Euguene Onegin Met 02-24-07

EUGENE ONEGIN
Metropolitan Opera House, February 24, 2007 Matinee Simulcast


P. I. Tchaikovsky-P. I. Tchaikovsky/Shilovsky

Eugene Onegin………..Dmitri Hvorostovsky
Tatiana……………..Renée Fleming
Lensky………………Ramón Vargas
Olga………………..Elena Zaremba
Prince Gremin………..Sergeì Aleksashkìn
Larina………………Svetlana Volkova
Filippyevna………….Larisa Shevchenko
Triquet……………..Jean-Paul Fouchécourt
Captain……………..Keith Miller
Zaretsky…………….Richard Bernstein
Dance……………….Sam Meredith
Dance……………….Linda Gelinas
Conductor……………Valery Gergiev
Production…………..Robert Carsen
Designer…………….Michael Levine
Lighting Designer…….Jean Kalman
Choreographer………..Serge Bennathan
Stage Director……….Peter McClintock

Toll Brothers-Metropolitan Opera International Radio Network, Broadcast live on Sirius Metropolitan Opera Radio; Transmitted live in HD to movie theaters in the United States, Canada and Europe  Taped for later telecast

<img class="photoBorder" height="299" alt="Onegin Harvest” src=”http://metoperafamily.org/_post/images/207ononline/Onegin2hdl22107.jpg&#8221; width=557 align=middle border=1>
The harvest is celebrated at the estate of the widowed Madame Larina
© Johan Elbers 2007

After getting stuck in traffic on West End Avenue, jumping from my car in the parking garage at 120 pm! running madly over to the House and up the stairs, I made it to my seat in the Front Row of the Balcony at 128 pm!   However, the drama and excitement did not end there – the matinee performance was one of the hottest I have seen at the Met in a long time.  Everyone was giving their all and they had the audience in the hands throughout.

I have heard the previous two Sirius broadcasts and love the opera as its one of my favorites – for both the broadcasts followed with the score, [I learn so much from this] – so by today, I was more than prepared.   Of course, the singing had been exemplary on the Sirius broadcasts and the praises have been ringing by media and on blogs – but still its experiencing an opera live that is the best.
 
First, Ramon Vargas was amazing; I have heard him live before and many times on the radio/web casts… but here he really captures the Lensky character – the bookish poet, serious and SO in love, and with his singing  – sublime is the only word to use.  His Third Act aria was simply incredible – the passion and intensity of emotion flowing to us with ringing tones and fabulous language. 
 
An added attraction to the afternoon’s enjoyment was the pair of native Russian sisters seated next to me – we struck up a very lively conversation at intermission – they gave Vargas HANDS DOWN the prize of the day for idiomatic Russian singing and his portrayal of the Lenski character.  They raved on about the interpretation by Tchaikovsky from the Pushkin story – and something I was not aware of – PT made a HAPPY ending for the story!  It was changed obviously.  I have searched around and can’t find any substantiation for this, but well, I am not Russian so who am I to deny it.  Interestingly they felt that Hvorostovsky seemed a bit blase – but that the last scene was superb.
 

 

I was quite taken with Renee Fleming’s portrayal of Tatiana – was it just me or did she seem a bit nervous in the first act?  The only problem I had with the Letter Scene was the balance between the orchestra and the stage- it seemed to me the orchestra slightly overrode Ms. Fleming in some sections.  This is definitely a role for her voice – the lusciousness and velvetness of her tone is a match for the writing of this role.  Emotionally Ms Fleming gave some of the finest acting I have seen in her performances at the Met; especially the growth between the acts: from the shy young country girl full of longing and living in a dream world to a more subdued yet still young woman to the gracious princess well aware of her duties and place in society and the respect and love of her husband as well as the calmness and contentness in the future in living honorably.  For me, she was most successful in the final scene – somehow the Letter scene while beautifully acted and sung did not have the emotional undercurrent that was in the last scene. 
 
But then again  – she had Mr. Hvorostovsky to play off of! He certainly lived up to the role which if any role fits anyone this one surely does he!  I could run on and on with adjectives but its really simple – he WAS Onegin and sang the music as beautifully, as harshly and as hauntingly as possible when required.  The exposure of his true emotions in the final scene was a masterpiece of restraint and release thru his singing and acting.   I will be very sorry to hear if he does indeed retire this role but am extremely grateful to have had a chance to see this performance at the height of his considerable career.
 
The most satisfying experience for me comes from being with an artist as they delve into their soul and share that with us in their performances – be it singing, playing the piano, the violin, whatever – and it was a joyful experience indeed to witness that from Ms. Fleming, Mr. Vargas and Mr. Hvorostovsky today.
 
