Classical Music Lover

Netrebko in the News

2011-10-21T13:36:00.001-07:00

Open publication - Free publishing - More music

Barber of Seville at the MET

2011-10-04T14:30:00.000-07:00

On 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.

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.

The ensemble consisted of:
Conductor: Maurizio Benini
Rosina: Isabel Leonard
Count Almaviva: Javier Camarena
Figaro: Peter Mattei
Dr. Bartolo: Maurizio Muraro
Don Basilio: Paata Burchuladze

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.

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.

These two clips demonstrate the vitality and life in this production.

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
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.

I would highly recommend this to any fan of updated operas.
http://www.amazon.com/Mozart-Nozze-Figaro-Anna-Netrebko/dp/B000LC4TJ0/ref=sr_1_58?ie=UTF8&qid=1317762329&sr=8-58

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 Nikolai Andreyevich Rimsky-Korsakov (Composer), and Pyotr Ilyich Tchaikovsky (Composer). This hauntingly beautiful collection was recorded with Daniel Barenboim in an albulm entitled "In the Still of the Night" http://www.amazon.com/gp/product/images/B0033QEURM/ref=dp_otherviews_1?ie=UTF8&s=movies-tv&img=1

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

Norma at Tanglewood

2011-07-12T10:55:00.000-07:00

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.

Opening Night at Tanglewood 2011 (Excerpts) from Larry Murray on Vimeo.

The concert begins with extended excerpts from Act I of Bellini’s Norma featuring the young American soprano Angela Meade and Sicilian tenor Roberto De Biasio, both debutting with the BSO, young American mezzo-soprano Kristine Jepson and internationally renowned American bass-baritone James Morris. 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.

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.

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.

Agrippina - a Tale of Sexual Power, Corruption and Deceit

2011-03-18T12:49:00.000-07:00

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.

Caroline Worra Kathleen Kim

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.

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.

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.

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.

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.
Agrippina's power waned. Nero sent her into exile. Then, after a botched attempt to kill her, Nero had his mother murdered.

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"

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.

Roberto and Peter Serkin at the BSO

2011-03-15T14:20:00.000-07:00

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.

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.

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.

Metropolitan Opera Announces 2011 National Council Auditions Winners

2011-03-14T13:52:00.000-07:00

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.

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.

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.

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.

What a thrill to be part of the audience for this event.

The baton has been passed from one generation to the next

2011-02-25T08:26:00.000-08:00

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.

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.

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
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 (7 July 1860 – 18 May 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.

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.

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.

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.

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.

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.

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.

Anna Netrebko & Erwin Schrott in Las Palmas

2011-01-12T12:20:00.000-08:00

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.

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.

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.
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.

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.

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.

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.

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.

Concert for the Cure

2010-12-06T14:03:00.000-08:00

An Evening to Remember

Music can cure the sole and inspire courage, determination and committment

Sir Simon Rattle

Jordan Hall - New England Conservatory

Julie Scolnik

Marc-André Hamelin

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.

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.

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.

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.

Credit must be shared selflessly by all. It was truly a spectacular eveing filled with Joy, Love & Hope.

A Tribute to Robert Schumann by the BSO - Nov. 18, 2010

2010-11-19T11:19:00.000-08:00

Kurt Mazur

Nelson Friere

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.

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.

"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".

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. 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.

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.

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.

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.

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

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.

It was a joy this morning listening to his Schumann CD 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.

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.

Richard Tucker Gala (James Valenti 2010 winner)

2010-11-16T06:46:00.000-08:00

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.

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.

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.

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.

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.

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.

Don Pasquale at the MET Nov. 6, 2011

2010-11-08T10:37:00.000-08:00

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.

John Del Carlo, Don Pasquale (has also played in the Barber of Seville)

Anna Netrebko, Norina (a reprise performance for her at the Met)

Matthew Polenzani, Ernesto (a beautiful lyric tenor)

Mariusz Kwiecien, Dr. Malatesta (a handsome match for Norina)

http://link.brightcove.com/services/player/bcpid610237632001?bctid=651976986001
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.

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.

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.

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.

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.

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.

Dmitri Hvorostovsky Discs

2010-09-21T12:54:00.000-07:00

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.

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.

Longwood Symphony Orchestra

2010-08-19T13:08:00.000-07:00

Longwood Symphony Orchestra

August 18, 2010

DCR Hatch Memorial Shell

Boston's Esplanade 7:00pm

In the Mood

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.

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 spot on Storrow Drive which is available

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.

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.

Violins

Sherman Jia, Concertmaster
3rd year, HMS, Howard Hughes Research Fellow

Hana Asazuma-Cheng
Music teacher (violin, viola, chamber music)

Catherine Brewster
English Teacher, Commonwealth School

Terry Buchmiller, M.D.
Pediatric Surgery, CHB, Co-Director Advanced Fetal Care Center, CHB

Jennifer Chang, Ph.D.
M.D. - Ph.D. student, HMS

David Chen, M.D.
Internal Medicine, Faulkner Hospital

Jennifer Chu
Freelance science writer

Mark Emerson, Ph.D.
Postdoctoral Fellow, Genetics, HMS

Sumi Fasolo, AIA
Architect, Cambridge Seven Associates

Tamara Goldstein, O.T.
Hebrew Rehabilitation Center

Anand Jagannath, M.S.
Research Technician, Cardiac Surgery, MGH

Elizabeth Henderson
Freelance Technical Editor

Heidi Harbison Kimberly, M.D.
Emergency Medicine, BWH

Anna Legedza, Sc.D.
Principal Biostatistician, Biometrics, Vertex Pharmaceuticals Inc.

Shenkiat Lim
Director of Product Development, Fidelity Investments

Justin Lo
2nd year, HMS

Psyche Loui, Ph.D.
Research Instructor, Neurology, BIDMC, HMS

Spencer McClelland
2nd year, HMS

David Mish
ESL/History Teacher, Cambridge Public Schools

Ramona Nee, J.D.
Weil, Gotshal & Manges LLP

Susan Pauker, M.D.
Associate Professor, HMS; Genetics Chief, Harvard Vanguard Medical Associates; MGH. BWH, Lahey

Chris Richards, Ph.D.
Dept. of Biology doctoral program, Harvard University

Helle Sachse, J.D., Ph.D.
Asst. D.A., Suffolk County

Jenny Smythe, Ph.D.
Physicist, Schlumberger Limited

Ellen Tulchinsky, M.S.P.T.
Physical Therapist, BWH/MGH

Elisha Wachman, M.D.
Pediatrics, Emerson Hospital, BWH

Lisa Wong, M.D.
Milton Pediatrics Associates, HMS, CHB, MGH, BWH, BIDMC

Violas

Michael Cho, M.D.
Research Fellow, Pulmonary and Critical Care Medicine, BIDMC, BWH, MGH

