Sing to your hearts content

Donizetti
Lucia Di Lammermoor
The Metropolitan Opera
Opening Night Gala, September 24, 2007
Natalie Dessay Marcello Giordani
James Levine


Opening night at the Met was quite the gala event, stars, evening gowns, tuxedos, and plenty of drama. The evening started off with the singing of the national anthem, Never has our national anthem sounded so beautiful, than last night. Of course, being in the Met, backed by the Metropolitan Opera Chorus, and surrounded by professional singers such as Placido Domingo and Anna Netrebko tends to help raise the quality of music just a bit. Peter Gelb came out to welcome everyone, and dedicate the performance to Beverly Sills and Pavarotti.

Act I
Enter James Levine, looking as excited as a school boy, he raised his baton and on went the performance. I was fearful of this new production, because one never knows how strange a new director will try to make it. I’ll pause here to say Brava Mary Zimmerman. This production was traditional, yet innovative. It was truly great.
The curtain opened to a very simple setting in the moors. The stage was partially covered in moss, with dark lighting that gave the place a mysterious air. After the first men’s chorus, Dessay entered dressed in what looked similar a to Victorian, black riding habit.
“Regnava nel silenzio” was gorgeous; as far as contemporary opera singers, Dessay’s wonderfully controlled pianissimos are second only to Renée Fleming’s. While Dessay was singing about this ghost tale, Zimmerman had a ghost actually seemed to float on stage, in an pale costume, with shadowy light. The second half of the aria was a completely different color, perfect for a young girl in love. I’ll stop here to say that the beauty of having Dessay play this role is that not only does she meet all the vocal challenges, but she looks the part to a fault. It is certainly believable that she is a frail young girl able to be driven mad by heart ache.
During this second, lighter half, Dessay began running around this small hill on stage, at which point she slipped and landed sitting on the stage floor. She played into it brilliantly as did Martens (playing Alisa). Dessay sang the next few bars sitting down and playfully got Martens to help her up, in character the whole time. Then she got up and finished the coloratura line effortlessly-amazing. The best was at the finish of the aria, during the applause, when she leaned against the side of the stage, out of character, laughing and fanning herself.
“Sulla tomba che rinserra” was perfection. Dessay’s voice was crystal clear and pin point focused, while Gioradani met every challenge. They blended beautifully and made the perfect couple in love. It received uproarious applause before the Intermission.

Act II
Act II began with another little blunder, right at the start of the act, causing the audience to laugh a bit. One of the draperies fell down, however, it didn’t make much difference in the overall affect of the setting because the rest of the furniture was draped in white cloth, so it blended right in. Dessay and Kwiecien acted well together as brother and sister. It was very believable and reminded me of the final scene in Eugene Onegin because of the realistic nature of the acting. At one point he actually threw her down to the floor. Her last note of the duet was perfect-powerful and faultlessly placed.
The set change for Scene II was interesting and also reminiscent of Onegin. Household servants entered and removed all of the draperies and cloths to reveal a large, green and gold ballroom.
The fact the Lucia had realized her fate was not difficult to observe because Dessay wore it all over her face. She really did do a great job with this character. Every scene one could see more of her sanity being stripped away. In this scene, Dessay wore a gorgeous red suit in contrast to the other cast members who wore gray and black. Zimmerman made a creative call by having the scene revolve around the taking of a family wedding photo after the wedding contract was signed. All of the characters are concentrating on looking pleasant for the photo, while Lucia stares blankly singing about her lost love and Edgardo paces, while singing of his betrayal by Lucia.
On to Intermission two; while mingling, I was lucky enough to spot Placido Domingo, Anna Netrebko and David Schwimmer. Netrebko looked gorgeous in a gold gown. I stood next to her for a while, shocked because she is one of those rare people that is much prettier in person than on tv.

