger as regent and Augusta.<br />
Agrippina's power waned. Nero sent her into exile. Then, after a botched attempt to kill her, Nero had his mother murdered.<br />
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In the end though, everyone dies by suicide in this portayal as indicated in the Epiologue to thunderous applaus by the audience. Much credit should go to the orchestra and the Harpsichord player who supported the entire opera. Even though it appeared to be amplified, it provided an underpinning to the production. Hanel's opera is quite different from Verdi, Donezetti, Bellini, Bizet or Massenet in that there are long stretches of dialogue or recititative rather than lyrical arias that last long after the performance. Handel compensates for this by intriguing drama and counterpoint among the protagonists. It is wonderful opera and should be enjoyed by all. The use of supertitles portrayed on two large LCD screens help draw the listener into the complexities of the dialogue. There were occasional examples of overacting which only served to heighten the humor. The countertenor voice, previously sung by castrati added much value to their roles as buffons in this everlasting farce. Occasional lapses in the falsetto range were largely of no consequence to the overall singing as all the performers easily masterred projecting over the orchestra. The costumes were updated and elegant, especially those worn by Kathleen Kim as Poppea. She notably wore very high stiletto heels as she is quite petite. A take-home message to all singers is never underestimate the power of projecting your voice. Ms Kim was a great example that "Great Things Come in Small Packages"<br />
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This is a performance to be enjoyed by all. I hope that future performances will fill the house as Opera appears to be alive and well in Boston.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-83829109348410571182011-03-15T14:20:00.000-07:002011-03-15T14:21:48.332-07:00Roberto and Peter Serkin at the BSO<div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-jCx6DJJS78g/TX_PF1eOvwI/AAAAAAAAAG0/qx6DqMzw2_s/s1600/Conductor-Roberto-Abbado-leads-the-Boston-Symphony-Orchestra-with-guest-pianist-Peter-Serkin-3_10_11-w-Michael-J_-Lutch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" q6="true" src="https://lh5.googleusercontent.com/-jCx6DJJS78g/TX_PF1eOvwI/AAAAAAAAAG0/qx6DqMzw2_s/s320/Conductor-Roberto-Abbado-leads-the-Boston-Symphony-Orchestra-with-guest-pianist-Peter-Serkin-3_10_11-w-Michael-J_-Lutch.jpg" width="320" /></a></div>On Friday March 11th, the BSO had to scramble to replace ailing James Levine and pianist Maurizio Pollini. As we had known about this in advance, we were not surprised by the change in programming. Roberto Abbado chose a Haydn Symphony No. 93 in D to open the program. From the opening moment, you knew that this was none other than Haydn. Conducting without a score, Abbado conducted with great sweeping jestures and drew musicality out of the ensemble. Although somewhat unremarkable, the piece was both satisfying and welcome. <br />
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</div>After arranging the stage for the piano, Peter Serkin, a lanky master came out in tails and played the Bartok Piano Concerto No. 3. Although not familiar to most, Serkin played with strenth dynamics and stellar technique. He is rather tall and exuberant and one could occasionally hear his feet stamping on the stage as he masterfully used the pedals for enhancement. Again Abbado did not conduct with a score and it was eminently clear that Serkin had a keen eye on Abbado for tempi, entrances, etc. It was wonderful to watch such superb technique by Serkin who literally pounced on the keys for short notes with great fervor. At times, this effect was mirrored with the xylophone. Abbado let Serkin take ample solo curtain calls to a rousing and united standing ovation from the audience. <br />
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Contrary to other blog posts and recent review of this concert, I found the Beethoven Symphony 5 in C minor, Opus 67, a warhorse of the repetoire to be unusually refreshing. I almost left before the end of the intermission and was quite surprised to listen to a breakneck tempo reminiscent of Sir Roger Norrington on period instruments. It was certainly unusual, very much unlike that of performed with Levine as conductor in recent years. The 2nd movement was particularly wonderful with restrained elegance as Abbado held the orchestra to pianissimo to great success. One has to keep an open mind, for this was certainly "different" and seemed appreciated by the audience. My only hesitation was the occassional blaring of the trumpets and horns in the finale. Abbado graciously acknowledged the playing by the oboe, flute, horns, etc. One only has to listen to Norrington, Bernstein, Levine, Karajan et al., to realize that music is all about interpretation. I once heard Norrington state that we have no idea how music was really played when it was composed despite temi markings and different orchestrations. I actually prefer period instruments as they allow the music to be played as it was perhaps intended. The BSO performance was quite brisk, perhaps to a fault, but it left you with a sense of brilliance that can only achieved with a great orchestra. I am glad that I did not leave since it was indeed awakening and special.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-31360197489288510702011-03-14T13:52:00.000-07:002011-03-14T13:55:32.033-07:00Metropolitan Opera Announces 2011 National Council Auditions Winners<div class="separator" style="clear: both; text-align: center;"><a href="https://lh4.googleusercontent.com/-VTaK-YANj2o/TX5y8C_JM4I/AAAAAAAAAGo/zYK7a_zvqI4/s1600/li-metopera-460-getty-104497874.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" q6="true" src="https://lh4.googleusercontent.com/-VTaK-YANj2o/TX5y8C_JM4I/AAAAAAAAAGo/zYK7a_zvqI4/s320/li-metopera-460-getty-104497874.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-frrsNdO4iHg/TX6ANr5gtGI/AAAAAAAAAGs/X4WuzjVJLh4/s1600/untitled.bmp" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" q6="true" src="https://lh5.googleusercontent.com/-frrsNdO4iHg/TX6ANr5gtGI/AAAAAAAAAGs/X4WuzjVJLh4/s320/untitled.bmp" width="254" /></a></div><div style="text-align: left;">Yesterday, the Metropolitan Opera held its finals for the National Council Audition. The events were hosted by the wonderful "American Diva", Joyce DiDonato who indicated that she had not come through the ranks through this competition, but inducated how thrilled these young performers were to be on this stage. Ms DiDonato, is full of class, humor, spontaneity and most of all charm. Her career path has been challenging, but she has endured and is at the top of her game. She will be singing a lead in Le Comte Ory with Diana Damrau and Juan Diego Florez. The orchestra was ably led by Patrick Summers who used appropriate restraint to allo wthe singers to project and shine in their moment of glory. </div><br />
The roster of finalists was unusual in not having any tenors in the ranks. The lone soprano, who had won the competition had a wonderful stage presence and color to her voice. The rest of the winners were bass-baritones or baritones. <br />
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The winners were: Joseph Barron, bass-baritone from Pittsburgh, PA; Ryan Speedo Green, bass-baritone from Suffolk, VA; Michelle Johnson, soprano from Pearland, TX; Joseph Lim, baritone from Seoul, South Korea; and Philippe Sly, bass-baritone from Ottawa, Canada. The winners were selected from eight finalists who performed arias with the Met Orchestra, conducted by Patrick Summers. Each winner receives a cash prize of $15,000 and even more importantly, the opportunity to launch a major operatic career. One only had to be there to witness the joy of Joseph Lim, hugging his colleagues with exuberance and a sense of profound fulfillment. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://lh5.googleusercontent.com/-E8X7tqY2nTs/TX6AryJPVoI/AAAAAAAAAGw/yuDDKJOfivA/s1600/brownlee-2-1.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" q6="true" src="https://lh5.googleusercontent.com/-E8X7tqY2nTs/TX6AryJPVoI/AAAAAAAAAGw/yuDDKJOfivA/s320/brownlee-2-1.jpg" width="240" /></a></div>For the audience it was a chance to see firsthand the next generation of stars. Just before the results were announced Joyce introduced Lawrence Brownlee, an American born tenor who has just finsished a 2nd run of Armida. He wowed the audience to thunderous applause with: “Je crois entendre encore” from Les Pêcheurs de Perles and “Ah! mes amis” from La Fille du Régiment. It is notable that he and Joyce have both worked with Anthony Pappano and Anna Netrebko in the recent highly acclaimed recording of Rossini's Stabat Mater.<br />
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What a thrill to be part of the audience for this event.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-13481374045918315592011-02-25T08:26:00.000-08:002011-02-25T08:58:38.924-08:00The baton has been passed from one generation to the next<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-IGCYF20-CUU/TWfYOtDq0fI/AAAAAAAAAGY/og2A8LJm0BM/s1600/gustav_mahler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" l6="true" src="http://1.bp.blogspot.com/-IGCYF20-CUU/TWfYOtDq0fI/AAAAAAAAAGY/og2A8LJm0BM/s320/gustav_mahler.jpg" width="309" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-O1_Nmo8Vccc/TWfLrLjYZhI/AAAAAAAAAGU/9pytm5iHX54/s1600/ISO_arms-crossed_shot_-_splash2.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" l6="true" src="http://4.bp.blogspot.com/-O1_Nmo8Vccc/TWfLrLjYZhI/AAAAAAAAAGU/9pytm5iHX54/s320/ISO_arms-crossed_shot_-_splash2.jpg" width="320" /></a></div>Sean Newhouse, the newly appointed assistant conductor of the Boston Symphony Orchestra had his debut last night due to the ongoing health issues of Maestro James Levine its orchestral director. Newhouse certainly had a monumental and very challenging task - conducting Gustav Mahler's 9th Symphony. The hall was nearly filled to capacity as I joined my colleagues and friends from Astrazeneca. The large orchestral piece from the 20th century was filled with vivid imagery of Eastern European dances ultimately leading to a serene resolution in death in the final movement. <br />
