Favourite Operas
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Derek McGovern
Dec 4, 2007, 12:45:52 AM12/4/07
to Mario Lanza, tenor
Inspired by Armando's comments on another thread that if asked to
describe a perfect opera, La Boheme would
be on the top of his list, I thought it would be interesting to start
a thread on Favourite Operas. (This is distinct from the thread on
operas that we would have liked to see Lanza perform in.) I don't have
time to discuss my own choices right now, but here are five to begin
with that I couldn't live without:
-La Boheme (Puccini)
-Tosca
-La Fanciulla del West
-Otello (Verdi)
-Eugene Onegin
describe a perfect opera, La Boheme would
be on the top of his list, I thought it would be interesting to start
a thread on Favourite Operas. (This is distinct from the thread on
operas that we would have liked to see Lanza perform in.) I don't have
time to discuss my own choices right now, but here are five to begin
with that I couldn't live without:
-La Boheme (Puccini)
-Tosca
-La Fanciulla del West
-Otello (Verdi)
-Eugene Onegin
Derek McGovern
Dec 4, 2007, 8:28:49 PM12/4/07
to Mario Lanza, tenor
I've just received notice that a 2007 Met production of Eugene Onegin
is being released on DVD later this month:
http://www.amazon.com/exec/obidos/ASIN/B000YCLRBA/mix-20 I can't wait
to get this. As I mentioned above, this opera by Tchaikovsky is among
my favourite works, and having the chance to see it with a great cast
that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
a potential dream come true for me.
is being released on DVD later this month:
http://www.amazon.com/exec/obidos/ASIN/B000YCLRBA/mix-20 I can't wait
to get this. As I mentioned above, this opera by Tchaikovsky is among
my favourite works, and having the chance to see it with a great cast
that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
a potential dream come true for me.
The reviews at the link above (by people who saw this production when
it was screened live in movie theatres) are very interesting and well
written.
Muriel
Dec 4, 2007, 9:10:37 PM12/4/07
to Mario Lanza, tenor
I saw this very opera with Hvorostovsky/Fleming/Vargas in March at the
Met. I will urge you to read the reviews of those who wrote on Amazon
as they are better than any I could write. But - I will tell you, it
was an incredible evening that went by all too quickly. I especially
enjoyed the duet between Dmitri and Ramon - very touching. Renee was
exquisite. I'll certainly buy this DVD!.....M
On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> I've just received notice that a 2007 Met production of Eugene Onegin
> is being released on DVD later this month:http://www.amazon.com/exec/obidos/ASIN/B000YCLRBA/mix-20I can't wait
>
> - Show quoted text -
Met. I will urge you to read the reviews of those who wrote on Amazon
as they are better than any I could write. But - I will tell you, it
was an incredible evening that went by all too quickly. I especially
enjoyed the duet between Dmitri and Ramon - very touching. Renee was
exquisite. I'll certainly buy this DVD!.....M
On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> I've just received notice that a 2007 Met production of Eugene Onegin
> to get this. As I mentioned above, this opera by Tchaikovsky is among
> my favourite works, and having the chance to see it with a great cast
> that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> a potential dream come true for me.
>
> The reviews at the link above (by people who saw this production when
> it was screened live in movie theatres) are very interesting and well
> written.
>
> my favourite works, and having the chance to see it with a great cast
> that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> a potential dream come true for me.
>
> The reviews at the link above (by people who saw this production when
> it was screened live in movie theatres) are very interesting and well
> written.
>
> On 12/4/07, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
>
>
>
>
> > Inspired by Armando's comments on another thread that if asked to
> > describe a perfect opera, La Boheme would
> > be on the top of his list, I thought it would be interesting to start
> > a thread on Favourite Operas. (This is distinct from the thread on
> > operas that we would have liked to see Lanza perform in.) I don't have
> > time to discuss my own choices right now, but here are five to begin
> > with that I couldn't live without:
>
> > -La Boheme (Puccini)
> > -Tosca
> > -La Fanciulla del West
> > -Otello (Verdi)
> > -Eugene Onegin- Hide quoted text -
>
>
>
>
>
> > Inspired by Armando's comments on another thread that if asked to
> > describe a perfect opera, La Boheme would
> > be on the top of his list, I thought it would be interesting to start
> > a thread on Favourite Operas. (This is distinct from the thread on
> > operas that we would have liked to see Lanza perform in.) I don't have
> > time to discuss my own choices right now, but here are five to begin
> > with that I couldn't live without:
>
> > -La Boheme (Puccini)
> > -Tosca
> > -La Fanciulla del West
> > -Otello (Verdi)
>
> - Show quoted text -
Derek McGovern
Dec 4, 2007, 9:45:34 PM12/4/07
to mario...@googlegroups.com
Hi Muriella: I was actually wondering as I wrote my earlier post if
this DVD features the same performance that you saw. If it doesn't,
let's hope that it's at least as good as your one!
this DVD features the same performance that you saw. If it doesn't,
let's hope that it's at least as good as your one!
The music is wonderful in this opera for all three leads: baritone,
soprano, and tenor. The baritone (Onegin) has the most difficult role
in that his moody character is both difficult to like and tricky to
portray as a three-dimensional figure, yet he somehow has to elicit a
certain degree of sympathy from the audience. After all, he's the
central figure! The duet at the end between Onegin and Tatyana is
exciting, and, yes, the duel scene is wonderful. (By the way,
Wunderlich recorded both this and the haunting aria that precedes it.)
It's interesting that both the male leads in this production -
Hvorostovsky and Vargas - were inspired by Lanza. And I vaguely
remember reading somewhere that Renee Fleming is a great admirer as
well. Can anyone confirm this?
I'm certainly looking forward to the two of us sharing our thoughts on
this DVD, Muriella!
Muriel
Dec 4, 2007, 10:22:14 PM12/4/07
to Mario Lanza, tenor
I don't recall if they filmed this particular one, but I'm sure these
singers gave consistent performances. Yes, Onegin was a bit of a cad,
wasn't he? Dmitri is certainly an imposing figure on stage, however,
and one cannot stay angry with him too long. He certainly pleaded his
case convincingly as he sang that duet with Renee (Tatiana) and I'd
have been happy if they had reunited. But, it *is* opera, and very few
of those have fairytale endings!
Yes, let's talk about this after we both have the DVDs. Can you
preorder? I'll check - maybe a Christmas gift from me to me? I always
know what to buy me....A Wayward Imp..
On Dec 4, 9:45 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Hi Muriella: I was actually wondering as I wrote my earlier post if
> this DVD features the same performance that you saw. If it doesn't,
> let's hope that it's at least as good as your one!
>
> The music is wonderful in this opera for all three leads: baritone,
> soprano, and tenor. The baritone (Onegin) has the most difficult role
> in that his moody character is both difficult to like and tricky to
> portray as a three-dimensional figure, yet he somehow has to elicit a
> certain degree of sympathy from the audience. After all, he's the
> central figure! The duet at the end between Onegin and Tatyana is
> exciting, and, yes, the duel scene is wonderful. (By the way,
> Wunderlich recorded both this and the haunting aria that precedes it.)
>
> It's interesting that both the male leads in this production -
> Hvorostovsky and Vargas - were inspired by Lanza. And I vaguely
> remember reading somewhere that Renee Fleming is a great admirer as
> well. Can anyone confirm this?
>
> I'm certainly looking forward to the two of us sharing our thoughts on
> this DVD, Muriella!
>
singers gave consistent performances. Yes, Onegin was a bit of a cad,
wasn't he? Dmitri is certainly an imposing figure on stage, however,
and one cannot stay angry with him too long. He certainly pleaded his
case convincingly as he sang that duet with Renee (Tatiana) and I'd
have been happy if they had reunited. But, it *is* opera, and very few
of those have fairytale endings!
Yes, let's talk about this after we both have the DVDs. Can you
preorder? I'll check - maybe a Christmas gift from me to me? I always
know what to buy me....A Wayward Imp..
On Dec 4, 9:45 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Hi Muriella: I was actually wondering as I wrote my earlier post if
> this DVD features the same performance that you saw. If it doesn't,
> let's hope that it's at least as good as your one!
>
> The music is wonderful in this opera for all three leads: baritone,
> soprano, and tenor. The baritone (Onegin) has the most difficult role
> in that his moody character is both difficult to like and tricky to
> portray as a three-dimensional figure, yet he somehow has to elicit a
> certain degree of sympathy from the audience. After all, he's the
> central figure! The duet at the end between Onegin and Tatyana is
> exciting, and, yes, the duel scene is wonderful. (By the way,
> Wunderlich recorded both this and the haunting aria that precedes it.)
