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#1809 - 06/20/11 09:46 AM Re: Opera 3
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
I allus thought standing ovations were reserved for performances far over the average, but in the last few years I seem to be the only person still sitting.

Are the boos for Pinkerson delivered during his performance, or during the curtain calls?
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#1810 - 06/20/11 10:45 AM Re: Opera 3
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Quote:
standing ovation at the end of the opera (I thought "Americans!" - saving your presence, people here)

Quite accurate. Alas. I've given up being annoyed by it, just to keep my own sanity. But I still resist it.

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#1811 - 06/20/11 02:09 PM Re: Opera 3
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
I can remember one or two genuine standing ovations, when the entire audience was on their feet applauding before the last note died down...

In Roanoke (and apparently elsewhere judging from the comments) there is no sponteneity...in fact I sometimes suspect it's people wanting to beat the rush to the parking lot.
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#1812 - 06/29/11 08:32 AM Re: Opera 3
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Did anybody see the Meistersinger performance streamed live from Glyndebourne last Sunday? It's also available on demand all this week on the Guardian website.

This is one of my favorite operas -- possibly my #1 favorite, in fact. And seeing this excellent production (I have a couple of quibbles but they're minor in proportion to the whole) made me fall in love all over again. In particular, the baritone Gerald Finley proved successful as Hans Sachs beyond anything I could have expected. Days later, I'm still reeling.

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#1813 - 06/29/11 11:45 AM Re: Opera 3
Anonymous
Unregistered


As noted above, I saw it on stage, from Row 4 of the stalls, and enjoyed it greatly. The Eva wasn't quite the thing, and the Walther was rather monochrome (he did have the necessary stamina, however), but the production was generally very well done, in particular the characterisation of the individual Mastersingers. I wasn't so keen on the unchanging bit of the set (a sort of Gothic ceiling on legs), which, on a smallish stage, made everything look too cluttered at the end of Act 2 and in the final scene.

As for Finley, he sounded good from where we were sitting, but he just seemed a bit young for the role (and why was he wearing a Raglan mackintosh in Act 1?). Someone I know was sitting at the back of the circle and said that he was difficult to hear, especially in the final scene. People are suggesting that the sound might have been adjusted for the Guardian relay (and, no doubt, the forthcoming DVD).

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#1814 - 06/29/11 03:54 PM Re: Opera 3
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Finley made a splendid impression over the airwaves; of course being able to hear from the rear is no problem under those circumstances, but he really didn't have that too-familiar "baritone blustering his way through because he's in trouble" sound, it all seemed easy for him and full of sonority and variety. I agree about the Eva (surely, even if youth and physical suitability mattered to them, there were more solid choices in their casting pool?), but for me the Walter was the biggest vocal demerit. He has to do a lot of within-the-story "singing" to the others, and at all such moments he seemed just threadbare and weak. I can see why they cast him -- he looked right and is a terrific actor (his scene with Sachs was almost unbearably moving for me), and his voice sounds pleasant in the delicate bits. I can imagine him impressing in an audition so that they decided to take the risk, but (unlike Finley) this risk didn't pay off.

I agree that the permanent set was least suitable in Act II, but on the whole I loved the designs and the direction. The choreography needs a rethink: I know frolicking apprentices must be a nightmare to make plausible onstage, but the effect was more like music-hall routines. And it was odd that the camera wanted to give us closeups of the Masters reading Walther's song text attentively and passing it around for approval, where it's a basic plot point that Walther is recomposing the Prize Song as he goes, with new music and words (Wagner specifies that the page should get dropped and ignored immediately).

But that's nitpicking. It was an exceptional production. I do love Glyndebourne!

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#1815 - 08/30/11 10:07 AM Re: Opera 3
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
It's really hard to see an opera after it starts, and not know which one it is. I tuned inthe middle of something, there was a britone in 18th century dress singing an aria I thought I recognized but couldn't place, he turned out (of course) to be the villain, the soprano was a bit pregnant, the tenor was grubby and for a while he and the men of the chorus held the baritone at sword's point (and a rather large pistol pointed directly behind his ear).

I thought the soprano was "Leonora". They were definitely singing in Italian.

What did I see?
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#1816 - 08/30/11 12:13 PM Re: Opera 3
Anonymous
Unregistered


Il Trovatore?

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#1817 - 08/31/11 08:56 AM Re: Opera 3
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
Yeah, I guess that was it. Who was the pregnamt soprano> The barigone?
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#1818 - 08/31/11 11:59 AM Re: Opera 3
Anonymous
Unregistered


Were there no credits at the end, Pete?

I'm just guessing that it might have been David McVicar's production, recently-ish seen in San Francisco and more recently at the Met.

There's a report on the Met's staging here. Click the picture to enlarge it - did the set and costumes look like what you saw?

There's also a whole lot of stuff (concetrating on Hvorostovsky, the baritone) on youtube:
http://www.youtube.com/view_play_list?p=4F40C6D0AB91126C

[This message has been edited by Andrew (edited 08-31-2011).]

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