“Mio Carlo”

(To Viv, opera buddy.)

For a blog with “Don Carlo” in the title, I’ve written surprisingly little as yet on this, my favorite, opera. (Truthfully, I haven’t written as often as I’d like to in general.) Perhaps it is that trepidation that one has approaching a beloved subject…how to express thoughts in words that do it any justice? In time, I hope to explore this opera here in more depth, as I continue to learn.

Today, however, it has been a year since the opera obsession started; it feels like a good time to take a pause. This blog has been about the “opera journey”–more the opera than the “journey”– from a beginner’s perspective…not because my journey has any significance, but just because it is too joyful not to share. But this post, more personal, relates to what will be a huge milestone and joy for me in the coming year…thanks in great part to “mio Carlo,” Viv.

Rodrigo (Thomas Hampson) comforts his Carlo (Jonas Kaufmann). Don Carlo, Salzburg 2013.

About eleven months ago I saw my first recording of Verdi’s Don Carlo, the 2013 Salzburg production with Jonas Kaufmann, Anja Harteros, and Thomas Hampson. The opera became my favorite quicker than you can say “bromance.”

Why Carlo? (How shall I count the ways?) Phenomenal characters, complex relationships (talk about dysfunctional family!), glorious music, chilling and captivating political and religious themes…it has it all. It’s the Hamlet of opera, in combination with some of the intrigue of the history plays. But more than that, Don Carlo has, to me, the most moving relationship in any opera: the brotherly, self-sacrificial love between Don Carlo and his friend Rodrigo, the Marquis di Posa, who is caught between his affection for Carlo and his concern for the suffering of the people of Flanders under the heavy hand of Carlo’s father, King Philip II of Spain, and the Inquisition. To stretch the Hamlet connection, the Carlo/Rodrigo friendship has a bit of a Hamlet/Horatio dynamic–albeit with a stronger, more proactive “Horatio.” One, Carlo, is “passion’s slave,” haunted by a disastrous personal crisis in the midst of political ones–the other, Rodrigo, a staunchly loyal friend who sees the potential in him.

I’ve always had a soft spot for stories about male friendship. (I hesitated before seeing a version of the opera, after hearing the friendship duet on youtube–love at first listen–because I feared that Rodrigo would turn against his Carlo in the end, or that it’d end up being more rivalry than friendship.) But, not to spoil it, Verdi not only pays off the incomparably beautiful duet, a glorious tribute to friendship, but does so in a big way. I hope you will experience a version of this opera if you haven’t already…I eventually get around to writing a bit on those I’ve seen and heard.

My friend Viv (below) has often tried to guess which opera-relationships would likely be a success, if not hampered by the death and villainy that goes with the opera territory. (Would Mimi and Rodolfo honestly make it “in real life”? Tosca and Mario? Calaf and Turandot? It does make one pause…) I can only say, without a doubt, that Carlo and Rodrigo would make it. 😉 That’s the difference in this opera, an opera where the love serves the ideal, and the ideal the love; where friendship is deeper than the (sometimes) shallow ebb and flow of opera romance, where love is truly stronger than death and disappointment. It’s the bond of brothers.

Not unlike this friendship, the community of those who love opera is also close-knit. Opera friends are immensely enthusiastic and warm in sharing their joy, recommendations, practical help and advice…even sending/exchanging CDs or DVDs that they love or want to pass along. (One of mine just went out in the post to a friend the other day, and hers to me before that.) Listening to opera together, sharing knowledge and thought and insight. Opera buddies make life more and more beautiful all the time. My parents are hooked, and have not only tolerated but supported their daughter’s mad hobby, and will even listen to Wagner with me…a beau geste indeed. 😉 We’re all Carlos and Rodrigos to one another.

jonas-viv-selfie
Jonas Kaufmann and Viv Hannides, 18 Jan 2017. Our Jonas took this “selfie.”

Around the time of my first Don Carlo, my long-distance friend Viv Hannides (fellow Kaufmanniac and Opera Enabler Extraordinaire, who allowed me to mention her name and snag a photo of hers–on the left–for this post, without knowing why) told me that there were rumors of a production of the French-language version—Don Carlos, as it is typically called in that version—to be performed at the Opéra National de Paris (Bastille) for the 2017-18 season, with Jonas in the title role. This would be historic on several levels: the stellar cast (more on that below) and the novelty of its being the full, 5-act French version. (They will apparently be doing the 5-act Italian version the following season.) Viv, who has a Paris Opera subscription, offered to help me get tickets, even back when we had just started to connect, if I wished to try for it when the time came.

Well, I knew I would have to try. It would perhaps be my first, or even only, chance to see/hear our tenor in person. (And who knows what can happen in a year’s time?) Sure, Jonas will doubtless be at the Met again soon enough–perhaps even next season, as there are rumors of a Tosca with his Cavaradossi–and what a dream that would be! We’ll soon find out for certain. But…this is Don Carlos! And, so my thinking went, it would be—from the time I first heard the rumors—a year and a half to two years away, depending on what point in the season it was performed. I had a bit of time to save, and plan. (Well, how time does fly…)

jonas-and-rene-1
A gift from Viv, October 2016.

And what can I say of dear Viv? If only I could count the number of times generous, beautiful, hilarious Viv has made me laugh, and cheered me up with delightful, outrageously-altered pictures of my opera heroes (mostly Jonas and René Pape). And I don’t know at what point Viv became nicknamed “mio Carlo” by me—someone pointed out that we will have to start saying “mon

Another gift from Viv, New Years' Eve, 2016.
Another gift from Viv, New Years’ Eve, 2016.

Carlos,” in keeping with the French version—and I her “Rodrigo,” but so it is. I believe I did mention a number of times wanting “to be Rodrigo when I grow up,” after encountering Thomas Hampson’s portrayal of the opera hero in the Salzburg production. (Really, though, she has been more the Rodrigo than I, the one to go above and beyond constantly…and has made for this distant “fanciulla del West” feel less distant from the hub of European opera than she really is.)

Most recently, she has redoubled my joy at the return of Jonas–in the Paris Lohengrin–after his months of recovery from the vocal injury. Viv was there the first night, January 18th, and stayed hours after to wait for him to come out after the show, keeping me posted as she waited.

Knock me down with a feather...
Knock me down with a feather…

Little did I know that a large part of her intent was to have our hero sign something for his long-distance fan who has not been able to see him in person yet. I won’t try to describe the emotion here. (My poor mom, who happened to be around at the time, had to put up with constant, weepy interruptions…) Not only to see my name in Jonas’ hand, but, even more, touched that “mio Carlo” would have even thought to take the time out of those few, precious moments—really, how often are we in close proximity to Jonas Kaufmann?–to think of her Rodrigo, so far away.

Photo credit: from the Espace Lyrique facebook post of Oct 2016.
Photo credit: from the Espace Lyrique facebook post of Oct 2016.

Now, of course, the official announcement about the long-rumored production is out. It looks to be one for the ages, full of our “opera heroes.” The Bastille is indeed putting on the 5-act Don Carlos in French, with not only Jonas Kaufmann in the title role, but Ildar Abdrazakov as Philippe II, Ludovic Tézier as Rodrigue, Sonya Yoncheva as Élisabeth de Valois, and Elīna Garanča as Eboli. (I still can’t quite believe it…)

To put the icing on the cake, “our” Rodrigo, Thomas Hampson, is in a production of The Merry Widow at the same venue, only the night before! Tickets bought, and there’s no way we can’t get to Paris now. (I’m afraid, once there, it will not be possible to tear me away…)

Of course, getting the tickets are only step one, but we’ve done it. Paris, October 2017, here we come! (Somehow! Extra shifts at work, a few extra sewing orders, a little less sleep…for Carlos? For Thomas, Jonas, Ildar, Ludovic, Elina? Absolutely. Sleep is overrated anyway! :)) Again, Viv saved the day, spending hours navigating internet delays the moment ticket sales went up for Carlos. Truly, another huge gift…I don’t know how it could have been done otherwise.

Just…please God, keep every one of this beautiful cast in good health, for their sakes mostly…and ours too. Anyway, whatever happens, we’ll be able to say:

It is a dream-made-reality. Thanks, all my dear opera buddies and family…thanks for sharing the joy and knowledge constantly. “Vivremo insiem!”

And thank you so much, mio Carlo!

Dio, che nell’alma infondere
Amor volesti e speme
Desio nel cor accendere
Tu dêi di libertà;
Giuriamo insiem di vivere
E di morire insieme;
In terra, in ciel congiungere
Ci può la tua bontà.

~~~

God, who has brought us together,
Fire our hearts with flames of glory,
Fire that is noble and pure,
Fire of love that will set men free!
God, grant that this love may fire us,
May freedom call and inspire us!
Accept the vow that we swear!
We shall die united in love!

(Translation by Andrew Porter, for the English National Opera’s guide, Don Carlos/Don Carlo, 1992.)

Happy Listening: In Memory of a “Sirius” Opera Fan

(Dedicated to the memory of Mr. Robert W. White.)

The passionate opera community on Facebook is a real treasure. Two of the online places that I’ve been frequenting include the Met Opera Live in HD Fans group, and its smaller sister-group, Sirius Opera Fans. The former is focused primarily on discussing the live cinema screenings from the Metropolitan Opera.  (Special note: Verdi’s Nabucco–conducted by James Levine and starring Placido Domingo–is being broadcast live in HD from the Met in only about 9 hours from the time of this post, on Jan. 7th, 12:55pm ET/9:55am PST, to a number of local cinemas!) Yet, outside of the immediate Met broadcast focus, there are many shares and conversations surrounding other opera events, performances, birthdays, and historical gems worldwide. Many members have a wealth of knowledge and insight into opera–they’re the best “enablers” of opera addiction out there! Sirius Opera Fans is primarily for those who listen to the Metropolitan Opera radio broadcasts, whether that be the Met channel on Sirius XM Radio, or another station. Some are the live broadcasts from the Met, and many are archived treasures. Either way, it’s a chance for opera lovers to listen to a broadcast together, and share the joy through a running commentary.

One weekly post that became something of a “fixture” in the Sirius group—many of us began to rely on it—was that shared by Mr. Robert W. White. Thus, we were all in shock and mourning to learn, on Dec 17, of Mr. White’s passing the previous day. (The only clue might have been the slight gap in his usual postings, his final having been December 3rd.) I did not know him personally, so I’m only sharing thoughts as one relative newbie among many members who benefited from his contributions in this group and elsewhere. But for a little background, his obituary can be found at this link, thanks to one of the group members. It sounds like he was as giving in his personal life as he was with his opera friends.

Mr. White joined the Sirius group in November of 2015, and began sharing his weekly posts there in February of 2016. Besides giving us the schedule of operas to be broadcast on Sirius the following week, Mr. White would include his own comments and recommendations on these individual broadcasts that he had written down over the years as an avid opera-goer and listener.

Mr. White never minced words, and his posts were peppered with comments like the following: “Rysanek bids farewell to Verdi at the Met with a whimper” (on the Verdi Otello broadcast of 2/15/1964); or “Sereni’s limitations as Luna are only in comparison to Warren or Bastianini, not today’s rather pitiful crop of Verdi baritones” (on the Il Trovatore broadcast of 3/31/71). Certain motifs are evident in his comments, over time. For example, he didn’t consider himself much of a “Rossinian,” except perhaps for a love of Il Barbiere. We read above what he generally thought of baritones in the last decade and a half. He perhaps had a tendency to favor Marton, or Siepi—I say “amen!” to the latter!–but he would never hesitate to say which recordings represented anyone in stronger or weaker voice. (I still have not discovered a mention of Cesare Siepi as being “out of form,” however. My own theory is that “the lion Siepi”–Mr. White’s title for him–was never out of form!) Too, Mr. White gave fascinating historical tidbits to add to the appreciation, whether it was that a certain production had been postponed due to the JFK assassination, or whether it was a conductor’s last recorded performance of a composer’s music.

Whether one agreed with him or not on his views—and he’d be the first to comment that they were only his preferences—he was always worth paying attention to, as his perspective came from many years of dedicated listening, and he had a vast well of knowledge which he drew on. His praise was worth the earning; if he said of a production that it was “highly recommended”–such as the 3/6/1954 Il Barbiere di Siviglia with Corena, Merrill, Peters, Valletti, and Siepi which I have playing in the background as I write this—one figured it was the real deal.

So, yes, Mr. White is much missed; yet, his presence is still there in the group, and will always be treasured.

One of our Sirius group members has started posting weekly schedules as he is able, in the tradition of Mr. White, and some of us are working on compiling his posts (currently in the Sirius group in draft form) into a database organized alphabetically by composer and opera, with comment highlights and links from each opera entry, to the applicable document that Mr. White shared with us. Likely, there are many other postings of his in his other groups prior to February of 2016. To begin to organize the many wonderful comments he shared with us has been a labor of love, and, most certainly, a work-in-progress. Speaking for myself, I’ve learned a great deal, and have taken many personal notes.

Of course, one can still see Mr. White’s original postings in the Sirius Opera Fans group, or get the link to the database-in-progress there. And of course, feel free to come on over and join–and of course the larger Met Live in HD Fans, which is the main group–if you have an interest in experiencing opera on the radio, with friends!

And to our always-remembered friend Mr. White, thank you for sharing your wealth of knowledge and experience with us. We’ll keep listening and posting, in your memory.

Happy New Year everyone. And, as Mr. White would typically end his weekly notes with, “Happy listening”!

Send words of love and support to our tenor!

picsart_10-02-11-18-24Many of us want to express our warm love and support for Jonas Kaufmann during this time of his recovery–a recent article has highlighted this–and there are many ways to do this, especially via his Facebook page.

One sweet friend, Basia (Barbara Gawel), a great admirer of our tenor, proposed sending postcards–in her words, “with good wishes and thanks for his unique art”–suggesting perhaps cards featuring “plenty of roses”. It would be a delight to hear about all of the love and support coming in for him from all over the world. Beautiful idea, Basia!

We're here for you, Jonas!
We’re here for you, Jonas!

Munich’s postal service might need to hire some extra help with the flood of letters coming in, but for those who love real, postal mail—and who doesn’t?–why not drop him a line via the address listed on the “contact” page of his site? (Also shown above.)

If you prefer email, there is also an address listed for his private secretariat: secretariat@jonaskaufmann.com

One from the whole family, and one from me
One from the whole family, and one from me

I tried to put my picture in the comments, but apparently it won’t do photos. So, here it is. Perhaps one of us can put a little photo collage together ~ it would be fun to hear of what parts of the world they’re coming from! But either way, the important thing is that they are sent. Write on, friends!

Shadow of a cloud: a prayer for Jonas

There are those moments in the life of every budding obsession when, by some miraculous means, our appreciation soars to new heights; so high, in fact, that we have no conception of ground level anymore, and couldn’t return there if we tried. At least, we couldn’t return there as though we had never experienced transcendence.

In my initial post, I wrote of the first time I had heard the voice of our tenor (yes, 7:30am on February 5, but who’s keeping track?) via a YouTube recording of the Pearl Fishers duet. It was ~ in the words of C.S. Lewis describing the writing of his friend J.R.R. Tolkien ~ “like lightning from a clear sky”. After this, I began to watch opera again, and as if for the first time; and of course, I listened innumerable times to that bromance beauty with Jonas and Dmitri.

Hey, can't they even spell his name right??
Hey, can’t they even spell his name right??

The second great moment (for me personally) happened also at 7:30, but in the evening, two and a half weeks later. One of the cinemas in Medford, the larger town a little north of us, screens some wonderful theatrical and opera productions, including the Met Live in HD operas. On February 23rd of this year they had a screening of Jonas Kaufmann’s An Evening With Puccini, from his concert at Milan’s La Scala. As any Kaufmanniac knows, this concert is a priceless treasure. For an opera newbie, who loved Turandot as a child but who knew little of Puccini’s repertoire in general, it was magic ~ and Jonas a magician casting a spell from which I have never recovered, and I know I’m not alone. With the brilliant Jochen Rieder conducting, it is a thing of beauty.

(Here, I must also tip my hat to my youngest brother, who had the misfortune of sitting next to an embarrassingly sobbing sister in the theater that night.)

Of course, besides the exquisite “Nessun Dorma” ~ and the likewise exquisitely endearing encore of it at the end, which I’ll not spoil for those who haven’t seen it ~ there were two pieces in particular, among the many that were new to me (and most of them were…newbie that I was/am!), which brought me metaphorically to my knees: a piece from an opera that I’d never seen (La Fanciulla del West) ~ more on this later ~ and one that was not a Puccini aria, but a piece by the Italian priest Licinio Refice, with lyrics by Emidio Mucci. It is called “Ombra di Nube” (1935). It would appear that our tenor is particularly fond of this piece, and works it into a number of his concerts.

Here is a YouTube recording of “Ombra di Nube,” sung at another concert (warning: the sound gets suddenly too loud at the applause at the end):

Ombra di Nube

The sky was an arc of dazzling blue;

a brilliant light shone down on my heart.

Shadow of a cloud, do not bring me darkness;

do not obscure the beauty of life for me.

Fly, cloud, fly far away from me;

let this strange torment of mine be swept away.

Bring back the light, bring back the blue!

Let me see the clear sky for all eternity!

Not only to listen to, but to watch Jonas sing this is to witness something transcendent; he is on another plane altogether. Every word is delicately, poignantly sung, as from one who has experienced the tormented plea, and fragile hope, firsthand. By some mysterious means, he brings us with him.

(It is no wonder that a number of us ~ myself included ~ have since asked that this piece be played at our funerals.)

With Jonas’ recent announcement of another cancellation, this time of his Paris performances in Les Contes d’Hoffmann, he reveals that he has sensed for some time that something has been wrong with his voice. Sure enough, the side effect of a medication has indeed done some damage, which will require rest and time off to heal.

The news, of course, must be disappointing for so many who had tickets to see our tenor in the near future. (I can only imagine, as one who prays to see and hear him in person at least once before I die.) That being said, how much must our tenor himself be wishing that this “strange torment of mine be swept away”!

My hope and prayer is that this is only the “shadow of a cloud”; once the cloud has passed by and our light returns ~ for Jonas’ extraordinary gift has indeed been a light in many lives ~ it will be all the brighter for our having experienced the shadow with him. Now, every time I hear him in a recording, it is with the greatest gratitude to have heard such beauty, though not yet in person, in my lifetime.

Thank you, Jonas, for sharing the gift of your great artistry, and your great heart. Rest, and be well. Take all the time that you need; for what you’ve already given us is beyond price.

Meanwhile, I silently pray:

Bring back the light!

Do not obscure the beauty of life for me.”

Save the Dates: October 7th/8th, 2016!

Friends of opera! We have three exciting arrivals next week…

October 7th will be a day for Kaufmanniacs.

No "ungrateful hearts" about this one!
No “ungrateful hearts” about this one!

First of all, we have Jonas’ new CD coming out! Dolce Vita (available for pre-order now) is a 67-minute tribute to Italian music, including the 1911 Neapolitan beauty, “Core ‘ngrato” (“Ungrateful heart”) by Salvatore Cardillo. (Of course, most Kaufmanniacs have watched—and rewatched—him sing this piece on YouTube. A friend of mine expressed her ultimate dream: of Jonas singing this to her in person! Right there with you…

Sigh.

Jonas + the French Revolution = perfection!
Jonas + the French Revolution = perfection!

As if that weren’t enough, we also have the DVD (or BluRay) of the 2015 Royal Opera House production of Giordano’s Andrea Chénier starring our tenor in the title role coming out the same day. Featuring Eva-Maria Westbroek and the wonderful Serbian baritone Željko Lučić and conducted by Antonio Pappano, Chénier is one not to be missed, and one of the first recorded operas I saw with our tenor after first encountering him. (And no, surely that’s not a poster of Jonas as Chénier hanging on my bedroom wall…? Oops, guilty.) The opera was free on YouTube, sans subtitles, when I saw it, but it required having a libretto handy, and hence missing too many Jonas moments! I think I need to remedy this. And yes, the DVD or BluRay is also available for pre-order on Amazon.

Of course, Giordano, and Jonas, had me blubbering like a baby by the end, in true Romantic Revolutionary style. (Now, imagine if it had been an opera of A Tale of Two Cities with our tenor as a certain tragic hero who shall not be named…I might not be alive today to tell the tale. It would simply be too much.)

Then, Saturday October 8th is the start of our new season of the Metropolitan Opera’s Live in HD cinema showings, beginning with Wagner’s Tristan und Isolde, conducted by Simon Rattle and starring Nina Stemme as Isolde, Stuart Skelton as Tristan, and the always glorious René Pape as King Marke. I am still new to Wagner, so this should be an interesting experience. A long Wagner on a Saturday morning sounds a bit intense, I admit…

Enjoy!

Update from the Seamstress, and “Madama Butterfly”

Hello, dear Reader (for whomever may be reading this…).

Aha. This is what my sewing workshop has been lacking...
Aha. This is what my sewing workshop has been lacking…

Forgive me if I need to slow the post-pace a bit for the coming four to six weeks. This is the busiest time of year for me in regards to sewing deadlines, and I have school deadlines on top of it–through mid-May.

So, please don’t be surprised if my posts are a little sporadic for the coming weeks. I will try to keep a minimum of a post per week, even through the busy times.

(Photo Credit: www.fandango.com)
(Photo Credit: http://www.fandango.com)

On the bright side: I am seeing the Encore Live-in-HD Met production of Madama Butterfly in our local cinema tonight! I have heard that Kristine Opolais is powerful in the role. Also starring Roberto Alagna as Pinkerton.

Here’s to a time full of productivity ~ and which will hopefully fly by quickly. (And raising a cheer for audiobooks and opera keeping me company in the workshop!)

Thank you for reading!