Sarah Cohen
Engineer, Rhythmia Medical

Jon Epstein
Software Engineer, Microsoft

Jennifer Grucza
Senior Software Engineer, Unica

Alistair Kok, D.D.S.
Dentist, Gentle Dental Cambridge

Elizabeth Ogburn
2nd year Ph.D. student, Harvard University

Jane Perera
Speech Therapist, Cotting School

Andrea Spencer, M.D.
MGH/McLean Resident in Psychiatry

Peter Stein, D.C.
Chiropractor, Harvard Vanguard Medical Associates, BU Sargent College

Nicholas Tawa, Jr. , M.D., Ph.D.
Surgical Oncology, BIDMC, HMS

Gwendoline Thornblade, B.D.Sc, M.Sc.D.
Retired Pedodontist

Leah Wilson-Velasco
Director of Operations, Boston Youth Symphony Orchestra

Cellos

Joseph Rovine, D.M.A., principal
Senior Software Engineer, Microsoft

Sylvain Casimir, R.Ph.
Pharmacist

Nancy Chane, R.N., M.S.
Palliative Care Nurse, Tufts Health Plan

Gregory Crist
Interactive Media Designer, iFactory

Mark Cusac
Engineer, CDM

Heidi Greulich, Ph.D.
DFCI, Broad Institute, BWH, HMS

Katherine Hein, M.D.
Plastic Surgeon, MetroWest Medical Center, Newton-Wellesley Hospital

Tai Katzenstein, Ph.D.
Psychology, MGH

Denise Lotufo, P.T., D.P.T., O.C.S.
Harvard, UHS

Martha MacMillin
Cello instructor

Read Pukkila-Worley, M.D.
Infectious Diseases, MGH, HMS

Christopher Reuning
President, Reuning & Son Violins

Susan Z. Robins
President, Muscle Angels, a norbis Innovations Company, LLC

Andreas Schild, Ph.D.
Research Fellow, Center for Human Genetic Research, MGH
Basses

Martha Davis, J.D., principal
Professor, Northeastern University School of Law

Jack Dennerlein, Ph.D.
Associate Professor, Environmental Health, HSPH

Karyn Wang

Flutes

Tobi-Ann Kocher
Flute Instructor

Daniela Krause, M.D., Ph.D.
Clinical Pathology and The Center for Regenerative Medicine at MGH

Cindy Moore
Music, Framingham Public Schools

Oboe

Michael Barnett
4th year, HMS

Hilary Cipullo

William Kates, M.D.
Psychiatry, BIDMC, HMS

Thomas Sheldon, M.D.
Assistant Professor Dartmouth Medical School; Director, Radiation Oncology Concord Hospital

Clarinet

Jeffrey Berman, M.D.
Pulmonary and Critical Care, BMC, BUSM

Mark C. Gebhardt, M.D., Ph.D.
Prof. of Orthopaedic Surgery, HMS, Orthopaedic Surgeon-in-Chief, BIDMC, CH Orthopedic Surgery

Tammy Avery Gibson
Cephalon Pharmaceuticals

Paul Silver
President, Handyman Heroes

Bassoon

Stephen Wright, M.D.
Chief of Medicine, Faulkner, BWH, TUSM, HMS

French Horn

Vanessa Gardner
Concerts Manager, MIT

John Hecker, AIA
Carr Lynch and Sandell, Architects

Trumpets
Leonard Zon, M.D.
Heme/Onc CHB, DFCI, HMS

Wolfram Goessling, M.D., Ph.D.
Genetics and Gastroenterology, BWH; Heme/Onc, DFCI; HST; HMS

Trombone

Peter Cook
Computer Engineer

Paul Salinas
Shire Human Genetic Therapies

Timpani

Jeremy Lang
Operations Manager, Elysium Digital LLC

Percussion

Tom Sandora, M.D.
Pediatric Infectious Disease, CHB, HMS

Longwood Opera

2010-08-10T12:06:00.000-07:00

Boston 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.

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.

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.

July 6 : An Evening of Opera

July 13: Broadway Melodies

July 20: An Evening of Opera Scenes

July 27: Presenting Rising Stars

August 3: Opera Meets Broadway

August 10: An Evening of Gilbert & Sullivan
August 17: More Operatic Scenes
August 24: More Broadway Melodies
August 31: A Gala Night of Opera

As you can see, they also did a very abridged version of "The Ring" sung in English.

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.

Norma at Caramoor

2010-07-22T13:41:00.000-07:00

Norma at Caramoor

Will Crutchfield

Mira O Norma
Keri Alkema (L) and Angela Meade

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!

Barbra Streisand at the Village Vanguard

2010-07-02T12:33:00.000-07:00

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.

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.

Traviata with Netrebko & Villazon

2010-06-03T12:22:00.000-07:00

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.

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.

The MET will put on La Traviata as a New Years Gala.

New Year's Eve Gala

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.

Friday, December 31, 2010, 7:00 pm

Noseda; Poplavskaya, Polenzani, Dobber

Original production of the Salzburger Festspiele; with thanks to De Nederlandse Opera

http://www.metoperafamily.org/metupload/video/2010-11PressConf/Traviata.html

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.

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.

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.

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.

Phantom

2010-06-03T11:28:00.000-07:00

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.
Phantom

April 23 - May 30, 2010

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.

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 enjoy

Armida

2010-05-05T14:44:00.000-07:00

Cast

Conductor: Riccardo Frizza

Armida: Renée Fleming

Rinaldo: Lawrence Brownlee

Goffredo: John Osborn

Gernando: José Manuel Zapata

Carlo: Barry Banks

Ubaldo: Kobie van Rensburg

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.

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.

Her blogs are at: http://aroundtheworldwithirina.blogspot.com/ and http://angelagheorghiu.blogspot.com/

Idomeneo by BLO

2010-05-05T14:32:00.000-07:00

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 .

This is an opera full of mythology, finally bowling down to good and evil which come to resolution at the conclusion of the opera.

Music by Wolfgang Amadeus Mozart

Libretto by Giovanni Battista Varesco after Antoine Danchet’s Idomenée
Idomeneo premiered the Residenztheater in Munich on January 29, 1781

Act I The Oath

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.

Act II The Monster

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.

Act III The Sacrifice

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.