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Sadly, I feel that it may be time for Maestro Levine to retire as an active conductor, not only for his personal health, but also for his adoring fans that he has disappointed on numerous occasions. He has recently also withdrawn from last Saturday's Don Pasquale at the Metropolitan Opera (coincidently the same performance that was passed by Anna Netrebko, the adoring Russian Superstar diva for alleged health reasons, but ws noted to be with her partner Erwin Schrott at the Vienna State Opera in his debut in Mozart's Le Nozze Di Figaro). Personally I think Levine is a genius conducting the Metropolitan Opera along with amny of his symphonic cycles, but I do not enjoy his recent conducting from a stool or rotating chair. Levine is known as a minimalist conductor and the antithesis of Leonard Bernstein in his dramatic style. Nevertheless, part of one's appreciation of a live performace is to witness how the conductor influences and brings together tempi and dynamics to derive fullest meaning out of piece of music. We saw many elements of this last night as Newhouse became engrossed by the music. <br />
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Leonard Bernstein stated in both his Norton Lectures of 1973 at Harvard University as well as in a video devoted to the Mahler Ninth Symphony; “Four Ways to Say Farewell,” his opinion that: “the opening<br />
bars of [Mahler’s Ninth Symphony] are an imitation of the arrhythmia of his failing heartbeat.” While not widely accepted, it is conceivable that Mahler was envisioning his own demise and impending death. Mahler (<span style="white-space: nowrap;">7 July</span> 1860 – <span style="white-space: nowrap;">18 May</span> 1911) never lived to hear his ninth symphony. Mahler grew up in Bohemia under very humbling circumstances. He served as a bridge from 19th Austrian-German classicism to the modern avant garde style of Shoenberg and Alban Berg. As as composer of Jewish ancestry his work was largely ignored during the realm of the Nazi regime and the third Reich. Mahler converted to Catholocism to land a position in Vienna. <br />
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It is said that Mahler harboring the suspicion that there was a curse on composers who wrote a ninth symphony (Beethoven and Schubert were two that had died before their tenths were completed), Mahler attempted to sidestep the threat by not calling his ninth symphonic work a symphony at all. (This was his orchestral song cycle The Song of the Earth.) Only then did he feel safe to compose a ninth symphony, because it was “really” his tenth. Nonetheless, the curse struck again: Mahler died before he could finish No. 10. In the essay by noted physician Lewis Thomas that I had the pleasure of meeting entitled "Late Night Thoughts on Listening to Mahler's Ninth Symphony", he is quoted as saying, "There was a time, not long ago, when what I heard, especially in the final movement, was an open acknowledgement of death and at the same time a quiet celebration of the tranquility connected to the process. I took this music as a metaphor for reassurance, confirming my own strong hunch that the dying of every living creature, the most natural of all experiences, has to be a peaceful experience. I rely on nature. The long passages on all the strings at the end, as close as music can come to expressing silence itself, I used to hear as Mahler's idea of leave-taking at its best. But always, I have heard this music as a solitary, private listener, thinking about death. <br />
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Now I hear it differently. I cannot listen to the last movement of the Mahler Ninth without the door-smashing intrusion of a huge new thought: death everywhere, the dying of everything, the end of humanity. The easy sadness expressed with such gentleness and delicacy by that repeated phrase on faded strings, over and over again, no longer comes to me as old, familiar news of the cycle of living and dying.<br />
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The seating of the orchestra was somewhat unusual, perhaps influenced by Wagner in that the cellos and double bases were on Stage left. This monumental piece of music was played with brilliance with many fine soloists including the flautist, horns, bassoon, muted trumpets, 2 harps and an outstanding percussion section. The final bars of the symphony illustrated well the extreme pianisimo possible by a great violin section. <br />
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Overall the piece was well played and exemplified both the acoustics of Symphony Hall and these great musicians. Aside from the 1st movement which seemed disjointed with no clear theme or unifying development, the piece was astonishing in its massive evolution and progression. At times when you felt you were nearing a conclusion, Mahler took you on his journey for further exploration. <br />
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Newhouse deserves much praise and accolades and was clearly very relieved and plaesed with the results of his debut. Every once in a while this is how stars are born. He was wonderful, expressive and fun to watch as he nuanced the orchestra to great drama. His final bars were filled with solemnity and peace. This work has been conducted by many notable conducters including Bernstein, Ozawa and Dudamel to name a few. <br />
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I remember as a child listening to my granmother's recording of Mahler's 1st symphony conducted by Bruno Walter a truly spectacular recording. It was a wonderful evening filled by camaraderie with my friends as well as an education into unfamiliar music to me. I own Bernstein's version of Mahler's symphonies and now is a time to reflect and learn more.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com2tag:blogger.com,1999:blog-5976993590206828516.post-75675136054143787682011-01-12T12:20:00.000-08:002011-01-12T12:20:22.645-08:00Anna Netrebko & Erwin Schrott in Las Palmas<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TS4Mmr2BTLI/AAAAAAAAAFc/ypruBn6FWJ8/s1600/IMG_0106.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TS4Mmr2BTLI/AAAAAAAAAFc/ypruBn6FWJ8/s320/IMG_0106.JPG" width="320" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/TS4M0OQil2I/AAAAAAAAAGE/LJU630Q15WI/s1600/IMG_0194.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/TS4M0OQil2I/AAAAAAAAAGE/LJU630Q15WI/s320/IMG_0194.JPG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/TS4M1pffUFI/AAAAAAAAAGI/cwBf4ortnR8/s1600/IMG_0195.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/TS4M1pffUFI/AAAAAAAAAGI/cwBf4ortnR8/s320/IMG_0195.JPG" width="320" /></a></div>The concert by Anna Netrebko and Erwin Schrott was a huge sucess and enthusiastically received by all attendees. Anne's pictures are indeed fabulous and there is little to add other than the few that I have attached. Herbert's commentary was excellent and reflects the general nature of the evening in Las Palmas. The programme was identical to the one played in Tenerife. The Alfredo Kraus Auditorium is a beautiful venue overlooking the Atlantic Ocean. The orchestra led by Vladamir Spivakov was simply outstanding. They played with assurance and clarity. The tempos were brisk and exciting. Spivakov was expressive, graceful and lovely to watch.<br />
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Anna appeared first in ther stunning form fitting royal blue gown and was simply ravishing. You immediately noticed the incredible size of her voice. The first piece by Glinka was new to us, but showcased her talent and comfort on the stage. She sang with such great confidence, poise and panache, and knew well how to connect with the audience. She had no need to sing at the foot of the stage since her voice carried well with much ease. Many of the other pieces were very familiar. The highlights of the evening were Erwin greeting the audience in Spanish and sing a tango, accomapanied by an accordian. During his duet with Anna as Adina in L'eIlisir D'amore, Schrott as Dr. Dulcamara, sold a bottle of magic elixir (wine) to a gentlemen in the first row of the audience who gave Erwin some Euros. This bottle of wine was delivered on stage by Schrott's adolescent daughter. Thankfully, a second bottle was on stage to continue the aria. It was just a very funny moment. Their duets were passionate, frequently ending with warm embraces and tender kissing as only lovers can portray.<br />
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Erwin's portayal of Leporello in Don Giovanni is simply one of his signature roles. He sang it with a book depicting his amorous conquests all throughout Europe, with special emphasis on Espania. <br />
Anna's rendition of Gounod's Jewel Song from Faust was memorable. It was particularly exciting when Erwin completed this selection with his vivid interpretation of Mephistopheles.<br />
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In the second portion of the program Anna wore a magnificent pink chiffon gown while Erwin sported a black, sequined velvet blazer. What a stunning couple! Their Gershiwn "Porgy and Bess" duet was full of passion and I was particulary impressed that the National Russian Orchestra was able to accompany the singers with such ease. It is amazing that the orchestra performed Russian, German, French, Czech, Spanish and Italian music so superbly...a truly well deserved compliment to Maestro Spivakov. <br />
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Erwin sang the tango with a microphone to great success. The highlight of the evening was a local folk song from Gran Canaria that was full of passion, syncopation and featured the brass and percussion (castanets) sections. It was introduced to audience by Spivakov. This brought the audience to its feet in a rousing standing ovation. It was simply amazing to see Russian trained musicians play such a Latin based melody with ease and a high level of technicality. <br />
