The Metropolitan Opera' 2008 - 2009 season

Brand new season for the Metropolitan Opera House! And certainly not without a reason. In its 125th Anniversary, Opera Forum decided to publish a brief review of the marvellous titles that the Met will offer in the upcoming season.

125th Anniversary Gala - James Levine will conduct a gala performance of fully staged scenes from classic Met productions, which will be realized with scenic projections and new costumes made from the original designs. The gala will also celebrate Plácido Domingo’s 40th anniversary with the company.

"Adriana Lecouvreur" - Guleghina, Borodina, Álvarez, Frontali; Domingo.

"La Bohème" - Kovalevska / Netrebko, Phillips, Vargas, Kwiecien, Hakala, Gradus, Plishka; Chaslin.

"Cavalleria Rusticana" / "I Pagliacci" - Gruber, Alagna / Cura, Taylor, Focile, Alagna / Cura, Mastromarino / Maestri, Maltman / Ladyuk; Rizzo.

"La Cenerentola" - Garanca, Brownlee, Alberghini, Corbelli, Relyea; Benini.

"La Damnation de Faust" - Graham, Giordani, Relyea; Levine.

Daniel Barenboim Recital - For this special solo recital, the renowned maestro has chosen an all-Liszt program, including transcriptions of three beloved Verdi operas.

"Doctor Atomic" - Cooke, Arwady, Finley, Fink, Owens; Gilbert.

"Don Giovanni" - Stoyanova, Graham, Leonard, Polenzani, Schrott, D'Arcangelo, Bloom, Ens; Langrée | Iveri, Schnitzer, Leonard, Polenzani, Schrott, D'Arcangelo, Bloom, Youn; Koenigs | Frittoli, Isokoski, Bayrakdarian, Breslik, Mattei, Ramey, Shenyang, Aceto; Langrée.

"L'Elisir d'Amore" - Gheorghiu / Cabell, Villazón, Vassallo, Terfel; Benini.

"Eugene Onegin" - Mattila, Semenchuk, Beczala, Hampson, Morris; Belohlávek.

"La Gioconda" - Voigt, Borodina, Podles, Machado, Guelfi, Morris; Callegari.

"Götterdämmerung" - The Ring’s final chapter is a saga of passion and vengeance, culminating in an act of self-sacrifice and redemption.

"Lucia di Lammermoor" - Damrau / Netrebko, Beczala / Villazón, Stoyanov / Kwiecien, Abdrazakov; Armiliato.

"Madama Butterfly" - Racette / Gallardo-Domâs, Zifchak, Aronica / Giordani, Croft; Summers.

"The Magic Flute" - Cabell, Sieden, Pittas, Pogossov, Owens; Fisch.

"La Rondine" (New Year's Eve Gala) - Gheorghiu, Alagna; Joël.

Opening Night Gala - For the season-opening gala starring Renée Fleming on September 22, James Levine and Marco Armiliato will conduct fully staged performances of the second act of Verdi’s La Traviata, the third act of Massenet’s Manon, and the final scene from Richard Strauss’s Capriccio. Ramón Vargas, Thomas Hampson and Dwayne Croft join the soprano for this season-opener.

"Orfeo ed Euridice" - de Niese, Murphy / Huang, Blythe; Levine.

"The Queen of Spades" - Guleghina, Domashenko, Palmer, Heppner, Delavan, Stoyanov; Ozawa.

"Das Rheingold" - Harmer, Naef, Grove, Begley, Siegel, Morris, Fink, Selig, Tomlinson; Levine.

"Rigoletto" - Kurzak, Vizin, Filianoti / Beczala, Lucic, Petrenko; Frizza | Damrau, Mumford / Vizin, Calleja, Frontali, Aceto; Frizza.

"Rusalka" - Fleming, Goerke, Blythe, Antonenko, Sigmundsson; Belohlávek.

"Salome" - Mattila, Komlósi, Begley, Kaiser, Uusitalo; Franck.

"Siegfried" - Gods and monsters vanish before the greater power of human love as the young hero Siegfried, played by Christian Franz, pursues his destiny to unite with Brünnhilde.

"La Sonnambula" - Dessay, Flórez, Pertusi; Pidò.

