Sing to your hearts content

Lucia Di Lammermoor

Wed, 26 Sep 2007 02:21:41 GMT

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.

a little Strauss and Korngold

Sat, 05 May 2007 04:36:43 GMT

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.

Can you Handel it?

Sun, 22 Apr 2007 21:11:16 GMT

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.

Let's hear it for 40 years!

Thu, 05 Apr 2007 03:59:19 GMT

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.

To love a song

Sun, 01 Apr 2007 23:51:27 GMT

After about a month of practice, Paul and I performed our duet today to rave reviews by all in attendence. Even though I was nervous and he was calm and collected, I think I enjoyed it more. I attribute this to the fact that I have truly developed a love for this song, "God So Loved the World." I find that after considerable rehearsal, certain songs become part of you, and to sing them expresses something beyond yourself-particularly when the text is Scripture itself. I think when a song achieves this status, then can you sing it with true expression and joy ,in a rare, but wonderful moment.

More Rossini please.

Sun, 25 Mar 2007 20:02:45 GMT

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.

Opera again

Sat, 17 Mar 2007 03:53:30 GMT

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!

Tue, 13 Mar 2007 03:25:15 GMT

View Poll: Symphony of psalms says who?

After 3 hours of rehearsing Stavinsky's Symphony of Psalms in choir I just needed to ask.

Tatiana rules again.

Mon, 05 Mar 2007 23:49:33 GMT

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.

Renee on the big screen

Sun, 25 Feb 2007 00:38:53 GMT

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!

2nd rehearsal, good as gold

Mon, 19 Feb 2007 20:42:53 GMT

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 Diva does it again!

Mon, 19 Feb 2007 05:35:22 GMT

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.

1st rehearsal

Sat, 10 Feb 2007 03:57:27 GMT

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.

themesong

Tue, 06 Feb 2007 01:01:35 GMT

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

gotta love duets

Mon, 29 Jan 2007 05:27:33 GMT

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!

Apple anyone?

Thu, 25 Jan 2007 05:11:16 GMT

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.

Sun, 21 Jan 2007 04:32:23 GMT

Kristin Chenoweth-Live at the Met

January 19, 2006
Conducted by Andrew Lippa

“What You Want”

Kristin Chenoweth gave the concert of her life tonight and earned the title of Diva in the making. Her humor, ear-piercing high notes, and passion combined to make this an evening one will never forget.

The evening began with Andrew Lippa attempting to start the overture, but before he could start, over the loudspeaker came that classic baseball organ music followed by Kristin running onstage in a Mets jersey and cap. The brilliance is always in her facial expressions. She looked like a small lost, when asking where the hotdogs were; followed by Lippa responding that “this is not the Mets, Kristin, it’s the Metropolitan Opera House” Then came the terrified face, while Kristin sprinted off stage yelling “play something.” Lippa then began to play and conduct a brief version of “My New Philosophy”

When the house lights came up, there was Kristin, back to the audience, arms raised, clothed in a sparkling, short, red dress. No sooner had you seen her, than she began to sing “Gorgeous”-what an entrance. Miss Chenoweth was so excited that she nearly ran out of breath. The high note at the end was real short, but she hit it dead on; who wouldn’t be too excited and nervous to breathe when making their Met debut.

Next up was “Popular”, which she gave a cute introduction for. Kristin said that she was so nervous for this concert that she called her friend Renee Fleming for advice on what to do if she felt like she was sick or couldn’t be loud enough, etc. The story goes that Renee proceeded to tell her that it didn’t matter what she sounded like, she just needed to (musical interlude) be popular. Kristin was her typical, cute, Galinda self, leaps and heel clicks included. During the musical break in the song, Kristin continued with the Renee story, saying that Renee told her something that always helps. She then proceeded to put on Wagner opera horns and sing the rest of “Popular” switching between opera tones and normal; it was hysterical!

