Wednesday, October 17, 2007

Roberto and Angela (no, not that one!) make a virtually "celeste" "Aida" (STUB)

The following was an E-mail I sent to my friend Brad of Met Futures fame, which responded to the questions of whether Carlo Colombara, who was listed in the Met Database as Ramfis, sang instead of Vitaly Kowajow, and "Well??? Did you love it??". So this will serve as the "stub" until the full review goes up. Sometime in the next millenium.

"I presume it was Kowaljow, as no announcement was made and there was no insert in the program except for Roberto replacing Berti. Frankly, I don't think Colombara was ever as good as this! Kowaljow is one of my favorite of the "younger" generation of basses (i.e. post-Ramey). Per the program he will be the Colline on the new Boheme recording with Rolando and Anna and he will also be recording something called I Medici by Leoncavallo with Placido Domingo (not sure if Placido is tenoring or conducting)

Did I love it? Mostly. There were moments where it was definitely the best Aida I've seen live, but it began a little ropily. Despite what Roberto said in the "post-game" interview on the Met website, I think he was scared during "Celeste Aida" (can one blame him???) and proceeded very carefully, which I would have minded less if I couldn't "see him working", so to speak. There were a few moments in Romeo like that too. He took it very slowly, no doubt to aid expression, and he and Ono weren't always together (sort of the opposite for Angela Brown in "Ritorna vincitor" - she went too fast!). By and large he made up for it in terms of intensity of feeling and his usual superb diction. Quite to my suprise, and delight, he sang the "Toscanini version" of the ending, with him holding the high B for about two seconds and then finishing with "vicino al sol" an octave lower. I should point out that I don't think I've ever heard a live "Celeste Aida" that wasn't problematic in some way. It's an absolutely killer aria for the tenor, especially coming at the beginning of the opera. You probably know that Jean de Reszke, generally considered to be the greatest tenor immediately preceding Caruso, regularly cut it. Once past the aria, he seemed to relax, albeit he missed a few lines right after. His best bits were at the end of Act II, where he literally pushed Amneris away from him, something I doubt most tenors don't do because they're probably afraid Radames will be executed! Lots of really wonderful little acting details too. I'm still concerned about his growing tendency to use the darkest and roughest colors of his voice to convey emotion. Still I don't doubt he could be a magnificent Met Radames - once he gets the chance to actually rehearse it! I certainly don't think he should retire it, as he was apparently considering after La Scala, although I still think his bread and butter should be Italian and French lyric roles. Oh, all right, anything French. I still want to hear both his Samson and his Rodrigue in Le Cid. I still regret he retired Don Carlos - why, especially if he has Otello plans?

(Note per my usher friend Annie, who thought that Roberto was one of the best Radames' she's ever heard and she's been there for 30 years - a lot of people were really pissed last night at Roberto's withdrawal from Butterfly. There were boos and one man left.)

(Also, Roberto went back to his old, wonderful habit of shaking hands with the prompter - Jane Klaviter tonight. He is the only singer I have ever seen do that, although Annie told me that she saw Frank Lopardo do it once. Probably stole it from Roberto. And Angela (that one!) was probably in the audience as he blew someone a kiss :-) )

Angela Brown - just fabulous. Gorgeous, gorgeous top, wonderful use of messa di voce effects, lots of fire and passion and, particularly in the Nile Scene, specificity. Get this woman a Verdi disc now. And she's singing Tosca somewhere - I'd definitely like to hear her do that at the Met as well as Aida and Amelia (and Elizabetta? Elvira? Leonora? Both Leonoras?)

Dolora Zajick (the shortest person on stage?!) started out almost inaudible, but her Act II confrontation with Aida and the Judgement Scene were just titanic. The Aida/Amneris confrontation was definitely the best I've seen live - although they basically just stood there. Admittedly it is very difficult to stage, and we don't necessarily want to see hairpulling and stuff.

Andrzej Dobber looks about 25 on his publicity photo, but he couldn't possibly be considering his immense amount of experience - apparently a house baritone in Warsaw in addition to a lot of more prestigious European experience. Both physically and vocally, a very lean, dry, muscular Amonasro. The most "warrior" Amonasro I've seen - when he tells the King of Egypt he's a "common" officer, you can see why he believes him. Now we know how he got to be King of Ethiopia.

Reinhard Hagen - excellent debut, looked about 7 feet, would be happy to see him as Sarastro, although I thought one of the giants in the Ring would be the best casting.

And any chance they might actually let Jennifer Check sing Aida??? I heard her as Norma at a Young Artists gala years ago and she was wonderful. I don't suppose she's understudying Papian? It's certainly past time she sang major roles!

Still hate the choreography.

Oh, and I saw James Conlon - he was up in the broadcast booth being interviewed for Sirius - that's right next to the Family Circle ladies room. He's shorter than I am. What is it with short conductors?"

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