All of the singers in the rest of the roles were exceedingly good – I did feel as if there were a richness in the depth of the talent; as Martin Bernhiemer succinctly put it in his FT review- “Major performances in minor roles came from Larisa Shevchenko, former Maryinsky diva, as Tatiana’s nurse, and Richard Bernstein, Met Figaro par excellence, as Lensky’s second.”   As well as Prince Gremlin (a fine performance of a major aria at the end of the night) and Ms Zaremba as Olga – she gave a wonderful performance showing the youthful playfulness of her character and thru her warm lush singing.
 
One note and an odd thing with the curtain calls – they were quite a bit longer than usual (I confirmed with an usher) and the supposition was that it was for the benefit of the Movie Cameras.  We had NO problem supplying the required applause.
 
Feb 25 2007 003I was so enervated after the performance that I actually went to the surprise signing in the Met Gift Shop by Mr. Hvorostovsky.  It wasn’t a long wait – about 40 minutes and was spent in fascinating conversation with a woman from California on one of her frequent Met opera trips (5-6 this trip) and two very lovely and opinionated Russian women.  We had an invigorating discussion about Ramon Vargas with whom they were most pleased – and Ms. Fleming but when I mentioned the signer himself – well, such dramatically raised eyebrows and heaving bosoms and the utterance of  ‘Our Dmitri’ said it all.
 

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music education

Every child is an artist. The problem is how to remain an artist once we grow up” – Pablo Picasso

With a 20th-Century attitude that tends towards permanence and rigid categorization, this is very difficult. And it’s why people who refuse to change, find the modern world increasingly hard to live in.There’s no stopping what’s happening, and the only practical response that we can make is to adapt. A key part of this is to adapt education so that future generations will be able to exist happily in a constant state of change.

This is not possible in a society where mistakes are stigmatized, because it represses the ability to take risks and chances. However, without risking a mistake, creativity is limited.

If we’re educating people for a future about which we have no clue, then we need to emphasize creativity over academic achievement, and celebrate rather than pour disdain on mistakes.

Technology and the explosion of population will make degrees and other categorizations increasingly irrelevant. What will set us free will be the celebration of the human imagination above all. A central part of that is the celebration of music.

Music Education Will Become Ever More Important

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Play about Leonard Bernstein

Last Updated: Thursday, February 22, 2007 | 3:58 PM ET

A new play by Martin Julien to premiere at the National Arts Centre in Ottawa this March will examine the life of charismatic maestro Leonard Bernstein.

The Unanswered Question, with veteran actor Tom McCamus in the role of Bernstein, will premiere March 8 at the NAC, with previews beginning March 5.

Bernstein, a talented pianist who became the first American conductor to receive worldwide acclaim, was also a prolific composer who wrote West Side Story, Candide and On the Town.

Julien, an actor turned writer, has set the play in 1976, the year Bernstein left his beautiful wife, Chilean actress Felicia Montealegre, to live with a male lover.

“The piece examines the life of a wildly influential musician who must come to terms with his own nature and mortality in the face of both a radically changing society and a profound personal crisis,” Julien says in his notes on the play.

Julien says his background as an actor — he played  Cornell Tremble III in Allen Cole’s The Wrong Son at the NAC last year — affects his style of writing.

CBC Arts

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NYT: the bagger picks the Oscars

Picture: “The Departed”
Director: Martin Scorsese
Actor: Forest Whitaker
Actress: Helen Mirren
Supporting Actor: Eddie Murphy
Supporting Actress: Jennifer Hudson
Original Screenplay: “Little Miss Sunshine”
Adapted Screenplay: “The Departed”
Foreign Film:” The Lives of Others”
Animated Film: “Happy Feet”
Art Direction: “Pan’s Labyrinth”
Cinematography: “Children of Men”
Documentary: “An Inconvenient Truth”
Visual Effects: “Pirates of the Caribbean: Dead Man’s Chest”
Costume: “Dreamgirls”
Sound Mixing: “Dreamgirls”
Sound Editing: “Letters From Iwo Jima”
Editing: “Babel”
Musical Score: “The Queen”
Music: “Listen” from “Dreamgirls”
Makeup: “Pan’s Labyrinth”
Documentary Short: “The Blood of Yingzhou District”
Live Action Short: “Binta and The Great Idea”
Animated Short: “The Little Match Girl”

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Renee and Norma – 08

Renee Fleming at the Kaplan Penthouse; Norma at Tanglewood in ’08

The big news: Renee will debut Norma in a concert version with James Levine at Tanglewood in 2008. She mentioned that Levine said, “You have to do this role because you have to do it.” While dramatic sopranos have been singing Norma recently, this will be a lyric Norma. Renee added, “It’s a huge risk. But, what? I should never take a risk?”

of the kosmos

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update (various)

  • The New Car:  Happy to report after three days at Mel’s Auto Beauty (auto parlor!) she is looking UNBELIEVABLY better – the upholstery inside is clean and smells good, new floor mats are lovely.  She shined inside and out– all the windows gleamed and not a speck to be seen (even the crack in the windshield looked clean)

    Feb 18 2007 005Unfortunately, the car’s body is not in good shape; it’s very obvious that this car was NOT taken care of – we can’t even imagine when it was last washed.  Arnon (the guy at Mel’s) would not even wax the car until its been washed a few times – and there are a bunch of small scratches besides the back left fender swipe – but he thinks once we start buffing it some of the smaller scratches may disappear.  I can’t afford a repaint (thousands of dollars) so I just want it to look the best it can without spending a lot of money. Which means washing and cleaning it monthly at least but he offers a “card” so after five you get one free!

    Things had to be fixed – the interior light now works when the driver side door is opened and lovely Arnon fashioned a floor for the trunk (somehow that went missing and we weren’t told in the sale process – I discovered it (amongst other things) the second day – they had stuff in the car the day they delivered it so I didn’t even think that it wouldn’t be there – anyway, its a lovely piece of plywood that is HINGED so that you can open it and get to the spare (well, its a donut for now) and the jack.  I was amazed and thrilled!  He did a great job!

    So the only thing left is the hanging cigarette lighter (yup) and the broken off driver side door lock.

    BUT the other GREAT thing I had installed was a remote control for the door – you know that is standard with all new cars – this is a 1998 - but its wonderful – doesn’t do the trunk but that’s ok.  Last night coming back to the car after my inaugural trip to Kmart I felt much safer using that.  And there is a panic button too! And he put a “fake” alarm light on the dash so it looks like there is an alarm in the car! .

    Interestingly the locks now work with engine turn on and off – they lock when the engine is turned on and they unlock when it turns off, or is it when it goes in PARK (Ill have to check that)  Filled it up for the first time – WOW I am not even going to tell you what I paid for gas when I last had a car!

  • Aran Knitting:  Well, I was moving merrily along on the new BACK and had gotten thru the entire first skein – I had restarted on Sunday night) – and then this morning I was doing a little bit of knitting while catching up on Rosie (I do miss her show) and looked at the MAIN cable  – a saxon celtic braid – and the last section looked funky – sure enough I had miscrossed three cables on three separate rows right at the beginning of the section – so RIP 10 rows and this time I just ripped the entire thing instead of just the cable – it was just easier and its the main cable up the back. 

    That’s what I get for knitting while watching my taped NCIS  – I mean between Mark Harmon and David McCallum and Michael Weatherly … and the guest this week wasn’t bad to look at either… heck, its surprising I didn’t have MORE mistakes.

  • Cooking  I made this great sounding Tortellini and Peas recipe from Ms Stewart’s EVERYDAY FOOD – but it became this cheesy sticky mess – read the recipe for details.  I am managing to salvage it by slathering it with tomato sauce.  But when you are single and you cook a pound of tortellini – it aint’ going in the garbage so you deal. 

    I tell you NEXT time I am NOT adding the cheese at all.  I will use it as a garnish.  And I am going to use Olive Oil and not the butter (or a mix) but more olive oil – still I like the combination and I need to get myself to eat more greens so whatever why I can.Feb 18 2007 011

  • Weather:  It actuially hit 50 DEGREES this week!  Although the ground is SO frozen in the backyard there is still about 5–6 inches of frozen stuff – its like a SLURPEE – on the ground.  It rained a bit during the afternoon today so maybe it will be less but then again its in the low 30s tonight so we are going thru that lovely thaw ICE thaw ICE cycle…. at least the temp is ONLY in the 30s and the furnance is staying off (i keep the thermostat at 58/day and 55/night).

Ok enough with the bullets.  Photos of the clean and shiny car soon. 

Oh and I need a name for her and yes, she is female.  My littlest sister named my first car – a sweet VW .  I wonder, should I do a contest?  Maybe I will check my stash and see?  Maybe it would bring a few more readers?  Hmm… maybe?

 

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oh frabjous day!

A friend (KIND FRIEND, thanks!) has offered me a ticket to the matinee of EUGENE ONEGIN this Saturday – Oh Joy Oh Rapture!   Be Still my beating Heart!

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Cardiff Singers selected

For the Competition – only one from the USA selected – Ryan McKinney, a baritone  Go here for details.

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From Jessica – MORE on Hatto

For Hattogate addicts

A very long and fascinating article on Musicweb International by pianist and critic Christopher Howell, in case you haven’t already seen it. You’ll need at least 2 cups of coffee for this one.

UPDATE: Andrys has made an extremely useful page containing all the links anybody could want on this topic. Essential reading and some audio interviews too.

I read the WHOLE thing – Howell’s article is fascinating – a sad story thru emails and letters of what is increasingly looking to be a fraud… unbelievable.

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NYT: New Head Dance Critic

The Times Appoints a Chief Dance Critic
By THE NEW YORK TIMES
Published: February 22, 2007
Alastair Macaulay, chief dance critic of The Times Literary Supplement and chief theater critic of The Financial Times, both in London, has been appointed chief dance critic of The New York Times.

The NY Times

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