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We reflected on the difference between recital and fully staged opera, and concluded that Anna's true ability is only reflected in her uncanny acting. While this concert was a success by any standard, it left us wanting to see more. Having recently seen her in Don Pasquale at the MET as well as many other operas with her, we feel that Anna's true calling is opera. From Traviata, I Puritani, Romeo & Juliet, Tales of Hoffmann, Lucia, La Boheme and others we have been fortunate to watch the maturation and development of this wonderful singer. It is eminenly clear that not only does she enjoy what she is trying to communicate, but her unusual dark Slavic voice has set her apart from others. <br />
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The highlight for Paula and myself was to meet Anne Fischer-Boertzler, her husband Ludi, and her parents. Indeed we shared many stories about our love for good music and opera. Anne is poised, classy and certainly enhanced our visit. We spoke briefly before the concert and then more extensively afterwards trying to get an aiutograph from Anna. Anne translated for her parents who quickly understood our mutual love for opera. Anne, to you we owe a debt of gratitude (for guiding me on how to secure tckets via Gran Canaria's ATM) and more importantly for establishing a warm new found friendship via Facebook. As many of you know, Facebook started at Harvard, and is a tremdendous sucess in allowing people to connect to share common interests. To all of my music friends and especially Carlos, we are very thankful. Anna and Erwin departed quickly with his daughter, but I was able to get 2 photos. I told Anna that we will see her next month in Beaver Creek and she exclaimed "That's Great." Spivakov waved to the small gathering before departing. Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1tag:blogger.com,1999:blog-5976993590206828516.post-8475343514261282482010-12-06T14:03:00.000-08:002010-12-06T14:03:33.427-08:00Concert for the Cure<div align="left" class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-size: x-large;">An Evening to Remember</span></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="font-size: large;">Music can cure the sole and inspire courage, determination and committment </span></div><span style="font-size: large;"> </span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/TP1TSb0beaI/AAAAAAAAAFE/_AkxyNW5nUk/s1600/Rattle.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="315" ox="true" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/TP1TSb0beaI/AAAAAAAAAFE/_AkxyNW5nUk/s320/Rattle.bmp" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sir Simon Rattle</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jordan Hall - New England Conservatory</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/TP1Xp9ZSr4I/AAAAAAAAAFQ/4VImIO6m88M/s1600/Scolnick.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" ox="true" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/TP1Xp9ZSr4I/AAAAAAAAAFQ/4VImIO6m88M/s1600/Scolnick.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Julie Scolnik</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/TP1Uvdg4qVI/AAAAAAAAAFM/UZ8ildthJIo/s1600/Hamelin.bmp" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" ox="true" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/TP1Uvdg4qVI/AAAAAAAAAFM/UZ8ildthJIo/s320/Hamelin.bmp" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marc-André Hamelin</td></tr>
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://4.bp.blogspot.com/_EWPnd6ST-ng/TP1Yb-VL1tI/AAAAAAAAAFU/UYw8BlLD5I0/s1600/concert_facebook_image_medium.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="http://4.bp.blogspot.com/_EWPnd6ST-ng/TP1Yb-VL1tI/AAAAAAAAAFU/UYw8BlLD5I0/s1600/concert_facebook_image_medium.jpg" /></a>Last night Paula & I attended the Concert for the Cure entitled "Rhythms of Hope" at Jordan Hall. This concert sponsored by the Susan G. Komen for the Cure Massachusetts was spurred on by Julie Scolnik, a breast cancer survivor and flautist with the Boston Symphony Orchestra. As Julie explained, it was music that enabled her to get through surgery, chemotherapy and radiation. On the eve of her final radiation therapy 5 years ago, she played in a concert that included Franck's violin Sonata. This initial performance has evolved into a fabulous fundraising event. </div><div class="" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: justify;"><br />
We came away so moved from this event. To envision, some 70 local performers, a world-class painist and one of the top 5 conductors in the world was something to behold. As we learned, Sir Simon Rattle had developed a friendship with Julie Scolnik, when he served as guest conductor for the BSO. Through this friendship, the maestro agreed to come to Boston on his day off to rehearse with the performers and conduct a 2 hour concert before returning to New York at the Metropolitan Opera where he is making his debut conducting Pelléas et Mélisande by Claude Debussy starring his wife, the Czech mezzo-soprano, Magdalena Kožená. </div><div class="" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: justify;"><br />
It was evident that these time constraints would promote a concert without intermission. The pianist Marc-André Hamelin played the Mozart Piano Concert in G, K. 453 in a refined, but elegant way. His mastery of the keybord allowed musicality without theatrics. The piece was executed to perfection and warmly received by the audience. As a prelude to the second pice the Adagietto from Gustav Mahler's Symphony No 5., Ms. Scolnick greeted the audience with a brief but poignant speech articulating her thoughts on music and her journey to recovery from treatment of breast cancer. She payed special note to Beth Israel Hospital and her loving family and friends. She told us of her sitting in the chemo chair listening to her IPod to get through each treatment cycle. This Adagietto is full of hope and joy as the string section takes you to ultimate resolution of the thematic journey. My wife, Paula thought it was reminiscent of a film score.<br />
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The program concluded with a truly astonishing performance of the Johannes Brahms Symphony No. 2, conducted without score. Rattle was instrumental in bringing these volunteer musicians to an incredible level of playing. You had to be there to witness the emotion of a rousing standing ovation and cheering from the audience as the piece concluded. Simon Rattle was singing to the music and was obviously pleased by the result. He reminded me of Leonard Bernstein. Rattle graciously acknowldeged all of the soloists to enormous applause. To think of the pride of these musicians in gathering together for a common cause was exceptionally heartening. I can not think of a better way of spending an evening than sharing in the common goal of supporting research, providing support and care for patients as well as contributing to finding a cure.<br />
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Credit must be shared selflessly by all. It was truly a spectacular eveing filled with Joy, Love & Hope. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-66330479629051835372010-11-19T11:19:00.000-08:002010-11-19T11:19:46.887-08:00A Tribute to Robert Schumann by the BSO - Nov. 18, 2010<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/TOakv5xE10I/AAAAAAAAAEw/ZsYI0KjKZrs/s1600/KurtMasur_img.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" ox="true" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/TOakv5xE10I/AAAAAAAAAEw/ZsYI0KjKZrs/s320/KurtMasur_img.jpg" width="320" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><span style="color: white; font-family: Arial, Helvetica, sans-serif; font-size: large;">Kurt Mazur</span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TObAPBWFfqI/AAAAAAAAAE0/ZtPbVw1hzeg/s1600/Friere.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" ox="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TObAPBWFfqI/AAAAAAAAAE0/ZtPbVw1hzeg/s320/Friere.bmp" width="320" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif; font-size: large;"> <span style="color: white;">Nelson Friere</span></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: left;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><a href="http://www.nelsonfreire.com/img/freire_argerich.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"></span></a><span style="color: white; font-family: Arial, Helvetica, sans-serif;">Paula and I spent a wonderful evening with past and present AstraZeneca colleagues at Symphony Hall engrossed in a wonderful concert commenorating the 200th anniversary of Robert Schumann's birth. This exceeded all expectations as we were taken on a journey by the veteran conductor, Kurt Masur. Dressed in a European silk shirt with round collar, this vsionary of the central European repetoire opened the concert with the familar Symphony No. 1 in B-Flat, Opus 38 "Spring". One heard yearnings of new growth and renewal in this vivacious music. Although we have seen Maestro Masur who celebrated his 80th birthday in 2007 many times throughout the years, it is clear that he still enjoys his interaction with musicians despite some incipient frailty. He conducted without baton or score and brought subtle dynamics and impeccable musicianship to the audience. </span></div><div style="text-align: justify;"><span style="color: white;"><br />
</span></div><div style="text-align: justify;"><span style="color: white; font-family: Arial, Helvetica, sans-serif;">I must share this small excerpt from the Maestro's website to give you a glimpse into this astonishing conductor who has led many European orchestras.</span></div><span style="color: white;"><br />
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<span style="color: white; font-family: Arial; font-size: x-small;"><em>"As a child I discovered the joy of music making. Whether singing songs, playing tunes on the piano, or singing along with my sisters and friends, music always made me feel at home. I also discovered that music making helped me overcome loneliness and sadness, but also brought me joy and happiness in the special moments of my life. To date I have enjoyed the same kind of happiness building up programs for audiences that are different all over the world but are united in a "love affair" with music".</em></span><br />
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<div style="text-align: justify;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: white;">The is clearly a conductor who is loves his orchestra as well as the audience. We watched as he took the time to single out solists for their efforts<span style="font-family: Arial, Helvetica, sans-serif;">. He smiled as if to say paternalistic appreciation for a debt of gratitude. His gestures and nuances are phenomenal for a conductor his age. There were many in the audience who gave him a standing ovation eraly in the evening. It is clear that he is adored by his fans.</span></span></span></div><div style="text-align: justify;"><span style="color: white;"><br />
</span></div><div style="text-align: justify;"><span style="color: white; font-family: Arial;">The highlight of the evening was most definately the Piano Concerto in A minor, Opus 54 played by the Brazilain borne pianist, Nelson Friere. He played with much finess and musicianship that one was taken away on a journey in this piece. His cadenza was full of counterpoint and intrigue without flagrant movements or embellishments. Masur looked to him for guidance. The orchestra was well matched in both its timing to support and not overpower the soloist. This performance was being recorded and will sit well within the current interpretations. I reflect on many soloists including Lang Lang, Alfred Brendel, Radu Lupu, Martha Argerich, Gina Bachauer, Christian Zimmerman, Murray Perahia, Maurizzio Pollini and Dubravka Tomsic, Russel Sherman Mitsuko Uchida and countless others that we have seen throughout the years and I marveled at the solid and yet exciting performance of this artist. He played with confidence and yet without the percussive tactics of Lang Lang, yet rose to the level of expressivity of Brendel or Tomsic, two of my favorites. According both Friere and Masur received an adulatory standing ovation that continued on for minutes. Only in this piece did Masur resort to a score and set of half-framed reading glasses.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="color: white; font-family: Arial;">The evening closed with a rousing Symphony No 4 in D mior, Opus 120. This was full of contrast and counterpoint. Masur's gestures served to extract every nuance out of the music and the performers. Masur knows this music well as witnessed by his ability to bring this music to audience and let them be part of the performance. Sitting in the 3rd row, we were able to see his articulations guide the quality musicians to vivid performance. Masur is no stranger to Boston and it is apparent that he has a following. He appears to be modest man who acknowledges parts of the orchestra for their exceptional talent and efforts. He again received a standing ovation and took his humble bows from the floor rather than on the podium. This is a man content with his life who tries to educate through music.</span></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><span style="color: white; font-family: Arial;">It is not often that I attend concerts with familar music and come home full of joy and fulfillment, but last night exceeded my expectations. Masur is tribute to all conductors as a model for setting aside his ego to engulf us in a common language that ttranscends all cultures.</span></div><div style="text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><span style="color: white; font-family: Arial;">As a final treat, Nelson Friere was signing CD's in the lobby. He is modest, somehat uncomfortable with English, but radiates warmth and humbleness. His Shumann CD was </span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><a href="http://www.nelsonfreire.com/img/freire_argerich.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img alt="Nelson Freire, Martha Argerich - Salzburg" border="0" class="cover_large_l left" src="http://www.nelsonfreire.com/img/freire_argerich.jpg" /></span></a><a href="http://www.nelsonfreire.com/img/cover_schumann.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: white;"><img alt="Nelson Freire - Schumann: Piano Works" border="0" class="cover_large_l left" src="http://www.nelsonfreire.com/img/cover_schumann.jpg" /></span></a><span style="color: white; font-family: Arial;">a treat for my library. I also own and adore his duet CD with Martha Agerich recorded live from Salzburg playing the Variations on a theme by Haydn Opus 56b among other pieces. </span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><span style="color: white;"><span style="font-family: Arial;">It was a joy this morning listening to his Schumann </span>CD<span style="font-family: Arial, Helvetica, sans-serif;"> and reflecting when my daughter played from Kinderszenen Op.15. as a student with her teacher Inger Ross. It is with great joy and pride that she will be married next year.</span></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><span style="color: white; font-family: Arial;">Music transforms the soul and serves as a common bond uniting both people and generations. I am very forunate to have Paula and many wonderful friends and colleagues to share and partake in these special and memorable performances. As I get older, I find that my tastes narrow and I become more knowledgeable and critical, but this was indeed a special evening.</span></div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com3tag:blogger.com,1999:blog-5976993590206828516.post-42278588698670151822010-11-16T06:46:00.000-08:002010-11-16T06:46:16.142-08:00Richard Tucker Gala (James Valenti 2010 winner)<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/TOKYjw10S1I/AAAAAAAAAEs/xlkfUXOD8Ig/s1600/IMG_0030.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" px="true" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/TOKYjw10S1I/AAAAAAAAAEs/xlkfUXOD8Ig/s320/IMG_0030.jpg" width="240" /></a></div>On Sunday evening November 14th, 2010, we were delighted and priviledged to attend the 25th Richard Tucker Gala at Avery Fisher Hall. The foundation offers a $30,000 scholarship each year to an aspiring artist. This was a sold-out performance which was without intermission. Marco Armiliato conducted members of the Metropolitan Opera Orchestra and New York Choral Society. After opening comments by Barry Tucker, Richard's son, the concert began with only 2 disappointments: Mariusz Kwiecen and Zeljko Lucic were both ill and could not attend. There was a suprise replacement by Susan Graham who had met Marco on the street and asked if she could attend. Marco said of course and joked with the audience that he did not need to consult with the Tucker Foundation.<br />
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As some of the reviews have indicated, Anna is a tough act to follow. Indeed dressed in a stunning royal blue gown that showed off her curvaceous assets, she again ruled the stage. In her first aria "Heia in den Bergen" from Die Csarasfurstin ( Kalman's "The Gypsy Princess), along with the chorus, she simply seductively danced and swayed her hips to the beat of the music while thrilling the audience with her voice. She was having the time of her life. In her second aria "Toi Vous... N'est-ce plus ma main" from Manon (Saint-Sulpice scene) she was on fire! Singing with Marcello Giordani, they embraced and even kissed passionately at the end of the aria! She simply stole the show.<br />
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There was indeed a preview of an up and coming coloratura soprano, Angela Meade who sang "Era desso il figlio mio" from Donizetti's Lucrezia Borgia complete with florid embellishments. She had been featured in the film, "The Audition" about the MET's 2007 finalists and a previous winner of an Richard Tucker fellowship. We had seen her previously in Norma at Caramoor and indeed she has an incredible voice with a lot of talent. There were other artists who simply could not sing above the orchestra and chorus or who had wandering pitch, but there was no trace of faltering by Netrebko who was out to conquer all with an impressive performance.<br />
<br />
Elina Garanca, a wonderful Latvian mezzo, appeared to gain some weight and did not ultimately make the most of her talents even with a duet with Brandon Jovanovich from Carmen, where the tenor could simply not project and did not connect with each other.<br />
<br />
Anna simply dominates the stage and has raised the bar for all artists. She easily gets into the role, sings expressively and makes best use of both her physical attributes and artistic talents. After seeing Don Pasquale and now this gala, we can only wonder what is next.<br />
<br />
We went to The Green Room, where celebrities usually meet their fans, but alas Anna had snuck out without greeting any admirers. Marco and other celeberities were there, but many fans were disappointed that Anna had departed.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-2553514564023657182010-11-08T10:37:00.000-08:002010-11-08T10:37:03.259-08:00Don Pasquale at the MET Nov. 6, 2011<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_EWPnd6ST-ng/TNhCyOZeS5I/AAAAAAAAAEo/yHJwvU-0Di4/s1600/bbdonpasqualewithphotofinal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="64" px="true" src="http://4.bp.blogspot.com/_EWPnd6ST-ng/TNhCyOZeS5I/AAAAAAAAAEo/yHJwvU-0Di4/s320/bbdonpasqualewithphotofinal.jpg" width="320" /></a></div>The performance of Donizetti's Don Pasquale at the Metropolitan Opera was truly a tour de force and exceeded all of our expecations. The cast was marvelous and uniform throughout.<br />
<br />
<br />
John Del Carlo, Don Pasquale (has also played in the Barber of Seville)<br />
<br />
Anna Netrebko, Norina (a reprise performance for her at the Met)<br />
<br />
Matthew Polenzani, Ernesto (a beautiful lyric tenor)<br />
<br />
Mariusz Kwiecien, Dr. Malatesta (a handsome match for Norina)<br />
<br />
<a href="http://link.brightcove.com/services/player/bcpid610237632001?bctid=651976986001">http://link.brightcove.com/services/player/bcpid610237632001?bctid=651976986001</a><br />
