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Post by vabbian on Mar 24, 2019 1:43:39 GMT
Surprised there is no thread on this!
By all accounts the event of the year (and perhaps the biggest event since the resurrection of Jesus Christ between AD 30 and AD 36(?)).
Saw the final dress rehearsal. Kaufmann cancelled. Boo. Everyone threw eggs at Oliver Mears. Eyvazov stepped in, he was great. Nice chemistry with Netrebko of course, and very well received by the audience at the end. Netrebko was sublime. Lots of low register. These days when I hear Netrebko perform I just think of vampires.
The sets were a bit sh*t. Not a fan of the video display as it distracts from the singer.
I must say, Forza is perhaps not the best opera to showcase two superstars since both of the title roles spend a lot of time off stage!
Anyhow, got tickets for the performances on 27th and 29th as well. Can't wait!
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Post by tmesis on Mar 24, 2019 13:20:03 GMT
I'm seeing their final joint performance so I have everything crossed! I've been let down twice by Jonas and also twice by Anna previously, although I hadn't realised that the only other time (in the world I think, not just at The Garden) they have ever sung together was at La Traviata 11 years ago at ROH. I was lucky enough to see that and it was absolutely sensational; definitely in my top three opera performances ever.
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Post by foxa on Mar 24, 2019 15:52:43 GMT
My husband is an opera fan and as a Christmas gift I bought us two tickets for 27th March - not great seats - lower slips, but thought it would be an experience. However, he's poorly and I'm debating whether I should go on my own and try to return one ticket (it's been sold out for some time, so think it would go.) Or resell both. I have fear of missing out...so may give it a go. But four hours! In the slips!
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Post by vabbian on Mar 24, 2019 17:28:44 GMT
My husband is an opera fan and as a Christmas gift I bought us two tickets for 27th March - not great seats - lower slips, but thought it would be an experience. However, he's poorly and I'm debating whether I should go on my own and try to return one ticket (it's been sold out for some time, so think it would go.) Or resell both. I have fear of missing out...so may give it a go. But four hours! In the slips! To be honest I don't even bother going to the ROH if its slips/side view tickets. Those tickets should be sold as listening seats. If I were you I would return them and go to the cinema screening instead. |
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Post by Dawnstar on Mar 24, 2019 18:28:15 GMT
Surprised there is no thread on this! Perhaps because it was so hard to get tickets for the Kaufmann/Netrebko performances that few members on here are seeing them. I didn't even bother trying but it looked from comments online that there were very few if any tickets available when public booking opened. |
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Post by Fleance on Mar 24, 2019 20:02:29 GMT
I love Forza but will just miss the ROH production as I went get to London until a few days later. In 2015, I saw Forza (The Force of Destiny) at the ENO/Coliseum, in a controversial production by Calixto Bieito that received mixed reviews. But I loved it and didn't mind all the liberties. It was a co-production with the Metropolitan Opera, where it was supposed to be produced in 2017. I told an opera-living friend of mine in NY not to miss it. He replied, "The Met will never do Verdi in English." I said, "But it's a co-production, presumably they've already paid for it." My friend was firm and challenged me to a bet. Although the production was announced as part of the 2017 season, Peter Gelb then announced that it wouldn't be performed. They replaced it with the Verdi Requiem, and I lost $10. www.theguardian.com/music/2015/nov/10/the-force-of-destiny-review-eno-english-national-opera-verdi-bieito |
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Post by vabbian on Mar 24, 2019 21:09:28 GMT
Surprised there is no thread on this! Perhaps because it was so hard to get tickets for the Kaufmann/Netrebko performances that few members on here are seeing them. I didn't even bother trying but it looked from comments online that there were very few if any tickets available when public booking opened. Similar experience with Otello 2017 with Kaufmann, and Macbeth 2018 with Netrebko. They seem to have one mega event every year. |
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Post by jgblunners on Mar 25, 2019 0:23:44 GMT
I'm booked for a Kaufmann/Monastyrska performance at the start of April - mostly for the opera itself rather than the casting, I must say. I'm not active enough in operatic circles to stay up to date with who the big names are so I didn't particularly care about seeing Netrebko, but have booked for Kaufmann as a friend of mine raved about his Otello. I am very interested to see Forza though as I don't have much experience with Verdi - I remember enjoying La Traviata but finding Il Trovatore a little dull by comparison. I've heard the Forza overture before and find it very dramatically engaging so I'm hopeful about this one.
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Post by theatrefan77 on Mar 25, 2019 0:30:17 GMT
I'm seeing a Kaufmann/Monastyrska performance too as I can't make any of the dates with Netrebko. Never seen La Forza before and I'm really looking forward to it.
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Post by theatrefan77 on Mar 25, 2019 0:30:27 GMT
Double post. Please delete
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Post by Distant Dreamer... on Mar 25, 2019 8:39:44 GMT
I simply adore this opera, but I believe Kaufmann and Netrebko to be very poor casting choices in this opera. I can't wait to see Monastyrska and Eyvazov who will be sensational.
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Post by argon on Mar 25, 2019 16:29:48 GMT
I didn't even bother trying but it looked from comments online that there were very few if any tickets available when public booking opened.
[/quote]
Which makes you wonder why considering the amount of ACE funding the ROH get compared to other organisations. So much for accessibility.
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Post by vabbian on Mar 25, 2019 17:16:35 GMT
I didn't even bother trying but it looked from comments online that there were very few if any tickets available when public booking opened. Which makes you wonder why considering the amount of ACE funding the ROH get compared to other organisations. So much for accessibility.[/quote] Ticket sales don't even cover half of the costs at the ROH.  I don't think accessibility for an event like Forza would have even been considered, knowing that people will fly into London specifically for this event. Accessibility for a Boheme or Carmen? sure £103 for ROH membership is a lot of money for some, but it is a small price for hardcore opera fans and those desperate to see Forza. I do recommend membership for opera fans, even if Forza wasn't announced. Access to priority booking and final dress rehearsals is fab! |
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Post by vabbian on Mar 25, 2019 17:19:56 GMT
Also you know expenses are an issue when Oliver Mears comes out before every dress rehearsal and says "we know most of you are going to die soon, please include ROH in your will!!"  there will be people with tea and biscuits in the foyer if you want to discuss it |
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Post by Dawnstar on Mar 25, 2019 19:49:25 GMT
I do recommend membership for opera fans, even if Forza wasn't announced. Access to priority booking and final dress rehearsals is fab! I've read comments from people who have the basic levels Friends membership saying that they often can't get the tickets they want because they have already gone to those with higher levels of membership. Checking the ROH website, there are 5 levels of booking before it gets round to basic Friends & 8 levels altogether. Dress rehearsal access wouldn't be much use to me either as they're nearly all during the day on weekdays so I'd be at work 60 miles away. Actually at the last booking period what I was hacked off at was there being no tickets available for Berenice in the Linbury, and none have come up subsequently. Forza I'm not bothered about not seeing. Also you know expenses are an issue when Oliver Mears comes out before every dress rehearsal and says "we know most of you are going to die soon, please include ROH in your will!!" there will be people with tea and biscuits in the foyer if you want to discuss itMy response to the ROH's begging posters/trying to make you donate when booking/etc. is: no way, as they have far, far more money than I do! |
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Post by vabbian on Mar 25, 2019 19:59:33 GMT
I do recommend membership for opera fans, even if Forza wasn't announced. Access to priority booking and final dress rehearsals is fab! I've read comments from people who have the basic levels Friends membership saying that they often can't get the tickets they want because they have already gone to those with higher levels of membership. Checking the ROH website, there are 5 levels of booking before it gets round to basic Friends & 8 levels altogether. Dress rehearsal access wouldn't be much use to me either as they're nearly all during the day on weekdays so I'd be at work 60 miles away. Actually at the last booking period what I was hacked off at was there being no tickets available for Berenice in the Linbury, and none have come up subsequently. Forza I'm not bothered about not seeing. I have the lowest level membership and was able to get tickets to three performances of Forza with little effort. I agree on the Linbury though, tiny theatre! |
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Post by tmesis on Mar 26, 2019 12:55:26 GMT
I've been a Friend (always the lowest band of membership) for a nearly unbroken 40 years. True a number of seats go to people with more elevated levels of membership but there are some absolute bargain seats that you get to know of that are always available to Friends like me but always sell out before public booking.