Handel & Hadyn Society Concert April 2nd, 2010

2010-05-05T14:05:00.000-07:00

On Sunday afternoon we attended a marvelous all Bach concert by the Handel & Haydn Society as a tribute to Daniel Stepner who has spent nearly 25 years as concertmaster. We have seen him many times with many groups in Boston and at the MFA, WGBH studios, etc. It was a thrilling concert conducted by the Harry Christopher now in his 2nd season.

It was a wonderful concert with notable solo performances by violin, brass, harpsichord, flutes, and vocal soloists in the last cantata.
Harry Christophers, conductor
Christopher Krueger, flute
Daniel Stepner, violin
Linda Quan, violin
John Finney, harpsichord
Lydia Brotherton, soprano
Thea Lobo, alto
Ryan Turner, tenor
Bradford Gleim, bass
Handel and Haydn Society Chorus

The program consisted of the following pieces.

Bach: "Singet dem Herrn"
Bach: Brandenburg Concerto No. 5
Bach: Cantata No. 50, "Nun ist das heil" for St. Michael’s Day
Bach: "Der Geist hilft"
Bach: Concerto in D Minor for Two Violins
Bach: Cantata No. 29, "Wir danken dir, Gott, wir danken dir"

It was really a joy to hear this played on period instruments. The chorus was wonderful and we recognized some of the amateurs from other local venues. Stepner graciously acknowedged a smll token of gratitude - the framed program of his first performance with the H&H in 1996. The nearly sold out crown gave both Stepner and the H&H orchestra and chorus a well deserved standing ovation.

For those interested in further info on this concert, I have appended the program notes below:
Johann Sebastian Bach (1685-1750):
Master of Musical Expression
Program Notes for Bach Portrait

The city of Leipzig and the princely court at Cöthen provide the backdrop for the music on today’s program. Leipzig was an important and thriving city. It was a center for publishing and its trade fairs brought visitors to the city regularly. The university and the church schools held reputations for academic excellence. Fine keyboard instruments were made by well-known families and the city was a center for both secular and sacred music.

Bach’s motets and many of his cantatas were written when he was employed in Leipzig beginning in 1723. His duties there were two-fold. He was Kantor for the Thomasschule; his primary responsibilities included teaching music, and directing the choirs at St. Thomas Church and St. Nicolas Church on alternating Sundays. As director musices (director of music) Bach was also responsible for overseeing church music in the city and providing music for any civic celebrations such as the election of the town council.

There are only six motets known to have been composed by Bach. When he needed a motet for a Sunday morning or afternoon service, he relied on a collection of Latin motets that were commonly sung in Leipzig and could be learned and memorized easily. Why Bach wrote specific motets is not always certain; this is the case with Singet dem Herrn, BWV 225 (1726-27). Scored for double chorus, this motet contains three sections and uses texts from Psalms 103 and 150. In this intricate and complex work, Bach carefully draws our attention to important words in the text. For example, Bach emphasizes the first word, “singet” (sing) by simultaneously using a pedal tone, text repetition, and embellished melodies in imitation to proclaim this word in an infectiously upbeat setting that carries through the rest of the work. Interestingly, Mozart heard this motet when he visited Leipzig in 1789.

Der Geist hilft unser Schwachheit auf, BWV 226 was written for the October 20, 1729 funeral service of J. H. Ernesti, Rector of the Thomasschule. It is scored for double chorus, strings, and winds. The strings double choir 1 and three oboes, including a seldom used alto oboe, plus bassoon accompany choir 2. Almost every time the word “Geist” (Holy Spirit) appears, Bach sets it to a long melodic flourish in sixteenth notes, not only emphasizing this word, but also depicting the ephemeral nature of human beings. This motet concludes with a strophe from a chorale by Martin Luther for both choruses. Though few in number, the motets are exquisitely crafted compositions;

it is clear that Bach brought all his creative forces to bear on these sophisticated sacred works.

Bach’s position before Leipzig was also impressive. In August 1717, Bach accepted the offer to become Kapellmeister at the court of Prince Leopold in Cöthen. At that time, Bach was employed by the Duke of Weimar who refused to release the composer from his service, ultimately having Bach arrested and jailed from November 6 – December 2, 1717. After his release, Bach took up his new position in Cöthen. Prince Leopold was an accomplished musician who employed an orchestra of eighteen well-trained players. Bach wrote chamber music for this ensemble, including the fashionable concerto. However, some of the best-known works associated with this period, the Brandenburg Concertos, probably originated with earlier compositions. Bach dedicated these six concertos to the Margrave of Brandenburg in 1721. As a whole the six Brandenburg Concertos are a study of instrument combinations and virtuoso instrumental writing. The fifth Concerto features the flute, violin, and harpsichord as the soloists playing in imitation in all three movements. Including the harpsichord as a soloist is unusual; this instrument generally accompanies in any ensemble. In this concerto, the harpsichord has two roles: accompaniment for the tutti sections and dazzling passages in the solo sections. However, its primary role as virtuoso soloist is made abundantly clear towards the end of the first movement, when Bach writes a breathtaking harpsichord cadenza that literally silences not only the orchestra, but the other soloists as well.

The Concerto in D Minor for Two Violins, BWV 1043 was composed while Bach was in Cöthen. It was most likely written for Berlin violinists, Martin Friedrich Marcus and Joseph Spiess; Spiess was hired by Prince Leopold in 1714. The concerto follows the three-movement (fast-slow-fast) design codified by Antonio Vivaldi. Imitation features prominently throughout this concerto as does the technical difficulty of the solo parts. This becomes particularly poignant in the second movement as the longer note values of one solo line are embellished and drawn forward by the faster motion of the other solo line. In the third movement, the close interval of imitation and the off-beat accents of the orchestral accompaniment propel the music forward. Performance scores for this concerto have been found among the works performed at the Collegium Musicum (university) concerts in Leipzig in the 1730s.

In Leipzig, the cantata was the favored composition for sacred and secular occasions. Bach provided a new cantata for each Sunday and special feast days of the liturgical year. This amounted to some sixty cantatas per year. In his first years at Leipzig, Bach wrote new cantatas for each service, a daunting challenge for any composer. Even more astounding is the quality of each cantata which explores musical expression in a unique way. Both cantatas on today’s program were sung in church, even though Cantata no. 29 was written for a civic celebration.

One of five cantatas written for St. Michael’s Day, Cantata no. 50 may have been performed on September 29, 1723. Cantata 50 is scored for double chorus and a festive orchestra of three trumpets, three oboes, strings, and timpani. It consists of a single movement with no orchestral introduction. A strong, foundational line in the basses of the first chorus begins the movement. From their line the cantata grows as vocal and instrumental parts are added until the two choirs alternate in a call-and-response fashion.