"Thaïs" - Fleming, Schade, Hampson; López-Cobos.

"La Traviata" - Harteros, Giordano, Dobber / Lucic; Carignani.

"Tristan und Isolde" - Dalayman, DeYoung, Seiffert, Grochowski, Pape / Youn; Barenboim.

"Il Trovatore" - Radvanovsky, Zajick / D'Intino, Licitra, Hvorostovsky, Youn; Noseda | Papian, D'Intino, Berti, Lucic, Flores; Frizza.

"Die Walküre" - Brewer, Meier, Naef, Botha, Morris, Tomlinson; Levine.

Anecdotes about Puccini

I thought it would be interesting to know some of Puccini's anecdotes and "backstage" stuff:

• Puccini is fond of female voices, especialy the ones with high register. This is clearly exposed in his opera "Suor Angelica", an opera in which not a single male character appears.

• The only aria for Bass in his entire production is Vecchia Zimarra from "La Bohème" sung by Colline. Puccini always considered this aria as part of his autobiographical youth. According to what the composer confessed, when he was a poor student in Milano, he had to pawn his own coat in orderto take out for dinner a young ballerina of the theatre, dispte the freezing cold of that day.

• At the beginning of "Tosca", the bells of the churches of the town that toll with different notes at dawn can be heard from faraway. Such notes are specified by the composer in the score. As he said, for several days he went up the mount Pincio in order to take accurate notes of the bell's sounds at Rome at dawn. In first term, the big bell of San Pietro that gives a low E.

• The manuscript of "La Bohème" score is full of all kind of indications, possible and impossible ones. For example, according to the original score, the chord for the god's decline in B minor announcing Mimì's death has seven p (ppppppp). When Ricordi saw this, he wrote horrified to Puccini: "This is a forest of p-pp-pppppp and f-ff-fff-ffff". Puccini answered: "If I have ever exagerated the pp and ff it is only because, according to Verdi, one has to write ppp if a real pianisimo is intended".

• Puccini forgot to eliminate the name of Toscanini form the list before giving the order of sending the panetone for Christmass (this is a tradition among friends for Christmass in Italy) in times when they were in bad relations (1920 - 1922). When the composer noticed that the panetone had already been sent, he wrote to the director: "Panetone sent by mistake". The funniest thing is that Toscanini answered: "Panetone eaten by mistake".

• It is said that Puccini needed a rival to compete with in order to work with the atmost concentration. In "Manon Lescaut" it was the case of Massenet's opera, in "La Bohème" with Leoncavallo, in "Tosca" the struggle for the rights on the libretto with Franchetti, and in "Turandot" his teacher Bazzini (he had an opera called "Turanda", based on the story by Gozzi).

• When Puccini was finishing his "Manon Lescaut", he rented a house in Vacallo, Switzerland, in order to finish his opera in better conditions than in Milano. There he found neighbour that had hanged a cloth with the silouhete of a clown on the door, due to the fact that the owner was another musician that was working on an opera called "I Pagliacci". Puccini answered the welcome of his friend Leoncavallo by hanging a towell on the balcony on which he had drawn a huge hand (Manon in Tuscan dialect).

• The première of "Madama Butterfly" was an unespected utter failure, but maybe not so much. Some days after this memorable première, a father went to the Civil Register's office to announce his daughter's birth and name her Butterfly, though there was no Saint with such name in the calendar. When Puccini heard of this, he offered himself to be the child's Godfather.

"La Bohème" (G. Puccini) - 2nd part: Background & Details

"La Bohème" is an opera in four acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de Bohème by Henri Murger. It was in Turin on February 1, 1896 at the Teatro Regio that the world première performance of "La Bohème" took place conducted by the young Arutro Toscanini. In 1946, fifty years after the opera's première, Toscanini conducted a performance of it on U.S. radio, that was eventually released on records. It is the ony recording of a Puccini opera by its original conductor.

There is another version of "La Bohème" composed by Ruggero Leoncavallo, but with his own libretto. This version, premiered in 1897, focuses more on the Musetta and Marcello relationship, rather than that of Mimì and Rodolfo as in Puccini's version.