“Goin’ to the Dance with You” was cute as well. I love to see Kristin return to her roots with the 2-step dancing. It’s always funny when the her two male partners go dancing off stage together, followed by Kristin stating “hey, it happened.” Next up, something new for me, “Jodie Marr’s “Boy.” Kristin introduced this with a story about how she isn’t married because she compares every man to her father and how straight shooting he is. This song was very western and very pretty; you could feel the yearning.

You can’t get more physical comedy in a song than in “If You Hadn’t but You Did.” This fits Kristin so well and her partner as of course brilliant at playing the “dead man.” The beginning was more melodramatic than I have ever heard it, and it worked so well. Towards the end of the song she forgot the words and stared going “da da da da da…” You could tell she was laughing, but nailed the rest of the song anyway. After Kristin finished she sarcastically said “How did you like those lyrics”…”I’ve only been doing this song for 6 years”…”it’s my favorite song.” She just loves to joke about herself. Kristin then declared that it was audience member, Glen’s birthday and we should all say “Happy Birthday” then she shushed us.

Next, that caffeine loving “Taylor the Latte Boy.” Words cannot describe it, it was just classically Kristin wonderful, just as it always it. When the dancer from “If” came back out for “You’re Easy to Dance with.” Kristin responded with “Oh, you lived”-never without a witty comment. This song was like Kristin’s vocal break because she didn’t sing until the end. It was, however, a very cute dance routine with her trying to decide between two different dancers and constantly agreeing that indeed she was easy to dance with. The even went into the West Side story rumble music and pretended to fight over her, it was so cute. The guys kept passing her back and forth like she was a doll, they were practically throwing her. She then began to sing and made then become friends, as always; ending this number with “I don’t think opera has two hot guys like that.”

To end the first act with a bang, who wouldn’t request “The Girl in 14G.” Kristin rocked this song all the way through. She nailed all the high, operatic notes while moving her hand up and down with the pitches (I love that she does that, it’s like the Kristin look) and jammed to all the scatting. Right before the long note on “stop” she cracked all her knuckles, it was utterly hilarious. Well I wanted all that for sure and I need the second act, no doubt about it.

“What You Need”

Kristin came out looking like the reigning diva of the Met, in a blue, velvet gown, train included and her hair up with glamorous curls falling. I have to say this is my new favorite look for her. She took a big long, gasping breath to be funny and then proceeded into the more classically oriented part of the evening, beginning with “Italian Street Song.” The Julliard Choral Union backed Kristin up for this one, and they sounded great. Kristin certainly got to show off all her high notes in this one. She started conducting the choir at one point, then went to sing again, but the choir cut her off, so what’s a girl to do but play the tambourine. In my opinion, in a shining moment, Kristin gets to hang out in the vocal stratosphere while the chorus backs her up. One thinks this wonderful number has ended because Kristin has walked off stage, but no she returns and she start up again with those wonderful notes that have more ping than I have ever heard. At the end she asked in classic Kristin humor, “has anyone seen my Larynx…it’s up in my brain somewhere.”

It turns out Bette Midler was there and Kristin pointed out how nervous this made her. I know it is odd to say, but I simply loved the fact that she was on the Metropolitan Opera stage drinking tea, it had to be the cutest thing ever. Continuing in her little monologue, Miss Chenoweth stated how much she was humbled by the fact that we were all there. She then proceeded to say that she heard some of the Miss OK pageant directors were there and how she is convinced that she lost because of her 60 minutes answer, I don’t know, I think it’s long enough too J. Perhaps one of the sweetest moments was when she thanked her current voice teacher and then Florence Birdwell, who taught her how to sing; Kristin dedicated the next song to her. The Gilbert and Sullivan medley was lovely; the slow part in the beginning was great with Kristin casually leaning against the piano. It was hysterical how she started swinging back and forth by the piano as the medley sped up and the choir joined her. Her run was great, extremely energetic and highly placed. In the staccato parts she started jumping up and down, which made me barely roll on the floor and the part where the music stopped and she just kept on repeating the phrase-is this girl funny or what. On to the little battle with the flute player; he played she mimicked, he played, she mimicked, he played, and she said “oh no he didn’t, and took his flute away and hit a killer high note to finish this one up.