Also quite a few of the Friends Rehearsals are on Saturdays. Not living in London those are the only ones I can go to and they are an absolute bargain. I saw Kaufmann in Otello (on a Saturday) for £7! Other Saturday rehearsals I have attended recently are Hansel and Gretel and Cosi and I've just secured a rehearsal seat for La Fille du Regiment.
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Post by argon on Mar 26, 2019 18:08:30 GMT
I'm seeing their final joint performance so I have everything crossed! I've been let down twice by Jonas and also twice by Anna previously, although I hadn't realised that the only other time (in the world I think, not just at The Garden) they have ever sung together was at La Traviata 11 years ago at ROH. I was lucky enough to see that and it was absolutely sensational; definitely in my top three opera performances ever. What were the other 2 ? |
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Post by tmesis on Mar 27, 2019 9:51:08 GMT
I'm seeing their final joint performance so I have everything crossed! I've been let down twice by Jonas and also twice by Anna previously, although I hadn't realised that the only other time (in the world I think, not just at The Garden) they have ever sung together was at La Traviata 11 years ago at ROH. I was lucky enough to see that and it was absolutely sensational; definitely in my top three opera performances ever. What were the other 2 ? Julius Caesar (Handel) at ENO in the early 80s with Janet Baker conducted by Mackerras. I saw her do it twice and they really don't make singers like that anymore. The rest of the cast was fab too with Valerie Masterson, Sarah Walker, Della Jones, John Tomlinson and James Bowman. But head and shoulders above everything, by a huge margin, was Verdi's Otello at ROH in 1980 with Domingo and Margaret Price conducted by Carlos Kleiber. Everything you may have read of Kleiber is true. He had a small repertoire of works that he endlessly recycled but his conducting of those works, particularly live, was in a class apart. This was easily the greatest musical experience of my life (not just opera, live concerts too.) Kleiber just took control from the first few thrillingly dramatic chords and the tension never dropped. He inspired the orchestra, chorus and singers to give an absolutely incandescent performance. I have never heard before, or since, a conductor galvanise all the forces involved to give of their best in quite such a startling and life-enhancing way. |
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Post by vabbian on Mar 27, 2019 21:21:58 GMT
Lots of sweet wrapper noises tonight
How the hell do you get to 70 years old and not know how to behave in a bloody theatre
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Post by Distant Dreamer... on Mar 28, 2019 8:14:34 GMT
Lots of sweet wrapper noises tonight How the hell do you get to 70 years old and not know how to behave in a bloody theatre People can be highly ignorant. |
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Post by Mr Snow on Mar 28, 2019 13:31:18 GMT
Saw Kaufmann/Monastyrska last night.
I think it was the production because I just couldn't get engaged and I had a much better time at the recent ENO production. This one seemed to start stop all the time. Every time you felt involved with the main characters, some clever business with the chorus would seek to 'entertain' you and the exact opposite happened.
As ever we should be thankful we have Pappano, the Orchestra always delivers when he's in the driving seat. But when you are not being swept along you become increasingly critical.
My first exposure to Kaufmann was last years Otello and while I like him, he's a bit lightweight for these roles, particularly in the higher register. Monastyrska has a bigger voice but lacks subtlety. Pace, Pace was belted out....
