Pappano Leaving Gala tonight

[Prommer]

Anyone going? Sadly, it is neither being recorded not broadcast! Which, given the glittering array of singers, is perplexing.

[Barbirollians]

Far too up market for the current controller of Radio 3.

[Ein Heldenleben]

It had sold out by the time it got to the Friends ticket date . There were a few returns at £500 yesterday- so sadly no. The Haitink farewell gala -which I did go to didn’t sell - possibly because old hands realise these things can be very mixed - and I got some heavily discounted stalls tickets . Musically that was very strong.

[Prommer]

Yes that was very enjoyable. The King's Study scene from Don Carlo in the old Visconti production!

[LHC]

I'm going tonight with friends.

In the past this would have been shown live on the BBC, or at least recorded for later transmission, especially given the programmes Pappano has presented for the BBC. Sadly the BBC appears to no longer be interested in showing operas on television.

[hmvman]

It could've been a good candidate for a live cinecast.

[Ein Heldenleben]

Yes that was very enjoyable. The King's Study scene from Don Carlo in the old Visconti production!

It was musically a very high standard . I think Robert Lloyd was the Gran Inquisitore. The gala ended with the Festweise scene from Die Meistersinger - a real Haitink hit.I think he was presented with a motorbike at the end.

[Simon Biazeck]

It was musically a very high standard. I think Robert Lloyd was the Gran Inquisitore. The gala ended with the Festweise scene from Die Meistersinger - a real Haitink hit. I think he was presented with a motorbike at the end.

You've just reminded me that I was one of the Lehrbuben at that gala! I was not on board last night but I also realised I have been there since Pappano's first season.

[Prommer]

I remember the moped with which Haitink was presented seeming to go down rather badly with the great man. He was bewildered...

From memory there were two performances for his last hurrah?

Last night was a very good occasion - some excellent singing, perhaps especially from Lisette Oropesa. Despite his being past his best, Terfel was extraordinary in the Te Deum closing Act 1 of Tosca.

Finley and Jaho singing the duet from Thaïs was memorable. The two tenors, Xabier Anduago and Freddie de Tommaso, impressed respectively with their juicy squillo and the goodly size and 'face' to the voice.

And the finale from Guillaume Tell was wonderfully uplifting and 'future-facing' with its hymn to liberty and re-growth - and helped to expiate the (rare) sin of that notorious production at the ROH a few years ago.

But no Wagner!

The King made a surprise appearance in the Royal Box, so for the first time in many years, we had the National Anthem at the start of proceedings. He joined the cast on stage at the curtain call, to rapturous applause. But there were no speeches or presentations from the stage.

Petroc presented and did a good job - pretty reliable on such occasions!

[Belgrove]

Thanks for the report Prommer. Perhaps this thread is an appropriate place to reflect on Sir Tony’s time at the Royal Opera?

Apparently he’s the longest serving Music Director in the institution’s history, and I understand he’s well respected and very popular with performers and, importantly, the orchestra (I’m sure Simon B could verify). He has improved even further on the orchestral standards established during Haitink’s tenure. It’s a shame the ROH orchestra doesn’t ‘get out’ more, so that a wider public could experience what a world class ensemble it is.

He’s conducted some works that will live long in the memory (hopefully). His Berg (Lulu and two separate production of Wozzeck) are the best live performances of these works that I’ve experienced. His debut was a sparkling Ariadne auf Naxos, but it was only this year that he returned to Strauss with a mighty Elektra. Il Tritico was another triumph, with a shattering rendition of Suar Angelica, lifting it from mawkishness. This was soon followed by Les Troyens, which hopefully will be revived. The opulently scored King Roger was another work that showed off the orchestra and soloists to great effect. The works of Mozart and Verdi are of no interest to me, so any of his achievements in these will have passed me by. His work in popularisation through well made and interesting programmes with the BBC display his knowledge and enthusiasm. Latterly he’s made webcasts for the ROH which continue in this vein - he’s a natural and effective communicator.