>
> It's interesting that both the male leads in this production -
> Hvorostovsky and Vargas - were inspired by Lanza. And I vaguely
> remember reading somewhere that Renee Fleming is a great admirer as
> well. Can anyone confirm this?
>
> I'm certainly looking forward to the two of us sharing our thoughts on
> this DVD, Muriella!
>
> On 12/5/07, Muriel <mawscompu...@yahoo.com> wrote:
>
>
>
>
>
> > I saw this very opera with Hvorostovsky/Fleming/Vargas in March at the
> > Met. I will urge you to read the reviews of those who wrote on Amazon
> > as they are better than any I could write. But - I will tell you, it
> > was an incredible evening that went by all too quickly. I especially
> > enjoyed the duet between Dmitri and Ramon - very touching. Renee was
> > exquisite. I'll certainly buy this DVD!.....M
>
> > On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> > > I've just received notice that a 2007 Met production of Eugene Onegin
> > > is being released on DVD later this
> > month:http://www.amazon.com/exec/obidos/ASIN/B000YCLRBA/mix-20Ican't wait
>
>
>
>
>
> > I saw this very opera with Hvorostovsky/Fleming/Vargas in March at the
> > Met. I will urge you to read the reviews of those who wrote on Amazon
> > as they are better than any I could write. But - I will tell you, it
> > was an incredible evening that went by all too quickly. I especially
> > enjoyed the duet between Dmitri and Ramon - very touching. Renee was
> > exquisite. I'll certainly buy this DVD!.....M
>
> > On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> > > I've just received notice that a 2007 Met production of Eugene Onegin
> > > is being released on DVD later this
> > > to get this. As I mentioned above, this opera by Tchaikovsky is among
> > > my favourite works, and having the chance to see it with a great cast
> > > that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> > > a potential dream come true for me.
>
> > > The reviews at the link above (by people who saw this production when
> > > it was screened live in movie theatres) are very interesting and well
> > > written.
>
> > > On 12/4/07, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > Inspired by Armando's comments on another thread that if asked to
> > > > describe a perfect opera, La Boheme would
> > > > be on the top of his list, I thought it would be interesting to start
> > > > a thread on Favourite Operas. (This is distinct from the thread on
> > > > operas that we would have liked to see Lanza perform in.) I don't have
> > > > time to discuss my own choices right now, but here are five to begin
> > > > with that I couldn't live without:
>
> > > > -La Boheme (Puccini)
> > > > -Tosca
> > > > -La Fanciulla del West
> > > > -Otello (Verdi)
> > > > -Eugene Onegin- Hide quoted text -
>
> > > - Show quoted text -- Hide quoted text -
> > > my favourite works, and having the chance to see it with a great cast
> > > that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> > > a potential dream come true for me.
>
> > > The reviews at the link above (by people who saw this production when
> > > it was screened live in movie theatres) are very interesting and well
> > > written.
>
> > > On 12/4/07, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > Inspired by Armando's comments on another thread that if asked to
> > > > describe a perfect opera, La Boheme would
> > > > be on the top of his list, I thought it would be interesting to start
> > > > a thread on Favourite Operas. (This is distinct from the thread on
> > > > operas that we would have liked to see Lanza perform in.) I don't have
> > > > time to discuss my own choices right now, but here are five to begin
> > > > with that I couldn't live without:
>
> > > > -La Boheme (Puccini)
> > > > -Tosca
> > > > -La Fanciulla del West
> > > > -Otello (Verdi)
> > > > -Eugene Onegin- Hide quoted text -
>
Muriel
Dec 4, 2007, 10:40:48 PM12/4/07
to Mario Lanza, tenor
a PS: These three also sang La Traviata together at the Met a few
seasons ago. I listened to it and loved it. Stellar performances again
and I tried to tape it, but ran out of tape!! I had hoped it was
filmed and will have to check that out. Just an afterthought. M
seasons ago. I listened to it and loved it. Stellar performances again
and I tried to tape it, but ran out of tape!! I had hoped it was
filmed and will have to check that out. Just an afterthought. M
Lou
Dec 6, 2007, 4:52:02 AM12/6/07
to Mario Lanza, tenor
Hi Derek: I'm also planning to order the Hvorostovsky/Fleming/Vargas
DVD as I'd like to see how Dmitri has developed since the 1992 Hvoro/
Focile/Shicoff production. The latter is my first exposure to Eugene
Onegin and also my first and only time to see Hvoro on DVD. I find
both engrossing, but Hvoro's groveling at Focile's feet was too
melodramatic for my taste. Does the libretto really call for such
abject behavior?
Since both you and Muriel are getting the Met DVD, I've decided to
wait for your reviews before I place my order. Incidentally, is the
Wunderlich recording you mentioned in Russian? As you may know, there
is a DVD of the complete opera sung in German by Wunderlich and Prey
in 1962.
Lou
On Dec 4, 6:45 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Hi Muriella: I was actually wondering as I wrote my earlier post if
> this DVD features the same performance that you saw. If it doesn't,
> let's hope that it's at least as good as your one!
>
> The music is wonderful in this opera for all three leads: baritone,
> soprano, and tenor. The baritone (Onegin) has the most difficult role
> in that his moody character is both difficult to like and tricky to
> portray as a three-dimensional figure, yet he somehow has to elicit a
> certain degree of sympathy from the audience. After all, he's the
> central figure! The duet at the end between Onegin and Tatyana is
> exciting, and, yes, the duel scene is wonderful. (By the way,
> Wunderlich recorded both this and the haunting aria that precedes it.)
>
> It's interesting that both the male leads in this production -
> Hvorostovsky and Vargas - were inspired by Lanza. And I vaguely
> remember reading somewhere that Renee Fleming is a great admirer as
> well. Can anyone confirm this?
>
> I'm certainly looking forward to the two of us sharing our thoughts on
> this DVD, Muriella!
>
DVD as I'd like to see how Dmitri has developed since the 1992 Hvoro/
Focile/Shicoff production. The latter is my first exposure to Eugene
Onegin and also my first and only time to see Hvoro on DVD. I find
both engrossing, but Hvoro's groveling at Focile's feet was too
melodramatic for my taste. Does the libretto really call for such
abject behavior?
Since both you and Muriel are getting the Met DVD, I've decided to
wait for your reviews before I place my order. Incidentally, is the
Wunderlich recording you mentioned in Russian? As you may know, there
is a DVD of the complete opera sung in German by Wunderlich and Prey
in 1962.
Lou
On Dec 4, 6:45 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> Hi Muriella: I was actually wondering as I wrote my earlier post if
> this DVD features the same performance that you saw. If it doesn't,
> let's hope that it's at least as good as your one!
>
> The music is wonderful in this opera for all three leads: baritone,
> soprano, and tenor. The baritone (Onegin) has the most difficult role
> in that his moody character is both difficult to like and tricky to
> portray as a three-dimensional figure, yet he somehow has to elicit a
> certain degree of sympathy from the audience. After all, he's the
> central figure! The duet at the end between Onegin and Tatyana is
> exciting, and, yes, the duel scene is wonderful. (By the way,
> Wunderlich recorded both this and the haunting aria that precedes it.)
>
> It's interesting that both the male leads in this production -
> Hvorostovsky and Vargas - were inspired by Lanza. And I vaguely
> remember reading somewhere that Renee Fleming is a great admirer as
> well. Can anyone confirm this?
>
> I'm certainly looking forward to the two of us sharing our thoughts on
> this DVD, Muriella!
>
> On 12/5/07, Muriel <mawscompu...@yahoo.com> wrote:
>
>
>
>
>
> > I saw this very opera with Hvorostovsky/Fleming/Vargas in March at the
> > Met. I will urge you to read the reviews of those who wrote on Amazon
> > as they are better than any I could write. But - I will tell you, it
> > was an incredible evening that went by all too quickly. I especially
> > enjoyed the duet between Dmitri and Ramon - very touching. Renee was
> > exquisite. I'll certainly buy this DVD!.....M
>
> > On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> > > I've just received notice that a 2007 Met production of Eugene Onegin
> > > is being released on DVD later this
> > month:http://www.amazon.com/exec/obidos/ASIN/B000YCLRBA/mix-20Ican't wait
>
>
>
>
>
> > I saw this very opera with Hvorostovsky/Fleming/Vargas in March at the
> > Met. I will urge you to read the reviews of those who wrote on Amazon
> > as they are better than any I could write. But - I will tell you, it
> > was an incredible evening that went by all too quickly. I especially
> > enjoyed the duet between Dmitri and Ramon - very touching. Renee was
> > exquisite. I'll certainly buy this DVD!.....M
>
> > On Dec 4, 8:28 pm, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> > > I've just received notice that a 2007 Met production of Eugene Onegin
> > > is being released on DVD later this
> > > to get this. As I mentioned above, this opera by Tchaikovsky is among
> > > my favourite works, and having the chance to see it with a great cast
> > > that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> > > a potential dream come true for me.
>
> > > The reviews at the link above (by people who saw this production when
> > > it was screened live in movie theatres) are very interesting and well
> > > written.
>
> > > On 12/4/07, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > Inspired by Armando's comments on another thread that if asked to
> > > > describe a perfect opera, La Boheme would
> > > > be on the top of his list, I thought it would be interesting to start
> > > > a thread on Favourite Operas. (This is distinct from the thread on
> > > > operas that we would have liked to see Lanza perform in.) I don't have
> > > > time to discuss my own choices right now, but here are five to begin
> > > > with that I couldn't live without:
>
> > > > -La Boheme (Puccini)
> > > > -Tosca
> > > > -La Fanciulla del West
> > > > -Otello (Verdi)
> > > > -Eugene Onegin- Hide quoted text -
>
> > > - Show quoted text -- Hide quoted text -
> > > my favourite works, and having the chance to see it with a great cast
> > > that includes Dmitri Hvorostovsky, Renee Fleming, and Ramon Vargas is
> > > a potential dream come true for me.
>
> > > The reviews at the link above (by people who saw this production when
> > > it was screened live in movie theatres) are very interesting and well
> > > written.
>
> > > On 12/4/07, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
> > > > Inspired by Armando's comments on another thread that if asked to
> > > > describe a perfect opera, La Boheme would
> > > > be on the top of his list, I thought it would be interesting to start
> > > > a thread on Favourite Operas. (This is distinct from the thread on
> > > > operas that we would have liked to see Lanza perform in.) I don't have
> > > > time to discuss my own choices right now, but here are five to begin
> > > > with that I couldn't live without:
>
> > > > -La Boheme (Puccini)
> > > > -Tosca
> > > > -La Fanciulla del West
> > > > -Otello (Verdi)
> > > > -Eugene Onegin- Hide quoted text -
>
Derek McGovern
Dec 6, 2007, 5:02:19 AM12/6/07
to mario...@googlegroups.com
Hi Lou
I'm not sure if the libretto of Eugene Onegin calls for grovelling at
Tatyana's feet, but anything's possible in that last dramatic duet!
Unfortunately, Fritz sings his excerpts from this opera in German (in
common with 99% of the other material he recorded). It's not *quite*
the same when it's not in Russian. Still, it's the best version of
Lensky's aria that I've heard. But I wasn't aware that there was a DVD
of the whole opera available with him! Thank you so much for alerting
me. I'll certainly buy it if it's a live performance.
Joel
Dec 6, 2007, 5:07:31 PM12/6/07
to Mario Lanza, tenor
Hello everyone,
Favorite operas? There are so many that I enjoy, but a few that come
immediately to mind.
I love the tenor roles of Des Grieux in Puccini's Manon Lescaut, and
Andrea Chenier. I also
love Verdi's Otello, and as so many others, Puccini's La Boheme.
One of my favorite recordings of La Boheme is from an old LP album of
highlights. It features
Giuseppe Di Stefano, Licia Albanese, and Leonard Warren. The recording
is from 1951 and
Pippo is in great voice!
Favorite operas? There are so many that I enjoy, but a few that come
immediately to mind.
I love the tenor roles of Des Grieux in Puccini's Manon Lescaut, and
Andrea Chenier. I also
love Verdi's Otello, and as so many others, Puccini's La Boheme.
One of my favorite recordings of La Boheme is from an old LP album of
highlights. It features
Giuseppe Di Stefano, Licia Albanese, and Leonard Warren. The recording
is from 1951 and
Pippo is in great voice!
Derek McGovern
Jan 25, 2008, 1:56:50 PM1/25/08
to Mario Lanza, tenor
Nearly two months ago we were discussing the new DVD of the 2007 Met
production of Eugene Onegin with Hvorostovsky, Fleming, and Vargas. My
copy finally arrived yesterday, and I watched it last night.
It's wonderful. I realize that this opera is not for everyone - it's
episodic in structure, for example, and features a largely
unsympathetic title character - but I love it. In his fascinating book
The Lives of the Great Composers, Harold Schonberg describes it
perfectly:
"[As in all Tchaikovsky's operas] song is used to express character
and mood, not to exploit the vocal cords. [...] In its quiet way,
Eugene Onegin can have an extraordinary impact. It has a continuous
melodic wash, and idea follows idea; the exquisite opening duet (which
grows into a quartet); the rapturous duet of Lensky and Olga followed
by what surely is one of the great love arias in all opera, Lensky's
Ya Lyublya Vas, Olga - "I love you, Olga." Tatiana's letter scene is
the most familiar part of the opera (aside from the orchestral
dances), and as one studies it there comes greater and greater respect
for Tchaikovsky's powers in his craft. How surely he builds to the
climax - Tatiana's outburst "Now I am alone!" with the orchestra
welling up to one of those unforgettable Tchaikovskian inspirations.
Then there are the quarrel sequences, especially the bleak duel scene,
with Lensky's great aria to his youth. At the end of the opera there
is the muted but desperate confrontation between tatiana and Onegin.
All this in a style that owed little to any composer."
My only criticisms of this production are that a) the sets are coldly
minimalist (why is this such a fad these days?!), and b) the direction
is a bit odd at times. For instance, we are taken straight from the
duel scene in which Onegin has killed his best friend at the end of
Act II into the lively & well-known Polonaise that begins Act III. To
me, this undermines the tragedy of what has just happened. The duel
scene itself, though, is chillingly effective.
But these gripes aside, the singing and acting are terrific.
Hvorostovsky is in great form here - it's the perfect role for him in
many respects - and Fleming is equally good, especially in her bravura
letter scene. She's almost 48 here, but she makes a believable young
woman. Ramon Vargas as Lenski (or Lensky) suffers only in comparison
with Fritz Wunderlich, whose superb version of the Act II aria (on the
DVD documentary I mentioned this week) is the best rendition I've
heard. But Vargas is a good actor with an appealing lyric tenor.
So there you have it! If you love Eugene Onegin, then I can definitely
recommend this DVD for its dream cast. The conducting by Valery
Gergiev is also excellent.
production of Eugene Onegin with Hvorostovsky, Fleming, and Vargas. My
copy finally arrived yesterday, and I watched it last night.
It's wonderful. I realize that this opera is not for everyone - it's
episodic in structure, for example, and features a largely
unsympathetic title character - but I love it. In his fascinating book
The Lives of the Great Composers, Harold Schonberg describes it
perfectly:
"[As in all Tchaikovsky's operas] song is used to express character
and mood, not to exploit the vocal cords. [...] In its quiet way,
Eugene Onegin can have an extraordinary impact. It has a continuous
melodic wash, and idea follows idea; the exquisite opening duet (which
grows into a quartet); the rapturous duet of Lensky and Olga followed
by what surely is one of the great love arias in all opera, Lensky's
Ya Lyublya Vas, Olga - "I love you, Olga." Tatiana's letter scene is
the most familiar part of the opera (aside from the orchestral
dances), and as one studies it there comes greater and greater respect
for Tchaikovsky's powers in his craft. How surely he builds to the
climax - Tatiana's outburst "Now I am alone!" with the orchestra
welling up to one of those unforgettable Tchaikovskian inspirations.
Then there are the quarrel sequences, especially the bleak duel scene,
with Lensky's great aria to his youth. At the end of the opera there
is the muted but desperate confrontation between tatiana and Onegin.
All this in a style that owed little to any composer."
My only criticisms of this production are that a) the sets are coldly
minimalist (why is this such a fad these days?!), and b) the direction
is a bit odd at times. For instance, we are taken straight from the
duel scene in which Onegin has killed his best friend at the end of
Act II into the lively & well-known Polonaise that begins Act III. To
me, this undermines the tragedy of what has just happened. The duel
scene itself, though, is chillingly effective.
But these gripes aside, the singing and acting are terrific.
Hvorostovsky is in great form here - it's the perfect role for him in
many respects - and Fleming is equally good, especially in her bravura
letter scene. She's almost 48 here, but she makes a believable young
woman. Ramon Vargas as Lenski (or Lensky) suffers only in comparison
with Fritz Wunderlich, whose superb version of the Act II aria (on the
DVD documentary I mentioned this week) is the best rendition I've
heard. But Vargas is a good actor with an appealing lyric tenor.
So there you have it! If you love Eugene Onegin, then I can definitely
recommend this DVD for its dream cast. The conducting by Valery
Gergiev is also excellent.
Message has been deleted
Muriel
Jan 25, 2008, 9:19:08 PM1/25/08
to Mario Lanza, tenor
Derek, it's wonderful that now you've seen what I saw! I enjoyed this
opera very much. It totally slipped my mind that you said you were
going to order it and so I didn't! Now I definitely will!! All the
cast lived up to our expectations - it wasn't only Dmitri's show as I
had thought it would be. Each character had an important opportunity
to show his/her talent - even Gremin's aria was superb, don't you
think?
I didn't notice Dmitri groveling as Lou saw in her earlier viewing of
his performance. I loved the romantic young Tatiana and her letter
scene (I always can identify with such things). I was quite miffed at
Onegin's response, but, yet, he wasn't ready to settle down and still
might have broken her heart if he had accepted her offering of love at
that time. I also thought the acting was convincing.
Yes, the scenery was nothing to write home about! I've noticed that in
other recent operas - perhaps they want you to concentrate on the
music and singing? I do enjoy it more when the background is pleasing
- or at least, there!
Did you notice that Onegin's discovery of his love for Tatiana takes
on the same melody as hers in the beginning of the letter scene? That
is sweet.
I'm going to order some items I found in the Met brochure I received
before Christmas and I'll ask if they have this DVD as well. Among the
CDs they list is the West Side Story 50th anniversary re-issue of its
Broadway debut. I've never heard it. I see CDs of arias and duets by
Renata Tebaldi, arias from various operas by Licia Albanese, and Met
stars (including Anna Moffo) singing operetta. I'm interested in a DVD
of a tribute to Anna Moffo and another from the archives of The Voice
of Firestone television shows, including a number of great sopranos
and tenors. Gee, if I want to go all out, I can even buy one of he
great Floence Foster Jenkins!!!
That's enough dreaming for now....M
> > Lou- Hide quoted text -
opera very much. It totally slipped my mind that you said you were
going to order it and so I didn't! Now I definitely will!! All the
cast lived up to our expectations - it wasn't only Dmitri's show as I
had thought it would be. Each character had an important opportunity
to show his/her talent - even Gremin's aria was superb, don't you
think?
I didn't notice Dmitri groveling as Lou saw in her earlier viewing of
his performance. I loved the romantic young Tatiana and her letter
scene (I always can identify with such things). I was quite miffed at
Onegin's response, but, yet, he wasn't ready to settle down and still
might have broken her heart if he had accepted her offering of love at
that time. I also thought the acting was convincing.
Yes, the scenery was nothing to write home about! I've noticed that in
other recent operas - perhaps they want you to concentrate on the
music and singing? I do enjoy it more when the background is pleasing
- or at least, there!
Did you notice that Onegin's discovery of his love for Tatiana takes
on the same melody as hers in the beginning of the letter scene? That
is sweet.
I'm going to order some items I found in the Met brochure I received
before Christmas and I'll ask if they have this DVD as well. Among the
CDs they list is the West Side Story 50th anniversary re-issue of its
Broadway debut. I've never heard it. I see CDs of arias and duets by
Renata Tebaldi, arias from various operas by Licia Albanese, and Met
stars (including Anna Moffo) singing operetta. I'm interested in a DVD
of a tribute to Anna Moffo and another from the archives of The Voice
of Firestone television shows, including a number of great sopranos
and tenors. Gee, if I want to go all out, I can even buy one of he
great Floence Foster Jenkins!!!
That's enough dreaming for now....M
Derek McGovern
Jan 25, 2008, 9:45:42 PM1/25/08
to mario...@googlegroups.com
Hi Muriella: Thanks for reminding me about Prince Gremin! Yes, the
bass Sergei Alexashkin sang Gremin's famous aria beautifully, and he
was also convincing as a much older man in love with Tatiana.
bass Sergei Alexashkin sang Gremin's famous aria beautifully, and he
was also convincing as a much older man in love with Tatiana.
On a related note, has anyone heard Dmitri Hvorostovsky's new CD of
operatic arias yet? It's called Heroes and Villains, and it's on the
Delos label. Hvorostovsky sings, among other things, Nemico della
Patria from Andrea Chenier, the Pagliacci Prologue, and the Te Deum
from Act I of Tosca (his first recording of *anything* by Puccini, to
the best of my knowledge). It received an excellent review in a recent
Opera News.
Lou
Jan 26, 2008, 12:58:21 PM1/26/08
to Mario Lanza, tenor
Hi Muriel: In the final scene of the Met's Eugene Onegin, which I
watched on YouTube, Hvorostovsky falls to his knees before Fleming
(Tatiana) and pleads for her love and pity. I much prefer this
relatively restrained behavior to that in the 1992 performance of the
opera in Paris, in which Hvorostovsky's Onegin prostrates himself,
clutches Tatiana's ankles, and lays his cheek on her feet. I find this
action startlingly and distractingly over the top.
Based on Derek's rave review of the DVD and yours of the live
performance, I'll order the DVD as soon as my checkbook recovers from
my holiday spending. Anytime now, I expect to receive my order of the
DVD of a 1962 live performance with Wunderlich and Prey (I think
Wunderlich's version of the Act II aria featured in the DVD
documentary mentioned by Derek might have been taken from this
performance.) together with the DVD of a recent live performance with
the Swedish baritone, Peter Mattei, whose reported melodramatically
lovesick Onegin in Act III has piqued my curiosity. As you can see, I
have developed a more than passing interest in this opera.
I don't find Onegin a totally unsympathetic character. He is often
accused of caddishness and insensitivity in the way he refused
Tatiana's offer of love, but I think he was just being honest. There
was no way he could have avoided hurting her short of feigning a love
he did not feel. Worse, he could have taken advantage of her tender
feelings for him, and that, in my book, is real villainy. What I do
fault Onegin for is his taunting of Lensky with his outrageous
flirting with Olga and his killing of his best friend in a duel
instead of risking being called a coward by refusing to accept the
latter's challenge.
I too noticed that when Onegin finally finds himself in love, he sings
the same music that Tatiana sang in the beginning of the letter scene.
I think this is symbolic of the fact that they share a common fate: to
live the rest of their lives with an undying and unfulfilled love.
> > - Show quoted text -- Hide quoted text -
watched on YouTube, Hvorostovsky falls to his knees before Fleming
(Tatiana) and pleads for her love and pity. I much prefer this
relatively restrained behavior to that in the 1992 performance of the
opera in Paris, in which Hvorostovsky's Onegin prostrates himself,
clutches Tatiana's ankles, and lays his cheek on her feet. I find this
action startlingly and distractingly over the top.
Based on Derek's rave review of the DVD and yours of the live
performance, I'll order the DVD as soon as my checkbook recovers from
my holiday spending. Anytime now, I expect to receive my order of the
DVD of a 1962 live performance with Wunderlich and Prey (I think
Wunderlich's version of the Act II aria featured in the DVD
documentary mentioned by Derek might have been taken from this
performance.) together with the DVD of a recent live performance with
the Swedish baritone, Peter Mattei, whose reported melodramatically
lovesick Onegin in Act III has piqued my curiosity. As you can see, I
have developed a more than passing interest in this opera.
I don't find Onegin a totally unsympathetic character. He is often
accused of caddishness and insensitivity in the way he refused
Tatiana's offer of love, but I think he was just being honest. There
was no way he could have avoided hurting her short of feigning a love
he did not feel. Worse, he could have taken advantage of her tender
feelings for him, and that, in my book, is real villainy. What I do
fault Onegin for is his taunting of Lensky with his outrageous
flirting with Olga and his killing of his best friend in a duel
instead of risking being called a coward by refusing to accept the
latter's challenge.
I too noticed that when Onegin finally finds himself in love, he sings
the same music that Tatiana sang in the beginning of the letter scene.
I think this is symbolic of the fact that they share a common fate: to
live the rest of their lives with an undying and unfulfilled love.
Muriel
Jan 26, 2008, 1:14:05 PM1/26/08
to Mario Lanza, tenor
Hi Lou: I too would like to have the Wunderlich performance, but I
can't say I'll go looking for more recordings of this opera. Once I am
satisfied I have the best, I'm happy. Time restraints don't allow me
the luxury to pursue much experimentation. I have CDs and DVDs here
now that I have yet to explore. (Perhaps when I retire?)
I agree with your statement that Onegin wasn't a total cad as I wrote
here last night:
eventually view her with love, redeems him as well. He had a heart
capable of loving another - it only took him time to discover it. Too
bad - Onegin & Tatiana could have lighted up the sky with fireworks if
their feelings had coincided!! Sigh, if only I weren't such a
dreamer....
Ciao, M
can't say I'll go looking for more recordings of this opera. Once I am
satisfied I have the best, I'm happy. Time restraints don't allow me
the luxury to pursue much experimentation. I have CDs and DVDs here
now that I have yet to explore. (Perhaps when I retire?)
I agree with your statement that Onegin wasn't a total cad as I wrote
here last night:
I was quite miffed at
Onegin's response, but, yet, he wasn't ready to settle down and still
might have broken her heart if he had accepted her offering of love
at
that time.
This says something for him, I think. And, the fact that he did
Onegin's response, but, yet, he wasn't ready to settle down and still
might have broken her heart if he had accepted her offering of love
at
that time.
eventually view her with love, redeems him as well. He had a heart
capable of loving another - it only took him time to discover it. Too
bad - Onegin & Tatiana could have lighted up the sky with fireworks if
their feelings had coincided!! Sigh, if only I weren't such a
dreamer....
Ciao, M
Derek McGovern
Mar 20, 2008, 4:20:08 PM3/20/08
to The Mario Lanza Forum
Vince just wrote on another thread:
"I'm going to see Madama Butterfly in April actually, Oh! How I love
Puccini's music, absolutely my favourite operatic composer!"
And mine too! Incidentally, have you ever noticed how music lovers who
dislike Lanza also tend to look down their noses on Puccini? (Both
men, of course, committed the cardinal sin of being popular.) When I
was at university in the 1980s, I took an Opera As Drama course, and
was always aware of the condescension shown by the lecturers toward
Puccini. As Harold C. Schonberg wrote in his excellent Lives of the
Great Composers, "the more intellectual the critic, the more he is apt
to despise Puccini."
Yet Puccini wrote 12 operas, and all of them feature music that is
beautiful beyond compare. Even the early Manon Lescaut -- although its
libretto's a bit of a mess -- has moments of genius. But there's more
to Puccini than just his incredible fund of melody: his dramatic
instincts are fantastic and the characters in his best operas are just
so real and rounded. As Tito Gobbi once wrote (and I'm going on memory
here), it might be fashionable among certain anaemic critics to look
down on Puccini, but what other composer in the 20th century has ever
created such flesh and blood characters?
"I'm going to see Madama Butterfly in April actually, Oh! How I love
Puccini's music, absolutely my favourite operatic composer!"
And mine too! Incidentally, have you ever noticed how music lovers who
dislike Lanza also tend to look down their noses on Puccini? (Both
men, of course, committed the cardinal sin of being popular.) When I
was at university in the 1980s, I took an Opera As Drama course, and
was always aware of the condescension shown by the lecturers toward
Puccini. As Harold C. Schonberg wrote in his excellent Lives of the
Great Composers, "the more intellectual the critic, the more he is apt
to despise Puccini."
Yet Puccini wrote 12 operas, and all of them feature music that is
beautiful beyond compare. Even the early Manon Lescaut -- although its
libretto's a bit of a mess -- has moments of genius. But there's more
to Puccini than just his incredible fund of melody: his dramatic
instincts are fantastic and the characters in his best operas are just
so real and rounded. As Tito Gobbi once wrote (and I'm going on memory
here), it might be fashionable among certain anaemic critics to look
down on Puccini, but what other composer in the 20th century has ever
created such flesh and blood characters?
Jan Hodges
Mar 20, 2008, 5:44:02 PM3/20/08
to mario...@googlegroups.com
|
I too love Puccini operas. As a lover of beautiful melodies and/or harmonies, Puccini is on my favourite list that I have called, strangely enough, :-) "Masters of Melody".The list of beautiful "tunes" in his operas just goes on and on.
Jan | |||
|
|
Jana
Mar 20, 2008, 6:23:31 PM3/20/08
to The Mario Lanza Forum
Hello,
Me, too :-) Che Gelida Manina is my favourite aria, in Tosca, there
are several beautiful arias, and Vogliatemi Bene is my favourite duet,
not to mention the heavenly Nessun Dorma. However, as I wrote in a
different thread, we've been to La Fanciulla del West. I must say that
I liked it, but it didn't seem to me as a typical Puccini. I think
Derek has mentioned this in his review of a DVD, I believe, on Amazon.
Doesn't anybody here know why this Puccini's work is so untypical? Or,
is it? Or, is it just that he tried something else this once, not
including many arias?
On 20 Bře, 22:44, "Jan Hodges" <jmhod...@netspace.net.au> wrote:
> I too love Puccini operas. As a lover of beautiful melodies and/or harmonies
> 1KZobrazitStáhnout
Me, too :-) Che Gelida Manina is my favourite aria, in Tosca, there
are several beautiful arias, and Vogliatemi Bene is my favourite duet,
not to mention the heavenly Nessun Dorma. However, as I wrote in a
different thread, we've been to La Fanciulla del West. I must say that
I liked it, but it didn't seem to me as a typical Puccini. I think
Derek has mentioned this in his review of a DVD, I believe, on Amazon.
Doesn't anybody here know why this Puccini's work is so untypical? Or,
is it? Or, is it just that he tried something else this once, not
including many arias?
On 20 Bře, 22:44, "Jan Hodges" <jmhod...@netspace.net.au> wrote:
> I too love Puccini operas. As a lover of beautiful melodies and/or harmonies
> Puccini is on my favourite list that I have called, strangely enough, :-)
> Masters of Melody".The list of beautiful "tunes" in his operas just goes on
> and on.
> Jan
>
> faint_grain.jpg
> Masters of Melody".The list of beautiful "tunes" in his operas just goes on
> and on.
> Jan
>
> 1KZobrazitStáhnout
Message has been deleted
Derek McGovern
Mar 20, 2008, 7:32:56 PM3/20/08
to The Mario Lanza Forum
Hi Jana: Puccini wrote La Fanciulla del West at a time when he was
being regularly trashed by the critics of the day (particularly those
in Italy) for his "obvious" melodies and other sins. There was even a
"Let's hate Puccini" club in Italy, comprising all manner of grumpy
intellectuals and musicologists. Puccini biographer Mosco Carner
writes that one of the things these luminaries regularly attacked him
for was his supposed habit "of repeating himself in each opera. [...]
The air was poisoned with anti-Puccinian slogans, and it is my
conviction that this atmosphere induced the composer, always most
sensitive to critical judgments of his operas, to change course and
adopt a partly new manner in Fanciulla."
The result was an opera that is more "through composed" than any of
Puccini's earlier works. There's very little in it that can be
excerpted (just the two tenor arias, Ch'Ella Mi Creda and Or Son Sei
Mesi, and the baritone's brief but gorgeous Minnie dalla mia Casa),
which probably explains why so few people are familiar with the opera.
As Carner writes, with La Fanciulla "begins the period of the 'second'
Puccini, the Puccini who seeks to write above all *characteristic* and
not beautiful music [though I still find it much more beautiful than
that of any other 20th century operatic composer!!], music that pays
less attention to the taste of the audience and tries to delineate the
*dramatis personae* as well as the events on the stage with far more
attention than before."
It's a wonderful opera: the three principal characters (Minnie, Dick
Johnson, and Sheriff Jack Rance) are three-dimensional creations and
the second act is as exciting as that of Tosca. What's more, no one
dies at the end (very unusual for Puccini!!), and yet the conclusion
is very moving.
Here's Sherrill Milnes as Jack Rance singing Minnie dalla mia Casa in
a 1992 Met production:
http://www.youtube.com/watch?v=MC3W2yeGyfA
(At around 57, he's near the end the end of his career here, but he's
still good.)
