February 2009

OPERAMAN: He's back!

Placido DomingoIn 1969 a (relatively) young tenor names Plácido Domingo took over for a sick Franco Corelli in a production of Cilea's Adriana Lecouvreur at the Metropolitan Opera and made his debut in the house which has brought him fame and fortune and has given opera lovers continued joy. Forty years later and now 67 years of age he has reprised the same role in that same opera and with the same company and while in his performances over the last couple of weeks he was not able to throw off the role with the same ease as before and even though parts of the score were transposed down to give him a greater comfort level in the top notes, Domingo's return was at least not the disaster we were subject to from late-edition Pavarotti. The burnished tone is still there and still has the ability to thrill.

"And the prize goes to - Plácido Domingo!" who last week was named the first recipient of the Birgit Nilsson prize for achievements in classical music. And as prizes go this is more Nobel than chopped liver - it comes with $1 million. Just what he needs - another million. It must have been a source of satisfaction to him that he was selected to receive the award by the renowned soprano herself before her death in 2005. It is difficult to deny his amazing achievements on the opera stage or to be other than gushing about his gorgeous instrument and I am very happy for him. I just so, so wish that whenever I think of him I didn't have to cope with that blot on his career known under the rubric The Three Tenors. For me that is a stain of Lady Macbeth-type permanence. I know I should get over it. I just can't. For me it's as if Laurence Olivier, Ralph Richardson and John Gielgud had gone on the road reading chapters of Harry Potter.

OPERAMAN: Stick a fork in me...

Camille 1921 Valentino NazimovaI'm done. Cultured-out. Ready for a trashy novel or six. Over the last nine days I have attended a Met HD transmission of Lucia di Lammermoor, seen The Turn of The Screw four times, been to Opera Theater Oregon's production of Camille/Traviata twice, attended the Oregon Symphony at the Schnitz and recorded and edited a reading of an entire Henry James novella onto disc.

I am not complaining, mind you. OTO's silent movie of Camille run with live music from La Traviata was as much fun as I have come to expect from this company and, I am happy to say, sold very well. I am told that the Valentine's night performance at the Clinton Street Theater sold 200 tickets and was received with great enthusiasm. I have accepted an invitation to be on the board of that organization and so can no longer purport to be a disinterested admirer of what they do. As regular readers will know I have been a fan of OTO ever since seeing their production of Carmen. I think they do very good, professional and entertaining work and I am delighted to have an opportunity to help their progress if I can. The picture above is of Valentino and Alla Nazimovain a still from this 1921 movie.

OPERAMAN: Curious indeed.

Brad Pitt & Tom CruiseThis post is longer than usual because, just for once, I have something to say which I believe to be timely and of some relevance. And there really is no way for me to put it into three pithy sentences.

I was just as disappointed as any of you when I learned that Anthony Dean Griffey would not be coming to Portland to sing the role of Peter Quint in the Portland Opera production of Benjamin Britten's The Turn of The Screw. I had seen Griffey in the Met HD transmission of Peter Grimes (also a Britten opera) and was much impressed by both his voice and his characterisation of the lead role. My sense of letdown was in no way assuaged by the knowledge that his absence was caused by very difficult family circumstances. Sometimes, of course, these domestic difficulties are just a cover for some other reason not to show up but in this case information from a quite independent source confirmed to me that the reason he had given was genuine. So, not angry, just disappointed.*

FROM THE TOUR: Halfway, Oregon and Snow

Wednesday, February 4th, 2009    

Part 1
We started the day dark and early in Baker City.  Most of us woke up somewhere around 5:30am or so in order to meet at 6:15 to depart for Pine Eagle Elementary/Junior High/High School in Halfway, Oregon.  The hills and mountains were covered in snow, but the roads were clear.  Opera singers really don't like getting up anywhere near this early, and I would say most of us weren't exactly bright-eyed or bushy-tailed as the saying goes.  But we were treated to a spectacular sunrise in the mountains as we drove along the Hell's Canyon Scenic By-way. The sun cast a reddish orange glow over the peaks while the mountains and valleys were a colored in the deep purple filter of early dawn's shadow.

We couldn't afford to spend too much time admiring the view though as most of us were putting the finishing touches on learning some new music for 3 upcoming concert performances or catching a few more moments of sleep or making sure that the van didn't drive over the edge of the twisting roads.

We arrived at the school without incident and were met with enthusiasm, if not necessarily the most sure directions on where to unload the set from the truck.  Having been told that it would work best for us if we drove the Penske truck around the building, our fearless and intrepid tour manager proceeded to drive around the back of the building. 

However, we were then told that we would be better off if we had stayed in the front of the building.  In the course of moving the truck back to the front of the building, the moving truck got stuck in the snowy "trail" that was behind the school.  At this point we were getting closer and closer to show time, and we hadn't unloaded one piece of the set. 

Death always leaves someone sad. Sometimes it's Orfeo..

Stephanie Blythe as Orfeo"May you never lay your head down without a hand to hold.
May you never lay your bed out in the cold."

Last Saturday I attended the Met HD transmission of Orfeo ed Euridice.

First, the piece. Gluck. Who knew? Maestro James Levine, on camera before the show, described it as a “truly great, great masterpiece of music” and while I am used to the hyperbole with which conductors and directors enthuse over their piece of the moment, in this case I don’t know how one could argue. One thing which surprised me was that it didn’t sound one bit derivative of anyone else’s work. Not like Mozart of course who was only, what, seven years old when Gluck wrote this Orfeo? But not like Handel or Purcell or anyone else with whose work I am familiar. This was sui generis - and how exciting for that. Someone suggested to me that Jean-Phillipe Rameau had significantly influenced Gluck. All I can say is I am quite familiar with M. Rameau and to my ear it didn't sound like his music in the least. The writing is rich, colourful and shows a respect for the drama as expressed in the libretto in a way that alas is rare in opera of any period. My fellow blogger Bob Kingston is still not persuaded of the greatness of Gluck as a writer of opera and if this one failed to move him into the ranks of fandom I am not sure what else may.