But, since Wagner is my primary operatic interest, we come to what I consider is his Achilles heel. The last complete (Keith Warner) Ring Cycle failed musically. The huge arcs failed to emerge, what we got was point-to-point navigation of the score with too many idling longeurs rather than the continuous sense of transition and momentum. Parsifal was stunningly beautiful, but similarly inert. Mastersingers (the least Wagnerian of mature Wagner) was good, but marred by a production that is unlikely to be revived. The heaving tectonic plates of Tristan simply didn’t move. But, miracle of miracles, he seemed to find his Wagnerian mojo in last year’s Rheingold, which was superb, so I’m really looking forward to how the rest of the Barrie Koskie Ring pans out.

So we have a lot to be thankful for. Musical standards have improved during his tenure in my view, despite the growing antagonistic attitude towards the arts and the disastrous effects of Brexit and the pandemic on theatre and music making. I’m sure his presence and experience helped in steadying the ship through these trials. Hopefully he’ll be enticed back to the ROH in addition to The Ring - I’d love to hear his take on Pelleas…

He strikes me as being one of music’s good guys, and I wish him every future success at the LSO (he’s conducting a concert performance of Salome next season).

[kernelbogey]

His work in popularisation through well made and interesting programmes with the BBC display his knowledge and enthusiasm. Latterly he’s made webcasts for the ROH which continue in this vein - he’s a natural and effective communicator.

His BBC series on the different voices of opera was outstanding: agreed that he is a great communicator.

[Prommer]

I think the only really excellent Wagner he has produced was, actually, Tristan.

Wagner is top of my list too, but Pappano has so many other redeeming qualities that he still gets an alpha from me as a Music Director.

[Pulcinella]

Neil Fisher in today's Times:

https://www.thetimes.co.uk/article/a4213141-ca96-42a5-87be-677e1c2e41ad?shareToken=68d0777b592121a1ef71533d0420ecee

[Belgrove]

Interesting piece in the Guardian by Pappano on some of the works he conducted:

https://www.theguardian.com/music/article/2024/jun/03/anna-nicole-smith-antonio-pappanos-pole-dancing-royal-opera-wozzeck

I’d forgotten to mention upthread The Minotaur and Lady Macbeth of Mtsensk, both very fine productions. The scene where Theseus consults the Oracle, an otherworldly twitching prodigy, was extraordinary, both musically and as a staged vision. And the visual gag accompanying that drooping trombone slide after Katerina and Sergei’s bedroom encounter brought the house down.

[Simon Biazeck]

Interesting piece in the Guardian by Pappano on some of the works he conducted:

https://www.theguardian.com/music/article/2024/jun/03/anna-nicole-smith-antonio-pappanos-pole-dancing-royal-opera-wozzeck

I’d forgotten to mention upthread The Minotaur and Lady Macbeth of Mtsensk, both very fine productions. The scene where Theseus consults the Oracle, an otherworldly twitching prodigy, was extraordinary, both musically and as a staged vision. And the visual gag accompanying that drooping trombone slide after Katerina and Sergei’s bedroom encounter brought the house down.

I have huge pride and wonderful memories of being in both productions' ROH premieres. Леди Макбет Мценского уезда was also my first production with Richard Jones. Rehearsals were demanding and physically claustrophobic but when it all started to come together we were hooked and excited—the same for Anna Nicole. I was so excited for the first night of Anna Nicole that I thought I might burst. When it returned (after a run by New York City Opera) it was brilliantly revived by Richard 'Ricky' Gerard Jones. (Richard Jones was doing 'The Girl of the Golden West' (La Fanciulla del West) at ENO.) By then Turnage had extended the beautiful aria ''You can pray, you can dream", and being onstage with my dear friend Eva Maria Westrbroek at that moment was so moving. https://www.youtube.com/watch?v=12xWYQW8CHc With the greatest respect to my fellow forumites, I won't discuss the merits of this production at the ROH. Wonderful memories; shivers and tears as I watch some of the clips on YouTube.