And here's Domingo singing Ch'Ella Mi Creda at Covent Garden in
November 1982. (I saw the first two performances there; this one is
from the third night.) His B-flats are tight, but it's a good
performance:
http://www.youtube.com/watch?v=za4xWgrjtvE
> > 1KZobrazitStáhnout- Hide quoted text -
being regularly trashed by the critics of the day (particularly those
in Italy) for his "obvious" melodies and other sins. There was even a
"Let's hate Puccini" club in Italy, comprising all manner of grumpy
intellectuals and musicologists. Puccini biographer Mosco Carner
writes that one of the things these luminaries regularly attacked him
for was his supposed habit "of repeating himself in each opera. [...]
The air was poisoned with anti-Puccinian slogans, and it is my
conviction that this atmosphere induced the composer, always most
sensitive to critical judgments of his operas, to change course and
adopt a partly new manner in Fanciulla."
The result was an opera that is more "through composed" than any of
Puccini's earlier works. There's very little in it that can be
excerpted (just the two tenor arias, Ch'Ella Mi Creda and Or Son Sei
Mesi, and the baritone's brief but gorgeous Minnie dalla mia Casa),
which probably explains why so few people are familiar with the opera.
As Carner writes, with La Fanciulla "begins the period of the 'second'
Puccini, the Puccini who seeks to write above all *characteristic* and
not beautiful music [though I still find it much more beautiful than
that of any other 20th century operatic composer!!], music that pays
less attention to the taste of the audience and tries to delineate the
*dramatis personae* as well as the events on the stage with far more
attention than before."
It's a wonderful opera: the three principal characters (Minnie, Dick
Johnson, and Sheriff Jack Rance) are three-dimensional creations and
the second act is as exciting as that of Tosca. What's more, no one
dies at the end (very unusual for Puccini!!), and yet the conclusion
is very moving.
Here's Sherrill Milnes as Jack Rance singing Minnie dalla mia Casa in
a 1992 Met production:
http://www.youtube.com/watch?v=MC3W2yeGyfA
(At around 57, he's near the end the end of his career here, but he's
still good.)
And here's Domingo singing Ch'Ella Mi Creda at Covent Garden in
November 1982. (I saw the first two performances there; this one is
from the third night.) His B-flats are tight, but it's a good
performance:
http://www.youtube.com/watch?v=za4xWgrjtvE
Vince Di Placido
Mar 21, 2008, 9:26:54 AM3/21/08
to The Mario Lanza Forum
I noticed this Domingo clip when I went to the Ch'ella mi creda link
http://www.youtube.com/watch?v=c8LYFkK1v-E&feature=related
> > - Show quoted text -- Hide quoted text -
http://www.youtube.com/watch?v=c8LYFkK1v-E&feature=related
Vince Di Placido
Mar 21, 2008, 11:47:12 AM3/21/08
to The Mario Lanza Forum
Ah! Puccini! I just love Puccini & it really annoys me that anybody
would criticise his music, it is just one of lifes true beautiful
pleasures. His magnificent melodies & gorgeous orchestrations are just
amazing. For me he is one of the greatest musical dramatists there
ever was. I know he was inspired by Wagner's use of leitmotiv but he
made this technique all his own & for example that final death scene,
"Sono Andati", with Mimi & Rodolfo reminiscing about their first
meeting is just pure perfection & absolutely heartbreaking!
> > - Show quoted text -- Hide quoted text -
would criticise his music, it is just one of lifes true beautiful
pleasures. His magnificent melodies & gorgeous orchestrations are just
amazing. For me he is one of the greatest musical dramatists there
ever was. I know he was inspired by Wagner's use of leitmotiv but he
made this technique all his own & for example that final death scene,
"Sono Andati", with Mimi & Rodolfo reminiscing about their first
meeting is just pure perfection & absolutely heartbreaking!
Message has been deleted
Derek McGovern
Mar 21, 2008, 4:05:33 PM3/21/08
to The Mario Lanza Forum
On Mar 22, 2:26 am, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
> I noticed this Domingo clip when I went to the Ch'ella mi creda link
>
> http://www.youtube.com/watch?v=c8LYFkK1v-E&feature=related
Hi Vince: Yes, I noticed that clip too. What a showman! I see that
there are four impromptu performances from that same occasion (a
record store visit in 1980) posted on youtube.
Domingo's second B-flat was quite impressive here -- better than at
Covent Garden!
wrote:
> I noticed this Domingo clip when I went to the Ch'ella mi creda link
>
> http://www.youtube.com/watch?v=c8LYFkK1v-E&feature=related
there are four impromptu performances from that same occasion (a
record store visit in 1980) posted on youtube.
Domingo's second B-flat was quite impressive here -- better than at
Covent Garden!
Derek McGovern
Mar 21, 2008, 4:29:02 PM3/21/08
to The Mario Lanza Forum
On Mar 22, 4:47 am, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:
> Ah! Puccini! I just love Puccini & it really annoys me that anybody
> would criticise his music, it is just one of lifes true beautiful
> pleasures. His magnificent melodies & gorgeous orchestrations are just
> amazing. For me he is one of the greatest musical dramatists there
> ever was. I know he was inspired by Wagner's use of leitmotiv but he
> made this technique all his own & for example that final death scene,
> "Sono Andati", with Mimi & Rodolfo reminiscing about their first
> meeting is just pure perfection & absolutely heartbreaking!
Vince: You're absolutely right that regardless of whatever elements
Puccini borrowed from other composers, his music is unmistakably his
own. Harold Schonberg makes pretty much the same point:
"He belonged to no musical clique. He was not representative of the
verismo, life-as-it-really-is school that so attracted the Italian
composers of the 1890s, though verismo elements appeared in some of
his operas. Polytonality, Neoclassicism, Futurism, Impressionism,
dodecaphony -- to all those calls to battle he was indifferent, though
he had looked at the music of such modern classics as Debussy's
Pelleas et Melisande and Schoenberg's Pierrot Lunaire, and was ready
to incorporate what he liked of the new school into his music. If
certain aspects of verismo interested him, he used them in Tosca and
Il Tabarro [great one-act opera, by the way; Domingo and Scotto made a
wonderful recording of it in 1977]. If he was struck by Debussy's use
of the wholetone scale, he used it in La Fanciulla del West. Normally
this kind of plundering would lead to eclecticism, but Puccini was not
an eclectic. His own style was too pungent, too much his very own.
Whatever he was, he was completely outside the intellectual trend of
his time. [And thank God for that!!] Musically speaking, Puccini owed
little to anybody, and that is one of the miracles about the composer
of La Boheme, Tosca, and Madama Butterfly."
Well put, Mr. Schonberg!
You're also right, Vince, about Puccini's use of what he called
"logical reminiscences" -- eg, reprising the music associated with an
earlier, happier point in the story, such as in the "Sono Andati?"
scene you mentioned. Actually, Schonberg annoys me on this aspect,
criticizing Puccini's last acts for being "weak" and "full of reprise
melodies". Those reprises play a crucial role! As Mosco Carner wrote,
Puccini's "logical reminiscences" remind us of "Dante's line that
there is no greater sorrow than to recall a time of happiness in
misery." Who can not be moved by the last act of La Boheme?!
wrote:
> Ah! Puccini! I just love Puccini & it really annoys me that anybody
> would criticise his music, it is just one of lifes true beautiful
> pleasures. His magnificent melodies & gorgeous orchestrations are just
> amazing. For me he is one of the greatest musical dramatists there
> ever was. I know he was inspired by Wagner's use of leitmotiv but he
> made this technique all his own & for example that final death scene,
> "Sono Andati", with Mimi & Rodolfo reminiscing about their first
> meeting is just pure perfection & absolutely heartbreaking!
Puccini borrowed from other composers, his music is unmistakably his
own. Harold Schonberg makes pretty much the same point:
"He belonged to no musical clique. He was not representative of the
verismo, life-as-it-really-is school that so attracted the Italian
composers of the 1890s, though verismo elements appeared in some of
his operas. Polytonality, Neoclassicism, Futurism, Impressionism,
dodecaphony -- to all those calls to battle he was indifferent, though
he had looked at the music of such modern classics as Debussy's
Pelleas et Melisande and Schoenberg's Pierrot Lunaire, and was ready
to incorporate what he liked of the new school into his music. If
certain aspects of verismo interested him, he used them in Tosca and
Il Tabarro [great one-act opera, by the way; Domingo and Scotto made a
wonderful recording of it in 1977]. If he was struck by Debussy's use
of the wholetone scale, he used it in La Fanciulla del West. Normally
this kind of plundering would lead to eclecticism, but Puccini was not
an eclectic. His own style was too pungent, too much his very own.
Whatever he was, he was completely outside the intellectual trend of
his time. [And thank God for that!!] Musically speaking, Puccini owed
little to anybody, and that is one of the miracles about the composer
of La Boheme, Tosca, and Madama Butterfly."
Well put, Mr. Schonberg!
You're also right, Vince, about Puccini's use of what he called
"logical reminiscences" -- eg, reprising the music associated with an
earlier, happier point in the story, such as in the "Sono Andati?"
scene you mentioned. Actually, Schonberg annoys me on this aspect,
criticizing Puccini's last acts for being "weak" and "full of reprise
melodies". Those reprises play a crucial role! As Mosco Carner wrote,
Puccini's "logical reminiscences" remind us of "Dante's line that
there is no greater sorrow than to recall a time of happiness in
misery." Who can not be moved by the last act of La Boheme?!
Derek McGovern
Mar 21, 2008, 4:34:02 PM3/21/08
to The Mario Lanza Forum
Some Puccini roles that would definitely have suited Lanza:
-Des Grieux in Manon Lescaut
-Rodolfo in La Boheme (and how!!)
-Cavaradossi in Tosca
-Dick Johnson in La Fanciulla del West (he would have made this role
his own)
-Luigi in IL Tabarro
-Calaf in Turandot (To paraphrase Franco Ferrara, Lanza had the
perfect combination of steel & warmth in his voice for this role)
Let's face it: Lanza was born to sing Puccini! How appropriate, then,
that his professional operatic debut was in a Puccini opera.
-Des Grieux in Manon Lescaut
-Rodolfo in La Boheme (and how!!)
-Cavaradossi in Tosca
-Dick Johnson in La Fanciulla del West (he would have made this role
his own)
-Luigi in IL Tabarro
-Calaf in Turandot (To paraphrase Franco Ferrara, Lanza had the
perfect combination of steel & warmth in his voice for this role)
Let's face it: Lanza was born to sing Puccini! How appropriate, then,
that his professional operatic debut was in a Puccini opera.
Joe Fagan
Mar 21, 2008, 5:17:31 PM3/21/08
to mario...@googlegroups.com
and in lighter roles, Romberg! ( sp?)
Jana
Mar 23, 2008, 3:19:00 PM3/23/08
to The Mario Lanza Forum
Hi Derek,
Thanks for all this info. It is an irony that in my about three inches
thick book about opera, La Fanciulla is only mentioned, whereas Madama
Butterfly, La Bohéme, Tosca, and Turandot are among the most performed
operas--at least in the US, Madama Butterfly and La Bohéme are the two
most performed operas. How about the unfinished Turandot, was he
getting back, after the "second Puccini" period, or was it the
beginning of the "third" one?
Thanks for all this info. It is an irony that in my about three inches
thick book about opera, La Fanciulla is only mentioned, whereas Madama
Butterfly, La Bohéme, Tosca, and Turandot are among the most performed
operas--at least in the US, Madama Butterfly and La Bohéme are the two
most performed operas. How about the unfinished Turandot, was he
getting back, after the "second Puccini" period, or was it the
beginning of the "third" one?
Derek McGovern
Mar 23, 2008, 3:53:13 PM3/23/08
to The Mario Lanza Forum
Hi Jana: Turandot's an interesting one. To me, Puccini comes full
circle here: we get the more complex music of his post-Madama
Butterfly second period (e.g., Turandot's aria "In Questa Reggia"),
combined with the pure lyrical outpourings of his first period (e.g.,
Liu's beautiful arias). Of course, he's writing on an epic scale here
-- something he hadn't attempted before -- so I guess you could call
it a "third period". As an opera, it can be thrilling (provided the
two sopranos and the tenor have the vocal goods!), but overall the
story and the characters don't move me as much as some of Puccini's
other works. There are many wonderful moments, though (all five of the
arias for a start, plus the choral parts), and it has a first act that
is brilliant from start to finish. I feel it loses its way somewhat in
the second act. Act III is very good, even with the completed ending
by Alfano.
circle here: we get the more complex music of his post-Madama
Butterfly second period (e.g., Turandot's aria "In Questa Reggia"),
combined with the pure lyrical outpourings of his first period (e.g.,
Liu's beautiful arias). Of course, he's writing on an epic scale here
-- something he hadn't attempted before -- so I guess you could call
it a "third period". As an opera, it can be thrilling (provided the
two sopranos and the tenor have the vocal goods!), but overall the
story and the characters don't move me as much as some of Puccini's
other works. There are many wonderful moments, though (all five of the
arias for a start, plus the choral parts), and it has a first act that
is brilliant from start to finish. I feel it loses its way somewhat in
the second act. Act III is very good, even with the completed ending
by Alfano.
Derek McGovern
Sep 1, 2010, 3:59:06 AM9/1/10
to The Mario Lanza Forum
I've been on a bit of a La Bohème "binge" recently, watching two of my
favourite productions—both of them from 1982, as it happens. I've
mentioned them before on this forum: one's from Covent Garden, and
features Neil Shicoff, Ileana Cotrubas and Thomas Allen (the acting is
fantastic, and the singing—especially from Cotrubas & Allen—is
beautiful), and the other's from the Met, with Carreras, Teresa
Stratas and Richard Stilwell.
favourite productions—both of them from 1982, as it happens. I've
mentioned them before on this forum: one's from Covent Garden, and
features Neil Shicoff, Ileana Cotrubas and Thomas Allen (the acting is
fantastic, and the singing—especially from Cotrubas & Allen—is
beautiful), and the other's from the Met, with Carreras, Teresa
Stratas and Richard Stilwell.
Check out Carreras on the latter! While there are hints of the vocal
problems that were already beginning to bother him, the ravishing
beauty of his voice and his expressive singing were still one heck of
a combination. The sound on this YouTube clip is particularly good
(and in stereo too). It's one of my favourite moments in the opera:
Act III's "Mimì è tanto malata..." Irresistible!!
http://www.youtube.com/watch?v=7cslIaQEy9o
Any other Bohème fanatics here? Or devotees of other operas, for that matter?
zsazsa
Sep 1, 2010, 12:38:23 PM9/1/10
to Mario Lanza, Tenor
Hi Derek,
I adore also very much `La Boheme` and my favorite performance is, the
one in Fondaziona Teatro Communale di Bologna, with Gianluca Terranova
and here is the link, it is audio, but all parts are great and here is
The wonderful `Mimi a tanto malata` in 16th October 2009 von
Gianluca:
http://www.magazzini-sonori.it/esplora/teatro_comunale_bologna/boheme_mimi_tanto_malata.aspx
Another favorite opera of mine is `Lucia di Lammermoor` which we have
seen this year in July in Avenches Arena/Switzerland with Gianluca
Terranova and Elena Mosuc, it was just unforgettable. Gianluca has
such a timbre and exciting Voice and great stage presence. It was
really a night to remember. Here is the link, Edgardo`s death in
Avenches 10th July 2010:
http://www.ahbbs.net/play/RmXmk1qLv_8.htm
I`ve made also 2 videos of the great event, one of them the sextett,
the other the great love duett from `Lucia di Lammermoor`, both of
these masterpeaces dear Mario sang also as well. And how!
I have many favorite operas, but I`ll try to select a few, which is
undisputably my favorites.
Best wishes from Susan
I adore also very much `La Boheme` and my favorite performance is, the
one in Fondaziona Teatro Communale di Bologna, with Gianluca Terranova
and here is the link, it is audio, but all parts are great and here is
The wonderful `Mimi a tanto malata` in 16th October 2009 von
Gianluca:
http://www.magazzini-sonori.it/esplora/teatro_comunale_bologna/boheme_mimi_tanto_malata.aspx
Another favorite opera of mine is `Lucia di Lammermoor` which we have
seen this year in July in Avenches Arena/Switzerland with Gianluca
Terranova and Elena Mosuc, it was just unforgettable. Gianluca has
such a timbre and exciting Voice and great stage presence. It was
really a night to remember. Here is the link, Edgardo`s death in
Avenches 10th July 2010:
http://www.ahbbs.net/play/RmXmk1qLv_8.htm
I`ve made also 2 videos of the great event, one of them the sextett,
the other the great love duett from `Lucia di Lammermoor`, both of
these masterpeaces dear Mario sang also as well. And how!
