208 posts
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Post by argon on Sept 12, 2017 6:58:12 GMT
The season kicked off with a new production of La Boheme, I heard no booing at the end so I guess it was well received. Act 2 Quartier Latin/The Momus cafe scenes I particularly liked ( like walking down Burlington Arcade).
Mariusz Kwiecień impressed, Nicole Car sounds less Italianate for an ideal Mimi but generally the singing was fine.
Some strange directorial decisions however, Colline's coat aria being sung behind a roof rafter, his face was completely obscured from my position in the Amphi
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Post by tonyloco on Sept 12, 2017 9:56:02 GMT
Ah now, argon, if I could remember them I could cite you numerous examples where set designers and directors of productions at the Royal Opera House in the past have made no concessions for what people in the Amphitheatre can see or not see. I rather suspect they never get higher in the auditorium than the Stalls when they are working on new productions. I might be doing some of them a grave injustice but the proof of the pudding is in the eating, not to mention the seeing!
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Post by tmesis on Sept 12, 2017 10:28:30 GMT
I'm going in about ten days. Early reviews are quite favourable but Jones has an almost impossible task in replacing Copley's 41year old production which I have seen so many times I've lost count. When it was pensioned off it was still looking good with Julia Trevelyan Oman's fantastically detailed sets. With Pappano in the the pit it should be great musically.
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Post by Mr Snow on Sept 12, 2017 11:55:10 GMT
Ah now, argon, if I could remember them I could cite you numerous examples where set designers and directors of productions at the Royal Opera House in the past have made no concessions for what people in the Amphitheatre can see or not see. I rather suspect they never get higher in the auditorium than the Stalls when they are working on new productions. I might be doing some of them a grave injustice but the proof of the pudding is in the eating, not to mention the seeing! Will be interesting to see this years revival of Lucia. On its inagural run, despite the sets and one or two bits of Directorial nonsense, I went a second time and sat even higher in the slips. At one point a bath is left running and up there it completely drowned(sic) out the singing. Going Monday the 25th . Happy to meet at an interval. |
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Post by tmesis on Sept 12, 2017 15:56:02 GMT
Ah now, argon, if I could remember them I could cite you numerous examples where set designers and directors of productions at the Royal Opera House in the past have made no concessions for what people in the Amphitheatre can see or not see. I rather suspect they never get higher in the auditorium than the Stalls when they are working on new productions. I might be doing some of them a grave injustice but the proof of the pudding is in the eating, not to mention the seeing! Will be interesting to see this years revival of Lucia. On its inagural run, despite the sets and one or two bits of Directorial nonsense, I went a second time and sat even higher in the slips. At one point a bath is left running and up there it completely drowned(sic) out the singing. Going Monday the 25th . Happy to meet at an interval. I hated the Katie Mitchell Lucia to the point where I never want to see the current production again. I must confess that any version of Lucia is a bit of a problem for me. I've tried to like it but I can't. Even seeing Joan Sutherland in the role one or two times couldn't turn me on to it. re Boheme - I'm going at the weekend; in fact all my visits tend to be at the weekend, or occasionally Fridays. |
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Post by tonyloco on Sept 13, 2017 13:05:17 GMT
I'm going in about ten days. Early reviews are quite favourable but Jones has an almost impossible task in replacing Copley's 41year old production which I have seen so many times I've lost count. When it was pensioned off it was still looking good with Julia Trevelyan Oman's fantastically detailed sets. With Pappano in the the pit it should be great musically. Yes, a good production of a good opera should be able to stay the distance. Here's a bit of Tonyloc history. On 18 March 1960 I heard the great Jussi Björling sing Rodolfo at Covent Garden and it remains one of my most treasured opera-going memories. On that occasion, the sets used were the original ones in front of which Melba and Caruso had sung Mimì and Rodolfo back in 1902. Costumes and direction had been revised a few times since then, but those sets remained in use until 1974 when a completely new production was mounted by John Copley with sets and costumes by Julia Trevelyan Oman. As tmesis reminds us, this has also passed the test of time and has been revived with great success many times. Will this third production of one of the most popular operas in the repertoire be as good? Let's hope so! |
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Post by tonyloco on Sept 13, 2017 15:40:49 GMT
PS A bit more research on Wiki reveals that the original Covent Garden sets for La bohème date from 1899, the premiere of Bohème by the Covent Garden company with Melba and Fernando De Lucia. It had already been done in the ROH in 1897 but by the Carl Rosa company, who had premiered it in Manchester under the direction of the composer. BTW, I was under the impression that the 1964 Zeffirelli production of Tosca with sets by Mongiardino was only the second after the original 1900 staging. I also saw those original sets with Crespin and Di Stefano among others.
