Opera in Ireland - general discussion thread on all things opera in Ireland

HugoBradyBrown

Yes, Green Pixie, he was superb. He is Rafal Bartminski, and you can read more about him at

http://www.rafalbartminski.pl/

Incidentally, you couldn't meet a nicer lad. I myself have decided to go again on Friday next, largely on account of his work. (I might see the regulars in Roberto's Dolce Vita beforehand?) We must hope that Maria will be the one that David chooses to issue on CD from this year's festival.

The translation on screen is surprisingly good and idiomatic, I must say, capturing in English that interesting linguistic moment of flux just as the language was stabilizing under various ethnolinguistic nationalist forces, and as Polish, Ukrainian and Belarusian rubbed off each other.

There is also a recording of Maria on Polskie Radio's own label and it is very fine. The conductor is Łukasz Borowicz. If you have any Polish at all, I would recommend the wikipedia page about him; it is perfunctory, but just enough to get started. (I haven't met him myself, but he is one of the bright stars in the Central European musical firmament, and we will hear a lot more about him.)

http://pl.wikipedia.org/wiki/Łukasz_Borowicz

Hugo Brady Brown

The Green Pixie wrote: »

Saw Maria last night in Wexford. Absolutely outstanding.

The music was very dramatic and very beautiful, the story was quite spellbinding (when did you last find yourself in an opera dying to know what's going to happen next?) the visual side of the production was stunning. Ten out of ten.

The lead tenor (I don't know his name but the character is Waclav) was magnificent. I didn't like the Italian girl who sang the title role. Her voice wasn't attractive and she wasn't a likeable enough character.

westtip

Sandwlch wrote: »

Sounds truly splendid. Do you rate any of the current generation up to that level?

Can we tell? We have to wait and see. Domingo for me is the greatest I have heard for the sheer fact of what his career has covered. Unbelievable that any tenor of todays generation singing the duke will triumph 30 years later as Rigoletto,not to mention the Wagner repertoire or Boccanegra.

Lyric tenor - Pavorotti - in my lifetime the greatest. Operatic artiste - Domingo hands down simply no one to compare.

Personally I don't think we will see his likes again. For me the greatest operatic career I have had the privelige to witness. Just the best.
BTW

I really enojoyed giovanni from the met tonight in Sligo.

HugoBradyBrown

On the issue of the Polskie Radio recording of Maria, it's difficult to order from the online sklep, for the usual Polish administrative reasons. However, the recording is being sold through EBay by a number of vendors, and the price is as low or lower there. (It's also to be had readily on the shelves in quite a few shops in Kraków, and, I imagine, in Warsaw as well.)

Hugo Brady Brown

marienbad wrote: »

Thanks a lot , I knew about the opera rara version of La Cour de Celimene , but it was very had to find . Lo and behold it is now available on Amazon and bundled with the Donizetti one, pity as I had already bought Gianni di Parigi some months back . Ah well such is the life of the opera enthuasist- order placed for the Ambroise Thomas . Now who do I know in Poland ...........

The Green Pixie

HugoBradyBrown wrote: »

And doesn't young Renée Fleming ask such piercingly intelligent questions?

When I went to Anna Bolena a couple of weeks ago, the second the first act finished I sought refuge in the lobby so as not to have to listen to her cringe-worthy patter.

marienbad

HugoBradyBrown wrote: »

On the issue of the Polskie Radio recording of Maria, it's difficult to order from the online sklep, for the usual Polish administrative reasons. However, the recording is being sold through EBay by a number of vendors, and the price is as low or lower there. (It's also to be had readily on the shelves in quite a few shops in Kraków, and, I imagine, in Warsaw as well.)

Hugo Brady Brown

Already got it Hugo, but thanks all the same.

HugoBradyBrown

The Green Pixie wrote: »

When I went to Anna Bolena a couple of weeks ago, the second the first act finished I sought refuge in the lobby so as not to have to listen to her cringe-worthy patter.