I have many favorite operas, but I`ll try to select a few, which is
undisputably my favorites.
Best wishes from Susan
zsazsa
Sep 24, 2010, 12:19:57 PM9/24/10
to Mario Lanza, Tenor
Hi Derek,
here I am again with my favorit operas and before I give the list of
mine, I would like to tell, that the operas I wanted to hear and see
with Mario the most, are these three; Manon Lescaut, La Traviata and
Un Ballo di Maschara! These belonging to my favorits and wow! Mario
would make them just fantastic, surely! Well here are my absolute
favorites, and surely there are some more, but I`ve got these now in
my mind;
I`ve told in my earlier post that the two operas, which belong to my
great, great favorites are`
Puccini: La Boheme (Yes, `Mimi e tanto malata...` is such a
music that you feel that your heart will broken!
Donizetti: Lucia di Lammermoor (Edgardo`s death is one of the
most wonderful music at all!)
Mascagni: Cavalleria Rusticana (this is a short opera, but such a
masterpiece, that there are NO one second of boring or less then
fantastic music!
Puccini: Turandot (not because of `Nessun Dorma` as this great
aria will be killed if they will use it up the way they do, with bad
and worst singers, etc!
Verdi: Un Ballo in Maschara
Verdi: La Traviata
Rossini: Il Barbiere di Siviglia
Verdi: Rigoletto
Bizet: Carmen
Bizet: Pearl Fisher
Borodin: !Princ Igor
Wagner: The flying Duchman (it is funny, but I love this great
music, I find it great!)
There are surely still favorits of mine, but these are the ones that
come to my mind and they are surely my favorits!
It would be interesting to hear all of your listing about your
favorits, looking forward of that.
Ciao from Susan
here I am again with my favorit operas and before I give the list of
mine, I would like to tell, that the operas I wanted to hear and see
with Mario the most, are these three; Manon Lescaut, La Traviata and
Un Ballo di Maschara! These belonging to my favorits and wow! Mario
would make them just fantastic, surely! Well here are my absolute
favorites, and surely there are some more, but I`ve got these now in
my mind;
I`ve told in my earlier post that the two operas, which belong to my
great, great favorites are`
Puccini: La Boheme (Yes, `Mimi e tanto malata...` is such a
music that you feel that your heart will broken!
Donizetti: Lucia di Lammermoor (Edgardo`s death is one of the
most wonderful music at all!)
Mascagni: Cavalleria Rusticana (this is a short opera, but such a
masterpiece, that there are NO one second of boring or less then
fantastic music!
Puccini: Turandot (not because of `Nessun Dorma` as this great
aria will be killed if they will use it up the way they do, with bad
and worst singers, etc!
Verdi: Un Ballo in Maschara
Verdi: La Traviata
Rossini: Il Barbiere di Siviglia
Verdi: Rigoletto
Bizet: Carmen
Bizet: Pearl Fisher
Borodin: !Princ Igor
Wagner: The flying Duchman (it is funny, but I love this great
music, I find it great!)
There are surely still favorits of mine, but these are the ones that
come to my mind and they are surely my favorits!
It would be interesting to hear all of your listing about your
favorits, looking forward of that.
Ciao from Susan
Derek McGovern
Sep 24, 2010, 8:41:42 PM9/24/10
to Mario Lanza, Tenor
Hi Susan: Un Ballo in Maschera would have been an excellent choice for
Lanza! The ecstatic Act II duet (Teco Io Sto), in particular, is
something I dearly wish he'd recorded. Listen to the magnificent José
Carreras (in his prime) & Montserrat Caballé singing the final four
minutes of the duet, and imagine how Mario would have fared here:
http://www.youtube.com/watch?v=EkpNzMBzbn8
Prince Igor has some beautiful music (oh, I love Borodin!), and, in a
good production, The Barber of Seville is one of the funniest operas
there is. I'm not much of a Donizetti fan, though. He wrote some
beautiful music, but I find Lucia di Lammermoor (at least in the
productions I've seen) too static and uninvolving -- too much in the
"park and bark" mode, where the singers just stand and deliver
ensembles (in the bel canto tradition). In that respect, Donizetti is
the exact opposite to Puccini, whom I love above all other operatic
composers.
Cheers
Derek
Lanza! The ecstatic Act II duet (Teco Io Sto), in particular, is
something I dearly wish he'd recorded. Listen to the magnificent José
Carreras (in his prime) & Montserrat Caballé singing the final four
minutes of the duet, and imagine how Mario would have fared here:
http://www.youtube.com/watch?v=EkpNzMBzbn8
Prince Igor has some beautiful music (oh, I love Borodin!), and, in a
good production, The Barber of Seville is one of the funniest operas
there is. I'm not much of a Donizetti fan, though. He wrote some
beautiful music, but I find Lucia di Lammermoor (at least in the
productions I've seen) too static and uninvolving -- too much in the
"park and bark" mode, where the singers just stand and deliver
ensembles (in the bel canto tradition). In that respect, Donizetti is
the exact opposite to Puccini, whom I love above all other operatic
composers.
Cheers
Derek
Michael McAdam
Oct 28, 2012, 9:36:09 AM10/28/12
to mario...@googlegroups.com
I took in the performance of Otello yesterday at the Cineplex in nearby Dartmouth. Part of the "Live At the Met" series presented on the IMAX screen in HD aided by a top-notch cinema sound system, it was a worthwhile experience.
In response to my request Derek had pointed out a few highlights for me to watch/listen for (or check out on YouTube first, which I did).
I was so familiar with the renditions of Lanza, Albanese and Boh in those familiar scenes that I found myself comparing mightily when the Met principals sang yesterday....they were not found wanting.
While the portly Johan Botha, just returning from a head-cold induced hiatus, aquitted himslf well as Otello, I didn't find his tenor really in the "thrilling" category (I see they have dropped 'black face' makeup for the Moor?)
Michael Fabiano as Cassio has a lot of future promise; both in his singing and acting. I was fairly impressed.
The German bass Falk Struckmann, as Iago, was a standout. The audience broke into 'bravo's' even before he had finished singing his Act II 'Credo'. Some might find his mouth-set (à la George London) and facial expressions a bit irritating, but a small point for sure.
Renée Fleming as Desdemona was outstanding. She has been singing the role steadily since 1994 and it showed. Her acting and singing, with fabulous ringing high notes, were both top notch (just one little quibble? her thin lower register).
I couldn't help but notice at the end of the familiar Act III duet that Botha emulated Lanza somewhat as he almost yelled the line, as Mario did, where he calls Desdemona "...a cunning whore". Lanza's echo-adorned high note here ('only a madman can sing like that' - Keel) was lengthy and terrifying. Botha gave a valiant and very-similar effort but couldn't hold the note. Damn Mario....he's spoiled us for anyone else! ;-)
I noted that there was a quartet and a sextet in the opera also. Impressive arrangement but not quite as memorable and interesting as those of Lucia or Rigoletto?
The choral singers and the Metropolitan orchestra under Bychkov both gave top-notch performances. I had never heard the complete opera before and found Verdi's orchestrations in this composition absolutely stunning. Easy to see why many regard Otello as his finest work.
All in all a fine presentation and well worth the $22 admission. If any of you have a participating cinema nearby and wish to see this Otello, there will be an 'encore presentation' on Nov.14th. You can check out the complete schedule at:
Incidentally, I was quite chuffed ('pleased' for you Yanks;-) that my teenage grand-daughter had originally asked to come with me. Little devil bowed out at the last minute though which may have been a good thing. 3 1/2 hrs would be a tad long for a kid's first opera experience, I would think. A bit too late to call fellow Forum member Gary (I ended up sitting next to a beautiful single woman anyway......kidding ;-)
Cheers, Mike
Derek McGovern
Oct 29, 2012, 11:17:51 AM10/29/12
to mario...@googlegroups.com
Thanks for this full-bodied review, Mike! I'm delighted you got to see Otello complete, as it's certainly my favourite of Verdi's operas. No wretched libretto here (unlike so many of Verdi's works)! Just a great story set to the perfect music, with three wonderful central characterizations.
By the way, I should defend Herr Botha in one respect: that extended high C Lanza takes at the end of the Act III duet wasn't written! Instead, the tenor is only supposed to touch the note. Lanza's naughty departure from the score is exciting, though!
Cheers
Derek
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