tosca – Don Carlo and the Seamstress

From the Golden West to New York City

Published on 28 October, 201828 October, 2018 by Rachel Anne Murphy8 Comments

I know it has been a long time since I have posted. The sadness after Dima’s death nearly a year ago, followed by a nearly relentlessly unpredictable and busy schedule at work, has made it difficult to finally piece together many different ideas and experiences I’ve been wanting to write about. Notes are scattered in many places, waiting to be utilized!

So this is, essentially, only a brief note about a wonderful four days in New York City ~ my first time ever ~ with, I hope, more details to follow. Merely dipping the toe back in the opera posting…and if you are facebook friends with me, this brief summary will be a repeat.

My mom Debra and I made our first ever pilgrimage to the Metropolitan Opera on the trip, starting out with Tosca with the stunning Sondra Radvanovsky, Željko Lučić, Patrick J. Carfizzi, and Joseph Calleja, and we were so delighted to be able to meet some of them after, with the aid of the indefatigable opera friend, Sophia Cerovsek. Tosca was a gorgeous production all around.

And of course the beautiful Fanciulla production which was captured and streamed live in HD yesterday…what can I say? Jonas, you broke my heart yet again…a perfect performance that I can’t wait to see again ~ with close-ups! ~ at the cinema encore this Wednesday night as I dash off from work. I was a wreck again in Acts I and III, moved mostly by the heartbreaking richness of his dark voice. Željko Lučić was a gorgeous Rance…so beautifully done. (I also can’t wait to see his close-ups because I adore watching his face.) Eva-Maria was absolutely fantastic, and the whole cast and production was strong all around…it was an unforgettable day.

But one of the most unforgettable things about this trip has been the opportunity to finally meet some of my dear, long-distance opera friends in person: Laura, Blake, Dash, Sophia, Peter, Joanna, and other friends from the lively Met Live In HD Fans group. It has been a true blessing, and is a large part of the huge joy that is opera obsession.

As I write on this final day in NYC, sleepy but happy, I am thinking with gratitude about all the wonderful friends near and far who share their joy of opera, and with huge gratitude to the artists who remind us why we work and live, and who bring such beauty into our lives.

It will be back to the usual work grind for me personally on Tuesday, but I have more determination than ever not to let work take over my life. Starting with Wednesday evening: nothing will induce me to stay late at work and miss the Fanciulla encore! 😁 Viva Puccini!! 🎶🎵👏👏💛💙💜💚💛 Bravi tutti!!!!!!!!!!!!

Defining the happy malady known as “Kaufmannia”

Published on 18 April, 201619 April, 2016 by Rachel Anne Murphy8 Comments

Fellow devotees of our tenor might have experienced a certain exhilaration this past Saturday, April 16th, if they were able to witness the live stream of Tosca from the Vienna Staatsoper, 7:30pm Vienna time. (10:30am Oregon time!) Though of course a different production from the brilliant 2011 production of the Royal Opera House that I wrote of previously, the Vienna production had the same three phenomenal artists in the lead roles: Bryn Terfel as Scarpia, Jonas Kaufmann as Cavaradossi, and Angela Gheorghiu as Tosca.

What a privilege, from so many miles away, to weep over witnessing our tenor in real time, bewildered by the historically rare chanting and pounding of the audience for so long after the aria “E lucevan le stelle” in Act III–literally, show-stopping length–that he and the conductor finally relented, and the aria was performed again. Even more beautifully than the first time. I think many of us were soaring the rest of the weekend…

The same (extremely unusual) phenomenon had apparently happened at the premiere, after which there were whispers about the frustrated comments made by Ms. Gheorghiu about the repetition of the aria. Thus, a moment of operatic melodrama ensued on the night of the 16th, wherein our tenor is left without Tosca who (by speculation, deliberately) missed the cue to enter after “E lucevan,” leaving her Mario stranded and stunned on the rooftop of the Castel Saint’Angelo, where he awaits execution. The orchestra kept playing…Mario desolate and confused…no soprano! Finally, the orchestra stopped, and Mr. Kaufmann, with characteristic good humor and self-effacement, sung a little line about the lack of the soprano, and speaking directly to the audience, delicately apologized by indicating that he was as confused as they were. He had the audience utterly in his pocket…a moment of endearment.

Finally, the soprano entered and all was resumed as if nothing had happened.

Needless to say, concentration on my sewing deadlines suffered greatly this weekend–as did all hope of good sleep, in my excitement–so that all I have a head for at the close of this week (besides our tenor) is whimsical speculation about this mysterious “malady” which has been referred to as “Kaufmannia.” Why not attempt to begin defining it? It may not be in the DSM-V, but after all of the symptoms so many of us have experienced this weekend, perhaps it should be…

So, I shall save writing all more meaningful commentary until a time when deadlines are passed and a regular sleep pattern resumed. Until then, a little silliness. Enjoy, and thank you for putting up with your absent-minded seamstress…

Definition: “Kaufmannia“*
*subject to change as this condition becomes more fully explored

Kaufmannia is a condition wherein the victim becomes paralyzed with delight leading to transcendent obsession brought on by exposure to the voice of Jonas Kaufmann.