You surprise me, Green Pixie. She's not, obviously, a trained commentator, but I think that, drawing on her experience as a clearly intelligent and, for her age, surprisingly experienced singer, she is able to go through a programme of questions authoritatively and agilely and without a script (though this is no surprise from an actress-singer, I suppose). Consider, for example, her questions last evening to the conductor, not just about the mechanics of switching over and back between secco accompaniment on the hpsd and full-stretch stick work for the rest of the opera. She delved into how he was able to shift in the course of a single week from conducting Don Giovanni one evening and Siegfried later in the week, and she argued that these were works from two different genres. The conductor retaliated, of course, arguing that the works were the yin and yang of the same tradition, albeit at a century's remove from each other. But she came back, and soon had him eating out of the palm of her hand as she asked how a man from a backwater like Genoa was able to cope with life in the big city, in Manhattan, and soon they were chatting amiably about schooling for the children. I believe that she managed to humanise what might seem to be the rather austere and extraordinary world of opera, letting us realise that even divas and maestros eat, drink and do the school run. Brava!

Some people say 'all this, and heaven too'; I would say, 'all this, and singing too', in the case of that young singer.


Hugo Brady Brown

Sandwlch

The Green Pixie wrote: »

When I went to Anna Bolena a couple of weeks ago, the second the first act finished I sought refuge in the lobby so as not to have to listen to her cringe-worthy patter.

HBB is an well know aficionado of cringe-worthy patter.;)

marienbad

HugoBradyBrown wrote: »

You surprise me, Green Pixie. She's not, obviously, a trained commentator, but I think that, drawing on her experience as a clearly intelligent and, for her age, surprisingly experienced singer, she is able to go through a programme of questions authoritatively and agilely and without a script (though this is no surprise from an actress-singer, I suppose). Consider, for example, her questions last evening to the conductor, not just about the mechanics of switching over and back between secco accompaniment on the hpsd and full-stretch stick work for the rest of the opera. She delved into how he was able to shift in the course of a single week from conducting Don Giovanni one evening and Siegfried later in the week, and she argued that these were works from two different genres. The conductor retaliated, of course, arguing that the works were the yin and yang of the same tradition, albeit at a century's remove from each other. But she came back, and soon had him eating out of the palm of her hand as she asked how a man from a backwater like Genoa was able to cope with life in the big city, in Manhattan, and soon they were chatting amiably about schooling for the children. I believe that she managed to humanise what might seem to be the rather austere and extraordinary world of opera, letting us realise that even divas and maestros eat, drink and do the school run. Brava!

Some people say 'all this, and heaven too'; I would say, 'all this, and singing too', in the case of that young singer.


Hugo Brady Brown

Have to say I missed all that Hugo as I had half a sandwich stuffed down my gob.

HugoBradyBrown

marienbad wrote: »

Have to say I missed all that Hugo as I had half a sandwich stuffed down my gob.

Lucky you, Marienbad! Rathmines is popcorn central, I'm afraid.


Hugo Brady Brown

marienbad

HugoBradyBrown wrote: »

Lucky you, Marienbad! Rathmines is popcorn central, I'm afraid.


Hugo Brady Brown

Limerick the same Hugo, But I bring my tea and sandwiches and dine alfresco and as I pretend I am at the opera so at the interval I pretend I am at Glyndebourne

HugoBradyBrown

marienbad wrote: »

Limerick the same Hugo, But I bring my tea and sandwiches and dine alfresco and as I pretend I am at the opera so at the interval I pretend I am at Glyndebourne

I have myself sat on the floor amongst a crowd gnawing on rubber sandwiches at the Coliseum in London, during intervals in Phyllida Lloyd's peculiar production of the Ring cycle a few years ago. (I never quite recovered from seeing the Rhinemaidens represented as 'pole dancers', as I believe they are called.)