Act III
If you hear the saying “save the best for last,” apply it to this opera because the mad scene is to die for, pun intended. The chorus was in top form, delivering a powerful, yet mournful refrain. “Orrida è questa notte” duet was superb. Giordani had some perfectly placed, powerful notes.
And now what you’ve all been waiting for...The Mad Scene. I was pleased to see that Zimmerman kept the traditional long staircase for Lucia to descend. However, I have a feeling no other Lucia has descended it so quickly; because Dessay ran so fast I thought she would trip again. The entire scene was riveting. Dessay kept most ever action subtle; no big outburst excepting one scream. After descending the stairs she lay on the third stare from the top rocking back and forth like a small child, while singing superb runs, then, suddenly, she rolled down the rest of the stairs to the floor. If you want to talk ping then please speak of Natalie Dessay last night. Ever tone was crystal clear and rang out through the hall. She later lay on the prompter’s box and sang with perfectly controlled crescendos and diminuendos. At one point I had occasion to count an 8-10 second trill, she never stopped amazing me. More subtle gestures were found throughout, accompanied by flawless singing. Such as when she kept spinning in a circle for a full minute or two, but never stopped singing. Dessay also stood on the stairs tearing up her veil and then proceeded to cradle it like a baby. The most outstanding, however washer full voiced coloratura at times and her whispers at others. Throughout the whole opera I only heard one slightly off note from Dessay and she, never the less made it work. The Scene ended when she fainted into the arms of 3 cast members leading everyone else on stage to freeze on the spot, while the men carried her slowly up the steps one at a time. At this point the audience went wild cheering. The opera stopped for a full 5 minutes to allow for the applause to die down.
Giordani did a good job with Scene II. This aria has so many high sustained lines, that he had to battle with, but it was impressive. While he was singing of dying, Dessay, dressed as a ghost glided on stage, immensely happy to be with him as he stabs himself. Curtain.
The audience once again went wild for bow after bow. Dessay entered for her bows by pretending to slip again, causing much laughter from the audience One can tell she has quite the sense of humor. After Dessay finished with her bows on stage she ran out to the balcony where I saw her taking bows for the crowd outside. The audience hadn’t had enough though, because they cheered her as she reentered the met foyer, where she stood and waved down at us.
So at the end of the evening the production was good (some say dreary, but I approve) and Natalie Dessay is a permanent star in the Met firmament. I’d see it again.

Great Performers

Renée Fleming with the Los Angeles Philharmonic

Avery Fisher Hall

May 3, 2007

          To anyone who reads this, excuse my overwhelming excitement, but this concert was one of the best experiences I have ever had.  I managed to get a front row ticket at the last minute, dead center.  It was amazing to be 4 ft. from the greatest soprano alive, be able to hear here breath and watch every expression!  On to the actual concert…

            The orchestra started out with the Sextet from Capriccio.  I felt like I was right in the middle of the sound.  Then Renée walked out in her black satin dress with the white tulle trim and white wrap. She was glowing and for good reason because she was in EXCELLENT voice.  At this point I was so excited I was ready to cry, but I’m completely sure I remained composed, I hope J

            When Renée took her place beside Salonen, she tried to remove her dress from under several orchestra members’ stands and feet. She didn’t succeed at first and proceeded to yank at her dress and then started laughing along with the conductor.  It was great to see them all enjoying themselves.  She then winked at the Salonen and they began with Mein Elemer from Arabella.  I always say Renée sings with her whole heart and soul, but being that close, it is even more amazing to see how much she feels every note, even when not singing.  I agree with Khaleem that anyone who gets to see her in the entire role is most certainly lucky.

I have never seen Renée sing Strauss live; it was quite a treat to see how quickly she changes expression and tonal quality with each Straussian movement, and that’s pretty often.  J.  I also enjoyed the genuine humility and kindness of Renée as she took the conductor’s hands after each movement and even whispered bravo after Mein Elemer. 

Next up was Wie umgibst du mich mit frieden from Die Liebe der Danae.  The beginning orchestration is very long, but Renée did not let up on her concentration or emotion for one second and I should know because I was mesmerized and starring at her.  She smiled the whole time and swayed to the music with her hands in her pockets (all dresses should have pockets!).  I adored her high pianissimos; I’m always astounded by the perfect placement and extraordinary breath control through these long, high phrases.  On to some wonderful Korngold. 

The first Korngold piece she sang was Ich soll ihn niemals, from Die Kathrin.  I’ve always loved this letter scene and it was extra special this time.  Her note on the first “Verstehn” was indescribably beautiful and perfectly placed.  This melody has haunted me since Homage came out and now it is even more touching.  For her second Korngold selection, Renée sang Ich ging zu ihm , from Das Wunder der Heliane.  This was the perfect ending, powerful and moving.  I loved how she would hug her wrap to herself and then let it go at the perfect moment-breathtaking.  After this completely rapturous program the audience responded with uproarious applause.  Renée responded by announcing she would sing Marietta’s Lied, which brought more cheers.  This was wonderful, as always.  It made me think of how smooth Renée switches registers-completely seamless.  The audience begged for more, but sadly this brought an end to a concert well sung and much appreciated. 