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Post by argon on Mar 28, 2019 13:52:08 GMT
Julius Caesar (Handel) at ENO in the early 80s with Janet Baker conducted by Mackerras. I saw her do it twice and they really don't make singers like that anymore. The rest of the cast was fab too with Valerie Masterson, Sarah Walker, Della Jones, John Tomlinson and James Bowman. But head and shoulders above everything, by a huge margin, was Verdi's Otello at ROH in 1980 with Domingo and Margaret Price conducted by Carlos Kleiber. Everything you may have read of Kleiber is true. He had a small repertoire of works that he endlessly recycled but his conducting of those works, particularly live, was in a class apart. This was easily the greatest musical experience of my life (not just opera, live concerts too.) Kleiber just took control from the first few thrillingly dramatic chords and the tension never dropped. He inspired the orchestra, chorus and singers to give an absolutely incandescent performance. I have never heard before, or since, a conductor galvanise all the forces involved to give of their best in quite such a startling and life-enhancing way. Thanks for sharing Baker, Price & Domingo they are just not made like that anymore. I'll be surprised if this cast/production break into that top 3, despite Kaufmann/Trebs presence they don't sing like that La Triviata anymore. Saw it last last night so maybe not fair since Netrebko was not scheduled, but I can't say I was disappointed with Monastyrska. The standout for the evening was Tézier his aria Morir! Tremenda cosa! ... Urna fatale del mio destino got the most Bravos & rightly so. Furlanetto was dependable & Corbelli provided his usual comical brilliance. |
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Post by foxa on Mar 29, 2019 11:56:36 GMT
Mr Foxa is the opera person in the family but he was ill, so I ended up going on my own on Wednesday. Had odd Lower Slips seats with very restricted view (if you leaned forward you could see a bit more than half of the stage); sat back you could see the surtitles. HOWEVER a couple of big pluses for these seats. No one was behind so we could lean forward and also there was a big empty space behind us where we could ditch our coats, etc; we were close enough that we could see facial expressions, etc. I thought Monastyrska's voice was thrilling and enjoyed some other sections (even I could tell the music/orchestra was splendid), especially before the first interval. But as someone mentioned above it is an odd opera where the lovers are together so briefly. Also it's a bit absurd isn't it like when {Spoiler - click to view}
Alvaro accidentally shoots Leonora's father in the butt and he dies. After the big crazy soldier scene - what was with the guys in the blue tophats? - the very keen and knowledgeable opera woman next to me (who had bought the seat I'd put up for resale) simultaneously said 'Wasn't that wonderful!' when I said 'What the heck was that?' She said 'It's a modern production - it could have been a lot worse.' So glad I gave it a go but wasn't entirely engaged. |
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Post by tonyloco on Mar 29, 2019 13:48:02 GMT
I will not be going to any performances of the new Forza at the Opera House but I am intrigued to read the various reports by knowledgeable opera-goers here on this forum and I can't resist adding my recollections of two memorable performances I heard of this problematical opera back in the past. One was a Saturday matinee at the old Met in New York in 1965 with Franco Corelli and Ettore Bastianini, which was great fun to see those two big stars enjoying themselves in those two major roles. Sadly, the Leonora was Gabriella Tucci, who was seriously over-parted in that big house, but it was still an occasion to relish.
The other memorable production was the one at the Coliseum with Pauline Tinsley and Donald Smith as the ill-fated lovers, Joyce Blackham as Preziosilla, Don Garrard as Padre Guardiano and the brilliant Derek Hammond Stroud as Melitone. I don't remember the details, but the action had been moved to take place during two wars in the same country, which made dramatic sense of the chronology of the story, and musically and dramatically it was overwhelming. Tinsley and Smith were the Verdi spinto singers of their day par excellence, and the rest of the regular ENO cast were also wonderful. Even the English translation was enjoyable and I went to as many performances as I could manage, always sitting in the front stalls. It seemed to me (and to the rest of my opera-going pals at that time) to be just about as good as a big dramatic Verdi opera could get in performance. Sure, it wasn't an iconic Otello, but it was a huge feast of wonderful music performed in the most highly satisfactory and satisfying way – and wholly traditionally staged!
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