Mind you, at Wagner one would eat a farmer's cap through a hedge.


Hugo Brady Brown

The Green Pixie

HugoBradyBrown wrote: »

Mind you, at Wagner one would eat a farmer's cap through a hedge.

I wouldn't.

westtip

The Green Pixie wrote: »

When I went to Anna Bolena a couple of weeks ago, the second the first act finished I sought refuge in the lobby so as not to have to listen to her cringe-worthy patter.

GP lets not be to harsh on the lovely Renee, remember this is being broadcast to 55 countries - in which english as a mother tongue is how many? USA, here, UK, Oz and NZ, so making it a highly complex deeply intuitive interview wouldn't work. Look she is enthusiastic and joyful in the way she talks to her fellow professionals - take it for what it is - A time filler.

I am with MB on this one - its time to get up and have a stretch, and a sarnie, you really aren't forced to stay in your seat and listen as you say to thei cringe worthy patter.... best to dip into it if you happen to stay in your seat, but its deffo the time for a stretch, or even get your timing right and nip out the cinema for a pint.

The Green Pixie

westtip wrote: »

or even get your timing right and nip out the cinema for a pint.

During the intervals in Gotterdammerung I'll probably need a nap not a pint.

westtip

marienbad wrote: »

Limerick the same Hugo, But I bring my tea and sandwiches and dine alfresco and as I pretend I am at the opera so at the interval I pretend I am at Glyndebourne

MB that does require some vivid imagination in a multiplex in Ireland.

marienbad

westtip wrote: »

MB that does require some vivid imagination in a multiplex in Ireland.

Indeed but borne on the wings of song I can be anywhere , but alas I descend with a bump as soon as I taste the Kentucy Fried Chicken.

The Green Pixie

marienbad wrote: »

but alas I descend with a bump as soon as I taste the Kentucy Fried Chicken.

You are actually able to put that stuff in your mouth?

marienbad

The Green Pixie wrote: »

You are actually able to put that stuff in your mouth?

Hunger is the best sauce as my Ma used to say, at first I am overpowered by the aroma, the taste buds begin to twitch, I scarf it down and as the hunger is sated I begin to feel ill at what I have just eaten, I leave the rest is disgust and scurry away from the joint ( praying I won't be seen ) collar turned up and my hat pulled down . The shame the shame !

I have escaped , I vow never again , but alas I am in the grip of addiction. But for now I am safe, sated,until next time

Sandwlch

How about we keep on the topic of opera?

View from abroad on a way forward for Irish opera included in the review below. I would be reluctant to see any dilution of the Wexford formula (except relax the dress code and do away with the embarrassing anachronism of the anthem).
Curious his use also of the word souffle re the plot(spelling corrected) !

Maybe I was a little hard on the baritones in Gianni. But i think not. Anyone else been to it?

http://www.telegraph.co.uk/culture/music/opera/8860679/Gianni-Di-Parigi-La-Cour-De-Celimene-Wexford-Festival-review.html

marienbad

Sandwlch wrote: »

How about we keep on the topic of opera?

View from abroad on a way forward for Irish opera included in the review below. I would be reluctant to see any dilution of the Wexford formula (except relax the dress code and do away with the embarrassing anachronism of the anthem).
(curious his use also of the word souffle (spelling corrected!))

Maybe I was a little hard on the baritones in Gianni. But i think not. Anyone else been to it?

http://www.telegraph.co.uk/culture/music/opera/8860679/Gianni-Di-Parigi-La-Cour-De-Celimene-Wexford-Festival-review.html

Mea culpa Sandwlch , consider me suitably chastened. I agree with you in that we should leave well enough alone , nice to see an opera or two there at other times of the year and incorporate his ideas into that.

HugoBradyBrown

Sandwlch wrote: »

How about we keep on the topic of opera?