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Post by tmesis on Sept 17, 2017 15:39:50 GMT
There's an interesting - sounding programme about the rehearsals for this production on Radio Four tomorrow at 9.45am (and then daily thereafter) called:
Following Pappano
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Post by tmesis on Sept 23, 2017 14:59:23 GMT
Just seen today's matinee. This had Simone Mihai as Mimi, but. I think the rest of the cast was the same as opening night.On the whole I enjoyed Richard Jones's direction. He got really convincing acting performances from his (fairly) young and attractive cast. The set pleased me less, although compared to some of the horrors Kasper Holden has recently inflicted upon us, it was restrained. Act 1 some critics have said looks like something out of Ikea; it actually reminded me more of an Anglian Windows conservatory. The 2nd act was more interesting but it felt more appropriate for the musical She Loves Me than Puccini. Act 3 at last used virtually the full stage but was otherwise very boringly designed and Act 4 is always the same as act 1 but was ridiculously over-lit for the death scene. I've seen a large number of Jones productions and he always seems to favour a slightly cartoonish design (no flock wallpaper, though!)
Singing was good but not outstanding. Simone Mihai was affecting as Mimi, and she really looked the part, but the voice was too vibrato-heavy. Joyce El-Khoury was better as Musetta; she wore a stunning red dress in act 2 and also got her knickers off! I thought Michael Fabiano a pleasing Rodolfo. He has a light, fairly 'white' tone to his voice which just lacks a little richness. He is a handsome, ardent presence. But easily best of all in every way was Mariusz Kwiecien; his glorious baritone and sexy charisma dominated every scene he was in.
The star of the show was (how predictable) Pappano. He coaxed fabulous playing from the orchestra.
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Post by tonyloco on Sept 24, 2017 13:15:22 GMT
Just seen today's matinee. This had Simone Mihai as Mimi, but. I think the rest of the cast was the same as opening night.On the whole I enjoyed Richard Jones's direction. He got really convincing acting performances from his (fairly) young and attractive cast. The set pleased me less, although compared to some of the horrors Kasper Holden has recently inflicted upon us, it was restrained. Act 1 some critics have said looks like something out of Ikea; it actually reminded me more of an Anglian Windows conservatory. The 2nd act was more interesting but it felt more appropriate for the musical She Loves Me than Puccini. Act 3 at last used virtually the full stage but was otherwise very boringly designed and Act 4 is always the same as act 1 but was ridiculously over-lit for the death scene. I've seen a large number of Jones productions and he always seems to favour a slightly cartoonish design (no flock wallpaper, though!) Singing was good but not outstanding. Simone Mihai was affecting as Mimi, and she really looked the part, but the voice was too vibrato-heavy. Joyce El-Khoury was better as Musetta; she wore a stunning red dress in act 2 and also got her knickers off! I thought Michael Fabiano a pleasing Rodolfo. He has a light, fairly 'white' tone to his voice which just lacks a little richness. He is a handsome, ardent presence. But easily best of all in every way was Mariusz Kwiecien; his glorious baritone and sexy charisma dominated every scene he was in. The star of the show was (how predictable) Pappano. He coaxed fabulous playing from the orchestra. Would you say it is worth the £230 top ticket price? |
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Post by tmesis on Sept 24, 2017 16:38:41 GMT
Worth £230? Hard to say since I'm usually in the amphitheatre, although top price there for this is £97!
