The concept/direction was SO cool. How can I describe it? A revolving set a la Les Mis, but split into quarters, and dopplegangers (yes, I used that word not only for the Lied poem and song) who mimicked every move that the singers did, dressed just like them and in fours so it looked like a kaleidoscope.
I can't do the staging description justice so I'll just stop there and say that if the production comes your way don't miss it. It was all intense and stuff.
Here is a pic of the set and the final bows--you can see the Dopplegangers in the back and the cast and conductor in the front:
Now onto the voices.
Krassimira Stoyanova- beautiful phrasing, amazing pianissimi, cut warmly over the orchestra, the best voice of the night- really. She had so much feeling in every note that came out of her voice and knew how and when to use any musical nuance that she made a decision about. It was gorgeous.
Rrrrramon- sounded awesome. I heard him in R+J last year--or was it 2 years ago now--with Dessay, and while it's impressive (the best male voice onstage tonight) and cuts very well, it's not THAT big. It fills the hall but not in that booming rumbling cavernous sound that some singers have. I still really liked it in the role, and the acting was much like his Romeo- young and foolish and a bit uppity--but then again, both stories are pretty much Romeo and Juliet- except one is in Italian and they both poison themselves at the end- no dagger and re-awakening scene.
Elena Maximova made a hottt Frederica- all dressed like the 1940s/early 50s with a long trench and a sexy black number (the show was definitely updated, but the sets looked 1970s and the clothes looked late 40s- weird). Nice voice. The a capella quartet sounded pretty amazing with the two women, and also their brief duet in Act II.
And the men. I mean, I'm not going to say "eh", but overall I was not impressed with either father. And here comes my mini-rant about men's voices and the business. Is it just that there are less of you? Can you REALLY get away with not being on pitch for almost every final cadenza that you sing? Umm, that thing that happens at the end of every note you sing that makes you sound KIND of like a goat...that's ...well... a bit endearing for THIS role, but I'm not sure the best approach to vocal technique.
Look, I know these peeps are already famous and stuff, but if you're singing at this opera festival can you please be the bestest ever? I don't want to be scared every time you go up for a high note, or when you hold things out and your voice starts to wobble and, oh yea, also you don't move well onstage and you could st
and to lose a few pounds. This would just NOT fly for women of any fach.
I am finished now. Overall, it was the first time I heard a majority of the music, and saw the opera live and I was extremely impressed by the staging, sets, most of the voices, and once again the insane audience here that yells bravi after every aria or big pretty ensemble, and makes the cast come back for at least 5 bows. Seriously. They stay standing for a good 25 minutes after the curtain comes in.
Yes please!
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