The opera obsession is getting a little out of hand.
As life circumstances have been a hindrance to regular writing/blogging, I fear it may have appeared as though I’d fallen off Planet Opera. In reality, I’ve been listening to and watching a fair deal of recorded opera over the past months, but in a cobbled-together fashion, somewhat like a patchwork quilt—or perhaps like Frankenstein’s monster—rather than my usual method of falling down the rabbit hole with one particular opera or composer for a time. A little Baroque here, a little Puccini there; half an opera here, interrupted by half of a different opera the next night—oh, and there’s that Saturday radio broadcast I nearly forgot about—to finally return to finish the first on the next available night. YouTube operas here, a library CD there. A week off of opera here; only a day off of opera there.
Partly, this chaotic approach (“approach” making it sound more intentional a method than it is) has been due to an unpredictable work routine. This is soon to change, thankfully, for a steadier situation. This seamstress has–ahem–altered her 13.5 year old sewing business, and all the irregularly-scheduled side-jobs to fund it, in order to hereafter do volunteer sewing work only, taking on a more regular “day job” to make ends meet.
During this whole work/life transition, and in the midst of opera joys, my heart–and that of so many others–bleeds for Dmitri Hvorostovsky’s needful cancellations, due to his chemotherapy and imbalance issues resulting from his brain tumor. But he still continues to surprise us with his dedicated love of his art, as he did at the Met Gala in May.
One of the more beautiful aspects of the past month is the fulfillment–almost–of Jonas’ much-anticipated Otello debut at Covent Garden, which was live-streamed to some lucky cinemas on June 28th, but which won’t make it to any here out West (only two cinemas in Oregon are showing it) for another couple of weeks. The reviews have been, generally, jaw-dropping.
So, in the following couple of blog posts over the coming days, I’ll write—with as much brevity as possible, and not in any particular order at all—about a few of my opera viewings and listenings over the past months, with more in-depth commentary about only a couple of them.
Lovely Luca Pisaroni
In finding more operas with Luca Pisaroni–La Cenerentola, Don Giovanni, etc–I want to highlight the 2016 Salzburg Le Nozze di Figaro. If you can see it somehow, please do. You can see my little write-up at this link.
Eugene Onegin miscellany…
First of all, I finished the Met cinema season a little early, but with a bang. As I didn’t make it to Der Rosenkavalier, I ended on Eugene Onegin, with Peter Mattei, Anna Netrebko, and the glorious bass Štefan Kocán. I loved Mattei’s intelligent, jaded Eugene—one who clearly overthinks everything, to his own disadvantage—and his shimmery gold voice. Anna was marvelously dusky in the role of Tatiana. But it was, interestingly enough, Prince Gremin—who is often played as much older than Tatiana, but here in younger and virile form with Štefan Kocán’s portrayal—who stole the show, and won every heart with his Act III aria. (It was that aria which made the tears flow, I assure you. That love, folks, is the real deal. Oh, how he looks at Tatiana! I say: forget Eugene. Hands down.)
Side note to Eugene Onegin: I will also add as a side note that I not only fell in love with Prince Gremin in the Met 2017 cinema broadcast, but also with the conductor Robin Ticciati. I could have watched a complete second HD, just to see his every expression while conducting.
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.
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.
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…)
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
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.
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.
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.)
Hello, dear Reader (for whomever may be reading this…).
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.