“Love Somebody Now” by Lippa was sung with so much passion, I can’t imagine it ever being felt more. You could tell she felt every word of it. “How Can I Lose You?” was, of course, outstanding as well. I truly enjoyed how she combined the sadness and the fun of the song so perfectly. It was so cute how she danced with herself. The last phrase was amazingly clear. “Run Away” was good song too, especially the last note on “A”-that’s so hard to place properly! I was really excited during this song when I realized that she always tilts her head or leans in when she is into a song, like me, so of course I was excited.

Kristin introduced “Hard Times Come Again No More” by saying it was her prayer for the future, which really set up the emotion behind it. I have never heard it sung this way and I loved it. It’s such a beautiful song and Kristin added her flare to make me just let go and cry. I thought I was going to die with the key change and ornamentation she added. She sang it with so much power at this point and then immediately decrescendo’ed during “no more” which drew you in and made you melt.

Kristin said she thought “maybe it would be good to end the concert with some German Lieder and everyone was like huh, “but I thought this song would be better.” As much as I love LiederJ, “Show Me the Way” was AMAZING. I’m pretty sure I died and went to heaven. I really think this song was a prayer to God, what else could be that powerful, it gave me such chills.

Of course, encores are a necessity so out came the jewelry box and up went the roar of the crowd. “Glitter and Be Gay” was the highlight of the evening, which is saying a lot. She nailed everything and was so funny. She kept kicking the train of her dress out from under her feet and she struggled with the pearls a bit, which added to the humor immensely. Kristin didn’t hit the 2^nd to last high note as perfectly as usual and the last one was good, but not sustained. Of course she wasn’t content with this so when she came back onstage she said nothing, but let out an amazing E flat above high C. It was ear piercing-I was in Awe. She said, she just wanted us to know that she could do it better. Then she sat down on the piano bench and sang it again; someone yelled encore and she let another one rip directed at him. It was the best ever; achieving those notes with that quality and volume would be the joy of my life.

The final encore was the perfect ending, as she stated she was “running out of gas.” She dedicated “What Makes Me Love Him” to Andrew Lippa, which was so sweet. I love this song to begin with, but she sang it with the most feeling I have ever heard, changing some of the words so say Lippa was so perfect and sometimes she wanted to kiss him. Kristin was so choked up at the end she could hardly finish, but she did, then gave Lippa a kiss and a hug; it was the perfect ending to the perfect evening. Kristin got a standing ovation for the second time, took her final bow and left.

Later on I happened to catch Bette Midler walking out of the stage door!

Who could ask for more than this fantastic evening? Not I.

Growing?

Sun, 21 Jan 2007 04:24:11 GMT

So today at my voice lesson I was having these wierd vowel sound problems, they just weren't as high as usual. I also had noticed this the week before, but attributed it to oral surgery. So I'm there with my amazing teacher trying to figure this out because everything feels different, and then she goes "I know what it is...you're voice is growing." Huh? She explains that you never know when it's going to happen, but I guess over Christmas break with a lot of practice, I just developed a bigger sound. So of course I'm ecstatic, now I just have to figure out how to use it. :)

birthday

Fri, 12 Jan 2007 20:57:26 GMT

It's my Birthday!

Horse!

Sun, 07 Jan 2007 04:20:49 GMT

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 :)

interesting or dull?

Sat, 30 Dec 2006 18:55:10 GMT

The First Emperor

The Metropolitan Opera December 26, 2006

Placido Domingo, Elizabeth Futral, Paul Groves

Act I

The Highlight of this act was most certainly Futral’s high, lyric voice. Her acting was also quite good; she plays the giddy, young girl well. The music was disappointing in that it did not show off Placido’s beautiful sound or his vast capabilities. The opening scene was perhaps the most dragged out, irritating scene in opera that has ever been produced. I could not wait for the Ying-Yang master to leave the stage and the opera to move on. The Met Chorus is always a thrill to hear, especially when it consists of at least 85 members (those I had occasion to count). Their sound quality was magnificently powerful.