View from abroad on a way forward for Irish opera included in the review below. I would be reluctant to see any dilution of the Wexford formula (except relax the dress code and do away with the embarrassing anachronism of the anthem).
Curious his use also of the word souffle re the plot(spelling corrected) !

Maybe I was a little hard on the baritones in Gianni. But i think not. Anyone else been to it?

http://www.telegraph.co.uk/culture/music/opera/8860679/Gianni-Di-Parigi-La-Cour-De-Celimene-Wexford-Festival-review.html

I think that the fancy dress aspect of Wexford is in decline as the decades pass. I have only once gone dressed as a waiter, and every year I see more and more divergence from the ludicrous dress code, towards a saner approach to a matter of no consequence. Jeans are worn there in considerable numbers most years; I always see some men in t-shirts; I have seen men in shorts. I have seen men in kilts, though I would be inclined to support stamping out that particular affectation, even though the wearer tends to have a d.j. on his forequarters. (I have seen women in the same opera frock year in, year out, but that, too, may be a Wexford tradition.) But, rational clothing, much as one sees in the audiences at the great opera houses of the world, is what is required. (If the purpose of the intimidating dress code is to ensure that the great unwashed are excluded from the festival, the ticket prices alone achieve that in one fell swoop.)

As for the national anthem, I imagine that this may have been introduced originally by Dr Tom to counter the suspicion in the 1950's that opera had to be non-national. Indeed, it could probably have been criticised as practically a 'foreign game'. The anthem reminded us of Croke Park and the musical glories of the Artane Boys' Band (the first 'boy band', perhaps?).

Now, however, it seems it is perpetuated as an expression of an inferiority complex before the foreign opera goers, and most particularly before the English. As we stand and crane our necks to see the surtitles, and remark again to ourselves how odd the word 'bpiléar' looks when represented on the display, we give wheezing, reedy, tuneless vent to the anthem, and go in every direction in pronouncing the words. Still, it's soon over, and, in any case, it gives the orchestra a chance to warm up a bit.

(There was a time, too, when the main uses of the National Anthem were to indicate that a dance or a cinema showing had ended, or that it was chucking-out time in a rowdy public house. I believe.)


Hugo Brady Brown

The Green Pixie

Sandwlch wrote: »

I would be reluctant to see any dilution of the Wexford formula

So would I. Seeing an opera you know absolutely nothing about is such a refreshing experience, so much more satisfying than seeing some idiotic production of La Traviata for the umpteenth time which tries to "show it up in a new light" by transfering the action to a concentration camp.

I only saw Maria this year. The best production I've ever seen in Wexford.

marienbad

The Green Pixie wrote: »

So would I. Seeing an opera you know absolutely nothing about is such a refreshing experience, so much more satisfying than seeing some idiotic production of La Traviata for the umpteenth time which tries to "show it up in a new light" by transfering the action to a concentration camp.

I only saw Maria this year. The best production I've ever seen in Wexford.

That is high praise indeed Pixie ! I will be there tomorrow night , Ambroise Thomas this evening. Gianni Di Parigi last night and it was just outstanding. That Markova/Zukova ?? lass was brilliant , a star is born me thinks and we were there to see it. If last night and Pixie's review of Maria is anything to go by we are in for a vintage year, pity the weather is so terrible here- makes for a long day before curtains up.

As a footnote it is nice to see that next years programme aselection of operas announced in this years programme.

HugoBradyBrown

marienbad wrote: »

That is high praise indeed Pixie ! I will be there tomorrow night , Ambroise Thomas this evening. Gianni Di Parigi last night and it was just outstanding. That Markova/Zukova ?? lass was brilliant , a star is born me thinks and we were there to see it. If last night and Pixie's review of Maria is anything to go by we are in for a vintage year, pity the weather is so terrible here- makes for a long day before curtains up.

As a footnote it is nice to see that next years programme aselection of operas announced in this years programme.

