Met Opera Review: Verdi's Un Ballo in Maschera is David Alden's Trash Can!

By Francisco Salazar
(for November 27, 2012 performance)

Over the last few weeks since the Met premiered it's new Un Ballo in Maschera I have heard wonders about how amazing David Alden was as a director. Therefore I went into last night's performance of the Verdi work with high expectations. The result was no where near it. What I saw was a travesty trying to take it self seriously.

The Met opened its season to a new production of Donizetti's L'Elisir d'Amore that elicited boredom because it tried to take the light-hearted work as a drama and ultimately failed to do so. David Alden attempted the opposite. He tried to treat Verdi's dramatic work Un Ballo in Maschera as an operetta but ultimately made the work numb of any drama. Yes Verdi's work has some comic elements but so do many other dramas such Adriana Lecouvreuer and Il Tabarro. I don't mean to compare these minor works to Verdi's masterpiece but no one ever attempted to approach these as operettas. The comparison of Verdi to operetta is an incredibly pretentious analysis because the title Un Ballo in Maschera does not only pertain to the final act, it pertains to the complete opera as every character hides behind a mask. The music equally demonstrates this with its sarcasm. The finale to the first scene is music of a cynical king who takes Ulrica as a joke. The act 2 conspirator chorus couldn't be more sarcastic and Gustavo's "Scherzo di folie" could be interpreted as a fearful king trying to calm his people down and trying to ignore what Ulrica has told him of his impending death. The Masked Ball is probably the only place where the music can be taken lightheartedly but in that circumstance David Alden does the opposite; he gives us a demonic dance that with a rugged and laughable choreography.

Don Giovanni Opens Tomorrow

Ildar  Abdrazakov and Erwin Schrott lead a new cast in Michael Grandage's dull production of Don Giovanni. Edward Gardner leads the Metropolitan Orchestra. 

For information on Don Giovanni read our preview linked here.

For more information on Ildar Abdrazkov in Mozart read our Le Nozze di Figaro review.

For more on Don Giovanni production read our review to last year's run.

Marco Berti Cancels second Aida

In Tonight's performance of Aida  the extraordinary tenor Carl Tanner will sing the role of Radames replacing Marco Berti who is ill. For more on Carl Tanner read our review.

Met Opera Review: Two powerhouse Divas triumph in the Met's riveting Aida

By Francisco Salazar 

(For 11/23/2012 performance)

In the last few years the Met has suffered subpar casting choices and routine conductors for Verdi's Aida making for some of the most forgettable nights at the opera. On Friday the opposite occurred. Sonja Frisell's beloved 1988 production of Aida returned to the Met with an outstanding cast and incredible conducting. 

On this night rising star Ukranian soprano Liudmyla Monastyrska made her Met debut. Already a superstar in her native country, Monastyrska came to worldwide acclaim after an unforgettable Lady Macbeth at the Royal Opera House. She made her US debut at the Richard Tucker gala a few days before opening night singing an aria from Macbeth and stole the show. Therefore the expectations for Monastyrska were high on this night. Monstyrska more than superseded expectations making her Aida one for the ages and one that will be difficult to top. Monatyrska possesses an agile and huge voice that easily rang through Verdi's huge orchestra and massive choruses. She was also able to sing beautiful phrases and immaculate pianissimos. During her first aria "Ritorna Vincitor," Monastyrska easily brought to life Aida's confusion and remorse. Each phrase was sung with power and yet with delicacy demonstrating her suffering and her pleas to her Gods. At the end of the aria when Aida states "Numi Pieta" (God have pity), Monastyrska gave each line a sense of yearning. This was once again repeated at the end of the Amneris-Aida duet. In her second aria "O Patria Mia" Monastyrska's brought nostalgia to each line she sang. At the climax of the aria, her high C was sung not just as a showstopper but as a cry for her country.

Aida Preview 2012-2013

Sonja Frisell's legendary Aida production with Rising star sensation Lyudmila Monastryska, Robert Alagna and Olga Borodina.

Met Opera Review: Mozart's Clemenza Satisfies with Stellar Cast

By Francisco Salazar
(For 11/20/12 performance)

La Clemenza di Tito, Mozart's last opera, is rarely performed due to its convoluted plot line, difficult roles and most importantly because it is one opera many consider to be one of his weaker works. However for this year's revival the Met has assembled an incredible ensemble of singers both up and comers and superstars.

The opera tells the story of Vitellia who out of rage decides to take revenge on Tito for not choosing her as his wife. Vitellia asks Sesto, who is in love with her to kill Tito. Once Tito discovers the plot he must decide whether to bring the conspirators to death or forgive them.

The opera was first performed at the Met in 1984 in the current Jean-Pierre Ponnelle production and since has been sporadically performed with the last revival in 2008. The Ponnelle production while traditional still holds up quite well with its lavish backdrops, 18th century costumes and its outstanding lighting effects particularly during the Roman fire. The lights flicker at the beginning as if a fire is about to start and then when the quintet at the end of Act 1 climaxes the lighting gives off the effect that there is a real fire occurring. Another interesting effect is during Vitellia's final aria when the light gives off a chiaroscuro effect where she is confused about the right path to take. Overall there is nothing revolutionary about the production but it does well in telling the story without any distractions and allowing the audience to see the performers' raw emotions.

Piotr Beczala joins Deutshce Grammphon

Yesterday Polish tenor Piotr Beczala signed an exlcusive contract with Deustche Grammophon. His first album will be a tribute to the great tenor Richard Tauber and will be filled with many of operetta's greatest hits. Beczala stated that “It is an honour for me to follow in the footsteps of so many artists, past and present, and join the Yellow Label. Taking this music to a wider audience is one of my dreams, as I hope to do justice to the wonderful memory of one of the greatest voices of all time.” Beczala joins Rolando Villazon and Roberto Alagna as exclusive artists for Deustche Grammphon.