            I met up with the rest of the group in the green room along with quite a crowd.  It was great to see everyone and to see some knew faces as well.  As always, Wanda made me laugh extensively and everyone else brought numerous smiles and great stories from their European travels.  Renée strolled in sipping champagne and chatting with everyone.  She asked everyone what they thought of Thais in Paris and Vienna and asked if they liked Hampson or Finley better; then she lovingly described Hampson as a bully, vocally that is. She said how much she loves this music and how well it fits her voice.  She also expressed that she would love to do more of it, including full roles, but doesn’t have room in her schedule for years.  She also mentioned her recent performance in Vienna and how it was special because she hadn’t been there in a long time because they hadn’t wanted “stars,” but now that the manger is retiring he wants al the stars he can get. J Renée said she had to run, but signed everyone’s playbills and  I had a chance to mention how I was looking forward to seeing her in London, to which she responded “oh, are you coming over, great”

That concludes all the details I can remember, I am still, however, on a Renée musical high-I’m not sure I’ll come down anytime soon, I sure hope not.

The Metropolitan Opera

Handel

Giulio Cesare

April 21, 2007

Ruth Ann Swenson, David Daniels, Alice Coote, Patricia Bardon,

Harry Bicket

Act I

            First off the costumes were gorgeous; I particularly adored Bardon’s Scene I costume.  It seemed the Met audience was a little shocked to hear Daniel’s voice in the first aria-obviously many weren’t informed about what a countertenor is; they warmed up to him quickly though.  He had a more powerful voice at times than I expected.  Alice Coote was a pleasant surprise; she should be a great Hansel next season.  I loved Coote’s high register; her pianissimos, when in anguish over her father’s murder, were breathtaking-mine, not hers. 

            Swenson was on her game for sure.  I never realized how charming and funny she is on stage.  Her comedic timing is right on.  Swenson’s mocking tone during "Vani sono i lamenti" was perfect.  I never realized before that the violins have this mocking undertone also-ahh the brilliance of Handel.  Speaking of comedic timing, when Swenson grabbed Ptolemy with her cane in order to prevent his retreat-that was something funny to see.  Vocally Swenson had a couple pinched notes during the first act, but all in all she was golden.  I can’t believe she had chemotherapy less than six weeks ago-what commitment!  Plus she looked adorable when Daniels was singing complements to her. 

            Swenson nailed her second aria “tutto puo, particularly the “tutto’s” and the incredibly long trill central to the aria.  In scene 4 I felt really bad for Bardon getting thrown all over the stage and assaulted, but on a brighter note Coote and Bardon sounded amazing together in their duet, "Son nata a lagrimar". 

            At intermission I went over to List Hallto be part of the Met opera quiz audience, hosted by Danielle de Niese, who will play Cleopatra in later performances.  It was very interesting to see how and where they record the intermission features and to see the panelists live. 

Act II
          Once again, Swenson makes the greatest faces.  At one point she tripped going up a step (well with a dress that huge on, I would too J), she quickly recovered and made it par of the scene, so when she got up to go back down the step, she pointed up and made a face like “this time I won’t trip” while she stepped lightly down the steps-what a pro!

            “V’adoro Pupille” was beautiful; I enjoyed the ornamentation she chose to use on the repeat.  Swenson’s turquoise, peacock like dress in Scene III was gorgeous, I t blended in with the whole blue hue of the set.  

            "Venere bella " was great, Swenson’s highest yet.  One of the funniest moments was when Cesare finds out “Lydia” is really Cleopatra after he has just scolded her for acting above her station.  Daniels and Swenson played off each other very well and made it quite the humorous moment.  So my lesson for the day was, always use your consonants; When Swenson really enunciated the consonant, she always nailed the very high pitches.  Swenson’s “Che Sento; Se Pietá” was beautiful as well; a very touching moment all around. 

Act III

          Swenson was definitely warmed up in this act, she was at her best.  Her first aria,”E Pur Cosi; Piangero” was truly heartbreaking.  She had no problem switching to the faster, resolved B part , then back to a feeling of anguish again.  Her soaring pianissimos were great!!!  In other words this was the Swenson I know and love. 

Daniel’s run in his scene II aria was never-ending. 

Scene IV-“Da Tempeste” was more than great!!!

Act IV

            The final duet was a shining moment for both of them.  It was so cute how they were embracing the whole time, plus both were dead on pitch.  To wrap it all up, was the beauty of the classic Handel big chorus finale. 

            Swenson soaked up every moment of well deserved uproarious applause at the bows.  She looked giddy as a school girl.  Finally a standing ovation to finish out a wonderful afternoon.   