I wonder if we will all be at Maria tomorrow. Perhaps we can form up near the stairhead down to the Jerome Hynes in the interval, to renew old acquaintance? I shall be recognisable to others for wearing my Palmes Académiques, assuming it can be found in time.


Hugo Brady Brown

The Green Pixie

HugoBradyBrown wrote: »

I wonder if we will all be at Maria tomorrow.

I won't be there unfortunately, and I'm green with envy as I'd gladly see it again. I look forward to hearing what you all thought of it.

marienbad

HugoBradyBrown wrote: »

I wonder if we will all be at Maria tomorrow. Perhaps we can form up near the stairhead down to the Jerome Hynes in the interval, to renew old acquaintance? I shall be recognisable to others for wearing my Palmes Académiques, assuming it can be found in time.


Hugo Brady Brown

I was going to wear my Iron Cross 1st Class with Oak Leaf Cluster but I don't think it would go down to well at a Polish opera, so I suppose I will have to make do with my Legion Of Mary Centenary medal :mad:

HugoBradyBrown

marienbad wrote: »

I was going to wear my Iron Cross 1st Class with Oak Leaf Cluster but I don't think it would go down to well at a Polish opera, so I suppose I will have to make do with my Legion Of Mary Centenary medal :mad:

At present, I find, the Poles are particularly sensitive about Lithuanian decorations, because of the international tensions arising from the education situation involving the Polish minority in Lithuania, and following Tusk's uncharacteristically maladroit intervention in it just before the general election, it would appear for base electioneering reasons.

I think decorations will be legion there tonight, anyway.

Hugo Brady Brown

The Green Pixie

Why can't you just wear ordinary clothes? I thought you were all giving out about the dress code.....

marienbad

The Green Pixie wrote: »

Why can't you just wear ordinary clothes? I thought you were all giving out about the dress code.....

That was Hugo Pixie, I don't mind the dress code too much, though I notice much more people in ordinary dress this year.

westtip

marienbad wrote: »

That is high praise indeed Pixie ! I will be there tomorrow night , Ambroise Thomas this evening. Gianni Di Parigi last night and it was just outstanding. That Markova/Zukova ?? lass was brilliant , a star is born me thinks and we were there to see it. If last night and Pixie's review of Maria is anything to go by we are in for a vintage year, pity the weather is so terrible here- makes for a long day before curtains up.

As a footnote it is nice to see that next years programme aselection of operas announced in this years programme.

MB pity we didn't get to meet up - I am very jealous of those seeing all three this year there are good reports coming in on everything - but especially Maria which I will sadly miss out on! Just the one for me this year Gianni di Parigi yes Zuzna Markova was very good - but what about that wonderful mezzo Oliverio - Lucia Cirillo, boy is she going to go right to the top! It seems from the programme she has a busy career already but I really think there are big things to come from this lady. I enjoyed the simplicity of the production of this quite insane (maybe even inane) opera - Donizetti at his very best plagarising himself with phrases and whole scenes sounding remarkably similiar - the bit from La Fille du regiment really made me giggle - the exact same phrases, bars notes and i think key. A really nice night at the opera. Glad to stay in touch by going once must do the whole show next year. village romeo and juliet I saw back in 1981 in Leeds. I seem to remember the interlude the Walk to the Paradise Gardens is the most well knon music from it and looking forward to the others as well.

Well done on the effort by most people to dress up for the festival, thats what this is - and at fiesta time a little bit of effort is good. Jeans and T shirt are ok but they don't have to be a statement - we can leave that to the IT correspondent.

Bravo Wexford congratulations on what appears to be a really vintage year!!

The Green Pixie

I notice that Opera North are doing Madam Butterfly and Handel's Giulio Cesare at the GCT next March. 3 butterflies and 2 giulios. I can't see them filling up the hall with Handel, somehow.

marienbad

The Green Pixie wrote: »

I notice that Opera North are doing Madam Butterfly and Handel's Giulio Cesare at the GCT next March. 3 butterflies and 2 giulios. I can't see them filling up the hall with Handel, somehow.

Giulio Cesare is a brilliant opera though, I will probably go to Belfast to see them -half the price for tickets and hotels and a lovely theatre.

The Green Pixie

marienbad wrote: »

Giulio Cesare is a brilliant opera though, I will probably go to Belfast to see them -half the price for tickets and hotels and a lovely theatre.

They're not doing Butterfly and Cesare in Belfast, only something called "Ruddigore" next June which I think is a Gilbert and Sullivan.

The Green Pixie

Any reports about Friday's "Maria" yet?

Sandwlch

The Green Pixie wrote: »

They're not doing Butterfly and Cesare in Belfast, only something called "Ruddigore" next June which I think is a Gilbert and Sullivan.

They are doing better than that in Belfast. I think I posted earlier, Eugene Onegin and Barber of Seville in March. Not bad.

The Green Pixie

Sandwlch wrote: »

They are doing better than that in Belfast. I think I posted earlier, Eugene Onegin and Barber of Seville in March. Not bad.

They seem to be English Touring Opera, not Opera North. The tickets are indeed very cheap.

Maggie McGaggie

westtip wrote: »

Well after I had stopped crying, after the audience had stopped shouting and hollering in a standing ovation that went on and on and on – the likes of which I have never seen before in my 32 years of attending performances at the ROH, I wiped a tear from my eye and said thank you Placido. Thank you . This evening wasn’t about tonight’s performance it was about saying thank you, thank you, thank you for the 230 other performances. He came out for his curtain call, knelt on the stage, touched the stage floor, touched his heart kissed his hand and gestured to the audience, there wasn’t a dry eye in the house. This was a night to remember for evermore, an operatic night that will be etched on my heart till the day I die.

Placido Domingo. A celebration, on Thursday night truly was a celebration The final act perhaps on one of the greatest Royal Opera House artistes of the last century and with what he has done in the past decade of this century. A celebration of 40 years of triumph in which the voice has changed from a wonderful lyric Cavaradossi to an imposing deep Simon Boccanegra. Nobody has achieved this span of the repertoire.

On Thursday we got three jewels. The last act of Otello to kick off with; Marina Poplavskaya giving a rendition of the willow song and Ave Maria that I have never heard as well sung. Domingos authority as Otello was inspiring. The last act of Rigoletto the final death scene of Gilda the desperation of Rigoletto made you feel he had really lost his daughter – such was the passion of this mans singing. The ensemble singing was superb in the the quartet and the tiro in the midnight storm scene, and a very good duke in Franceso Meli. And finally – the last act of Simon Boccanegra and perhaps the last time I will hear Domingo at the ROH. The death throws of Simon Boccanegra. I sat in row P of the amphitheatre a long way back – the slightest quietest phrases could be heard from this all time great, singing at the age of 70, it was a remarkable evening. I listened to the last bit of Boccanegra, my mind went back to 1981, he was celebrating his 10th year at the ROH singing Cavaradossi opposite Te kenewa and Wixell, the first time I heard him sing. My mind wondered and remembered his Rodolfo, Des Grieux, Otello (wow wow wow), Calaf, Dick Johnson and then in the later years a sensational move to Wagner with Siegmund. This man has given me so much operatic pleasure. The standing ovation, which was more like a rock concert than the ROH, the entire audience stamping its feet, shouting and hollering, Placido Placido Placido - honestly it was like a football crowd shouting out the name of their leading goal scorer, was deafening the house shook, it lasted for fifteen minutes on Thursday. It wasn't just about what we had just seen on stage, it was about what he has given in the last four decades. My tears were tears of thanks – A truly wonderful place to be to say thank to one of the greats – that’s what it was like in the ROH last Thursday. When I think about it now 48 hours later and writing this piece I am still crying with joy!!!!

Nuts? Moi?

http://www.bbc.co.uk/iplayer/episode/b016vks1/Opera_on_3_Domingo_Celebration/


Lots of other good stuff on bbc iplayer too.

islanddoc

The Green Pixie wrote: »

Any reports about Friday's "Maria" yet?

one word superb - Roman Statkowski's wonderful score was well delivered by the festival orchestra and the singing was sublime really enjoyed the drama it is a great pity that his music and this piece has been kept from wider audiences.
Bravo wexford.

Wexopera have excelled this year best festival for many years attending since 1988.

HugoBradyBrown

The Green Pixie wrote: »

Any reports about Friday's "Maria" yet?

Friday's Maria was even better than what went before. I think that it is one of those highlights of a decade or more, perhaps on a par with the production of Ariodante in the mid-80's of the last century conducted by the great and visionary Alan Curtis with La Greevy in a major role. The only problem with Friday was that inherent in the drama itself: the plot - imposed, as we all now know, on the composer, by a competition - is shapeless dramatically, and thwarts the composer as he strives to give expression to the emotional states of the characters. The orchestral writing, whether in accompaniment or in purely instrumental passages, was fine, inventive and sophisticated. (In terms of singing on the night, it would be better to have named the opera for the male lead, Wacław.) The slavonic tone of the hymn section is a curious oddity to find in opera, especially when our expectation is that it is set clearly in the world of the Church under the Roman obedience.

The projected images, still and moving, were highly effective, both in their own right, and for occupying the eyes during the overture and subsequent orcheatral interludes. (Incidentally, Wacław's mute acting in the course of one prolonged interlude was effective, in carrying the action forward in the manner of a silent film, while also conveying the maelstrom of torment of the character.

We must hope that David chooses this opera, above the others, as the recording to issue from this year's festival.

Hugo Brady Brown

marienbad

I am obviously in a minority here in that i did not think Maria was as outstanding as others on here. It was a great night at the opera allright, just no masterpiece, the production, solists , orchestra were all on top form. But I found it a some what disjointed plot and the music derivative .

I was going to post this friday night immediately after the performance but I put it off to give the evening time to seep in, just in case I was being too harsh, but alas no ,I have listened to the cd again and that seems about right.

Enjoyed it immensly though and if I could I would go again just to be sure. All things being equal I would probably say it was the best of the three with Donizetti next .

HugoBradyBrown

marienbad wrote: »

I am obviously in a minority here in that i did not think Maria was as outstanding as others on here. It was a great night at the opera allright, just no masterpiece, the production, solists , orchestra were all on top form. But I found it a some what disjointed plot and the music derivative .

I was going to post this friday night immediately after the performance but I put it off to give the evening time to seep in, just in case I was being too harsh, but alas no ,I have listened to the cd again and that seems about right.

Enjoyed it immensly though and if I could I would go again just to be sure. All things being equal I would probably say it was the best of the three with Donizetti next .

Yes, I see what you mean about 'derivative', although I would say more influenced by Moniuszko than derivative of, say, Wagner. The Wagnerian influences are quite superficial, in any case, in my view. There is almost more Tchaikovsky in it than Wagner. However, there is also a very strong individual voice, endlessly echoing Polish forms, rhythms, melodies and, most notably, speech patterns and stresses, even in the instrumental writing. The debts to earlier Polish music are paid, while simultaneously being self-consciously in the world of the resurgent sense of Polish cultural and linguistic nationalism.

And on the night only one kilt to be seen, at least in the stalls! Almost complete bliss! More male brocade than one might wish to see, of course.

I haven't been able to discover yet, since I have been away, but will it be possible to see the production again either in Kraków or in Wrocław? It would be worth making sure to be there if one could manage it.


