LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Cyrano anyone?
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Sat, 6 May 2017 20:09:25 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (118 lines)


I listened to today's broadcast and also the prima via the Met's live
streaming.  I loved everything about it. The music was constantly alive
and interesting and of course filled with very difficult and demanding 
music for the two principals. I enjoyed it even more than when I saw it
with Domingo because as Alagna explained in an interview this was the
first time the Met did the opera in the original high keys and possibly
also without any cuts.  The higher keys meant that they were often in
high tessitura and it certainly made for an exciting experience for me 
and I imagine for others as well.  Alagna sounds better at least in this
role which he obviously loves very much than I have heard him in a very long 
time, certainly better than his Met Rhadames and C.H. Chenier. Rowley was
very fine also, and she was able to match Alagna in the stratosphere.
"Anything you can sing, I can sing higher than you."
 
Angelo from Boston





> On May 6, 2017 at 6:37 PM A Katalin Mitchell <[log in to unmask]> wrote:
> 
> 
> I agree with you, had seen the production when Domingo and Rodvanovsky led the premiere and thoroughly enjoyed it, I also wish they had included it in the HD because it is a very beautiful production.  The broadcast was equally satisfying, truly heartbreaking in the last scene, and though you cannot “whistle a happy tune” throughout, filled with wonderful music I am not sure why critics enjoy deriding; certain parts kept reminding me of the last scene of Turandot – I wonder why…. (please nobody reply… it is joke).
> Kati
> 
> 
> On 5/6/17, 1:48 PM, "Discussion of opera and related issues on behalf of G. Paul Padillo" <[log in to unmask] on behalf of [log in to unmask]> wrote:
> 
>     I've often wonder why so many critics have dismissed Alfano as a composer, while fanciers 
>     of his music, myself included, listen and hearing enormous beauty in language that speaks 
>     to our hearts.
>     
>     I listened to the premiere of "Cyrano" on Sirius (and now as the final offering of the Met 
>     broadcast season), with the same fondness for this opera I've had for decades and an ever 
>     deepening appreciation of the work.
>     
>     Whenever it's score is dusted off "Cyrano de Bergerac" has been a fruit ripe for the picking 
>     by critics who often, more than music itself, love showing off with witticisms describing how 
>     much they loathe a thing.  The NY Times opened its review with "You can blame or thank 
>     Placido Domingo" for bringing the work to the Met, and describing Alfano's score as "an 
>     unappealing mix of syrupy textures and tart harmonies . . .  [unable[ to capture that 
>     bittersweet tension . . . hard-edged and heavy, . . . verismo pomposity."  
>     
>     In his review, Martin Bernheimer complained of enduring three hours of "Eine kleine junk-
>     musik."  Bernheimer did, however, something critics rarely do, (particularly with works they 
>     have no fondness for); in mentioning how the audience cheered the performance to the 
>     rafters.  And how can I, even if in complete disagreement with his statement, not smile at 
>     his referring to Alfano as "a lightweight ensnared in a repetitive heavyweight challenge. 
>     Some revivals, no matter how well intentioned, would seem to emerge better never than 
>     late."  Touché
>     
>     A request:  if one wishes to refer to oneself as a critic, please however difficult a strain it 
>     may present to your gifts, refuse to succumbing the tired cliche of complaining about operas 
>     lacking "tunes you can whistle" upon exiting the performance.  Gah.  
>     
>     As to "Cyrano" I heard, as ever, a vivid, sparkling and beautiful score that touches Debussy 
>     more frequently than it courts Italian verismo.  I also hear hints of Bartok's "Bluebeard's 
>     Castle" which premiered 18 years (nearly to the date) earlier than Alfano's take on 
>     Rostand's classic.  I've grown to adore this underestimated gem which clearly is worthy of 
>     revival, particularly when given by those passionately committed to putting it across with 
>     love, belief, and embracing everything Alfano invested into it. Bravo a tutti!
>     
>     Ms. Rowley has a lovely, rich substantial sound, her voice blooming seemingly effortlessly 
>     on top and was able, on voice alone, to convince me she was Roxanne.
>     
>     Alagna, while no longer possessing quite that youthful luster that many of his fans 
>     (including me) were seized by several decades ago, nonetheless still knows how to put a 
>     role like this across better than anyone, and so, he did.  
>     
>     Marco Armiliato and the Met forces fully captured every moment of rich-sonority (and 
>     occasional bombast) layered with an intoxicating throughout, ending with an aural 
>     equivalent of autumnal beauty that breaks my heart every time.  
>     
>     I only wish Cyrano had been able to make it into the HD schedule for those of us unable to 
>     travel to New York for its limited run.  
>     
>     p.
>     
>     **********************************************
>     OPERA-L on Facebook:
>     http://www.facebook.com/groups/25703098721/
>     --------------------------------------------------------------------------
>     To UNSUBSCRIBE, send a message to [log in to unmask]
>     containing only the words:  SIGNOFF OPERA-L
>     --------------------------------------------------------------------------
>     To stay subscribed but TURN OFF mail, send a message to
>     [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
>     --------------------------------------------------------------------------
>     Modify your settings: http://listserv.bccls.org/archives/opera-l.html
>     --------------------------------------------------------------------------
>     
> 
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager