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Saturday, October 29, 2005

Saturday, October 29th, 2005 

Finally this afternoon we will have a rebroadcast from last summer's Bayreuth Festival -- Tristan und Isolde with Robert Dean Smith and Nina Stemme. Plus what looks to be a luscious Tamerlano with Bejun Mehta, Bruce Ford and Sandrine Piau; Karina Gauvin in a performance of Scylla et Glaucus; and, celebrating Halloween, two Humperdinck offerings:

Happy listening,


Tuesday, October 25, 2005

Giuseppe Filianoti in Lucia - Dress Rehearsal - 10/24/2005 

I was able to attend today's Dress Rehearsal at the Metropolitan for its Lucia di Lammermoor, opening this coming Thursday, Oct. 27th. As well as being the first Lucia of the season, it will be the Met debut for its Edgardo, Giuseppe Filianoti. The other three principals were Elizabeth Futral, Charles Taylor and John Relyea. Unfortunately, both Futral and Relyea sounded in trouble, but that could simply have been a function of the Rehearsal being in the late morning/early afternoon (starting at 11:00 A.M.)

Filianoti, on the other hand, sounded in no trouble at all. I urge those in the New York area to attend his debut this coming Thursday. It promises to be an exceptional evening. I can't remember the last time a tenor moved me so in this role, and yet, physically, Filianoti is not much of an actor. His is a very severe, stylized presence on stage. Everything he does is geared instead to the phrasing of the music, and there is a patrician sensibility to his singing, somewhat reminiscent of Carlo Bergonzi, although he is a more plausible figure as the "hero". His phrasing strongly recalls Bergonzi's: inexhaustible breath, long-lined skeins of song, stretching sometimes beyond two lines of verse! And all is done musically, with a superb sense of poetic shape to the utterance that never seems encumbered by technical, physical effort; above all, it is the natural ebb and flow, almost like cultivated speech, that stays with one.

The Tomb Scene should make an indelible impression, even if it is only half as fine as what we heard today. The tones in his opening recit were innately affecting, but there was also keen imagination at work in hushed phrases like the first "Tu delle gioe in seno". And then in the "Fra poco a me ricovero", we heard the phrasing he can do. When is the last time we've heard "tu lo dimentica rispetta almeno chi muore" on one breath, with a poignant rallentando yet! It is a measure of the gleam and ease of his top notes, together with the endless supply of breath, that he was able, later on, to shape climactic phrases as sweeping, effortless vocal statements with the pingy top tones "fitting" in freely and musically, rather than cleaving phrases with an exclamation point in the amateurish way of too many others.

Filianoti was at his most imaginative in "Tu che a Dio". He sang the reiterations of "bell'alma inamorato" as wistful, soft echoes of the ones before, sometimes without stopping for breath. The effect was to impart a feeling of Edgardo already losing his life spark, even before plunging the dagger through his heart.

The suicide itself was presented in an oddly ritualized way, with no attempt at realism -- it seemed, anyway. Instead, it came off as an austere, almost abstract evocation of something picturesque from an ancient time. For some, not too convincing, perhaps, but it suited the highly stylized presentation of the music that we were hearing. At the same time, the voice throbbed with immediate feeling. In the da capo, Filianoti delivered "Ti rivolgi, ah" with the "ah" tailing off into a seemingly spontaneous, but utterly musical, sigh. Later, deep into the melodic refrain of the da capo, his singing followed a line of contemplation ... tension ... contemplation ... tension, as if holding Death itself at bay. And the top notes now pealed out. A final gesture almost like a ballet dancer, but still restrained, and the tone itself simply died away on the last "ciel".

This man sings with heart; he doesn't merely make the sounds to earn his paycheck, he seems to be listening as intently as any paying auditor to the "story" that Donizetti's inspired music is "telling" him. And he delivers that "story" with an openness and lack of contrivance that is deeply affecting. The voice is beautiful: it is not big, and when not fully warmed up, the middle can be slightly nasal, but the top is always beautiful and open, both gleaming and simpatico, and by the time of the "Maladetto sia l'istante" in Act II, the whole instrument was clear and of a piece.

If I had to say which two things struck me most about his singing, they were his ease and freedom up to the top, which allowed him to concentrate (seemingly) solely on conveying myriad feelings through song, and the most imaginative musicianship I have heard in any current tenor. These, combined with beautiful diction and a genuinely supple throat, make the role of Edgardo something lofty, almost mystical in its effect. It may not have the red-blooded impact of a Di Stefano, but it has its own humanity, an utterly distinctive persona, arresting and thoroughly individual.

I look forward keenly to hearing from others here who may be able to make it to the Met this Thursday.

Happy listening!

Geoffrey Riggs

Monday, October 24, 2005

When Hurricane Katrina hit New Orleans, WWNO, the public radio station there that we list on OperaCast, went off the air. They are now back on the "air", albeit only streaming on the internet, broadcasting from the studios of Georgia Public Radio in Atlanta. They are presently soliciting donations to help cover the extraordinary costs they are incurring to keep their stream up and running. We encourage our visitors to support WWNO's efforts. Please give generously.