Here I give a brief description of the characters involved and the Première Cast on February 1, 1896 conducted by Arturo Toscanini:

Rodolfo, a poet (tenor): Evan Gorgo
Mimì, a seamstress (soprano): Cesira Ferrani
Marcello, a painter (baritone): Tieste Wilmant
Schaunard, a musician (bariton): Antonio Pini-Corsi
Colline, a philosopher (bass): Michele Mazzara
Musetta, a singer (soprano): Camilla Pasini
Benoît, their landlord (bass): Alessandro Polonini
Alcindoro, a state councillor (bass): Alessandro Polonini
Parpignol, a toy vendor (tenor): Dante Zucchi
A customs Sergeant (bass): Felice Fogli

Students, working girls, townsfolk, shopkeepers, street-vendors, soldiers, waiters, children.

Among the enchanting arias and duettos we can highlight:

"Che gelida manina" - Rodolfo, Act I

"Sì, mi chiamano Mimì" - Mimì, Act I
"O soave fanciulla" - Rodolfo & Mimì, Act I
"Quando me n'vo soletta per la via" - Musetta, Act II
"Donde lieta uscì al tuo grido d'amore" - Mimì, Act III
"O Mimì tu più non torni" - Rodolfo & Marcello, Act IV
"Vecchia zimarra" - Colline, Act IV

"Sono andati? Fingevo di dormire" - Mimì, Act IV

The marvelous passages and orchestrations of "La Bohème" are scored for:

Woodwinds: 2 Flutes, Piccolo, 2 Oboes, Cor Anglais, 2 Clarinets, Bass Clarinet, 2 Bassoons.
Brass: 4 Horns, 3 Trumpets, 3 Trombones, Bass trombone.
Harp
Percussion: Timpani, Drum, Triangle, Cymbal, Bass drum, Xylophone, Glockenspiel, Campanelle.
Strings: Violins I & II, Viola, Violoncello, Contrabass.

The recommended discography for "La Bohème" is, in my opinion:

• 1946; Jan Peerce, Licia Albanese, Francesco Valentino, George Cehanovsky, Nicola Moscona, Anne McKnight; Arturo Toscanini, MBC Symphony Orchestra and Chorus; Line Music / Cantus Classics.
  


• 1956 (rec. date); Giuseppe di Stefano, Maria Callas, Rolando Panerai, Manuel Spatafora, Nicolai Zaccaria, Anna Moffo; Antonino Votto, Chorus and Orchestra of Teatro alla Scala di Milano; EMI Classics.
  


• 1990; Luciano Pavarotti, Mirella Freni, Rolando Panerai, Gianni Maffeo, Nicolai Ghiaurov, Elizabeth Harwood; Herber von Karajan, Berlin Philarmonic Orchestra; DECCA.
  

"La Bohème" (G. Puccini) - 1st part: Synopsis

The story is set in Paris, between 1830 and 1831.

Act I - In the four bohemians' garret

Marcello is painting while Rodolfo gazes out of the window. In order to keep warm, they burn the manuscript of Rodolfo's drama. Colline, the philosopher, enters shivering and disgruntled at not having been able to pawn some books. Schaunard, the musician of the group, arrives with food, firewood, wine, cigars, and money, and he explains the source of his riches, a job with an eccentric English gentleman. The others hardly listen to his tale as they fall ravenously upon the food. Schaunard interrupts them by whisking the meal away and declaring that they will all celebrate his good fortune by dining at Cafe Momus instead.

While they drink, Benoit, the landlord, arrives to collect the rent. They flatter him and ply him with wine. In his drunkenness, he recites his amorous adventures, but when he also declares he is married, they thrust him from the room--without the rent payment--in comic moral indignation. The rent money is divided for their carousal in the Quartier Latin.

The other Bohemians go out, but Rodolfo remains alone for a moment in order to finish a newspaper article, promising to join his friends soon. There is a knock at the door, and Mimì, a seamstress who lives in a flat below, enters. Her candle has blown out, and she has no matches; she asks Rodolfo to light it. She thanks him, but returns a few seconds later, saying she has lost her key. Both candles are extinguished; the pair stumble in the dark. Rodolfo, eager to spend time with Mimi, finds the key and pockets it, feigning innocence. In two arias (Rodolfo's "Che gelida manina — What a cold little hand" and Mimi's "Sì, mi chiamano Mimì — Yes, they call me Mimì"), they tell each other about their different backgrounds. Impatiently, the waiting friends call Rodolfo, but, while he suggests remaining at home with Mimì, she decides to accompany him. As they leave, they sing of their newfound love. (Duet, Rodolfo and Mimì: "O soave fanciulla — Oh gentle maiden")


Act II - Quartier Latin

A great crowd has gathered with street sellers announcing their wares. (Chorus: "Aranci, datteri! Caldi i marroni — Oranges, dates! Hot chestnuts."). The friends appear, flushed with gaiety; Rodolfo buys Mimi a bonnet from a vendor. Parisians gossip with friends and bargain with the vendors; children clamor to see the wares of Parpignol, the toy seller. The friends enter the Cafe Momus.

As the men and Mimi dine at the cafe, Musetta, formerly Marcello's sweetheart, arrives with her rich (and aging) government minister admirer, Alcindoro, to whom she speaks as she might to a lapdog. It is clear she has tired of him. To the delight of the Parisians and the embarrassment of her patron, she sings a risqué song ("Quando me'n vo — When I go along"), hoping to reclaim Marcello's attention. Soon Marcello is burning with jealousy. To be rid of Alcindoro for a bit, she pretends to be suffering from a tight shoe and sends him with it to the shoemaker to be fixed. During the ensemble that follows, Musetta and Marcello fall into each other's arms and reconcile.

The friends are presented with the bill, and to their consternation find that Schaunard's money is not enough to pay it. The sly Musetta has the entire bill charged to Alcindoro. The sound of approaching soldiers is heard, and, picking up Musetta, Marcello and Colline carry her out on their shoulders amid the applause of the spectators. When all have gone, Alcindoro arrives with the repaired shoe seeking Musetta. The waiter hands him the bill, and, horror-stricken at the charge, Alcindoro sinks into a chair.


Act III - At the toll gate

Peddlers pass through the barriers and enter the city. Amongst them is Mimì, coughing violently. She tries to find Marcello, who lives in a little tavern nearby where he paints signs for the innkeeper. She tells him of her hard life with Rodolfo, who has abandoned her that night. ("O buon Marcello, aiuto! – Oh, good Marcello, help me!"). Marcello tells her that Rodolfo is asleep inside, but he wakes up and comes out looking for Marcello. Mimì hides and overhears Rodolfo first telling Marcello that he left Mimi because of her coquettishness, but finally confessing that he fears she is slowly being consumed by a deadly illness (most likely tuberculosis, known by the catchall name "consumption" in the nineteenth century). Rodolfo, in his poverty, can do little to help Mimi and hopes that his pretended unkindness will inspire her to seek another, wealthier suitor. Out of kindness towards Mimì, Marcello tries to silence him, but she has already heard all. Her coughing reveals her presence, and Rodolfo and Mimì sing of their lost love. They make plans to separate amicably (Mimì: "Donde lieta uscì – From here she happily left"), but their love for one another is too strong. As a compromise, they agree to remain together until the spring, when the world is coming to life again and no one feels truly alone. Meanwhile, Marcello has joined Musetta, and the couple quarrel fiercely: an antithetical counterpoint to the others' reconciliation. (Quartet: Mimì, Rodolfo, Musetta, Marcello: "Addio dolce svegliare alla mattina! – Goodbye, sweet awakening in the morning!")


Act IV - Back in the garret

Marcello and Rodolfo are seemingly at work, though they are primarily bemoaning the loss of their respective loves. (Duet: "O Mimì, tu più non torni" – O Mimì, will you not return?). Schaunard and Colline arrive with a very frugal dinner and all parody eating a plentiful banquet, dance together, and sing. Musetta arrives with news: Mimi, who took up with a wealthy viscount after leaving Rodolfo in the spring, has left her patron. Musetta has found her wandering the streets, severely weakened by her illness, and has brought her back to the garret. Mimi, haggard and pale, is assisted into a chair. Musetta and Marcello leave to sell Musetta's earrings in order to buy medicine, and Colline leaves to pawn his overcoat (Colline: "Vecchia zimarra – Old coat"). Schaunard, urged by Colline, quietly departs to give Mimi and Rodolfo time together. Left alone, they recall their past happiness. (Duet, Mimì and Rodolfo: "Sono andati? – Have they gone?"). They relive their first meeting--the candles, the lost key--and, to Mimi's delight, Rodolfo presents her with the little hat he bought her, which he has kept as a souvenir of their love. The others return, with a gift of a muff to warm Mimi's hands and some medicine, and tell Rodolfo that a doctor has been summoned, but it is too late to help their friend, who lapses into unconsciousness. As Musetta prays, Mimi dies. Schaunard discovers Mimi lifeless. Rodolfo cries out Mimì's name in anguish, and weeps helplessly.

source - Wikipedia

Anna Netrebko, the superstar for the 21st century

Born in September 1971 in Russia, Anna Netrebko is a well reknown soprano, not only for her lovely voice and excellent technique but also for her unparalleled beauty.

While studying at the Saint Petersburg' conservatory, Netrebko worked as a floor cleaner as an odd-job at the Mariinsky Theatre (home of the Kirov Opera) where she called the attention of the conductor Valery Gergiev, who subsequently became her vocal mentor. Guided by him, Netrebko made her debut in that theatre as Susanna in Mozart's "Le Nozze di Figaro". She kept on singing prominent roles with the Kirov Opera in "La Sonnambula", "Die Zauberflöte", "Il Barbiere di Siviglia" and "Lucia di Lammermoor".

In 1995, the 24-year-old Netrebko made her American debut as Lyudmila in Glinka's "Ruslan and Lyudmila" at the San Francisco Opera. She is known as an acclaimed interpreter of Russian operatic roles such as Natasha in Prokofiev's "War and Peace", Louisa in "Betrothal in a Monastery" and Marfa in "The Tsar's Bride", and also made successful forays into belcanto repertoire as in "Rigoletto", "La Bohème" and "I Capuleti e i Montecchi".

In 2002, Anna Netrebko made her debut at the Metropolitan Opera as Natasha in the premiere of "War and Peace". In the same year, she sang her first Donna Anna in "Don Giovanni" conducted by Nikolaus Harnoncourt.

Her 2003 repertoire included performances as Violetta in "La Traviata", the title role in "Lucia di Lammermoor" and Donna Anna at the Royal Opera House. In the same year Netrebko released her first studio album, "Opera Arias", which became one of the best selling classical recordings of the year. The following year she released her second album, "Sempre Libera", and she sang "Roméo et Juliette" with Rolando Villazón, her couple, with whom she sang "L'elisir d'amore" in 2005. Her most recent role (2007) is Elvira in Bellini's "I Puritani" at the Metropolitan Opera.

In December of 2007 Netrebko will be reprising her role as Juliette in "Roméo et Juliette" with Joseph Kaiser, Roberto Alagna and Matthew Polenzani at the Metropolitan Opera, and she will be singing at the annual New Year's Eve Gala conducted by Paul Nadler.

The Metropolitan Opera' 2007 - 2008 season (first part)

Here's a brief review on the Met's new season for the ending of 2007 and 2008. Astonishing productions, great titles and excellent singers as only the Met can offer. Don't miss the oportunity to be part of the "Met Experience".

"Un Ballo in Maschera" - 2007 - Dec 17, 21, 24, 29 | 2008 - Jan 1, 5, 16, 19, 23
Composer: Giuseppe Verdi - Librettist: Antonio Somma
Approximate running time: 3hs. 20min.

Amelia: Michèle Crider / Angela M. Brown
Oscar: Ofelia Sala / Kathleen Kim
Ulrica: Stephanie Blythe
Riccardo: Salvatore Licitra
Renato: Dimitri Hvorostovsky
Conductor: Gianandrea Noseda

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"Il Barbiere di Siviglia" - 2008 - Jan 12, 22, 26, 30 | Feb 2, 7, 14, 21, 25, 29
Composer: Gioacchino Rossini - Librettist: Cesare Sterbini
Approximate running time: 3hs. 10min.