In its mildest form, Kaufmannia may exhibit symptoms of unexpected weeping and temporary mania-like experiences. These feelings may marginally decrease if one avoids listening to Jonas for a prolonged period. Though abstaining from listening may be an effective short-term remedy (e.g. to promote concentration on an immediate work or study project), it is rarely practical, and includes long-term side-effects such as depression and loss of interest in life.

In its most extreme form–Kaufmannia Extremis–prolonged periods of transcendence may ensue, resulting in any or all of the following: sleeplessness, heart palpitations, shortness-of-breath, obsessive thinking, profound and sudden interest in the beauty of life, continually stopping to smell the roses, uncontrollable weeping, feelings of living in an alternate (and more beautiful) reality, opera obsession, phantom music playing in one’s ear, a tendency to hum or sing in languages one doesn’t understand, addictive tendencies, recurring dreams, inability to survive for long periods without “a dose of Jonas,” a mania to see live performances, increased tenderness and love for all creatures, increased pity (whether well-founded or delusional) for those who are not (yet) Kaufmanniacs, incessant desire to infect others with this illness for the good of humanity, and hopeless romanticism. Potentially negative side-effects include: inability to concentrate on humdrum realities of life (e.g. earning a living so that one can purchase more opera DVDs, CDs, etc), the anxious concern exhibited by friends (who have secretly been looking into the cost for padded rooms), and diminished bank account balances due to excessive opera-related purchases.

Kaufmannia is generally known to be terminal, without any known cure. In fact, studies show that those in Kaufmannia Extremis desire no cure, presumably due to the euphoric state of enhanced psycho-spiritual awareness and well-being experienced by the “sufferer.” Thus, there is currently no funding for research towards a remedy.

Highly contagious.

–from the “Other” Diagnostic & Statistical Manual-5 3/4

Baron Bryn and Jacobin Jonas: Tosca

Published on 31 March, 201631 March, 2016 by Rachel Anne Murphy2 Comments

napoleon pass — Bonaparte Crossing the Great St. Bernard Pass, by Jacques-Louis David (Photo credit: http://www.khanacademy.org)

(Alright, so “Jacobin” is going too far…)

What more can one ask for: we are in Rome in 1800 during Napoleon’s Italian campaign. We have a republican-romantic-idealist painter (Mario Cavaradossi, sung by Jonas Kaufmann) deeply in love with another artist—a singer (Tosca, sung by Angela Gheorghiu), caught up in a political crisis when Mario decides to shelter a political prisoner (who shares his republican ideals and the belief that Napoleon will ride in on his white horse, so to speak, and help those ideals to come true).

All this, and their foil is one of the greatest villains in opera: Chief of Police, Baron Scarpia—sung and acted to perfection by the great bass-baritone Bryn Terfel.

If Bryn had a moustache here, he'd be twirling it. — If Bryn had a curly moustache here, he’d be twirling it.

Torture, murder, art, love, lust, politics, suicide, religion, Napoleon, Rome. A recipe for a phenomenal story. When wedded to the music of the incomparable Puccini and conducted by Antonio Pappano, you have pure magic.

This is the magic of Tosca, an 1899 masterpiece in three acts by Giacomo Puccini, first performed in 1900. This particular production is from 2011 at the Royal Opera House, and the DVD can be found on Amazon. I have heard it called “the” Tosca; “the best Tosca ever,” etc. And it really would be hard to argue with that. Though it really deserves to be experienced without much foreknowledge of the story, there is–spoiler alert!—a synopsis on Naxos, here.

(I think I will go hide now...) — The “Te Deum” (I think I will go hide now…)

The set is dramatic, and the staging often inspired (note: particularly the “Te Deum”…chills!); you have an absolute dream team of singers, at least two of whom (Bryn and Jonas) are also among the best actors in opera. It is just about as close to opera-theatre perfection as it gets.

About 6 weeks ago, almost simultaneously to seeing the filmed 2010 Paris Werther, I watched this production of Tosca with my family. Simply stunning.

If one is new to opera, Tosca would be the one I’d recommend starting with—and this particular production. I wouldn’t want to spoil some of the great arias (“E lucevan le stelle”; “Vissi d’arte”) if you haven’t heard them in context yet. But for a glimpse into Act I, I found the closest approximation that I could: our tenor singing the same role, but in a different production from a year earlier (Munich, 2010). Here is “Recondita armonia,” wherein Cavaradossi works on his painting of Mary Magdalene, comparing his model to the woman he loves: