Oberon's Glade

Tag: Opera

  • DIE WALKURE @ Bayreuth ~ 2016

    Lundgren

    Above: bass-baritone John Lundgren

    Wagner’s DIE WALKURE from the 2016 Bayreuth Festival, conducted by Marek Janowski with the following cast:

    Siegmund – Christopher Ventris
    Hunding – Georg Zeppenfeld
    Wotan – John Lundgren
    Sieglinde – Heidi Melton
    Brünnhilde – Catherine Foster
    Fricka – Sarah Connolly
    Gerhilde – Caroline Wenborne
    Ortlinde – Dara Hobbs
    Waltraute – Stephanie Houtzeel
    Schwertleite – Nadine Weissmann
    Helmwige – Christiane Kohl
    Siegrune – Mareike Morr
    Grimgerde – Wiebke Lehmkuhl
    Rossweisse – Alexandra Petersamer

    Watch and listen here.

  • Johanna Meier Sings Strauss & Mahler

    Johanna meier

    I love finding any recordings by Johanna Meier. Despite the missing part of the first Strauss song, her vocalism is so pleasing in this 1982 recording from a concert by the Milwaukee Symphony conducted by Lukas Foss.

    Listen here.

    One of my all-time favorite sopranos, I saw Ms. Meier frequently at The Met and New York City Opera. She made a memorable impression in so many roles: as Puccini’s Musetta and Tosca, as Strauss’s Countess Madeleine, Marschallin, Ariadne, Kaiserin, Chrysothemis (both at The Met and at Tanglewood), as Rosalinda, Marguerite in FAUST, as Mozart’s Donna Anna, and Countess Almaviva, and as Wagner’s Elisabeth, WALKURE Brunnhilde, and – most especially – as Sieglinde.

  • PARSIFAL ~ Act II

    Zweden

    A concert performance of Act II of Wagner’s PARSIFAL given in 2010 by the Netherlands Radio Philharmonic Orchestra conducted by Jaap van Zweden (photo). Klaus Florian Vogt is Parsifal, Katarina Dalayman is Kundry, and Krister St.Hill is Klingsor.

    Watch and listen here.

  • Teresa Zylis-Gara Has Passed Away

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    Teresa Zylis-Gara, the Polish soprano who possessed one of the most beautiful voices of my experience, has passed away at the age of 91. From 1968 to 1984, she sang nearly 250 performances with the Metropolitan Opera at Lincoln Center and on tour; I had the good fortune to see her in several roles, and to hear her on a number of live radio broadcasts.

    Ms. Zylis-Gara studied at Łódź, and in 1954 won first prize in the Polish Young Vocalists Contest at Warsaw. This led to her operatic debut in 1956. From 1960-1970, the soprano was based in Germany where she sang at Oberhauser, Dortmund, Frankfurt, Frankfurt, Hamburg, Cologne, Munich, and Berlin. She also appeared at Vienna, Glyndebourne, Paris, London, Salzburg, and San Francisco.

    ln 1968, Ms. Zylis-Gara made her Metropolitan Opera debut as Donna Elvira; she sang there frequently over the next several seasons. I first saw her as Violetta in TRAVIATA where she made a lovely impression, though hindered by inferior cast-mates and lacklustre conducting. Thereafter, I saw her as Donna Elvira, Elisabeth in TANNHAUSER, Amelia in BALLO IN MASCHERA, Manon Lescaut, Leonora in TROVATORE, Cio-Cio-San, and as Adriana Lecouvreur. In each of these roles, her creamy voice and ultra-feminine persona made  a memorable impression.

    Z-g desdemona jpg

    Above: Teresa Zylis-Gara as Desdemona; photo by Louis Mélançon

    Among the roles in which I missed seeing her onstage but greatly enjoyed her singing of on broadcasts included Desdemona (in a new production with James McCracken in the title-role, conducted by Karl Böhm), Mozart’s Pamina and Contessa Almaviva, Marguerite in FAUST, Puccini’s Suor Angelca, Mimi, and Liu, Elsa in LOHENGRIN and – most movingly – as Tatyana in ONEGIN and as the Marschallin.

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    While I was living in Hartford, Ms. Zylis-Gara came up from New York City to the Bushnell to sing Tosca. Inferior conducting almost ruined the performance, but her singing was luminous.

    Leaving The Met in 1984, the soprano settled in Monte Carlo and continued to sing on the Continent, where she took on roles like Maddalena in CHENIER, Ariadne, Sieglinde, and Chrysothemis which had not been offered to her at The Met.

    Zg makeup

    Above: getting ready…I love this photo!

    I remember listening to Zylis-Gara’s Four Last Songs for the first time, and thinking: this is perfection. And when the music ended, there was applause; this was recorded live. For me, no other version of these beloved songs compares.

    Z-g adriana-1 jpg

    I’ve reached that inevitable point in my life when the great singers who fanned the flames of my passion for opera are passing away, one by one. Thinking of Teresa Zylis Gara, I recall with special affection seeing her in the title-role of Cilea’s ADRIANA LECOUVREUR at a matinee performance given on the Met’s 1983 tour in Boston. It was to be the last time I saw her onstage. And it was a marvelous afternoon, with the soprano and her colleagues all singing divinely: Neil Shicoff as Maurizio, Bianca Berini as the Princesse de Bouillon, and Sesto Bruscantini as Michonnet. For all the glorious sounds that filled the hall that day, nothing sent such a thrill thru me as Zylis-Gara’s gossamer pianissimo on the phrase: “La promessa terrò …”  when Adriana vows to save her rival from humiliation in the opera’s second act. It’s of such moments that the fabric of dreams are woven.

    ~ Oberon

  • Giuseppe Giacomini Has Passed Away

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    The great Italian tenor Giuseppe Giacomini has passed away at the age of 80.

    Giacomini made his operatic debut in 1966 at Vercelli as Pinkerton. and was soon singing throughout Italy. His international career commenced at Berlin in 1970, which led to engagements at Lisbon, Barcelona, Munich, and in Vienna, where he received the title Kammersänger.

    He triumphed at La Scala, in Turin, and in Rome, and made his Metropolitan Opera debut in 1976, with debuts at Paris and Covent Garden following soon after.

    Giacomini is featured on the Metropolitan Opera’s DVD of LA FORZA DEL DESTINO with Leontyne Price, and on commercial recordings as Turiddu (opposite Jessye Norman), Pollione (with Renata Scotto), Otello (with Dame Margaret Price), and he is Cavaradossi on the Muti TOSCA with Carol Vaness.

    The tenor celebrated his 60th birthday singing in TOSCA at Covent Garden, and in 2010 he toured China with the Shanghai Philharmonic Orchestra.

    I first saw Giuseppe Giacomini onstage (his US debut) at The Bushnell in Hartford, where he appeared in an exciting FANCIULLA DEL WEST opposite Radmila Bakočević in 1975. At the 1987 Richard Tucker Gala, Giacomini brought down the house twice with his singing of the final scene of ANDREA CHENIER with Eva Marton, and with his powerhouse performance as Otello in the Act II duet with Sherrill Milnes; during the applause that followed, Mr. Milnes bestowed a comradely kiss on the tenor’s cheek. Watch and listen here.

    On December 10th, 1988, Giacomini gave a thrilling performance as Canio in PAGLIACCI at a Met matinee. The tenor – along with Diana Soviero (Nedda) and Juan Pons (Tonio) – was simply on fire, his top notes blazing into the hall. During the bows, a crowd gathered at the orchestra railing – like in the old days – to scream their heads off for the singers. I was so elated to be part of it. 

    As it turned out, that PAGLIACCI was Giuseppe Giacomini’s last Met performance.

    Giuseppe Giacomini – Un tal gioco – PAGLIACCI – Met bcast 1988

    There’s lots of Giacomini to be found on YouTube; here are a few of my favorite things:

    Giuseppe Giacomini sings Calaf’s aria “Non piangere Liu” from TURANDOT from a Paris Opera production in 1981. Watch and listen here.

    The tenor sings the Improviso from ANDREA CHENIER here…

    …and Calaf’s “Nessun dorma” from a 1989 Moscow concert here…with an encore!

    And here’s Giacomini as Radames…

    Giuseppe Giacomini ~ Celeste Aida ~ Chicago 1988

    …and in the final duet from ANDREA CHENIER, with Ghena Dimitrova:

    ANDREA CHENIER ~ final duet – Ghena Dimitrova & Giuseppe Giacomini

  • Jean Kraft Has Passed Away

    Emilia

    Above: Jean Kraft as Emilia in OTELLO

    Jean Kraft, a unique singing-actress of the highest calibre, has passed away at the age of 94. She made her Metropolitan Opera debut in 1970 as Flora Bervoix in TRAVIATA and went on to give nearly 800 performances with the Company at Lincoln Center and on tour.

    Slender of form, and with a face that could register the slightest nuances of emotion with uncanny clarity, Ms. Kraft excelled in every role she took on. I saw her countless times during her Met career, and she never failed to lure my eye…and ear. 

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    She was a fascinatingly stoic/vulnerable Mamma Lucia in CAVALLERIA (above with Placido Domingo), an uptight Emilia under her husband’s evil thumb in OTELLO, a regal Hecuba in the Met premiere of TROYENS, an aristocrat striving to keep her composure as the Comtesse in CHENIER, the struggling, poverty-stricken Gertrude in HANSEL & GRETEL, the gracious Madame Larina in EUGENE ONEGIN, the arthritic Mother Jeanne managing her walk to the guillotine in DIALOGUES DES CARMELITES.

    Kraft mrs sedley

    Jean Kraft was the Borough’s busybody/drug addict Mrs. Sedley in PETER GRIMES (above), Berta in BARRBIERE, Marthe in FAUST, Duchess Federica in LUISA MILLER, Marcellina in NOZZE DI FIGARO, the Duchesse in FILLE DU REGIMENT, Dryade in ARIADNE AUF NAXOS, a stalwart Rossweisse in WALKURE, Annina in ROSENKAVALIER, Suzuki in BUTTERFLY, and – a couple of times – Ulrica in BALLO IN MASCHERA. She gave her last Met performance as Madama Larina on April 5th, 1989.

    Here is a brief audio excerpt of Ms. Kraft as Mamma Lucia with Reneta Scotto as Santuzza, from the commercial recording:

    Renata Scotto & Jean Kraft – Cavalleria Rusticana ~ scene

    And it’s so wonderful to have this thrilling souvenir of Jean Kraft performing the trio from HOFFMANN with Catherine Malfitano and James Morris at the 1984 Gala of Stars, conducted by James Levine. Watch and listen here.

    Here is an incredible audio-only document of Ms. Kraft’s 1969 Town Hall debut recital, accompanied by David Garvey. Listen here.

    And here is a fascinating interview that she gave Bruce Duffie: LINK

    Rest peacefully, dear Ms. Kraft. You are unforgettable.

    ~ Oberon

  • Ponte Singers ~ Pilgrims’ Chorus

    Snapshot -ponte

    The Ponte Singers and Orchestra perform the Pilgrims’ Chorus from Wagner’s TANNHAUSER at a 2013 concert given in Hong Kong. Stephen Lam Lik Hin is the conductor.

    Watch and listen here.

  • Ponte Singers ~ Pilgrims’ Chorus

    Snapshot -ponte

    The Ponte Singers and Orchestra perform the Pilgrims’ Chorus from Wagner’s TANNHAUSER at a 2013 concert given in Hong Kong. Stephen Lam Lik Hin is the conductor.

    Watch and listen here.

