What a disaster .
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Rachele Stanisci was fabulous this evening - book her! A real old fashioned sound reminiscent of Callas with deliciously chocolaty cover, crystal clear coloratura and perfect tuning. What a star!Originally posted by LHC View PostI hope you placed that bet...
Neither Haroutounian nor Popsy will be singing tonight, although Haroutounian will be miming on stage (presumably because she had the benefit of more rehearsals and knows the staging better than Popsy).
Of course, what happens with the rest of the run (and indeed the cinema broadcast) remains to be seenComment
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I wonder if she'll have time to master the staging by the time of the broadcast performance (4th Nov)?Originally posted by Simon Biazeck View PostOur chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency....Comment
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Presumably that won't matter if it's on the radio?
Ah - just realised you mean the cinema broadcast.
(But when do the Monday night opera broadcasts start, replacing the Saturday broadcasts?)OComment
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Although I don't claim to be an expert, I can confirm that "reminiscent of Callas" is the very same thought as I had as I listened to her in Acts 4 and 5 this evening. It was rewarding and very engaging to hear her through the performance. Earlier, I have to say, she was shrill on the one or two occasions she had to sing high and loud. But, for example, her "Merce dilette amiche", the Siciliana / Bolero was reminiscent of Callas's recording - great tuning, control and colouring of the voice, giving a similar experience - although whether as powerful as Callas could be, I'm not sure. Stanisci showed these characteristics in the duets / various ensembles - particularly those she sings in the latter acts . (Just to make it clear, though, I never heard Callas live, I was too young to be allowed out on my own then (I was primary school age) - and my parents weren't opera goers...)Originally posted by Simon Biazeck View Post
A couple of other points - Brian Hymel - a more than decent tenor IMHO, and decent enough to turn up reliably and give a committed performance - I don't understand why he receives a lukewarm (or worse) reception.
A challenging piece to mount, I am sure. I did think, however, for a work that is known to require an exceptionally large chorus, the sets restricted the space for them to operate. And, my other principle sentiment from the evening - in terms of production, I can only assume the chorus were woefully lacking in rehearsal or input from the producer? On many occasions the necessary conviction of dramatic gesture was absent on others it seemed likely they had been largely left to their own devices, apart from being told when and where to move...... The chorus also had cliche inflicted on them - at the end of the "toffs singing in a boat on the way to the ball" madrigal, the toffs were swaying from side to side -for goodness sake!
I put this down to production, as over the last few years I have found the RoChorus, particularly with extra chorus, thrilling in vocal power and convincing dramatically.
However, I came away more satisfied than I thought likely at the first interval - as a piece it comes together, and the efforts of the cast begin to take effect, with, to name three, the contributions of Schrott, Hymel and in particular, Stanisci.Comment
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That's a very perceptive review, Stephen, and as a member of the extra chorus for this production I am delighted to read your remarks about our contribution!
I agree wholeheartedly with your comments about Brian Hymel's reception. It is an unnaturally high role and he sings it with great assurance and apparent ease. With the greatest respect to audiences, I do sometimes wonder how much they really know about singing. Perhaps if he had a huge recording deal with Decca he might receive a more generous ovation. It's a shame.Comment
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Just by way of a belated update, Marina Poplavskaya has finally been removed from the cast list for all remaining performances and replaced by Haroutounian. http://www.roh.org.uk/news/cast-chan...es-siciliennesComment
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Well I watched the live broadcast at my local ODEON (Screen 1 no less) on Monday and was thrilled by the opera. I knew the music well (from the Levine, Rossi and Muti recordings) but had never bothered to read the libretto so the whole evening came as a surprise to me!! Several things stood out:
1. The production by Stefan Herheim was highly imaginative and from the overture with the Degas inspired ballerinas telling of Henri's origins and Procida's exile I was hooked. I do think though that there was scope for telling how art suffers / continues through conflict and is changed by the experience could perhaps have been developed a little more. I especially liked the touches of humour where the Sicilian's limbered up with their guns as though ballerinas and Schrott appearing in a "black" versino of Helene's wedding dress as her alter ego in Act 5 stabbing the French with their own flag. What is it with the ROH and bass baritones in drag - recalled Bryn Terfel's turn in Faust a few years ago.
2. The cast was mostly first rate. The Henri of Bryan Hymel was fantasticly well sung (what a pity it wasn't him in the Pappano recording of Guilliame Tell) if a little generalised in the acting. No such issue with Michael Volle who came just the right side of pantomime villain and sung extremely well specially in his act 3 aria. I enjoyed but was less convinced that Schrott was quite in the same league - the voice seems a little light for Verdi and his approach seemed just a little the wriong side of pantomime. Lianna Haroutounian was fine but in no way competed with Studer (who demonstrated that the role isn't really for a spinto). She just seemed a little dour (I never for one moment believed in her love for Henri (or maybe that's the point)) and her coloratura was almost non-existent in the Balero. That said, she engaged by her steadiness and ability to ride the orchestra in those key finales.
3. Pappano was a delight - pushing forward the music but never seeming to rush it likek Muti. I am convinced that the French version is the way to perform it.
4. It stirkes me that Acts 1 and 3 are is as good an Act as Verdi wrote but that he needed some better music for Act 5 - we never really have a cracking quartet (like in Rigoletto) despite the opera calling out for one.
Recommended!Comment
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Being broadcast tonight (live?) but I have a very distinct feeling that the opera - in this version - was broadcast on a recent Thursday afternoon.Comment
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