The opera begins with Dr. Malatesta singing a beautiful lyric melody which sets the stage for a comical farce based on love and playing jokes on an old codger. Both Mariusz Kwiecien and Matthew Polenzani were elegant and supportive, but the afternoon was dominated by Norina's antics. Her second scene putting on a pair of stockings on a the edge of the bed is the highlight of the opera showcased in a clip from the dress rehearsal at the MET. Her impish charm and seductive nature is amply paired with a lustrous voice which fills the opera house which hold nearly 4000 patrons. This scene was well choreographed and was a sheer delight to behold. She literally stopped the show with applause. As the curtain closed on the second scene of the first act, Norina did a small tumble onto the divan. As I recall, the earlier production for her in this role, she scaled back this effort, but took the audience by surprise.<br />
<br />
As the opera continues in the 2nd act, Norina is on a roll, kicking Don Pasquale in the rear and smashing vases on the floor, destroying Don Pasquale's bed and simply carrying on with much fun as an overblown practical joke, calling Don Pasquale an old codger. The audience broke out in laughter on more than one occasion as the merriment evolved. Unlike most productions at the MET, there were numerous well behaved young children at this performance.<br />
<br />
The third act reveals the nature of the joke and Don Pasquale blesses the love between Ernesto, the nephew, and Norina. There is a touching duet between John Del Carlo, Don Pasquale, and Mariusz Kwiecien, Dr. Malatesta, that was repeated at the end of the third act in front of the curtain.<br />
<br />
Anna's voice and stature have grown, but she truly ruled the stage with charm, a great sense of humor and uncanny ability to act as an impish young girl. The role of Norina was certainly well suited for her and I was overjoyed to hear improvements in some of her trills, coloratura embellishments and thrilling high notes exemplified at the end of the 3rd act. Anna was clearly enjoying herself immensely, and sang with much confidence and panache. At one point late in the opera she even walked over to the prompter's box and sang from there. The curtain closed to thunderous applause for Anna and her colleagues. It is clear that James Levine is truly a genius, but he is now quite lame and came to the stage using a cane and holding on to other people to steady his balance. He is truly loved by the New York Audience and one could see "Jimmy" throwing a kiss to Anna as the cast took a collective final bow.<br />
<br />
Having seen the earlier performance of Don Pasquale at the MET also, I could easily say that this one was filled wiith more humor and antics. Anna hammed it up to rapturous applause, but her real talents lie in an amalgam of acting, sensational looks and a rapturous voice. We loved it so much even havinf traveled from Boston to see it, that we are attending an encore HD performance. All of the nearby theaters were already sold out for the "Live" HD transmission. We will see Anna again at the Richard Tucker Gala at Avery Fisher Hall at Lincoln Center on November 14th.<br />
<br />
My only regret was having a dinner appointment in Manhattan with dear friends that precluded us from going to the stage door. I hope all of you will get to see this marvelous performance in the HD transmissions.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1tag:blogger.com,1999:blog-5976993590206828516.post-1175529810684271692010-09-21T12:54:00.000-07:002010-09-21T12:54:47.372-07:00Dmitri Hvorostovsky Discs<div style="text-align: justify;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TJkIKxF0QyI/AAAAAAAAAEY/XvVWmdYkNcs/s1600/51d5utlAlGL__SL500_AA300_.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" qx="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TJkIKxF0QyI/AAAAAAAAAEY/XvVWmdYkNcs/s320/51d5utlAlGL__SL500_AA300_.jpg" /></a>The incomparable Russian Baritone has recently released 2 discs of Russian romances based upon poems of Pushkin. Composers including Tschaikovsky, Rachmaninoff, Borodin and many others have set these poems to glorious music. Many of the pieces have also been recently recorded by Anna Netrebko in a glorious Album "In the Still of the Night" with Daniel Barenboim at the keyboard. While one can not directly compare Hvorostovsky's studio recording with Estonian pianist Ivara Ilja at the keyboard to that of Netrebko's live recording one must say that these discs hold a special place in the repetoire. Hvorostovsky has often been called the golden baritone and this is well deserved. The tone is rich, supple and like dark chocolate and honey. Dmitri has a large voice with impeccable breath control. Since one can hear many of the same pieces that Netrebko has recorded, comparison's can be made. As my wife commented, she thought Netrebko's voice was more varied and exciting. Certainly, Anna has the edge on emotion, but Dmitri has the edge on consistency, breath control and power. If one compares the pianists, the edge certainly goes to Barenboim for listening to the vocalist and supporting, rather than sounding like a soloist. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/TJkIPFkpsYI/AAAAAAAAAEg/Pjzaq3qmCmI/s1600/51UsYyJ6uJL__SL500_AA300_.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" qx="true" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/TJkIPFkpsYI/AAAAAAAAAEg/Pjzaq3qmCmI/s320/51UsYyJ6uJL__SL500_AA300_.jpg" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: justify;">These are wonderful discs that highlight the enormous capabilities and range of this expressive artist. His operatic repetoire including his Eugene Onegin with Renee Fleming is iconic of one of the highlights of the Metropolitan Opera. This artist seems unlimited in his styles of recorded material from the humorous to the impassioned more traditional roles. These discs are truly a joy in now what appears to be a genre of singers singing in their native languages. Starting from incredible diction to billowing dynamics, Hvorostovsky seems to be at the top of the pack. Judging from these discs, the listener will look forward to future recordings and new stylistic goals. Enjoy and treasure these as expressive romances or the equivalent of folk songs or ballades.</div><div style="text-align: justify;"><br />
</div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com2tag:blogger.com,1999:blog-5976993590206828516.post-72826808543028802042010-08-19T13:08:00.000-07:002010-08-19T13:08:44.590-07:00Longwood Symphony Orchestra<div align="center"><span style="font-size: large;">Longwood Symphony Orchestra</span></div><div align="center">August 18, 2010</div><div style="text-align: center;">DCR Hatch Memorial Shell</div><div style="text-align: center;">Boston's Esplanade 7:00pm</div><div style="text-align: center;">In the Mood</div><br />
<span style="font-size: large;"></span><br />
<div align="justify"><span style="font-family: Arial, Helvetica, sans-serif;">As everyone knows that Boston is the home to major academic institutions, i.e. Harvard, MIT, Boston University, Boston College, Wellesley College, Tufts and many others. Likewise it is hotbed of excellence in Medicine and Biotechnology including notables such as Mass General Hospital (MGH), Brigham and Women's, Beth Israel, Deaconness, Dana Farber and companies including Amgen, Pfizer, Novartis, AstraZeneca, Genzyme, Vertex and countless others. Similarly, it is the seat of world class science, e.g. Whitehead Institute and The Broad, Howard Hughes, etc. It is therefore not surprising that many of these professionals have banded together to create great music.</span></div><div align="justify"><br />
</div><div align="justify"><span style="font-family: Arial;">Last night the orchestra played at the Hatch Shell, made famous by Arthur Fiedler and the Boston Pops. It is an impressive venue for free concerts and movies and is packed to several hundred thousand on annual July 4th celebrations. There are tributory stues of Arthur Fiedler, a Paul Dudley White, MD (notable cardiologist), Harry Ellis Dickson (late director of the Pops and father-in-law to ex-governor Michael Dukakis. The venue is beautiful and the weather was simply gorgeous. We had difficulty finding a parking <span style="font-family: Arial, Helvetica, sans-serif;">spot</span> on Storrow Drive which is available </span></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TG2Hp-lIAQI/AAAAAAAAAEI/WeiTERtBqt0/s1600/436_Esplanade.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ox="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TG2Hp-lIAQI/AAAAAAAAAEI/WeiTERtBqt0/s320/436_Esplanade.jpg" /></a></div><div align="justify"><span style="font-family: Arial, Helvetica, sans-serif;">for each concert, so we ended up parking on Charles Street in Beacon Hill and attending the 2nd half of the concert. It was a charming Beethoven's 4th symphony. It was led by Jonathan McPhee its conductor. What they lack in talent is more than amply made up for by enthusiasm. I am not a fan of amplified music which tends to be distorted and leaves the listener straining to hear the quiet passages. The venue was terrific and the audience received the performance with great applause. The theme of the program was "In the Mood" The evening ended with a rousing performance of "In the Mood" made famously popular by Glenn Miller in 1939 in the Big Band Era. </span></div><div align="justify"><br />
</div><div align="justify"><span style="font-family: Arial;">The orchestra is a Who's Who of medicine, science and academia and should be applauded for bringing great music to the public. They also play at many local shelters, nursing homes and traditional venues. Rather than bore the reader with full biography's, I thought that I would list the players who rightly deserve recognotion for their medical, humanitarian and musical contributions.</span></div><div align="justify"><br />
</div><div align="justify"> <strong>Violins</strong></div><br />
<br />
Sherman Jia, Concertmaster<br />
3rd year, HMS, Howard Hughes Research Fellow<br />
<br />
Hana Asazuma-Cheng<br />
Music teacher (violin, viola, chamber music)<br />
<br />
Catherine Brewster<br />
English Teacher, Commonwealth School<br />