  • Edward Pierson

    Pierson

    Bass-baritone Edward Pierson, a stalwart of the New York City Opera for twelve years, was born in Chicago. A scholarship basketball player, he worked for a while as a public school music teacher before pursuing his operatic career.

    His performance of “Ol’ Man River” in several civic productions of SHOWBOAT in the mid-West put Mr. Pierson on the map. By chance, he stepped into a small role in PORGY AND BESS, and soon after made the jump to the role of Porgy himself. 

    At the New York City Opera, his roles included Scarpia, Jochanaan, and Wagner’s Dutchman. I’ll never forget hearing him in the title-role of the Company’s English-language production of Borodin’s PRINCE IGOR:

    Edward Pierson as Prince Igor – NYCO 1969

    Snapshot makropolous

    He also made a memorable impression as Dr. Kolenaty in Frank Corsaro’s multi-media setting of Janacek’s MAKROPOULOS AFFAIR. In the above photo are Maralin Niska (Emilia Marty), Chester Ludgin (Baron Prus), Harry Theyard (Albert Gregor), and Mr. Pierson.

    In concert repertoire, Edward Pierson was a frequent interpreter of Mendelssohn’s Elijah. And he appears on the Deutsche Grammophon recording of Scott Joplin’s TREEMONISHA:

    Edward Pierson – Good Advice ~ TREEMONISHA

    Watch a lovely interview with Mr. Pierson here.

  • 40 Years Ago: Fracci & Nureyev ~ GISELLE

    Fracci nureyev gisells

    ~~~~ Note: I had originally planned to post this article on the 40th anniversary of my one-and-only experience of seeing the great Carla Fracci onstage. Today, news of the ballerina’s death has come, so I am posting it now, two months shy of the actual anniversary:

    Giselle La Scala-1jpg
    On this date, forty years ago, one of the greatest ballet performances of my experience took place at the Metropolitan Opera House, where the La Scala Ballet presented their production of GISELLE with Carla Fracci and Rudolf Nureyev in the leading roles.

    I had spent the afternoon at The Met watching GISELLE with an alternate cast; it was a very pleasing performance. But the undeniable star-power of Fracci and Nureyev made the evening performance unforgettable. 

    This is my diary entry from that magnificent evening:

    “GISELLE – 2nd performance – with the assumption on the leading roles by two great dancers, the whole production took on a new dimension. The corps seemed better than at the matinee, though again Renata Calderini was not a particularly impressive Myrthe. There was a very exciting Peasant Pas de Deux with Anna Maria Grossi and a very exciting Davide Bombana; they roused the audience to cheers.

    But it was in the superstars that the real excitement lay – and that is why they are superstars! Rudolf Nureyev’s Albrecht was marred slightly by some rather ‘modern’ acting details in Act I where he failed to maintain the aura of manners of the period. But otherwise he caught the essence of the caddish young nobleman in Act I and the grief-stricken man of Act II. He danced with thorough command despite passing traces of stiffness. He interpolates many intricate steps and then challenges himself to bring them off…and always succeeds. His Albrecht was a full portrait – and it was very exciting.

    Fracci giselle

    In Carla Fracci we had the perfect Giselle. All this talk about her ‘capturing the essence of the Romantic Era’ felt absolutely true. There were times in Act II when she really did seem like the ghostly vision of another time and place. Here is a dancer so technically assured, so light yet bearing underneath great strength of character and of will. She was so charming in Act I, and her Mad Scene was brilliantly done – not overplayed but seemingly so real. Act II truly produced the feeling of seeing a phantom. Floating in her gossamer long tutu, Fracci evoked the remote mystique of the spectre. Her dancing throughout was so poised, with the steps always presented as a natural expression of the character and stemming completely from the drama. One had the feeling of really seeing Giselle herself, not of a ballerina portraying her.

    At the end there was a tremendous ovation (20 minutes) with roses being thrown and Fracci & Nureyev called out repeatedly…bravi!!!”  

    ~ Overon