The Metropolitan Opera

40^th Anniversary Gala 

April 3, 2007

Anna Netrebko   Rolando Villazon

Bertrand De Billy

La Bohème, Act I

            What a way to celebrate this wonderful event with these two outstanding singers in three marvelous scenes.  All of the men in this act sounded wonderful together;  there was a playful spirit about them along with a perfect blend.  Villazon showed he is quite the comedien.  Anna looked beautiful in her simple costume.  I was slightly skeptical to see her playing this simple, shy girl, but she pulled it off with flying colors.  All the talk about the chemistry between the two of them, well I now have no doubt, they have chemistry in spades!  His aria, “Che gelida manina”  was certaintly a highlight; his last note was neverending.  I can definitley see him stepping into Domingo’s shoes, with some more work.  They way she leaned her head on her hand and gazed at him during his aria was adorable.  May I just say, I loved her aria, Sì. “Mi chiamano Mimì”;  It was one of the most beautiful moments of the night.  It was impressing how both of them seem to nbever reach for a note, particularly in this Act; they are always on top of their game.  The end of the Act in their duet, “O soave fanciulla” was breathtaking and the kiss, wow.  My favorite part was their last not offstage-outstanding. 

Manon Act III, sc 2-St. Sulpice

            I adore this scene as one of my favorites in all opera, therfore my standards for singing it are quite high.  Ramey did a good job as Count Des Grieux; I always enjoy seeing him on stage, as he is a legend.  Villazon had a few difficulties during “Ah! Fuyez, Douce Image, ” but overall he acted and sang it well.  It was very powerful, but I do prefer Alvarez.  The cadence of the whole scene seemed a little fast to me or maybe just too choppy for my liking.  Netrebko’s high notes were great in “N'est-ce Plus Ma Main Que Cette Main Presse?”, but I wished it had been more legato.  Let me just say Manon=Renee Fleming for me.  I feel it is necessary to have that silky smooth tone in order to draw Des Grieux back and make the scene reach its full, beautiful potential.  Although, Anna crawling across the floor and pretending to die in order to seduce him was quite entertaining and amazing.  The kiss at the end where she pulls him back into the church-wow.   Don’t think I have ever seen anything like that in opera, they couldn’t keep their hands off eachother-chemistry for sure!

For L’Elisir d'Amore Act II

          I had never seen this opera before and I loved it.  It was colorful, witty, funny, and the light lyric that I love.  Anna shined, she was so bouncy and girlish.  It was amazing how quickly Anna and Rolando switched characters and styles completely.  Her coloratura was dead on-beautiful.  The duet with the Dr.and Anina was great and so fun.  The last aria between the two of them was a highlight.  I loved how she kept stamping her foot because she had to admit she loved him.  Her stratospheric piannisimos were amazing, particluarly the last note.  When she kisses him in the middle of one of his note-ladies and gentlemen, that was priceless. 

            The gala ended to uproarious applause by all, while Anna Netrebko and Rolando Villazon took numerous bows and continued to hug eachother onstage.  A great evening was had by all.  

The Met produced another wonderful broadcast on Saturday, March 24th.  Il Barbiere di Siviglia was great fun to see again, especially with a different Rossina-Joyce DiDonato.  It was a wonderful surprise to have Kristin Chenoweth introduce the opera in her witty way.  Looking wonderful in a short, red dress, she roamed amongst the costumes commenting on the story and the singers.  
DiDonato was the ideal Rossina.  Having never heard her before I was pleasantly surprised.  I live Diana Damrau so I was skeptical of hearing a mezzo sing it even though Rossini wrote it for that voice.  DiDonata knocked my socks off she has an amazing voice with lots of wonderful high notes.  Apart from that she is the perfect actress.  Her acting skill reminds me a lot of Renee Fleming.  She was the perfect girl hopelessly in love and determined to get her way (particularly in Una Voce Poco Fa) which was AMAZING! 
Peter Mattei was in EXCELLENT voice.  You could tell eveyone was much more comfortable in their roles than earlier in the season.
The music teacher scene was hysterical, Florez' wig fell off and he had to keep playing with it and occassionally DiDonato woul;d come up and help him a little and then laugh-ah the beauty of live theatre.   The way DiDonato changed facil expressions during her aria based on whom she was looking at-Bartolo or Lindoro-was brilliant.
Florez' Last aria was wonderful.  They were hugging a bunch and it made my heart melt.  They truly looked like two yough people in love-thanks primarily to DiDonato's wonderful acting-her facial expressions, Wow!!
The intermission feature was great too.  Mattei was interviewed on stage during the set change; Joyce DiDonato and Juan Diego Florez were interviewed by Deborah Voight-it was so cute how they all said hello to their parents.  I enjoyed hearing DiDonato talk about why she loves Rossini-the hard work behind the singing in order to give the singer the ability to play with it and make it look natural; also how the second act is almost like Verdi and full of emotion-I had never throught about that nor seen it played with so much emotion as she did.
   

Just ordered my 2007-2008 Metropolitan Opera subscription because next season is out of this world-Renee Fleming (Traviata and Otello!!!), Bryn Terfel, Natalie Dessay, Susan Graham, Angela Gueorgiu, Anna Netrebko, Rolando Villazon....I am absolutely ecstatic!
Oh and did I mention I'm doing a whirlwind tour of several European opera houses for graduation!

Metropolitan Opera House

Tchaikovsky: Eugene Onegin

March 3, 2007

Renée Fleming, Dmitri Hvorostovsky, Ramon Vargas, Elena Zaremba,

 Paul Nadler

          Renée does it again, a stupendous, heart-wrenching performance throughout the evening.  I was worried she would not sing because of her illness that was announced at the previous, Wednesday performance, but what a trouper she is.  At the start of the opera the announcer came on stage followed by a gasp by the whole audience.  After he announced that he was merely clarifying that a minor role would be sung by a particular singer, the whole audience breathed a unified sigh of relief.  True satisfaction came at Renée’s first note, sung offstage.  I was immensely relieved to hear that beautiful voice resonate throughout the Met. 

          If I thought Ms. Fleming’s portrayal of a teenager was good last time, it was tremendous this time; she had it down cold.  The Letter Scene was once again amazing; no tentativeness could be heard here, she was all power and beautiful line.   

          There is not much to add to the previous report because it’s hard to improve on perfection, but this performance was just as amazing as the February 17^th one. 

          Some of Dmitri’s notes seemed to have gone on forever.  I seemed the comfort level between the two of them increased greatly throughout the performances making them perform the last scene perfectly.  The Final scene was physically more intense (I didn’t think that was possible); it really looked like he was going to pull her arm off. 

          My friends were so excited to get to go backstage.  I was surprised at how many people were back there.  After a while, Renée came out.  She was extremely gracious, as always.  She looked quite the business woman in her grey pants suit J  We waited patiently, until after she had talked to almost everyone else (It seemed that there was a group of women who were old friends and Renée was trying to find a time when they could meet the girls).  My friends then got to tell Renée how much their 4 children love her.  And being ages 3, 5, 7, and 9 they think she should win American Idol.  Renée seemed to think that was the greatest thing and mentioned that she thought they should have classical musicians on. 

          We had overhead that she “braved the dust” to watch her girls ride today, and my friend and I being horsewomen brought up riding.  Renée told us about where the girls rode and how much they and she like it. I mentioned that everyone from The Beautiful Voice group said hello and wished her a speedy recovery; she said she was feeling much better than Wednesday.   We then headed out and back home, exhausted from an exciting evening.  

Went to see Eugene Onegin at the movie theatre today (of course I had to drive an hour and 1/2 to get to one where it was playing, but is was worth it).  It was wonderful to be able to see Renee's expressions up close-wow does she feel the music; loved her reaction to Onegin at the end of Act II Scene I.  It was funny because I was just talking to Dr. Robinson Thursday about Renee and she said "Renee has always sung with her soul", how true.  

I enjoyed the interview after Act I and to see Renee still crying-that scene gets me everytime too.  The documentary was highly enjoyable, especially Renee and Dmitri's comments on how they like to be spontaneous to keep it interesting.(Like Renee wanting himn to "really" push her down in Act III.  I could see their spontanainty in the last scene which was considerably different than the 17th.  

 It was neat to see Renee walking backstage in her Act II ballgown (with her helper to hold up her dress) headed for her entrance.

One of my favorite spects of the HD broadcast was that I got to see when she breathed; her phrasing is amazing; what breath control! (especially in the letter scene)
It was also great to see the costumes close up because they are extremely detailed and, of course, gorgeous!

The last scene, was a major wow, I can't believe Renee could actually sing when it looked like she was about to lose it crying-Amazing.  That scene kills me everytime, I was crying so hard I couldn't stop-I think I am still in shock :)

Oh yeah, and Gergiev, he is awful fun to watch.

Can't wait for PBS to play it!

So my second duet rehearsal was good, good, good!  Of course an accompaniest helps.  And you gotta love the fact that the part that my fellow singer struggles with requires me to sing the highest/hardest part numerous times, until he gets his part right-ahhhh!
Oh well I improved on it so all's well that end's well.  Onward to the next practice.

The Metropolitan Opera

February 17, 2007

Tchaikovsky’s Eugene Onegin

Renée Fleming        Dmitri Hvorostovsky

Ramon Vargas                 Paul Nadler

          Finally an opera heroine who explores her emotions, controls them, and retains her dignity in the end.   Tatiana runs the gamut of emotions from passionate to despondent and everything in between; Ms. Fleming conquers them all with perfection.  Dmitri Hvorostovsky is the essence of aristocratic; he portrays Onegin with ease and charm.  Although a minimalist production, nothing lacked.  Simple sets and ethereal singing made this production the ideal of what opera should be. 

          Act I

       When I first heard about the stage covered in leaves, I was skeptical, but upon seeing it, it made quite an impression.  To have the curtain rise to a blank stage, except for a table and chairs, but covered in leaves was gorgeous to say the least.  It was almost ethereal to hear Tatiana and Olga singing offstage, with two servants onstage.  The way the sound echoed from an unknown location simply amazed me.  The lighting played a major role in the production; I appreciated how it set the mood so well.  Haring the whole met chorus offstage was like a choir of angels for me, it could have gone on forever. 

          Renée did a wonderful job portraying a teenager.  She was so smiley and child like while observing the servants sing and dance.  Besides her mood, she seems like she is in fabulous shape right now!  I really enjoyed Olga’s dark deep tones in scene 1. 

          Renée’s voice always amazes me with how full of emotion it is.  You could feel the discontent in her voice.  The acting and the voice are always perfectly melded.  She was the essence of a giddy, shy girl upon Onegin’s entrance.  It was a real treat to hear all four of the leads sing together-they all expressed their individual emotion’s, but blended well at the same time.   Vargas’ diminuendo, at the end of his scene where he expresses his love for Olga, was utterly amazing-so focused!  I love how Hvorostovsky’s tone emits aristocratic boredom.  

Scene II

          The way Ms. Fleming goes from the most adorable teenager to utter anguish and power within moments, stops me cold every time.  On to one of the anxiously awaited events, the Letter Scene.  The leaves were cleared in a square space in the center of the stage.  Inside the space was Tatiana’s bed, a desk and a square trap door where her nanny entered and exited from.  Her tone when singing about her “fatal tempter” was amazing.  All throughout this scene I was so impressed by the perfect connection between her chest and head voice, there was not even a hint of a break or change in tone-WOW.  “I will confess all! Courage!”-the power in this line knocked the wind out of me.  Also when she denies that she could love another (“Another! No, not to any other in the world could I have given my heart!”) the power behind it left me in awe.  Her tone was the total reverse when she sang “You appeared before me in my dreams…”, it was a clear, white tone, which sounded very young and innocent.  I love it when she takes all the vibrato out of her voice to portray certain emotions, it takes so much control.  How Renée manages to sit on the floor, hug her legs, and sing such wonderfully supported high notes is remarkable.  She really opened up and gave it her all to sing “I wait for you”, which is always wonderful to hear.  The two energetic laps around the room while tossing leaves were highly enjoyable to watch, plus how she finished the aria after that; I will never know-keep it up Renée!

Scene 3

          In this seen the servants came out and swept the leaves into a perfect circle, and then Tatiana enters followed by Onegin with her letter.  Renée had so much remorse and anguish in her voice; it was incredibly moving just to close you eyes and listen.  Her multitude of tones amazes me; she has one for every emotion.  While Dmitri sang about how he wasn’t made for bliss, Renée walked around the circle of leaves in a trance like state.  Hvorostovsky’s last note was remarkable, as it was extremely steady, the breath that must have took-wow.  The way he gave her his hand and they walked off stage while she crumpled the letter behind her back, was
overwhelmingly moving; you could actually hear the paper crumple.  

Act II: Scene I

          The set for the country ball seen was simply chairs in set up in a square to form the dance floor-this seemed to be all that was needed, however.  The women’s costumes were vibrant, full and beautiful, especially Renée’s.  Even with a gorgeous dress, she still looked appropriately devastated.  You can certainly tell Renée feels the music because even in her character’s sad mood, she still was bopping her head to the polonaise J  I enjoyed Dmitri and Renée’s interaction while dancing together-he was bold and she was very apprehensive, not wanting to let herself love him.  Ah, the dramatics in this opera feeds the soul.  Onegin’s reaction while Tatiana has the Frenchman’s couplets sung to her was perfection; he couldn’t look directly at her, which was foreshadowing how he couldn’t admit his true feelings for her.  I am utterly positive that Renée has the perfect happy, but deeply sad look.  Vargas’ aria was great; he was definitely on full throttle because I have never heard him sound so good.  His “Farewell Forever,” all I can say is wow!