<br />
Terry Buchmiller, M.D.<br />
Pediatric Surgery, CHB, Co-Director Advanced Fetal Care Center, CHB<br />
<br />
Jennifer Chang, Ph.D.<br />
M.D. - Ph.D. student, HMS<br />
<br />
David Chen, M.D.<br />
Internal Medicine, Faulkner Hospital<br />
<br />
Jennifer Chu<br />
Freelance science writer<br />
<br />
Mark Emerson, Ph.D.<br />
Postdoctoral Fellow, Genetics, HMS<br />
<br />
Sumi Fasolo, AIA<br />
Architect, Cambridge Seven Associates<br />
<br />
Tamara Goldstein, O.T.<br />
Hebrew Rehabilitation Center<br />
<br />
Anand Jagannath, M.S.<br />
Research Technician, Cardiac Surgery, MGH<br />
<br />
Elizabeth Henderson<br />
Freelance Technical Editor<br />
<br />
Heidi Harbison Kimberly, M.D.<br />
Emergency Medicine, BWH<br />
<br />
Anna Legedza, Sc.D.<br />
Principal Biostatistician, Biometrics, Vertex Pharmaceuticals Inc.<br />
<br />
Shenkiat Lim <br />
Director of Product Development, Fidelity Investments <br />
<br />
Justin Lo<br />
2nd year, HMS<br />
<br />
Psyche Loui, Ph.D.<br />
Research Instructor, Neurology, BIDMC, HMS<br />
<br />
Spencer McClelland<br />
2nd year, HMS<br />
<br />
David Mish<br />
ESL/History Teacher, Cambridge Public Schools<br />
<br />
Ramona Nee, J.D.<br />
Weil, Gotshal & Manges LLP<br />
<br />
Susan Pauker, M.D.<br />
Associate Professor, HMS; Genetics Chief, Harvard Vanguard Medical Associates; MGH. BWH, Lahey<br />
<br />
Chris Richards, Ph.D.<br />
Dept. of Biology doctoral program, Harvard University<br />
<br />
Helle Sachse, J.D., Ph.D.<br />
Asst. D.A., Suffolk County<br />
<br />
Jenny Smythe, Ph.D.<br />
Physicist, Schlumberger Limited<br />
<br />
Ellen Tulchinsky, M.S.P.T.<br />
Physical Therapist, BWH/MGH<br />
<br />
Elisha Wachman, M.D.<br />
Pediatrics, Emerson Hospital, BWH<br />
<br />
Lisa Wong, M.D.<br />
Milton Pediatrics Associates, HMS, CHB, MGH, BWH, BIDMC<br />
<br />
<br />
<br />
<strong>Violas</strong><br />
<br />
Michael Cho, M.D.<br />
Research Fellow, Pulmonary and Critical Care Medicine, BIDMC, BWH, MGH<br />
<br />
Sarah Cohen<br />
Engineer, Rhythmia Medical<br />
<br />
Jon Epstein<br />
Software Engineer, Microsoft<br />
<br />
Jennifer Grucza<br />
Senior Software Engineer, Unica<br />
<br />
Alistair Kok, D.D.S.<br />
Dentist, Gentle Dental Cambridge<br />
<br />
Elizabeth Ogburn<br />
2nd year Ph.D. student, Harvard University<br />
<br />
Jane Perera<br />
Speech Therapist, Cotting School<br />
<br />
Andrea Spencer, M.D.<br />
MGH/McLean Resident in Psychiatry<br />
<br />
Peter Stein, D.C.<br />
Chiropractor, Harvard Vanguard Medical Associates, BU Sargent College<br />
<br />
Nicholas Tawa, Jr. , M.D., Ph.D.<br />
Surgical Oncology, BIDMC, HMS<br />
<br />
Gwendoline Thornblade, B.D.Sc, M.Sc.D.<br />
Retired Pedodontist<br />
<br />
Leah Wilson-Velasco<br />
Director of Operations, Boston Youth Symphony Orchestra<br />
<br />
<br />
<strong>Cellos</strong><br />
<br />
Joseph Rovine, D.M.A., principal<br />
Senior Software Engineer, Microsoft<br />
<br />
Sylvain Casimir, R.Ph.<br />
Pharmacist<br />
<br />
Nancy Chane, R.N., M.S.<br />
Palliative Care Nurse, Tufts Health Plan<br />
<br />
Gregory Crist <br />
Interactive Media Designer, iFactory<br />
<br />
Mark Cusac<br />
Engineer, CDM<br />
<br />
Heidi Greulich, Ph.D.<br />
DFCI, Broad Institute, BWH, HMS<br />
<br />
Katherine Hein, M.D.<br />
Plastic Surgeon, MetroWest Medical Center, Newton-Wellesley Hospital<br />
<br />
Tai Katzenstein, Ph.D.<br />
Psychology, MGH<br />
<br />
Denise Lotufo, P.T., D.P.T., O.C.S.<br />
Harvard, UHS<br />
<br />
Martha MacMillin<br />
Cello instructor<br />
<br />
Read Pukkila-Worley, M.D.<br />
Infectious Diseases, MGH, HMS<br />
<br />
Christopher Reuning<br />
President, Reuning & Son Violins<br />
<br />
Susan Z. Robins<br />
President, Muscle Angels, a norbis Innovations Company, LLC<br />
<br />
Andreas Schild, Ph.D.<br />
Research Fellow, Center for Human Genetic Research, MGH<br />
<strong>Basses</strong><br />
<br />
Martha Davis, J.D., principal<br />
Professor, Northeastern University School of Law<br />
<br />
Jack Dennerlein, Ph.D.<br />
Associate Professor, Environmental Health, HSPH<br />
<br />
Karyn Wang<br />
<br />
<br />
<strong>Flutes</strong><br />
<br />
Tobi-Ann Kocher <br />
Flute Instructor<br />
<br />
Daniela Krause, M.D., Ph.D.<br />
Clinical Pathology and The Center for Regenerative Medicine at MGH<br />
<br />
Cindy Moore<br />
Music, Framingham Public Schools<br />
<br />
<strong>Oboe</strong><br />
<br />
Michael Barnett <br />
4th year, HMS<br />
<br />
Hilary Cipullo<br />
<br />
William Kates, M.D.<br />
Psychiatry, BIDMC, HMS<br />
<br />
Thomas Sheldon, M.D.<br />
Assistant Professor Dartmouth Medical School; Director, Radiation Oncology Concord Hospital<br />
<br />
<br />
<strong>Clarinet</strong><br />
<br />
Jeffrey Berman, M.D.<br />
Pulmonary and Critical Care, BMC, BUSM<br />
<br />
Mark C. Gebhardt, M.D., Ph.D.<br />
Prof. of Orthopaedic Surgery, HMS, Orthopaedic Surgeon-in-Chief, BIDMC, CH Orthopedic Surgery<br />
<br />
Tammy Avery Gibson<br />
Cephalon Pharmaceuticals <br />
<br />
Paul Silver<br />
President, Handyman Heroes<br />
<br />
<strong>Bassoon</strong><br />
<br />
Stephen Wright, M.D.<br />
Chief of Medicine, Faulkner, BWH, TUSM, HMS<br />
<br />
<strong>French Horn</strong><br />
<br />
Vanessa Gardner<br />
Concerts Manager, MIT<br />
<br />
John Hecker, AIA<br />
Carr Lynch and Sandell, Architects<br />
<br />
<strong>Trumpets</strong><br />
Leonard Zon, M.D.<br />
Heme/Onc CHB, DFCI, HMS<br />
<br />
Wolfram Goessling, M.D., Ph.D.<br />
Genetics and Gastroenterology, BWH; Heme/Onc, DFCI; HST; HMS<br />
<br />
<br />
<strong>Trombone</strong><br />
<br />
Peter Cook<br />
Computer Engineer<br />
<br />
Paul Salinas<br />
Shire Human Genetic Therapies<br />
<br />
<strong>Timpani</strong><br />
<br />
Jeremy Lang<br />
Operations Manager, Elysium Digital LLC<br />
<br />
<strong>Percussion</strong><br />
<br />
Tom Sandora, M.D.<br />
Pediatric Infectious Disease, CHB, HMSHaimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com4tag:blogger.com,1999:blog-5976993590206828516.post-41481717499448413552010-08-10T12:06:00.000-07:002010-08-10T12:06:03.591-07:00Longwood OperaBoston is of course a city filled with institutions of higher learning and abundant musical avenues. The Longwood Opera fills a unique niche giving amature singers a place to showcase their talent, charisma and a place just to have fun.<br />
<br />
The Longwood opera may have taken its name from famous Longwood Medical Area intersected by Brookline and Longwood Avenues. (There is also a very notable Longwood Symphony led by Charles Ansbacher, a local icon). For a nominal charge, one can sit in the Christ Episcopal Church in Needham and hear several hours of varied music. J Scott Brumit is largely responsible for this marvelous effort along with Jeffery Brody, the music director.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_EWPnd6ST-ng/TGGeyeVLO7I/AAAAAAAAAD4/1JVL1Xnoc5Y/s1600/539w.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" mx="true" src="http://4.bp.blogspot.com/_EWPnd6ST-ng/TGGeyeVLO7I/AAAAAAAAAD4/1JVL1Xnoc5Y/s320/539w.jpg" /></a></div>Since the summer is quite warm and the church is not air conditioned, there are electric fans and complimentary fans passed out each week. Each week, there is a diffferent theme, but you never leave disappointed. Refreshments (lemonade & water) are served along with M&M selections during intermission. We have attended for many years and it is easy to say that the standards are improving steadily. Most of the efforts by the performers are quite nobel and genuine, while a few are somewhat less that satisfying. Much of the repetoire is well known, but selections by Humperdinck, Barber, Baby Doe and others are frequently interspersed. At times you wish the singing would never stop. e.g. Puccini. The schedule for 2010 is presented below.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TGGg_Q0STGI/AAAAAAAAAEA/YxXiHZ05zoA/s1600/Ring-title.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" mx="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TGGg_Q0STGI/AAAAAAAAAEA/YxXiHZ05zoA/s320/Ring-title.jpg" /></a>July 6 : An Evening of Opera </div><br />
July 13: Broadway Melodies <div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">July 20: An Evening of Opera Scenes </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">July 27: Presenting Rising Stars </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">August 3: Opera Meets Broadway </div>August 10: An Evening of Gilbert & Sullivan <br />
August 17: More Operatic Scenes <br />
August 24: More Broadway Melodies <br />
August 31: A Gala Night of Opera <br />
<br />
As you can see, they also did a very abridged version of "The Ring" sung in English. <br />
<br />
Hats off to all of the performers and volunteers at the Longwood Opera as we always leave with a warm feeling of good camaraderie. We have conversed with several performers and indeed made friends of parents of the performers. On a somewhat humourous aside, the women usually dress much better than the men. You realy have to admire the dedication of the performers to rehearse, prepare and deliver the goods. As we have begin to know some of the performers, one can only truly appreciate their dedication. Opera is far from dead and these individuals as mentors and performers will keep Opera alive. They even have a tee short which is emblazened with Opera for All. In years past, they have sold records, tapes and CD's that were given by donation. Tickets available at the doors are a very good value, parking is available across the street. Bring your hearts, ears and soul and you will be more than amply entertained.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-70233596670061134062010-07-22T13:41:00.000-07:002010-07-22T13:42:41.013-07:00Norma at Caramoor<div align="center"><span style="font-size: large;">Norma at Caramoor</span></div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TEikN4Ip_1I/AAAAAAAAADg/Ffc7eUTVU_Y/s1600/crutchfield_will_121x150.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" hw="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TEikN4Ip_1I/AAAAAAAAADg/Ffc7eUTVU_Y/s320/crutchfield_will_121x150.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Will Crutchfield</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TEip7zat3KI/AAAAAAAAADo/QDPu7orrbpw/s1600/inreviewcaramoornormalg17110.jpg" imageanchor="1" style="clear: left; cssfloat: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" hw="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TEip7zat3KI/AAAAAAAAADo/QDPu7orrbpw/s320/inreviewcaramoornormalg17110.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mira O Norma<br />
Keri Alkema (L) and Angela Meade</td></tr>
</tbody></table><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Every year, Caramoor this hidden gem in Katonah, New York puts on a Bel Canto Festival. Under the tutelage and conducting of Will Crutchfield puts on a spectacular show. Caramoor is a Venetian type of venue in which performance are held in an large billoowing tent that faces a Venetian style stage. Despite a blistering hot evening with high humidity, the singers and orchestra played out their roles with passion and intensity. We have seen Sumi Jo there in I Puritani and Vivica Geneaux in La Cenerentola last year. This year was no exception. Angela Meade, one of Met finalists played the role of Norma and sang with great assurance. She was also highlighted in the movie "The Audition" about the MET finalists and the audition process. She sang Casta Diva (Chaste Godess) in the MET audition and has risen to the occasion in this performance. Angela Meade played the Druid Priestess Norma while the mezzo soprano, Keri Alkema played Adalgisa with superb intensity. Their duet, Mira O Norma in Act two, scene 2 was thrilling. Historically, many will recall Sutherland and Horne in this role. The most notable Norma of the recent past was most certainly Maria Callas who sang the role witth great intensity, passion and drama. I only wish you were all there to enjoy a very memorable evening. Angela who has sung at the MET in Ernani surely has a great career ahead of her. The evening started off with a preconcert lecture retrospectively looking back at the attempts in this role. The audience reactted with great enthusiasm and praise. It was a wonderful joyous evening of truly beautiful singing. Bellini would have been proud. The weather and the singing were both on fire!</div></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/TEirvN173wI/AAAAAAAAADw/khFp69htrGU/s1600/0713JUMPNORMA-popup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" hw="true" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/TEirvN173wI/AAAAAAAAADw/khFp69htrGU/s320/0713JUMPNORMA-popup.jpg" /></a></div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"></div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com2tag:blogger.com,1999:blog-5976993590206828516.post-28916649175319237182010-07-02T12:33:00.000-07:002010-07-02T12:33:42.175-07:00Barbra Streisand at the Village Vanguard<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/TC47zzQh-XI/AAAAAAAAADQ/ubKpL96AfZI/s1600/518arP4qmpL__SL500_AA300_.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" rw="true" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/TC47zzQh-XI/AAAAAAAAADQ/ubKpL96AfZI/s320/518arP4qmpL__SL500_AA300_.jpg" /></a></div>Barbara Streisand at the Village Vanguard is a newly released DVD/CD combo recorded at a life recital in Greenwich Village in 2009. While, the DVD is recorded with a live audience through somewhat limited audio capabilities it offers a unique and personal view of this artist. In between some of her selections, she welcomes & greats many notables including Bill and Hillary Clinton, Sarah Jessica Parker, Nicole Kidman and those who played a large part in her long lived career. It is refreshing to hear that this dynamic star has not forgotten her roots in Brooklyn, NY. From a humble and modest background comes a wonderful entertainer who has the tremendous ability not only as a story teller, but can convey emotions through her talented singing. At 68, she can still wow and audience with charisma, charm and vocal prowess. The DVD and CD (containing truncated dialogue) offer a diverse glimpse into her history and growth as an artist. It is of interest that she indicates that she gets bored singing "People" but her send off with Memories evokes visions of the 1970's and "The Way We Were" filmed at my Alma Mater, Union College in Schenectady, NY. A committed democrat and liberal, she recounts protesting with Bela Abzug, the NY congresswoman. Her tribute the President Bill Clinton for 8 years of prosperity and respect around the word closes with a comment that Bill was at ease with the poor and downtrodden as well as the mightiest leaders of the world. She sings his favorite song, Evergreen which she wrote and sang at his inaguration. <br />
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This is a wonderful refreshing retrospective, not simply a re-hash of old standards. She sings with ease and grace and at one point asked the pianist of she had hit the correct note. The crowd was engaged, adoring and composed of celebrities and to those who had won lottery tickets for the specail one night show, As the evening starts, she indicates that this is how she got her start in show business and she wanted to give something back. What she delivered was truly from her heart.Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com2tag:blogger.com,1999:blog-5976993590206828516.post-43048305026986287542010-06-03T12:22:00.000-07:002010-06-03T12:22:02.529-07:00Traviata with Netrebko & Villazon<div class="separator" style="clear: both; text-align: justify;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TAf14PuVwEI/AAAAAAAAADI/FA-HaglhMOk/s1600/Traviata.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" gu="true" height="320" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TAf14PuVwEI/AAAAAAAAADI/FA-HaglhMOk/s320/Traviata.jpg" width="320" /></a>On a delayed flight home on Memorial Day (May 31st, 2010, my wife and I watched the Salzburg 2005 performance of La Traviata with Anna Netrebko, Rolando Villazon, Thomas Hampson conducted by Carlo Rizzi. This avant garde production known for its "red couch" and simplicity is one to watch over and over. The music by Verdi is characteristic of this period of his composition style. The OM-Pa-Pa of the Brindi (Drinking song) is jovial. Carlo Rizzi conducts at a fast, but manageable pace.</div><div class="separator" style="clear: both; text-align: justify;">Violetta, played by Anna Netrebko is called by some the whore with a heart of gold. This performance is full of intrigue, drama, passion & pain. Netrebko was right not to try and have a redux at next year's Metropolitan Opera, staing that she did not want to try and recreate the Salzburg performance which is widely available on DVD. </div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">The MET will put on La Traviata as a New Years Gala. </div><br />
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New Year's Eve Gala <br />
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Willy Decker’s strikingly beautiful production, a hit when it premiered at the Salzburg Festival in 2005, arrives at the Met with soprano Marina Poplavskaya starring as opera’s most fascinating heroine. “Violetta is an outlaw,” Decker says. “Society shuts her out and looks down on her as a person without feeling, without love. But the further you look into the piece, you see that it’s the other way around: she is the only person in the opera who truly loves, selflessly. Verdi follows her like an obsessed lover throughout the piece, and by the end, our sympathy too is completely on her side.” Matthew Polenzani plays Alfredo with Andrzej Dobber as his father; Gianandrea Noseda conducts Verdi’s timeless tragedy.<br />
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Friday, December 31, 2010, 7:00 pm <br />
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Noseda; Poplavskaya, Polenzani, Dobber<br />
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Original production of the Salzburger Festspiele; with thanks to De Nederlandse Opera<br />
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<div class="separator" style="clear: both; text-align: justify;"><a href="http://www.metoperafamily.org/metupload/video/2010-11PressConf/Traviata.html">http://www.metoperafamily.org/metupload/video/2010-11PressConf/Traviata.html</a> </div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">Here is a clip from interview with the director Willy Decker. This is an incredibly challenging role for any soprano. We have also seen Netrebko in an updated version of La Traviata in San Franscisco set to the "Roaring 20's". It is unfortunate, but we may never see Villazon sing again in anything as passionate and skilled as in this production. He has suffered a "vocal crisis", surgery to remove a polyp from his vocal chords and a very lackluster re-entrance into the world of opera. He has also served as a rather infamous judge on a show entitled "From Rock Star to Opera Star" a lame attempt at an American Idle rip-off.</div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">At any rate, all 3 principles were in exceptionally rare form. The minimalist set composed of only a few couches and a clock symbolizing the march of time towards Violetta's death allow the viewer to concentrate and be immersed in the passion of the drama and the glorious singing. This was certainly one of the signature roles for Netrebko. She truly owns this role. </div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">It is astonishing that 45 of 59 reviews at Amazon were for 5 stars! Netrebko exhudes confidence, sex appeal, tremendous acting ability and a charasmatic charm in this role. Since that production, neraly 5 years ago, she has had a son, married Erwin Schrott and continued her career as a diva who reaches out to the public and has brought modern opera to the masses. </div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">Enjoy this exciting performance - which can only be imitated, certainly not duplicated. It will be very interesting to note how this production fares at the MET and its staid audiences.</div>Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com1tag:blogger.com,1999:blog-5976993590206828516.post-24772062603552145072010-06-03T11:28:00.000-07:002010-06-03T11:28:27.346-07:00Phantom<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/TAfzW5A6d5I/AAAAAAAAAC4/6Hly_zka6Uc/s1600/seasonPhantom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" gu="true" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/TAfzW5A6d5I/AAAAAAAAAC4/6Hly_zka6Uc/s320/seasonPhantom.jpg" /></a></div>Last Sunday, May 31st we saw Phantom at the Arizona Broadway Dinner Theater. This was the culmination of a High School Graduation festivity for my nephew, Harry. The service, dinner and seats were excellent.<br />