Cantata no. 29 was first performed on August 27, 1731 in honor of the council election at Leipzig. The intricate obbligato organ part of the sinfonia, like the harpsichord part in the fifth Brandenburg, combines the abilities of Bach as a virtuoso instrumentalist and master composer. Adapted from the first movement of his Partita no. 3 for unaccompanied violin, this organ part was performed by Bach in 1749 to commemorate another town council election. Bach had been so seriously ill just before this celebration that arrangements had been made to name his successor. His choice of cantata may have been a clear indication that these arrangements were premature.

Just as the first movement is an arrangement of an earlier instrumental composition, Bach will return to music of the second movement of this cantata for the Gratias section of the Gloria of his B Minor Mass. The celebratory text taken from Psalm 72 is heralded with the opening sinfonia. Throughout this work, Bach skillfully sets this text of thanks and prayer both subtly and boldly, challenging the singers and instrumentalists technically and stylistically.

When Bach signed each completed cantata with Soli Deo Gratia, he was acknowledging that his commensurate skill in counterpoint, formal design, text expression, and instrumentation was part of a greater whole. It is that sense of the whole that pervades Bach’s compositions, whether sacred or secular, instrumental or vocal. As in all of his works, each piece on today’s program displays Bach’s unprecedented powers of musical expression dedicated to the “glory of God alone.”

Program notes prepared by Teresa M. Neff, Ph.D.

2009-2010 Historically Informed Performance Fellow

Rimsky-Korsakov/Tchaikovsky: In the Still of the Night: Songs Anna Netrebko (soprano), Daniel Barenboim (piano) review | CD reviews | Music - Times Online

2010-05-02T21:01:00.000-07:00

Rimsky-Korsakov/Tchaikovsky: In the Still of the Night: Songs Anna Netrebko (soprano), Daniel Barenboim (piano) review | CD reviews | Music - Times Online

Opera is Alive & Well in Metrowest Boston

2010-04-29T10:49:00.000-07:00

http://www.westonoperafest.com/2010_season

Opera is alive & well in Metrowest suburbs of Boston. On Saturday night, April 24th, we attended the Metrowest opera which performed "The Magic Flute" by W.,A. Mozart. at the Theater at Weston Town Hall at 11 Townhouse Road in Weston, MA. The Metrowest opera collaborative was established in 2007 and is now in its 3rd season. My daughter, Elana works with Erin Smith who was singing Pamina that night. It indeed turned out to be a marvelous evening. The enture cast and production team deserve a lot of credit for a superlative performance. There was a small orchestra with 22 players who were able to fill the hall with joyous music. Most notable were the 2 flutes including picollo and the typanist who doubled on the keybord for the accompanied solos for Papageno. The Queen of the Night played by Rebecca Hains was terrific with soaring coloratura on her solo parts.

The most refreshing part of the evening was viewing an updated version of the well known opera cast in a 1920's boarding school. Minimalist sets included a few benches and a large desk on forboding blackboard complete with math equations. The costumes ranged from janitor's overalls, knickers to a beguiling flapper dress complete with arm length gloves. The three ladies were dressed in simple black dresses with knee socks. Papageno played with a music box, rather than the traditional mouth organ. The music was perhaps a tad loud at times forcing the singers to notch up their volume, but they really had so few instruments that they needed to be quite robust in their interpretation.

My wife, Paula, daughter Elana and her boyfriend Michael Pistorio started off the eveing with a wonderful Japanese dinner at Oga's in Natick http://www.ogasnatick.com/index.php/home The meal was simply delicious with very good service.

We even had time for a quick dessert at Park Street Ice Cream in Natick a local legend.

This establishment opposite the Natick Common is a family run business that makes their own ice cream and is well known and supported.

If you have the chance - go see the Magic Flute on Saturday, May 1st at 7:30pm or Sunday, May 2nd at the 3pm at the Weston Town Hall and you will be sure to have a great time. One suggestion though - sit downstairs as the balcony tended to be quite warm. Light refreshments are served at the intermission and you are allowed to bring them into the hall.

One only had to attend to see the joy in the performers faces at the performance to know that they had done their job well and the audience applauded enthusiastically.

Yes, this is the future of opera - our youth and aspiring artists. There are many challenging hurdles ahead of these young performers, but they have done a spectacular job of continued nurturing of this wonderful artform.

Together with you

2010-04-23T12:49:00.000-07:00

I rented a wonderful DVD from netflix entitled "Together" which exemplifies the power of music and the bond shared among people who unselfishly try to help one another. My words can not effectively capture the simplicity and power of this movie that was filmed in Beijing and the country side in china. Rather than spoil the fun for the viewer, I shall simply add only the terse summary from Netflix.

Together(He Ni Zai Yi Qi / Together with You)

2002PG119 minutes

A young boy, Xiao Chun (Tang Yun), proves to be a massive talent when it comes to the violin, so his father (Liu Peigi) helps him find the best teacher in Beijing, far away from their hometown. There, Xiao Chun meets a nightclub worker with a heart of gold and finds true friendship

The music is masterful with many memorable selections from Bruch, Tchaikovsky, Mendelsohn, Vivaldi and others. http://www.netflix.com/Movie/Together/60027708?trkid=226870 Go watch the movie for a touching story for all ages to enjoy.

DiDonato & Juan Diego Florez in Barber of Seville

2010-04-23T12:35:00.000-07:00

As many of you have now heard, our celebrated American Diva (or better yet - Yankee Diva) has just released her new DVD of the Barber of Seville with Juan Diego Florez from the 2009 season at the Royal Opera House. It is now legend, since the diva sang her role from a wheel chair. In the opening night production she slipped back stage after her famous aria, "Una voce poco fa" in the first act and broke a bone in her lower leg. She finished the opera on crutches.

At the beginning of the DVD, the conductor Antonio Pappano, the conductor comes on stage to announce to the audience that Joyce has agreed to sing the role of Rosina from a wheel chair. The audience responded with a rousing round of applause as Pappno scurried down to the pit. As you can imagine, when she sang the aria that night from wheel chair, the audience literally erupted in a thunderous round of applause. Her cast was entirely visible and she literally lifted hersel out of the chair at moments to express her full emotional impact of singing. She was all smiles ear to ear.

The viewer was treated to a superb cast of Juan Diego Florez, the ultimate Rossini tenor of our generation. They both sing with ease and grace. DiDonato excells in coloratura adornments with ease and grace and reminds me of Elina Garanca in La Cenerentola at the MET.

One only needs to ponder DiDonato's background stamina, determination and style that has brought her the pinnacle of her career. A modest girl from a blue collar family in Kansas who worked a long time without getting a break in her to a celebrated mezzo.

