BLOG.CNYCAFEMOMUS.COM: Recent Comments

Comment on Feb. 27 Miro Quartet

Arthur Krieck — Sat, 06 Mar 2010 13:03:46 GMT

So happy to read your writing, as always. Music is alive and well OUTSIDE NYC!

Comment on Feb. 27 Miro Quartet

Brenna Ardner — Tue, 02 Mar 2010 01:31:58 GMT

Dr. Abrams, I couldn't have said it better myself! The Beethoven was simply posh! Unfortunately, my mind wandered a bit during Schubert...
All in all, the Miro Quartet was an inspiration!

Comment on Feb. 6 Met simulcast: Simon Boccanegra

aplaceforthoughts — Mon, 01 Mar 2010 01:44:54 GMT

It sounds like I should be glad that I missed the Syracuse Opera Friday night!

Back to the original post -

David - I like your site and I will be back. I have a feeling I'm going to learn a lot from you!

Comment on Feb. 6 Met simulcast: Simon Boccanegra

David Abrams — Sat, 27 Feb 2010 23:53:27 GMT

Thanks as always for your thoughtful comments and insights, Josie -- that 's what this blog cafe discussion is intended for. To avoid confusion on the part of the reader, however, I need to state the obvious: Your comments are unrelated to the Met's HD simulcast of "Simon Boccanegra," but rather the Feb. 26 Syracuse Opera (non-staged) production of "The Flying Dutchman."

I did not review the current Syracuse Opera production, which explains why there is no proper blog entry upon which to hang your vivid observations and comment, but its inclusion here is welcome, nevertheless. For the record, I've never been a fan of concert-versions of operas -- as you will no doubt remember from my (now infamous) review many years ago of Fabio Mechetti's Syracuse Symphony Orchestra unstaged version of "Tosca." Perhaps it's just as well I did not review Friday's performance...

DA

Comment on Feb. 6 Met simulcast: Simon Boccanegra

Josy McGinn — Sat, 27 Feb 2010 22:18:35 GMT

Copy of an e-mail I sent to Adam at UVP and to Syracuse Opera.
Congratulations! I didn't believe that a wonderful opera, superbly performed could be destroyed by an inane inappropriate light show, but you and your group managed to do just that.
I have seen projection used intelligently in several operas so was excited when I heard that Syracuse Opera was using it as a cost saving measure to be able to bring us Wagner.
Problems started with the backdrop used as a projection screen. Has anyone on the project seen a fully rigged sailing ship? That measly part of a mainsail and whatever the two tiny side panels represented didn’t hint at its power and majesty.
Wagner’s overture describes a towering storm, you gave us Chittenango Falls in the snow. Was there no storm on lake Ontario you could have used? Even I know that there exist great shots of waves breaking over the Oswego Light house.
I don’t want to go on listing the unsuitable and intrusive images because I can’t think of any that weren’t.
Your work in the city is seen in passing: walking, waiting for a red light to change. Last night you had us prisoner for 3 hours straight. You needed to give us the equivalent of the great opera singers we heard. We saw the equivalent of an out of tune streetsinger.
It is perhaps understandable that students produced this drivel but how could you or the professionals at Syracuse Opera allow it to be used?
I can only hope that Sunday afternoon there will be a “problem” with the projection system and that the opera will go on without your work.

Comment on Feb. 6 Met simulcast: Simon Boccanegra

Virginia Scott — Thu, 25 Feb 2010 06:05:57 GMT

I read with great interest your review of the Feb. 6 simulcast, which motivated me to attend an "encore" showing on Feb. 24. I'm glad I went. Domingo brought a sense of gravitas, even nobility to his role with both singing and acting. The final scene was especially poignant. I liked your comparison of Boccanegra's last word, "Maria," with "Rosebud." I also enjoyed Adrienne Pieczonka's warm, full soprano and vibrant characterization of Amelia. Giordano was okay, but--weren't a few notes just a little off?

Comment on Feb. 6 Met simulcast: Simon Boccanegra

Berta Calechman — Wed, 24 Feb 2010 04:45:46 GMT

I saw this performance, and I heartily concur with David Abrams. Domingo's portrayal was nothing short of amazing. As a fan of Giordani's I found this role to be one of his best. His ringing top notes, and beautiful legato were magnificent. And as a soprano, I was impressed with Pieczonka's beautiful "Com'in Quest'Ora Bruna" which is especially difficult to sing as soon as you come onstage. James Morris was both imperious and moving, and his voice steadily improved as the performance continued. Stephen Gaertner, whom I thought was Nicola Alaimo (as stated in the program) was a very pleasant surprise. His is a lovely bass-baritone, and he was an excellent Paolo. WIth Maestro Levine conducting so lovingly,this was,to me,one of those performances that stay in the memory for a long time, and are recalled tenderly. How wonderful that so many people saw the opera in HD, all over the world. Many thanks to the Metropolitan Opera.

Berta Calechman

Comment on Jan. 16 Met simulcast: Carmen

P Bernstein — Tue, 16 Feb 2010 14:00:35 GMT

I am one of many who do disagree with Mr. Kessler about Garanča's vocal performance. If opera indeed is "ABOUT VOICE", as Mr. Kessler claims, then Garanča is the IT GIRL here as well. Her voice is a rare find in every respect - not only a natural gift, but exquisitely trained, placed and nuanced to portray her character brilliantly as opposed to many a voice doing Carmen today about which we often keep our fingers crossed. Garanča is completely fresh and sets an example for Carmens of at least one generation to come.

Comment on Jan. 31 Civic Morning Musicals: Jimi James in Recital

Ray — Mon, 08 Feb 2010 19:14:30 GMT

Why, after eight years or more before the public, is there not even one video available of Jimi James? Not on youtube or his website! I'm accustomed to finding at least enough samples to satisfy my desire to hear a singer who is new to me. Take note, Jimi.

Comment on Jan. 16 Met simulcast: Carmen

Richard F. Kessler — Thu, 04 Feb 2010 16:57:20 GMT

Hold it one second. I did not like Carmen. The tenor was terrible and ruined the vocal line. Garanca is gorgeous and the finest singing actress after Callas I have ever seen. However, unlike Callas, Garanca lacks vocal virtuosity. She keeps measure and beat and sings on pitch. However the vocal product is monotonous, lacking in nuance and boring vocally. Bodice grabbing by the tenor does not make an evening at the opera for me. If I want a slap and tickle, I’ll stay home. What I saw last night was beautiful woman mailing in a vocal performance and getting by on fabulous looks, body movement and facial expression. If she could only bring to her singing what she has brought to her acting, Garanca would be great.

The production including the supporting cast were superb. This production really frames the issue whether grand opera in the 21st century will be a product produced by singing actors or acting singers. For me, opera is about voice.Everything else is secondary. I am sure many will not agree.