Phantom<br />
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<br />
April 23 - May 30, 2010<br />
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Developed in the early 1980s by Tony Award-winners Maury Yeston (Nine, Titanic) and Arthur Kopit (Nine), the Yeston/Kopit Phantom – like Andrew Lloyd Webber’s Phantom of the Opera – was based on Gaston Leroux’s immortal tale of a desperate young man, born and raised in the catacombs under the Paris Opera House, and the girl whom he adores. With a lush and compelling score, Phantom is an American musical that has captivated audiences worldwide in over one thousand independent productions, with rave reviews from Variety and The Wall Street Journal.<br />
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My only complaint was that the artists used microphones, when the venue was small enogh to project without the use of electronic amplification. The music was mostly from a black tee shirt wearing synthesizer player who feverishly was orchestrating the entire production. We saw the final performance and enjoyed it. It was a tad too long, but provided reasonable entertainment for all to enjoyHaimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-17311708371566503162010-05-05T14:44:00.000-07:002010-05-05T14:44:11.933-07:00Armida<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_EWPnd6ST-ng/S-HkePg60YI/AAAAAAAAACw/Tim6LP_vxsE/s1600/bbarmidaphoto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="128" src="http://2.bp.blogspot.com/_EWPnd6ST-ng/S-HkePg60YI/AAAAAAAAACw/Tim6LP_vxsE/s640/bbarmidaphoto.jpg" tt="true" width="640" /></a></div><br />
Cast<br />
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Conductor: Riccardo Frizza <br />
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Armida: Renée Fleming <br />
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Rinaldo: Lawrence Brownlee <br />
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Goffredo: John Osborn <br />
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Gernando: José Manuel Zapata <br />
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Carlo: Barry Banks <br />
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Ubaldo: Kobie van Rensburg<br />
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My wife and I saw Armida on Saturday May 1st at the MET in NYC. This is an opera that we had not seen previously. I believe that this is the first time that the MET has staged this opera. It was supposed to be the highlight of the season and a showcase for Renee Fleming, the American Diva. <br />
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Unfortunately, she just could not deliver vocal power, intensity and lacked in ability to soar through coloratura passages. The real stars were Lawrence Brownlee as Rinaldo and Barry Banks as Carlo who actually played 2 roles that day. My wife & I had the opportunity to meet another opera blogger from Romania prior to the concert, Irina has 2 blogs that showcase opera and her notable travels around the world. She is an avid photographer who has met meny notable performeers in person. <br />
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Her blogs are at: <a href="http://aroundtheworldwithirina.blogspot.com/">http://aroundtheworldwithirina.blogspot.com/</a> and <a href="http://angelagheorghiu.blogspot.com/">http://angelagheorghiu.blogspot.com/</a> <br />
Haimeshttp://www.blogger.com/profile/01155737506490465128noreply@blogger.com0tag:blogger.com,1999:blog-5976993590206828516.post-84946477451240368592010-05-05T14:32:00.000-07:002010-05-05T14:32:48.896-07:00Idomeneo by BLO<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_EWPnd6ST-ng/S-Hf67TGVcI/AAAAAAAAACg/e_Ufm3Ke7iw/s1600/BLO_Synopsis_of_Idomeneo.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/_EWPnd6ST-ng/S-Hf67TGVcI/AAAAAAAAACg/e_Ufm3Ke7iw/s320/BLO_Synopsis_of_Idomeneo.bmp" tt="true" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_EWPnd6ST-ng/S-HgbSg63EI/AAAAAAAAACo/ppZTBGIvRns/s1600/BLO_Synopsis_of_Idomeneo.bmp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_EWPnd6ST-ng/S-HgbSg63EI/AAAAAAAAACo/ppZTBGIvRns/s320/BLO_Synopsis_of_Idomeneo.bmp" tt="true" /></a></div><div class="separator" style="clear: both; text-align: justify;">Last night we saw a terrific performance of Mozart's opera Idomeneo. It was sung in Italian with English titles projected on two televisions at either side of the stage. How lucky we are in Boston to have the ability to have a live orchestra, and talented singers who can maintain high professional standards. The music for this opera is largely recitative with interspersed arias. One has to wait for the final act to hear the wonderful tempestuos aria D'Oreste, d'Aiace .</div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">This is an opera full of mythology, finally bowling down to good and evil which come to resolution at the conclusion of the opera. </div><div class="separator" style="clear: both; text-align: justify;"><br />
</div><div class="separator" style="clear: both; text-align: justify;">Music by Wolfgang Amadeus Mozart</div><br />
Libretto by Giovanni Battista Varesco after Antoine Danchet’s Idomenée<br />
Idomeneo premiered the Residenztheater in Munich on January 29, 1781<br />
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Act I The Oath<br />
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<div style="text-align: justify;">The ten year war is over. The once mighty Troy lies in ruins; the triumphant Greeks are returning to their homeland. Idomeneo has sent captive prisoners from Troy back to his kingdom of Crete including one of King Priam’s daughters, Ilia. She is torn by desperately conflicting emotions - grief for her lost family, desire for revenge for the shameful fall of Troy, and a newly awakened love for Idamante, her captor’s son. She correctly believes she has a rival in the Greek princess, Elettra - another exile who has fled her home in Argos after the murder of her father Agamemnon and her mother Clytemnestra. Idomeneo’s ship is sighted and in celebration Idamante frees the Trojan captives and reveals to Ilia his love for her. But as Elettra angrily reproves Idamante for protecting the enemy, Arbace, Idomeneo’s advisor, brings news that the King has apparently drowned in a great storm at sea. Idamante quickly rushes to the scene of the shipwreck - Elettra is left alone and, in furious despair, fears that the death of Idomeneo will allow Idamante to marry Ilia. Idomeneo has survived the wrath of the sea but only by swearing an oath to Neptune that if the god will save him, he will in turn sacrifice the first person he meets on shore. And that person turns out to be his son. Although they do not recognize each other at first, when the truth emerges, Idomeneo, wracked with guilt and hoping to evade his oath, violently rejects his son and banishes him from his sight leaving Idamante bewildered and distraught.</div><br />
Act II The Monster<br />
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<div style="text-align: justify;">Idomeneo explains his vow to Arbace and that Idamante is the one who must be sacrificed. Arbace advises him to send Idamante abroad- he can escort Elettra back to Greece. Ilia tells Idomeneo that she now accepts Crete as her home and Idomeneo as her father. He realizes that Ilia is in love with Idamante and that there will now be three victims of his terrible oath - father, son and lover. Elettra rejoices in the news that Idamante will accompany her back to Argos - away from her rival, she will certainly be able to win his love. As they are about to embark, another violent storm erupts, lighting ignites their ship and a terrifying monster rises from the deep. The panicked Cretans cry out for the one whose actions have brought on this heavenly rage. Idomeneo begs Neptune that, as he alone is guilty, he alone should be punished. If they demand an innocent victim then the Gods themselves are unjust.</div><br />
Act III The Sacrifice<br />
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<div style="text-align: justify;">Ilia is still torn between the powerful calls of honor and duty and her love for the son of the man who destroyed her homeland. She finally admits this to Idamante who in turn declares that without her love nothing matters to him. But first he must attempt to destroy the monster that ravages Crete or die in the attempt. And when, still confused and pained by his father’s coldness towards him, he asks what his offense might be, Idomeneo again sends him away. Ilia mourns his banishment. Elettra cries for revenge. Crete has been devastated by the monster. The High Priest of Neptune accuses the King of hesitation and silence. Who must be sacrificed? Idomeneo finally admits it is his own son. As the sacrifice is prepared, the ritual is interrupted by news of victory - Idamante has slain the monster; Crete is saved. But the vow must nevertheless be fulfilled; the ceremony must continue. Idamante is led in, exchanges farewells with his father and expresses his willingness to die at the command of the Gods for the good of the people and to save his father. Declaring Idamante’s innocence and the Gods’ favor towards Greece, Ilia, as a daughter of the enemy Troy, offers herself as a substitute victim. Suddenly the Gods themselves intervene. A voice proclaims: “Love has triumphed...Idamante shall be King...Ilia his bride...Neptune appeased...innocence rewarded.” Elettra is alone consumed in rage and fury as the commands of Heaven are joyfully accomplished.</div><div class="separator" style="clear: both; text-align: justify;"><br />
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