Among her most recent recordings, a tribute CD to Colibran. It contains some of Rossini's best music. Her singing her is just fabulous, and one only wishes that the MET would have used her rather than Renee Fleming, who by all accounts gave a very lackluster performance at the MET in Armida. (Rossini also wrote Armida's role for a mezzo soprano) The world needs more people like "The Yankee Diva" who gives so much back to their audience in return for their patronage or support. All we haer about today is about Gheorghiu, Garanca, Netrebko, Villazon bailouts on performances and here is a stunning example of an artist who truly enjoys what she is doing on stage. I cannot truly imagine, the challenge and constraints of performing from a wheelchair, but this performance will go down in history and I highly recommend it to the readers.

Although the sets are spartan and minimalist, they allow one to truly concentrate on the singing, scting and dialogue - which is what opera is all about. The costumes range from period costumes to

Juan Diego Florez, an elegant tenor who is a Rossini specialist in the Bel Canto repetoire is perhaps best known for his expressive legato manner. His portrayal in La Cenerentolla (Rossini) and La Fille de Regiment by Donizetti is famous for his nine high C's that rival Pavarotti's legendary tenure. He even had an unheard of encore in La Scala that created quite a stir in the media. This is truly a DVD that needs to become part of one's library.

Musings about music & blog comments.

2010-04-20T11:55:00.000-07:00

While driving to work, I was listenting to Tchaikovsky's 5th Symphony conducted by Valery Gergiev. This is the epitome of romantic music. The music is dreamy, expansive and leads one on journey in 4 movements. I truly recommend it to my readers.

I am somewhat surprised reading comments to articles in magazines and blogs. Readers can be alarmingly arrogant, homophobic and downright rude at times. Everyone is entitled to leave comments or personal reviews as this is of interest to the audience. We need more activists if we embrace change. While commenting on an article regarding the accomplishments or lack therof of Peter Gelb, I was struck by the animosity of people towards Gelb and the MET. Gelb can not fix no-shows from Prima Donna's. It simply is a fact of life. Singers bail out for their own reasons.

While Peter Gelb is trying to bring opera to the masses, he is also trying to change the artistic face of the MET opera company. He has done marvels with HD broadcasts to movie theaters, promoting school attendance, allowing last minute Rush tickets, etc, Unforunately, he is running a large business with unions, special interests, and a profound lack of an artistic (musical) director. James Levine's impact on the MET is waning owing to his ill health, BSO committments, etc. Music on this side of the pond does not get large measures of government support.

Some of Gelb's artistic choices have fallen short, e.g. Mary Zimmerman's La Sonambula and Armida. Renee Fleming's performance was by all accounts notably undistinguishing. Renee Fleming had her moment in the sun years ago with this opera, but is not able to deliver the goods today. The MET hyped this as the signature New Production of the Season with its American Diva, Fleming. The public and Gelb would have been better served by Joyce DiDonato. One must remember that Rossini also scored Armida's role for a mezzo.

Thrilled to hear that Placido Domingo is on the mend and looking forward to seeing his masterclass program on HBO in the near future. We only wish that Ozawa has a similar outcome. Seiji had a long and enduring tenure at the BSO.

In closing, music is an international language that transcends borders. Enjoy it for where it takes you. Valerie Gergiev once said that most orchestras can play well, but it is not often that one hears an interesting performance. The operative point here is that we as listeners have to digest music and allow it to penetrate our thought process and release new meanings and interpretations. One need not to be a student of music to reach this level of appreciation

Another poor review of MET & Peter Gelb

2010-04-19T20:51:00.000-07:00

Flickering Vision

Peter Gelb’s first full season at the Met produced one shining moment—and a lot of fizzles.

4 Comments | Add Yours

By Justin Davidson
Published Apr 18, 2010

From the Met's new production of The Nose.

(Photo: Ken Howard/Courtesy of the Metropolitan Opera)

In the first production of Rossini’s Armida to reach the Metropolitan Opera (and New York), Renée Fleming flicks a wand and transforms a creature-infested grotto into a palace of sensual delights. The Met’s general manager, Peter Gelb, must crave that trick right now to restore the health of his budget, his music director, and his aesthetic agenda, all of which are ailing. Yet Fleming’s wand couldn’t even jolt the opening-night performance out of its sloppy lassitude.

Gelb has been running the company for more than three years, but this is the first full season he planned, paid for, and delivered—a rollout of eight new productions, culminating with Armida and laying out a program of modernization that is supposed to save the art form. Always a couple of decades behind, the Met is only now junking its collection of ponderously pseudo-realistic sets in favor of the kinds of lean, abstract productions that seemed startling in the nineties. The strategy is fine, but its execution needs more muscle and judgment. Gelb has, for example, anointed the director Mary Zimmerman the doyenne of bel canto, and so far, she has turned in a Lucia di Lammermoor as a B-movie hoot, an incoherent La Sonnambula, and now an Armida that distills the worst of the Met’s current weaknesses: blind worship of unreliable stars, theatrical gimmicks that supplant dramatic conviction, and a flickering supply of musical electricity.

Rossini was a wizard of froth, but in this work, he slathered lacework vocalism on a putatively serious romance. The beautiful Armida bewitches the crusader Rinaldo, until his trusty officers deprogram him by appealing to his martial honor: Make war, not love. Zimmerman doesn’t know what to make of this material, except to encrust it with whimsy: Cue the red-garbed cherub descending from the ceiling. Add a twenty-minute dance of the demons, a field of plastic poppies, a phalanx of shiny helmets, and a fistful of forgettable tenors, and you have an overlong show that exists for one reason only: to glorify the name of Renée Fleming. Armida is a stage-scorching role, and she had great success with it in the mid-nineties, but the opera is better suited for a lighter voice, a smaller house, and a diva with fewer distracting affectations.

The current letdown follows a string of half-successes: Ambroise Thomas’s Hamlet, a wheezing touring vehicle for the marvelous baritone Simon Keenlyside; a visually laughable, musically exquisite Attila; and dutiful revivals of Simon Boccanegra and Stiffelio. Partly, the problem is that Gelb is a fervent expansionist in a time of contraction. If he had been able to power ahead with the projects he has had to cancel—expensive revivals of Berlioz’s Benvenuto Cellini, John Corigliano’s Ghosts of Versailles, Shostakovich’s Lady Macbeth of Mtsensk, and Strauss’s Die Frau Ohne Schatten—the Met would feel less like a woozy Leviathan. He has also leaned on a roster of box-office stars who can’t be counted on to show up. Angela Gheorghiu, Anna Netrebko, Rolando Villazón, and Natalie Dessay all backed out of Met appearances. And the usually impeccably professional Leonard Slatkin, who had originally signed on to conduct the Corigliano, made a hash of La Traviata and skipped out after one performance. Sometimes Gelb’s spirit of innovation looks indistinguishable from confusion.

Gelb’s ambition to recruit creative minds from other fields is another good idea that has proven a wobbly cornerstone for the new Met. It did, however, pay off splendidly in Shostakovich’s The Nose, an acid comedy about a Moscow bureaucrat whose proboscis escapes and, worse, achieves a higher rank than its erstwhile owner. In a brilliant managerial stroke, Gelb assigned this work of immature, erratic genius to the artist William Kentridge and coordinated it with a major Kentridge retrospective at the Museum of Modern Art. The event looped the Met into the art-world circuit, lured a fresh audience, and tossed opera into the center of New York’s intellectual life. This is exactly what the Met should be doing.

Kentridge responded to Shostakovich’s hectic, jangling score with a constructivist dream, a collage of shadows, ramps, three-dimensional puzzle pieces, headlines, and projections. Valery Gergiev led a biting, bristling performance, and if the volley of sounds and images occasionally felt like more than a brain could manage, the overload was strategic. At times, the score seemed less like the main event than a soundtrack for the staging, but The Nose can tolerate a slight rearrangement of operatic hierarchy.

The Met needs Gelb’s marketing savvy, but Gelb also needs a full partner, an artistic director as powerful and engaged as he is. For four decades, James Levine has kept the Met in a state of high musical readiness. He shaped the repertoire, led about 65 to 70 performances each season, cultivated singers, honed the orchestra, and left his thumbprint even on shows he didn’t conduct. The Met was Jimmy’s house.

Levine is only 66, but a series of illnesses and another job, as music director of the Boston Symphony Orchestra, have interfered so seriously that his grip here has gone limp. He’s spent just a dozen nights on the podium since September and delegated the few big hits. Next month, he’ll miss his cherished revival of Berg’s Lulu. Next season—his 40th—he’s scheduled to conduct six operas, beginning with the opening-night inauguration of the new production of Wagner’s Ring. Now the festivities are tainted by doubt. Maybe back surgery will cure his suffering; maybe he’ll give up his Boston gig; maybe he’ll wrest back a greater chunk of his company’s aesthetic agenda. But for now, it’s just not Levine’s company any more. If Gelb is really the house visionary, he must know that it’s time to talk succession.

Anna Netrebko’s new repertoire

2010-04-16T20:16:00.000-07:00

Anna Netrebko’s new repertoire

Tag cloud: Anna Netrebko , Culture, Russia, Commentary, World, music

Apr 16, 2010 14:57 Moscow Time

Anna Netrebko. Photo: EPA

Russian opera star Anna Netrebko has once again been nominated for the Classical Brit Awards, the most prestigious British prize for classical music. Anna Netrebko twice received this prize in the category "Female Singer of the Year" in 2007 and 2008. Due to her amazing popularity, the Russian diva is literally heaped with numerous awards. After the birth of her son a year-and-a-half ago, Anna Netrebko started appearing in new roles. Her program of romances by Russian classics Tchaikovsky and Rimsky-Korsakov became a sensation. Together with maestro Daniel Barenboim, the singer first presented the program at the Saltsburg Festival.
When visiting Moscow and St. Petersburg as part of the tour, she gave an interview to Russian journalists. “Given that Tchaikovsky’s romances are extremely difficult to sing, one should spend many years training and accumulate wide vocal experience. And this is not only my impression; many musicians are of the same opinion,” said Anna. When asked about the major problems for Russian signers on their way to the world-wide fame, Anna Netrebko said that Russian musicians are in high demand in the West. Generally, they perform Russian music, and only few of them sing in Italian, German, French. The reason is that it is too hard for them to master the pronunciation, and only those who succeed in this respect can move on. And others play Russian music, which is extremely popular abroad, with Russian operas performed almost in every theatre, the diva says.
Anna Netrebko, the soloist of the St. Petersburg Mariinsky Theatre, has been invited to sing with the leading opera companies of the world. Among her latest performances has been “La Boheme” staged by Franco Zeffirelli at the Metropolitan Opera. “The next season will be marked with a new role for me - Anne Boleyn in the opera of the same name by Gaetano Donizetti. This music is rather hard and I have never performed it before, unfortunately. Later, I will sing Tatyana’s part in “Yevgeny Onegin”, and the part of Leonora in “Il Trovatore” together with maestro Barenboim. Thus, I am slowly changing my repertoire for a “stronger” soprano, which is very suitable for me. I have to give up singing parts of young girls,” says Anna Netrebko.
The singer will also assume new roles in the Mariinsky Theatre. “When discussing our plans, I proposed to maestro Valery Gergiyev to stage Donizetti’s “L’Elisir d’Amore”. We have talented young tenors in out theatre, who will surely cope with the performance,” the singer said.

In the Still of the Night

2010-04-13T14:23:00.000-07:00

I have been listening to "In the Still of the Night" with Anna Netrebko and Daniel Barenboim. One has to realize that Anna only a few years ago was indeed afraid of recital performances (ala Carnegie Hall with Dmitri Hvorostovsky) that she canceled. This performer has grown and matured and now has begun to bear her soul with poignant, impassioned singing. Only in a solo recital can one begin to truly embrace the audience with a poignancy and warmth that are not distracted by acting, sets and other performers.

The initial track can be found at
http://www2.deutschegrammophon.com/html/special/netrebko-inthestillofnight/sites/player.html

and sets the stage for what must have been a wonderful evening.

This CD recorded in Salzburg with Maestro Barenboim at the piano has been repeated a number of times throughout Europe with Barenboim and another pianist. Although not available yet in the US, I procured my copy from Crotchet Music in UK.

http://www.crotchet.co.uk/4778589.html

The singing is breathtaking in its style and intimacy. Barenboim's place on the piano is simply astonishing in the fluidity and support for the soprano. Anna shines in many of the slower songs and sings with fierceness in the more rapid selections. The CD was recorded from a live audience. As one listens to the music of Nicolai Rimsky-Korsakov (1844 - 1908) and Peter Ilyich Tchaikovsky (1840 - 1893), one realizes that these giants offer much more symphonic and piano repitoire respectfully. These are emotionally laden songs of joy and lament. I suggest that you all buy a copy to enjoy and cherish as I am emotionally thrilled by this recording. As a glimpse of the music, please go to the ePlayer at DG for a glimpse of 4 tracks.

http://www2.deutschegrammophon.com/eplayer/eplayer.htms?ID=netrebko-inthestillofnight

It will be available in the US on 4/27/10 and can be ordered from Amazon
http://www.amazon.com/Still-Night-Songs-Rimsky-Korsakov-Tchaikovsky/dp/B0033QEURM/ref=sr_1_1?ie=UTF8&s=music&qid=1271361343&sr=8-1

Barenboim is a master at the piano and suggested these songs to Netrebko. It was indeed a wise choice and the CD and live performances throughout Europe have been enthusiastically received. Barenboim plays with sensitivity and supports the singer graciously. It indeed is a marriage made in musical heaven. The more one listens to these, mostly unfamilar songs, it illustrates how a fine artist can draw in the audience with warmth, solitude and a true communication straight from the heart. Netrebko has learned her skill well and now has mastered the art of digging deep into her soul to communicate passion and drama through her artistry.