Saturday, October 22, 2005

Saturday, October 22, 2005 . . . continued 

Some interesting and curious offerings are on the boards for this Saturday.

Happy listening!


Saturday, October 22, 2005 

A quick note : BBC RADIO 3 will be reairing the Opera Bastille Tristan und Isolde with Ben Heppner and Waltraute Meier, starting right about NOW....

Saturday, October 15, 2005

This Afternoon's Lineup 

Some of the more interesting offerings on the net this afternoon include the continuation of the Netherlands Opera Ring Cycle with Siegfried; from French Radio Canada, a rerun of the Opera Bastille Tristan und Isolde with Ben Heppner and Waltraud Meier; a performance of Schubert's Alfonso und Estrella; from Teatro San Carlo in Naples; a February 2004 performance of L'elisir d'amore with Matthew Polenzani; Rossini's Guillaume Tell with Thomas Hampson, Marcello Giordano and Iano Tamar; from Teatro Real in Madrid, a performance of Don Giovanni with Carlos Alvarez, Maria Bayo, Sonia Ganassi and José Bros; a rerun of The Maid of Orleans with Mirella Freni from Washington Opera; and various and sundry tributes to Luciano Pavarotti on the occasion of his seventieth birthday (celebrated on October 12th of this past week).

Here's the complete rundown:


Happy listening,


Saturday, October 08, 2005

Offerings for Saturday, October 8, 2005 

As usual, there are some choice offerings for our aural delectation this afternoon, including two Wagner music dramas:

ESPACE MUSIQUES (French Radio Canada) - Rossini's Tancredi from the Canadian Opera Company, with Ewa Podles, Michael Colvin, Nicoleta Ardelean, Robert Pomakov and Marie-Nicole Lemieux, conducted by Will Crutchfield.

DEUTSCHLANDFUNK - From Wildbad, a September 2005 performane of Meyerbeer's Semiramide, with Deborah Riedel, Philippo Adami, Fiona Janes, Wojtek Gierlach,
Olga Peretyatko and Leonardo Silva, conducted by Richard Bonynge.

ESPACE 2 and SVERIGES RADIO P2 - A live performance of Wagner's Tannhäuser from Geneva, Switzerland, with Kristinn Sigmundsson, Stephen Gould, Dietrich Henschel,
John MacMaster, Alexandre Vassiliev, Ulfried Haselsteiner, Nina Stemme, Jeanne-Michèle Charbonnet and Katia Velletaz, conducted by Ulf Schirmer.

FRANCE MUSIQUES - From the Grand Théâtre in Geneva, a performance of Donizetti's Maria Stuarda Gabriele Fontana, Joyce di Donato, Eric Cutler, Giovanni Furlanetto, Marzio Giossi and Cecil Marion Ammann, Evelino Pido conducting Orchestre de la Suisse Romande.

KLARA - Jan van Vlijmen's Thyeste, with Dale Duesing, John Daszak, Helena Rasker and Harry Peeters, conducted by Stefan Asbury.

LATVIA RADIO KLASIKA - Verdi's Rigoletto with Mark Delevan, Diana Damrau, and Tito Beltran, conducted by Zubin Mehta.

RADIO 4 NETHERLANDS - De Nederlandse Opera begins its season with a complete Ring Cycle. Today we will hear Wagner's Das Rheingold, with Albert Dohmen, Werner van Mechelen, Frode Olsen, Mario Luperi and Michaela Kaune, conducted by Hartmut Haenchen. Tomorrow we will hear Die Walkure. Siegfried and Gotterdammerung follow next Saturday and Sunday.

RDP ANTENA 2 - From Hamburgs Staatsoper, a performance of Keiser's Der lächerliche Printz Jodelet, with Jörn Schümann, Inga Kalna, Julia Sukmanova, Anke Herrmann, Tamara Gura, Jan Buchwald, Moritz Gogg, Michael Smallwood, Andreas Hörl, Christoph Genz and Christoph Pohl, conducted by Alessandro De Marchi.

NPR WORLD OF OPERA - From Washington National Opera, Tchaikovsky's The Maid of Orleans, with (the seemingly ageless) Mirella Freni, Sergei Leiferkus, Corey Evan Rotz, Evgeny Nikitin, Phillip Skinner, Viktor Lutsiuk, Maïra Kerey, Vladimir Moroz, Trevor Byron Scheunemann and Feodor Kuznetzov, Stefano Ranzani conducting.

DR P2, NRK ALLTID KLASSISK and NRK P2 - A chance to rehear the Covent Garden performance of Puccini's La Fanciulla del West, with José Cura, Mark Delavan, Andrea Gruber and Jonathan Lemalu, conducted by Piero Faggioni.

BBC RADIO 3 - From Covent Garden, a performance of Nielsen's Maskerade, with Michael Schade, Emma Bell, Kyle Ketelsen, Gail Pearson, Brindley Sherratt and Kari Hamnøy, conducted by Michael Schønwandt.
Happy listening....

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