This opera made me hope for future pairings of Futral and Groves; with both of their clear, light voices, they sound wonderful together; a good union indeed. The love duet in Act I, scene 2 had its moments with Groves and Futral singing about being like fire and water. The downfall of The First Emperor was that much of the music sounded the same, with few exceptions, causing the performance to drag. Sadly, a beautiful melody was waited for, but n ever found.

However, the set design was interesting, with all the steps and blocks hanging from wires across th4e ceiling. These wires could be raised and lowered, depending upon the desired set. Although interesting from a visual perspective, it was still difficult to listen to such talented artists sing music that did not highlight the power and quality of their voices.

Act II

It was interesting to here the different Chinese instruments that were played on stage and in the pit. It was also interesting to hear the orchestra members have a few little lines here and there. If anything, the percussion guys were certainly having fun playing this score. Once again the chorus had a great sound, singing as the slave chorus while building the Great Wall. Especially very pretty were the phrases “Lord of Heaven” and the final note on “sand”, which seemed to go on forever.

Scene 2 had a visually spectacular opening, as all the chorus members were lined up on the stairs with bright, different colored robes on. Once again the chorus part was the most enjoyable. Futral’s ghost aria certainly had quite a few sustained, very high notes-Wow. Overall the second act was much better that the first; a little more melody goes a long way. The Anthem of China was the best part overall, as it was actually an appealing piece of music.

Afterward I met Placido Domingo, Elizabeth Futral and, Tan Dun at the stage door. Domingo and Futral were incredibly nice, which made everything worthwhile.

Merry Christmas

Mon, 25 Dec 2006 04:26:32 GMT

Merry Christmas to all

Sat, 23 Dec 2006 00:53:04 GMT

Renée Fleming

Rejoice Greatly

Carnegie Hall December 21, 2006

For all reading this, I premise this report with this; I love sacred music, so any partiality I leave to that. The first orchestra piece, Handel’s Overture to Saul, was good, but a little long for a packed program. The conductor, Daniel Beckwith, was very amusing to watch, he was definitely completely involved in the music and the spirit of Christmas. Onto the waited event, Renée’s entrance, and what an entrance; she wore a black, satin dress, sleeveless with a low, scoop neckline. The wow factor of the dress-it was form-fitting down to the thigh, then flared out (mermaid style) with pleats down to the floor. She wore long black gloves and a diamond necklace.

The first piece La Diva sang was Handel’s Rejoice Greatly, always a favorite for me; it’s so much fun to sing and you could see it in Renée’s face. She added a new high run at the end on “behold,” which was great. It was great to see her enjoying herself, dancing a little at the end during the last orchestration.

Dank Sei Dir, Herr had beautiful, long lines especially the first phrase, which seemed never ending. Another orchestra interlude of Bach’s Sinfonia from Christmas Oratorio, then on to my favorite part, Laudamus Te. There is just something about Mozart that can brighten any performance and performer. This was the most excited and free-flowing I have ever heard it. In the beginning orchestration, Renée literally jumped up and down several times, it was so endearing. Throughout the whole aria, you could see her clenching her fist in excitement. The breathing was invisible and the runs never ending. The only little falter was the breath before the last phrase; she started the breath a little late and had to almost hiccup to get the last note out on time, but she beamed afterwards if she was laughing at herself. For me it was more endearing than anything, sheer perfection in imperfection! It was satisfaction that, yes, everyone forgets to breath sometimes even La Diva.