The ablum closes with 2 special tracks, the first being Als die alte Mutter op.55 No.4 (Dvorak) which Netrebko announces to the audience with some laughs as she says that she will sing it in Czech. This is most beautiful and has been sung very well by others like Magdalena Kozena in her album, Songs My Mother Taught Me. It has been terribly butchered by the likes of Charlotte Church who simply denegrate the art form. The last track closing the album is
RICHARD STRAUSS (1864–1949)Cäcilie op. 27 no. 2 Heinrich Hart, a touching lullaby.

No doubt, I am very partial to her singing and acting ability. I must share with you a rather funny anecdote on how I discovered this wonderful artist. Some years ago, I was working in New Jersey for a struggling biotech/pharmaceutical company. I lived in Natick, MA at the time, but spent my working week in NJ, living in hotels, etc. I had much spare time that I spent in the gym or at Barnes & Nobles listening to CD's in my ever expanding collection. One night, I picked up one of Netrebko's early CDs, Sempre Libera and admired an usual voice.

http://www.amazon.com/Sempre-Libera-Anna-Netrebko/dp/B000295TXC/ref=sr_1_18?ie=UTF8&s=music&qid=1271361627&sr=8-18

I brought in to work the next day to share with a colleague who also enjoyed classical music. He lent me her other recording, Opera Arias. He told me that she was recently on "60 minutes"
http://www.amazon.com/Anna-Netrebko-Opera-Arias/dp/B00008MLSH/ref=sr_1_12?ie=UTF8&s=music&qid=1271361837&sr=8-12

From that time forward, my wife, Paula and I have enjoyed many of her performances in the US (Traviata, L'Elisir d'Amore , I Puritani, Romeo & Juliet, La Boheme, Don Pasquale and Lucia, Rigoletto) and a concert in Abu Dhabi with Elina Garanca and Erwin Schrott.

While these are wonderful albums, they only give a glimpse of some of her capabilities. I suspect that many of you know that her avante garde performance of La Traviata from Salzburg with Rolando Villazon and Thomas Hampson set her career on fire. It features only a red couch and clock on an otherwise stark empty stage. The quality of the singing and acting are fabulous. You will either love or hate this version. I cherish it immensely, but others of an older generation have said it is a travesty.

http://www.amazon.com/Verdi-Traviata-Anna-Netrebko/dp/B000F3TAOE/ref=sr_1_6?ie=UTF8&s=music&qid=1271362072&sr=8-6

You may be able to rent any of these in a substantial library, but they are worth adding to your collection. There are two additional recommendations that I offer to you. The first is her Russian Album. It is thrilling to hear a singer in her native language.

http://www.amazon.com/Russian-Album-Anna-Netrebko/dp/B000IZK4YE/ref=sr_1_7?ie=UTF8&s=music&qid=1271362333&sr=8-7

The last recommendation for this post is Bellini's: I Capuleti e i Montecchi with Elina Garanca and Joseph Calleja. Anyone familar with Bel Canto (beautiful singing) will certainly love this recording. Calleja, a rising star from Malta has sung with Netrebko in the MET's performance of the Tales of Hoffman.

http://www.amazon.com/Bellini-Capuleti-Montecchi-Anna-Netrebko/dp/B001NPUGWS/ref=sr_1_4?ie=UTF8&s=music&qid=1271362409&sr=8-4

The only recording that I am ambivalent about is the filmed version of La Boheme with Rolando Villazon.
http://www.amazon.com/Boheme-Film-Anna-Netrebko/dp/B002Q9MZF6/ref=sr_1_5?ie=UTF8&s=dvd&qid=1271363524&sr=8-5

This is a lipsynched and shot completely on sets with fake snow. Many of the historical contexts are lost here. Mimi wearing red lipstick is preposterous as was the swing in Rodolfo's bedroom in the loft. What one does get at the end of the film is a gripping sense of grief by Rodolfo (Villazon) as Mimi (Netrebko) dies of consumption (TB). This type of heightened drama does not quite rise to that level in a live performance. We just saw Netrebko and Piotr Beczala, a wonderful Polish tenor in Zeferelli's production at the MET. Although Netrebko has matured since the birth of her child, her voice has grown in intensity and color. Both she and Piotr amply filled the MET with glorious sound to over 3500 seats.

When I met Anna in San Francisco after a performance of La Traviata, she told me that the music of I Capuleti e i Montecchi was beautiful and wonderful to sing. The voices meld together like honey and ice cream. She is a remarkable singer who now is married to Erwin Schrott with and has a son, Tiago. I cannot imagine how she keeps up such a pace without extraordinary help.

We should all thank Valery Gergiev for discovering and nurturing this talent. He brought her to San Francisco some years ago for her US debut and the rest is history. I won't bore you with the details which are like a fairy tale come true.

In closing, I must pay tribute and ultimate compliments to Carlos in Barcelona who maintains an impeccable and wonderful blog dedicated to Anna. Carlos is a gentleman and avid opera lover with impeccable taste. He has done a spectacular job in following and annotating her career with both pubslished reviews as well as those from his loyal following. He welcomes comments, photos, reviews and has a wonderful recollection of many of her performances. I urge you all to take a look
http://anna-netrebko.blogspot.com/

Handel & Haydn Society Concert

2010-04-11T19:35:00.000-07:00

Today we went to a wonderful concert given by the Handel & Haydn Society. Prior to the concert there was a pre-concert reception & discussion by the conductor, Sir Roger Norrington. This was held across the street at the offices of the Handel & Haydn Society located in the Massachusetts Horticultural Society Building. The staff of the H&H society provided a warm and intimate setting to introduce themselves to loyal patrons. Refreshments were wonderful and added to the elgance of the reception. Most people were very well dressed and all loved music.

Sir Roger Norrington arrived in a casual long sleeve sport shirt and sat down on the steps and talked to a crowd of about 50 people in the lobby of the building. The maestro said that he would elect to sit as he would do much standing later. He also joked that conducting is much simpler than it looks. The conductor indicated that there are only 2 period orchestras in the US; the Handel and Haydn Society in Boston and one in San Francisco. The one in Boston is nearly 200 years old. He explained the balance of the orchestra, seating arrangements and overall size of the orchestra are fundamentally different than traditional moderm orchestras. Norrington also went one to say that his earlier recordings of the Beethoven symphonies from a period orchestra (London Classical Orchestra) on EMI (which I own and cherish) were highly criticized when they were first issued becauase of unusually fast tempi. He ignored the critics and over the years these have becone accepted as critically acclaimed performances.

I had a chance to speak with him directly prior to the concert and asked if the furor over the tempi had died down, and he acknowledged that they had. He further indicated that composer/conductors such as Bernstein or greats such as Karajan or Furtwangle had fundamentally different view towards these symphonies and were much slower and dramatic in their interpretation. He indicated that folklore indicates that Beethoven's metronome was likley faulty and tempo notations are notariously inaccurate. One of the characteristics of period orchestras is that they omit the vibrato which tends to meld the orchestra into a unifying tone. I also asked his opinion of Valery Gergiev, the esteemed Maestro of the Marinsky Opera and chorus and he indicated that he thought he was "old fashioned".

The concert started with Beethoven's 4th Symphony. One must look at the nature of the diminutive orchestra, its seating arrangment and indeed the nature of period instruments. Violins are seated opposite each other. Bass fiddles are on the conductor's left. Trumpets (2) without valves and elongated bells are seated to the back right next to the trombones (2). The French horn's again without valves are seated to the conductors left. The woodwinds 2 each of clarinets, bassoons amd 1 flute and 1 piccolo are seated right in back of the cellos. It is of interest to note that these period instrumenst have no "spit valves" requiring removal of tuning sections during the performance to remove condensed liquid. This was particularly dramatic for one of the trombone players. The only percussionist is a lone tympany player who played with rather bright rigid sticks that gave a rather focused percussive sound.

At any rate, back to the 4th symphony, one had to imagine that this was played as parlor music in a small venue unlike today's halls. One did not really get the impression that this was Beethoven until well into the piece. The conductor had explained that the 4th symphony was one of stark contrasts in intensity and unlike the 6th symphony which conveyed a story of the environment and its notable streams and storm so highly beloved in the 6th. The audience was thoroughly engaged and some small sector applauded between movments. This gave latecomers a chance to be seated and enjoy the performance. The piece ended with a rousing movement of the conductor's arms gesturing to the audience which was met with a rousing round of applause.

The intermission had a youth choir singing in the 2nd floor lounge as part of the H&H outreach program. These 5-7th grade performers were dressed in red shirts and black skirts or slacks and sangel from spirtuals, Handel and a Ghanese children's folk song with accompanied claps and outstreatched arms. It was wonderful to see their enthusiasm and charisma. Undoubtedly there were many proud parents and grandparents assembled to enjoy the brief concert. The pianist was skilled and let the young performers shine.

The 6th Symphony, one of the warhorses of the Classical repetoire was stunning in its freshness. One had to be there to understand the different texture and quality of sound that allows the viewere to glaen individual solosits with great precision. As the conducor explianed in his pre-concert lecture there is little or no vibrato used in this type of orchaestra which leads to great intensity and uniqueness to this sound. Only here can you truly hear that tonal qualities of the period bassoon sounding totally different than a modern instrument. The playing was gorgeous, very musical and refreshingly different. This pastoral symphony (the only Beethoven symphony given a name) was the forbearer of Mendelsohn or Schubert who had many of their symphony's named. The symphony was conducted with sheer beauty and elegance by Norrington. He did not use score or baton for either piece and was able to nuance great variety in dimension, intensity and color from the orchestra. There were notable solos by the bassoon, clarinet and flute players. It ended with a rousing standing ovation by a thrilled audience.

The conducor graciously signed a limite number of available CD's and programs after the performance. Alas, he is not coming back to Tanglewood this summer so we cherished this concert as one that will be very memorable.

Classical Music Recollections

2010-04-09T12:13:00.000-07:00

I am starting this blog today to provoke interest, commentary and education among fellow music lovers.

Today's topic will include some of my memorable, and some not so memorable performances. I welcome your commentary and reactions.

First introduction to classical music: listening to opera on LP's in my grandmother's house in rural upstate New York.

First introduction to opers: I went to old MET with my grandmother when I was 13 years old (Il Trovatore and stayed with her at Edison Hotel.

Memorable performances (good & bad):

Leonard Bernstein's last conducting performance at Tanglewood in Lenox, Mass.
Terrible performance by Van Cliburn at Tanglewood in which he lsot his place in the Emperor Concerto (My daughter commented that her piano teacher said ...just play the right hand)
All Beethoven concert at Muskaverin in Vienna in which conductor, Christian Thielman was given 3 standing ovations after orchestra left stage.
Meeting Alfred Brendel backstage at BSO after a fabulous concert
Meeting Anna Netrebko after La Traviata in San Francisco 2009.
Attending a concert with Anna Netrebko, Elina Garanca and Erwin Schrott in Abu Dhabi
Recital by Cecilia Bartoli at Carnegie Hall
Attending concert at Marlboro in which it rained so hard on metal roof of gymnasium that performers could not her themselves
Attending a lecture at Sanders theter at Harvard with Alfred Brendel in which he dissected parts of Beethoven's piano sonatas with exquisite playing and commentary

My wife and I both love classical music and especially opera. I have become very passionate about my likes and dislikes on various performers and would like to share some of these with you for discussion.

Like List:

Anna Netrebko
Elina Garanca
Diana Damrau
Joseph Calleja
Rene Pape
Dmitri Hvorostovsky
Piotr Beczala
Cecilia Bartoli
Kathleen Kim
Sumi Jo

Don't care for List:

Maria Guleghina
Ewa Podles
Kate Lindsey
Bryn Terfel
Renee Fleming
Jennifer Larmore
Marlis Peterson

Recollections of classical music from my youth:

Hearing Brahms 1st symphony at my orthodontist office in Middletown, NY

Recommendations for your CD/DVD collection

In The Still of the Night - Netrebko-Barenboim
Traviata Netrebko-Villazon Salzburg
Gergiev "The Right of Spring" by Stravinsky
Netrebko Russian Album
Coloratura - Diana Damrau
Gergiev Tschaikovsky Symphonies 4-6
Mahler Symphonies - Leonard Bernstein
Glenn Gould 32 Short Films
Glenn Gould Goldberg Variations
La Cenerentola with Elina Garanca

I welcolm your commentary and ramblings. This blog is devoted to you and for you to enjoy