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Post by argon on Sept 24, 2017 16:49:22 GMT
Simone Mihai was affecting as Mimi, and she really looked the part, but the voice was too vibrato-heavy. Common problem with singers today never ending vibrato. Can it be put down to a change in style or ill-advised teaching. Tonyloc seeing Jussi Björling & just before his untimely death- such admiration, why can't we have singers like that now. Jussi Björling & Robert Merrill singing "Solenne in quest' ora" should be savoured. |
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Post by tonyloco on Sept 24, 2017 17:12:57 GMT
Worth £230? Hard to say since I'm usually in the amphitheatre, although top price there for this is £97 OK then – same question. Was it worth £97 for central front Amphi? Those seats have excellent sound but they are rather cramped, have no armrests and are actually rather a long way from the stage for both opera and ballet. |
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Post by tonyloco on Sept 24, 2017 17:32:48 GMT
Common problem with singers today never ending vibrato. Can it be put down to a change in style or ill-advised teaching. There is a fascinating book called 'Divas' just published in Australia (at a rather alarming price, unfortunately) by my friend Roger Neill which tells the story of Mathilde Marchesi and many of her pupils, of whom the most famous was Nellie Melba. It includes a whole chapter explaining Marchesi's teaching method in detail and one of the things she eschewed was vibrato. This of course is one reason why some people even today dislike Melba's recordings because they say the tone is too white and cold, probably because they are used to listening to sopranos with vibrato! But Melba studied the role of Mimì with Puccini and was largely responsible for establishing Bohème in the international repertoire. If you are not familiar with them, listen to the recordings that were made 'live' in 1926 at Covent Garden when Melba at the age of 65 bade farewell to the Royal Opera House with a gala that included her singing bits of Desdemona, Juliette and Mimì. Yes, there's no vibrato, but my goodness, the voice sounds in superb shape. Apart from Mimì her main roles were Gilda, Lucia, Violetta, Marguerite and Ophelia, all of which are pre-verismo. Of course the use of vibrato came into its own with the verismo era, which included Puccini, but let's not forget that Baroque operas need vibrato-less singing and that's what Marchesi based her teaching on. End of Loco Lecture! |
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Post by tonyloco on Sept 24, 2017 17:48:33 GMT
Jussi Björling & Robert Merrill singing "Solenne in quest' ora" should be savoured. The Björing/Merrill recording of the Temple Duet from 'The Pearl Fishers' remained at the top of the list of 'Your Hundred Best Tunes' on the BBC Radio 2 programme throughout its long run starting in 1959, presented first by Alan Keith and then by Richard Baker. Björling was of course endowed with an amazing voice that was perfect for the lyric tenor roles but could also harden at the top for heroic roles in operas like Trovatore, Aida and Forza. As much as I admire Kaufmann's talent I don't think he has that ability – unfortunately! |
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Post by tmesis on Sept 24, 2017 18:40:22 GMT
Worth £230? Hard to say since I'm usually in the amphitheatre, although top price there for this is £97 OK then – same question. Was it worth £97 for central front Amphi? Those seats have excellent sound but they are rather cramped, have no armrests and are actually rather a long way from the stage for both opera and ballet. I would actually say it is worth that. Despite some production niggles and a few vocal issues I did enjoy it considerably. Obviously the production is not in the Copley league, but we old lags didn't expect it to be. I would have been happy if Jones hadn't f***** it up completely but it's way better than that. (Oh God I really do sound like I'm damning with faint praise!) What elevates is Pappano's conducting; you won't find a better conducted Boheme in the world today. |
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Post by tmesis on Sept 24, 2017 18:52:15 GMT
Jussi Björling & Robert Merrill singing "Solenne in quest' ora" should be savoured. The Björing/Merrill recording of the Temple Duet from 'The Pearl Fishers' remained at the top of the list of 'Your Hundred Best Tunes' on the BBC Radio 2 programme throughout its long run starting in 1959, presented first by Alan Keith and then by Richard Baker. Björling was of course endowed with an amazing voice that was perfect for the lyric tenor roles but could also harden at the top for heroic roles in operas like Trovatore, Aida and Forza. As much as I admire Kaufmann's talent I don't think he has that ability – unfortunately! My favourite Bjorling moment is in 'Salut! Demeure chaste et pure' from Gounod's Faust.* The isolated high C (?) near the end he hits with such ardour, precision and all so effortlessly within the phrase, it makes you want to pass out with pleasure and excitement. It's my (some claim this) single favourite moment in a recorded tenor aria. * Jussi Bjorling Opera arias vol. 1 (EMI.) |
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Post by justinj on Sept 24, 2017 19:26:59 GMT
Anyone know the running time?
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Post by tmesis on Sept 24, 2017 19:33:19 GMT
Anyone know the running time? Yesterday's cast list gives it 2hrs 25 mins, however website says 2' 35' which was about right for the matinee. |
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Post by justinj on Sept 24, 2017 19:34:11 GMT
Anyone know the running time? Yesterday's cast list gives it 2hrs 25 mins, however website says 2' 35' which was about right for the matinee. Perfect thanks, couldn’t find any info on the website. Is there one interval or two? |
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Post by tmesis on Sept 24, 2017 19:35:39 GMT
One - 1/2 hr.
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Post by tonyloco on Sept 24, 2017 19:41:29 GMT
Gosh, that makes me feel very old. I remember when La Bohème at the ROH always had three intervals, but they were not 30 minutes! |
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Post by tonyloco on Sept 24, 2017 19:53:53 GMT
My favourite Bjorling moment is in 'Salut! Demeure chaste et pure' from Gounod's Faust.* The isolated high C (?) near the end he hits with such ardour, precision and all so effortlessly within the phrase, it makes you want to pass out with pleasure and excitement. It's my (some claim this) single favourite moment in a recorded tenor aria. * Jussi Bjorling Opera arias vol. 1 (EMI.) Gosh, that's a very interesting statement. I ought to have one as well but I don't think I do. But although I haven't heard it for years, I have a feeling that the 1914 recording of the 'Si, per ciel' duet of Caruso with Titta Ruffo used to fill me with excitement although it wasn't just a single high note, but Caruso's whole intense contribution sung with rock steady tone and perfect pitch. To replace him at the Met it took two tenors – Gigli and Björling and even they never really matched him, IMHO. |
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Post by tmesis on Sept 24, 2017 21:13:11 GMT
Gosh, that makes me feel very old. I remember when La Bohème at the ROH always had three intervals, but they were not 30 minutes! The Copley production was always just two intervals with acts 1 and 2 run together. The trend at The Garden for over ten years or so is to have fewer intervals. Many productions in the 70s and 80s used to end at 11.00pm or later. Now everything is timed to end on, or before 10.30 pm. There is a fantastic site I've only just discovered that lists all the casts and running times of virtually every performance at ROH. rohcollections.org.uk (Go to performance database, 3rd tab.) |
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Post by tonyloco on Sept 24, 2017 23:00:31 GMT
There is a fantastic site I've only just discovered that lists all the casts and running times of virtually every performance at ROH. rohcollections.org.uk (Go to performance database, 3rd tab.) Yes, I use it all the time. Actually, the ROH Collections website is brilliant except when it omits some key performances that I want to research. Some years ago I donated almost all my programmes (opera, ballet, plays, musicals and concerts) to the Barr Smith Library at the University of Adelaide in Australia. These are slowly being digitised and put online but the job is far from finished and at the moment they are concentrating on Australian performances so I don't expect my London programmes will be touched until long after I have shuffled of my mortal coil! |
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