What Child is This, let me just say I was mesmerized. The dimuendo on the last “Mary” of the first verse simply seemed to float of into the distance. The extra ornamentation (upper mordent) on “joy, joy for Christ is born” was sheer elation. Gesu Bambino, who wouldn’t want to come adore Him after the soaring “adore” at the end and the perfectly highly placed “Lord”? Next the orchestra played Infant Holy, Infant Lowly and Renée looked gorgeous as she casually leaned against the piano and listened. Following this Ms. Fleming sang another one of my favorites, Bernstein’s Simple Song. Renée was jamming the whole time. The way she sings “man”, I wish I could figure out how to make the “A” vowel that round and highly placed. The last “day”, I swear, went on forever and it is so low, I am always impressed with her ability to sustain those low notes as a soprano.

Schubert’s Ave Maria is always beautiful, but Renée’s is stunningly so. It was fun to hear it because she helped me figure out a couple of the phrases for my voice lessons. On to intermission where I was able to visit with Sarah, Wanda and her brother; it is always a pleasure to spend time with fellow TBV’ers because everyone is so kind.

For the second half, Renée changed into a BRIGHT red dress, in typical, flowing La Diva style, wrap, chandelier earrings and all. Deck the Halls was first with ornamentation (upper mordent) on the second “Fa la la la.” I loved the interesting arrangement. Unfortunately the last note was a little under pitch, but you know no one is perfect and it was still joyful. (I have a theory about her few recent pitch problems) Silent Night was lovely and the last never-ending “birth,” again on such a low note, made me hold my breath. Flambeau, Jeannette, Isabelle made me happy because I love Renée in the French repertoire. Her smooth transfers between the pieces long legato line and the staccato parts were brilliant. I loved the very easy, light high note at the end.

The next piece, a new arrangement of Away in a Manger by Mark O’Conner, was well worth the wait. Renée introduced O’Conner and was so excited that he had agreed to play along with her, that she started blowing kisses at him as he walked onstage. The arrangement had a sort of folk/gospel feel that worked very well to accent the phrases. Renée glowed while O’Conner played his solo part; the whole piece and mood was simply gorgeous. Next Ms. Fleming sang Ding Dong Merrily on High. She conveyed lots of emphasis throughout, with ornamentation on “Hosanna”, lots of added runs, and the final last high on “excelsis” inspiring for me. O Holy Night, a piece everyone has done and no one has conquered like Renée. Renée’s rendition feeds the soul, I cried. She sang “all oppression shall cease” lower than it is normally done, which I really liked and thought fit the mood called for in the phrase. The last high note on “power” was wonderfully sustained. All in all this was the most moving and beautiful piece for me.

On to the encores; I’ll be Home for Christmas, which Renée said was for all those who wouldn’t be able to be at home this Christmas, was so terrific. I love her jazzy version especially the improvisation at the end. Following this Renée talked about how she was especially struck this year with all the suffering in the world and how she felt privileged to sing at the Nobel ceremony. She said that as she sang this song she wanted everyone to think and promise to do something to help someone they knew who was suffering. O’Conner came out to accompany her in Amazing Grace. I loved the phrase “We’ve no less days…” it was so jazzy and high. At the end Renée started humming along with O’Conner; you could tell that they were really enjoying performing with one another. Lastly La Diva sang Joy to the World, preempting it by the request that we, the audience, sing along so she could “do her soprano thing in the second verse.” She indeed, did her “soprano thing” with souring high notes while slightly jumping up and down again from excitement. The whole performance was highly enjoyable; as usual at a performance by Ms. Fleming rigid, involved, attention was commanded the whole time.

Afterwards, I headed backstage to meet up with Sally, Sarah, Sue, Wanda and her brother Tom. Backstage was incredibly crowded and Renée was rushed since she had a signing afterward. As the gracious person she is, she apologized for the rush and said hello to as many people as possible. I said hi for Dr. Robinson and then headed home, looking forward to February 13^th and 17^th for Eugene Onegin.

tomorrow=joy

Thu, 21 Dec 2006 01:06:37 GMT

Tomorrow, I'm off to my voice lesson, then NYC to see Renee Fleming at Carnegie Hall-I'm so excited to go backstage and talk to her again!