Hugo Brady Brown

marienbad

HugoBradyBrown wrote: »

Yes, I see what you mean about 'derivative', although I would say more influenced by Moniuszko than derivative of, say, Wagner. The Wagnerian influences are quite superficial, in any case, in my view. There is almost more Tchaikovsky in it than Wagner. However, there is also a very strong individual voice, endlessly echoing Polish forms, rhythms, melodies and, most notably, speech patterns and stresses, even in the instrumental writing. The debts to earlier Polish music are paid, while simultaneously being self-consciously in the world of the resurgent sense of Polish cultural and linguistic nationalism.

And on the night only one kilt to be seen, at least in the stalls! Almost complete bliss! More male brocade than one might wish to see, of course.

I haven't been able to discover yet, since I have been away, but will it be possible to see the production again either in Kraków or in Wrocław? It would be worth making sure to be there if one could manage it.


Hugo Brady Brown

2nd Act very derivative of Eugene Onegin

Luffs

marienbad wrote: »

Thank you PerriBlack for this infor, my cd just arrived today from Polish Radio. I now have the cds of all three operas at this years festival. If anyone requires details please pm me.

Hi Marienbad,

I'm new to this site but recently went to all 3 operas in Wexford. Having difficulty in getting hold of Maria Cd on Polska Radio website, Any pointers/hints would be useful.

HugoBradyBrown

Luffs wrote: »

Hi Marienbad,

I'm new to this site but recently went to all 3 operas in Wexford. Having difficulty in getting hold of Maria Cd on Polska Radio website, Any pointers/hints would be useful.

Cześć,

The Radio shop is hard to use, but the CD is usually available on Ebay for immediate purchase, and cheaper than from Polskie Radio.

Luffs

Thanks,
Managed to find a copy on ebay from Poland. Belive that the Wexford production is transferring to Krakow in March 2012 for further performances.

The Green Pixie

Is anybody going to GCT La Trav? I still haven't made my mind up about whether I want to spend all that money. I might wait and see if there's a review in the paper.

AoifeCork

Going to Satyagraha tonight-Met HD broadcast in Mahon Point Cinema.

Anyone heard good/bad/indifferent reviews of it? Can't say it was my first choice of something to see from this year's season but Don Giovanni got slated so much I avoided it like the plague and Siegfried, while good, did not quench my thirst!

Sandwlch

Not quite an 'all things opera in Ireland' post, but one with an Irish opera link nonetheless.

Lucky to have enjoyed a fine La Scuola degli Amanti recently at the Bayerische Staatsoper. Eye caught by an Irish-ish named Dorabella in the programme beforehand, and guessed it must have been that of an American or British mezzo with some Irish background. But I was wrong - Tara Erraught is indeed from this isle. Dundalk's loss is Bavaria's gain. Singing was to a very high standard from all. To say Thomas Allen (who really inhabits the role of Don Alfonso these days as if it was written for him) was the weakest, is meant as high praise for the others and no criticism of him.

I see now that I had heard Erraught before at the Balfe Falstaff in the NCH a few years ago (enjoyed very much at the time, but relistening to the recording it does sound rather slight), but she didnt stick in the memory.

I was going to write that she is one to watch for the future - but thats nonsense - she is already there. And the real deal.
It does seem Ireland is back to exporting it finest young talent these days.

The Green Pixie

A review of Perm La Trav from this morning's Irish Times:

http://www.irishtimes.com/newspaper/features/2011/1125/1224308109298.html

I know Michael Dervan forgot years ago that music is something you're supposed to enjoy, but from this review it doesn't sound worth spending 130 euros on.

Has anybody seen it?? Does anybody agree/disagree with the review?

Sandwlch

Thats a decent review by MD standards - when you recalibrate by the 'Dervan Factor' the voices are probably very good and the orchestra well up to it.

I would have interpreted the review the other way - if you were thinking of it - go to it. €130 is a too pricey though. Get a cheaper ticket.

I was worried that it would be a shambles like the Aida in the point a few years ago (which had disgruntled punters ringing Joe Duffy - yes, Irish people complaining about the standard of an opera on a popular gutter radio show!).