Rosina: Elina Garanca
Il Conte d'Almaviva: Michael Shade / José Manuel Zapata
Figaro: Franco Vasallo
Dr. Bartolo: Bruno Praticò / Maurizio Muraro
Don Basilio: Peter Rose / Ruggero Raimondi
Conductor: Frédéric Chaslin

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"La Bohème" - 2008 - Mar 29 | Apr 1, 5, 9, 12, 15, 18
Composer: Giacomo Puccini - Librttist: Giusppe Giacosa, Luigi Illica
Approximate running time: 2hs. 55min.

Mimì: Angela Gheorghiu
Musetta: Ainhoa Arteta
Rodolfo: Ramón Vargas
Marcello: Ludovic Tézier
Schaunard: Quinn Kelsey / Jeff Mattsey
Colline: Oren Gradus
Benoit / Alcindoro: Paul Plishka
Conductor: Nicola Luisotti

Luciano Pavarotti (Oct 12, 1935 - Sep 06, 2007)

When looking at this picture I cannot help it to feel a deep sadness for the loss of this great tenor. Certainly the world of opera is different without him.

Born in the outskirts of Modena, northern Italy, Pavarotti was the son of Adele Venturi and Fernando Pavarotti, a baker and singer that encouraged his son to take singing lessons. The early years were not easy for Luciano, his family had little money and lived in a two-room apartment. His first musical influences were his father's recordings featuring Beniamino Gigli, Tito Schipa and Enrico Caruso, but his true idol was Giuseppe di Stefano.

After graduating from the Scuola Magistrale, Pavarotti faced the dilemma of a carreer choice: he was interested in becoming a professional football goalkeeper. Finally, he let his love for music win out. Aware of the risks involved, his father gave his consent reluctantly. At the age of 19, Pavarotti began the serious study of music with Arrigo Pola and later on with Ettore Campogalliani, his mentors in belcanto repertoire.

Pavarotti made his debut in April 1961 as Rodolfo in Puccinni's La Bohème at the Teatro Municipale in Reggio Emilia. During the following years he performed several roles such as the Duca di Mantova in Rigoletto, Edgardo in Lucia di Lammermoore, Tebaldo in I Capuleti e i Montecchi and Nemorino in L'elisir d'amore. But it wasn't until February 1972 in the production of Donizetti's La fille du régiment at the Metropolitan Opera House that he had his major breakthrough with the nine high Cs in the signature aria. These performances earned him the title of "King of the High Cs".

During the 80s and 90s, Pavarotti recorded several duets with Eros Ramazzotti, Sting, Andrea Bocelli, U2 and Frank Sinatra. He formed "The Three Tenors" with Plácido Domingo and José Carreras in their first performance at the Baths of Caracalla in Rome conducted by Zubin Metha, which became the biggest selling classical record of all time. They subsequently sang at the Dodger Stadium in Los Angeles for the 1994 World Cup finals and at the Champs de Mars in Paris in 1998.

He married Adua Verona for 34 years and they had three daughters: Lorenza, Cristina and Giuliana. In December 2003 he married his second wife, Nicoletta Mantovani, with whom he had his fourth daughter Alice.

Pavarotti gave his last performace at the Met on March 2004, for which he received a 12-minute standing ovation for his role as Cavaradossi in Puccini's Tosca. On December, the same year, he announced a 40-city farewell tour. Despite of his retirement, on February 2006 Pavarotti sang Nessun Dorma at the Winter Olympics Opening Ceremony in Turin, Italy. Unfortunately, the "Farewell Tour" was cancelled due to a pancreatic cancer diagnosed on July in that year.

On September 6, 2007 Terri Robson, Pavarotti's manager, wrote in an e-mail statement "The Maestro faught a long, tough battle against the pancreatic cancer [...] he remained positive until finally succumbing to the last stages of his illness.". Pavarotti's funeral was held in Modena Cathedral under the Roman Catholic Church's ritual and he rests in the Montale Rangote cemetery.

"I think a life in music is a life beautifully spent and this is what I have devoted my life to." - Luciano Pavarotti.

Personaly, I like to remember him like this, with a joyful expression on his face for the surrounding applause of the audience.