Figaro, Figaro , Figaro

Thu, 09 Nov 2006 03:41:34 GMT

The Metropolitan Opera House
November 8th, 2006
Final Dress Rehearsal Il Barbiere di Siviglia
Gioachino Rossini
Count Almaviva: Juan Diego Florez Rosina: Diane Damrau
Figaro: Peter Mattei Don Basilio: Samuel Ramey
This was my first time attending a dress rehearsal and it was a fabulous experience. Peter Gelb came out and gave the introduction as well as thanking everyone for coming. It was fun to see the orchestra in street clothes and more relaxed. The stage was set up different than ever before-they had it wrap all the way around the pit, with just a center rectangle for the orchestra. This allowed the singers to get closer to the audience, which was very entertaining at times. Almost the entire set was made up of moveable doors and orange trees along with Rosina’s free-standing balcony. This made for a contemporary feel for the new production of Barbiere, but without taking away from the old world style of the production.
Act I
Now I know why Juan Diego Florez is known as one of the4 best Rossini singers. His runs in the first aria were so great and they only got better throughout. In the second scene they had the cutest donkey 
Peter Mattei made his entrance as the Barber, and may I say he made a great Barber. He has a very flexible voice-perfect for Rossini, plus he has the perfect swagger necessary for Figaro’s character. Occasionally they used a ladder on the side of the stage coming out of the pit, for the singers to enter the stage, which was neat because it seemed as if they came out of nowhere. During Florez’ serenade Mattei was really accompanying him on guitar, which was fun to see. He even laid down on the floor playing at one point while playing, all throughout he was so funny.
Diane Damrau had a wonderful voice and was a great actress for the role. She acted very flirty and upbeat the whole time, which was perfect for the voice part too. I Loved her voice; it was very bright-she is quite the coloratura! Rosina’s aria about Liondoro being hers was so playful and appropriate to a young girl in love and Damrau’s very young sound quality-not to say she can’t knock your socks off though. 
It was so great to see Sam Ramey again. He had a funny hat and definitely added to the comic element of the opera with his booming bass voice. It’s always good to see a legend in action. Florez’ drunk scene was hysterical, he was tripping all over the place and waving his sword; It certainly showed off his excellent comedic timing. This scene was also a good time to hear how well the whole cast sounded when they sang together-WOW. The last aria was incredible; it just kept getting faster and faster. I’ not sure how they could get all the words out that fast, especially without laughing, as a giant anvil lowered from the ceiling and crushed a cart full of vegetables.
Act II
My mom and I moved down to the Grand Tier and had some great seats for the second act. Rosina’s singing lesson aria was amazing-I love her top notes, they seem effortless. Florez is supposed to be accompanying her on piano, disguised as her music teacher-he was hysterical pretending to play. In this chaos, something exploded in the kitchen and the servant came running and rolling out with carrots stuck all over him-what a riot. In this scene as everyone is chasing each other around stuff gets moved which caused a music stand to fall (which was not the plan), scaring Damrau, who jumped around in a full circle lol. In the next scene the maid comes in to clean up and she goes to pick up the stand, but it had a broken foot and fell back over, she proceeds to make faces and throw the stand aside. Later Ramey kicks it out of the way to exit through a doorway. I love live theatre; you just never know what will happen. The balcony rescue scene was very interesting looking, with the dim lighting. The set change to the final scene was great. A storm occurs and the servant pulls a mesh cloth across the back of the set, which slowly changes from blue sky and clouds to dark clouds and a dark sky complete with flashes of lightning from above. The final duet was amazing, Florez and Damrau were in perfect unison all through the difficult runs-WOW. Florez’ last aria left nothing wanting. The runs were flawless, the high notes clear, and the mood that of a mad utterly in love and willing to stop at nothing to hinder those in his way. Damrau and Florez hugged and danced throughout the end aria-they were very cute together  Everyone took there bows by running around to the side of the stage closest to the audience then back downstage the other way. All in all the Met’s new production is cast perfectly, set minimally, but appropriately, and performed with much humor and skill. This is one satisfied customer!