Scene 2

          The smoke screen effect for the duel scene was very effective to create a scene at dawn and to set the mood for what was about to happen.  Lenski’s aria was breathtaking; his high notes are so much better than his mid range so this aria fits him perfectly-what a crying tenor.  I really think his last note went on forever, with perfect focus besides.  Onegin and Lenski repeating each other sounded very interesting; they blended very well together. 

Act III: Scene 1

          The scene change with Onegin’s valets dressing him onstage was quite odd, but it worked.  This set was one of my favorites.  The contrast between the plain white set and the all dark costuming was stunning.  Hvorostovsky’s aria in this scene was like a breath of fresh air for me because he finally showed a glimpse of emotion.  Renée’s entrance took my breath away because she exuded dignity, and what a beautiful dress (navy overlay with underneath of navy and crystal)! I’m pretty sure Ms. Fleming floated into the room instead of walking.  When the party guest’s sing about her “effortless grace” I know what they mean.J  I adored Renée’s pianissimo as she sung to herself (“help me conceal my turmoil”) it was perfectly placed.  When Onegin realizes he loves Tatiana it was like he came alive; the energy in his voice changed completely-much brighter tone and wow what great lines.   

Scene 2

          Saving the best for last certainly applies in this case!  Once again Ms. Fleming’s acting was utter perfection.  She swooned as she read Onegin’s letter.  Her soaring high notes were flawless, talk about yawning a note.   Her lines with slight crescendos and then the effortlessly sustained diminuendos left me in awe.  Finally I got to see Hvorostovsky’s vocal power and emotion and he certainly has it in abundance.  Renée really cut loose while singing “Why conceal it I love you”; it was amazing.  And the best of all, Renée’s “farewell forever”, she threw back her arms and gave it everything she had.  Compared to the two broadcasts I’ve listened to, she held the last note longer than either of the broadcasts; when you nailed it, enjoy it is my motto.  She then sprinted offstage leaving Dmitri, absolute despondency, to nail his last phrase.  Let’s just say you might as well rip my heart out and stomp on it repeatedly, but isn’t opera all about the tragically romantic, I know I am and who could ask for more with this performance. 

          Fleming, Hvorostovsky, and Vargas all received standing ovations and then waved goodbye to the audience as the curtain came down.  

Backstage:

          Enter the Diva!-I loved Renée’s outfit, her crepe shawl was so casual yet dressy and who wouldn’t love those furry boots.  It was great to see all the group members that I had already met again and to meet many whose faces were new to me.  It was exciting to finally meet Darrell!  When Renée saw all the people from The Beautiful Voice there she said that she should have brought her camera.  She thanked us all for the roses and said they were beautiful.  She then proceeded to ask us if we wanted her to sign anything and of course we echoed a unanimous of course. Later Tim got his University of Rochester shirt, which seemed to excite Renée.  He got to have a little conversation with her where she asked where he went to school and if he was going to attend Eastman.  He explained that he wants to study physics as Rochester and take piano lessons at Eastman next year.  Renée replied with “physics huh, you know music is easier” with that effortless smile she has.  She also asked him how he got interested in opera and he said it was in the family-very true indeed. 

          Renée signed my playbill for me after asking if I was a singer and when I said yes, she excited replied “great.”  She asked where I studied and I explained that I study privately.  I was so thrilled that she was excited-what a wonderfully caring person she is-I don’t think that will ever cease to amaze me with her busy schedule.  Oh and she liked my jacket, which of course made me happy since I love all her clothing!

          Everyone had a good laugh as La Diva asked what we thought of Onegin and if we hated him.  Witty Wanda responded that of course he was hard to hate (looking the way he does).  Renée then proceeded to tell how several women she knew wanted her to rip his shirt off and were mad at the valet standing in front of him in the scene change-J

          Once again another wonderful evening at the Met made possible by Renée Fleming. 

     
The goofy look is totally the angle.

Newsflash: 
First rehearsal of the duet with Paul (God So Loved the World) went beautifully today.  I think when all is said and done, this is going to sound great.  Up next, drill it some more on Sunday.

After watching Kristin Chenoweth in The Music Man for the thousanth time, I've decided this is my new themesong.

I'm excited because I'm starting to work on my first official soprano -tenor duet (God So Loved the World-Stainer).  Fancy that I get to be the high lyric soprano; two years ago I never would have thought that would happen!

The Apple Tree

Studio 54

January 17, 2007

Kristin Chenoweth      Brian d’Arcy James    Marc Kudisch

Act I

This show was one of the funniest things I have ever seen in m life.  I laughed so hard that I cried through some of it.  Although it is a small cast and a limited set, nothing is lacking because Kristin’s stage presence fills the room from beginning to end.  Each of the three roles is different, and she brings something special to every one. 

        I found it wonderfully charming that Kristin wore clear heals even as Eve.  Eve’s entrance on the sliding mound of grass is so funny, and her slow wakeup while trying to hug something-priceless.  “Here in Eden” was sung with this childlike, innocent essence that drew you into Eve’s world, Kristin’s voice is wonderfully perfect for the first act because it is so clean and clear-she enunciated every word, which made me extremely excited for The Ghost of Versailles in 2010, I can see it now-Kristin Chenoweth achieves perfect diction and tone. 

        I loved the sincerity of “Friends” and laughed so hard when she “fell” in the pond and was perfectly content to stay there.  The hut scene was great; after Kristin convinced James to invite her into his hut, she says “I don’t want to come in now.”  I laughed so hard during “Eve”-who wouldn’t if Adam was singing a lovely song and Eve, aka Kristin’ was running back and forth on the stage with plants, bigger than herself, to decorate the hut.  I loved the “I know exactly where I’m going to put it.”   And on to the classic line, “Don’t touch it” when Adam tries to touch the baby-she must have added that because it’s Kristin to a “t”. J “What Makes Me Love Him” was breathtaking.  I adore the lyrics to this song and Kristin makes it her own in a very special way.  She sang every word the immense feeling of indescribable, indefinable love …sheer perfection.   

Act II

This was definitely the funniest act of the three.  It was great to see Kristin be able to play such a different character than any she has ever played, she goes from lustful to swooning to bloodthirsty, to distract; it runs the gamut of emotions. 

“In Gaul” was laugh out loud hysterical.  I adored the voice she used, in order to disguise their relationship, it must have been her special royal voice “more captain, more” “details captain, I relish details.”  The “oh man” when her father finds them out was classic.  I also heard that her father was sitting somewhere in front of us in the mezzanine and she kept looking at him when interacting with her stage father, the king, like the whiny “oh daddy.” I thought that was very cute. 

I think I almost died during “I’ve Got What You Want.”  She kept hitting herself with the whip; you could tell that sometimes it was actually by accident.  She didn’t sing it real sultry like Barbra Harris, but more funny.  Kristin held on to some of the last consonants really long like “I know how muccccccccccccccccccchhhhhhh you want it,” which was quite hysterical.    “Tiger, Tiger” was also one of the funniest things ever.  In the “bite em again…” part Kristin kept biting like a dog.  When Sanjar gave her the note she ate it, and then attempted to sing with it in her mouth, then spit it out and just kept on singing-definitely an ad-libbed Kristin thing.  

Act III

        I love the buck teeth look. J “Oh to Be a Movie Star” was so adorable.  I thought it was the cutest thing when she would sing “mooovie star”, squeak and then hold her throat like “what was that.”  Kristin makes a cute chimney sweep with all her Sallyesk moves.    During the third “working/dreaming” and running back and forth, she just went “no, no” like no more.  She didn’t even say the last “written on my stone” and then she just mouthed “she didn’t get to be a mooovie star.”   Loved, loved, loved Passionella’s entrance because Kristin kept laughing and she looked gorgeous indeed.  “Gorgeous” was a highlight of the evening even though she didn’t hold the high note at the end, I guess she was saving her voice for the Met which is understandable, who wouldn’t.  Kristin makes the best movie star in this number, ever.  I adore the gold dress!  When she slips down into the nasal voice for “yeah” it is the cutest.    

        Kristin’s Passionella voice in “Who is She” was great; I adored how she found her Passionella voice in the 2^nd “Passionella” which was kind of sultry while the 1^st was slightly squeaky.  Kristin’s faces during “Who is She” were classic…”she knew” they loved her indeed.  Kudisch and James sounded good together at the end of the song. The creep into the spotlight was such a Kristin adlib.  At the awards ceremony, Kristin came out of the audience and said “you like me, you really like me.”  When she got the award she said “oh he’s naked,” only Kristin thinks of these thingsJ.  The end was very cute as they both discover the others true appearance.  The bow was also really adorable because Kristin kicked both guys in the butt and then ran off stage.  All in all it was the funniest show ever.  I have never laughed more in my entire life.  

So my Dad decided to buy me a horse for Christmas!  His name is Ashbrook and he is a Fresian-Morgan Sport Horse, almost 2 years old and the cutest most well behaved horse ever.  Can You tell I'm excited :)