Winterreise (off topic really, but I can explain)

010414 Philharmonie, Berlin

Winter Landscape by Caspar David Friedrich
Source: Wikimedia Commons

I may have seen and heard the best musical performance of my life so far. In fact, let's ditch the 'may', I think I have.

Schubert's song cycle Winterreise, performed by tenor Jonas Kaufmann and Helmut Deutsch at the piano.

An Experience with a capital E. Overwhelming. Extremely beautiful. Out of this world exquisite. Unforgettable.

Never heard anything quite so moving. So delicate yet powerful, enchanting, exciting, chilling.. completely mesmerizing. Such wealth of expression, nuances, the pauses, the varying tempi, his gestures, facial expressions, the colours, the emotions.. all there, not just audible (which with Kaufmann is invariably more than enough!) but for your eyes to behold. Makes the story all the more poignant to be able to watch it unfolding in the masterful fingertips, the whole beings, really, of these two wonderful artists. For it was in the greatest possible sense of the word a collaboration, the exquisite artistry of the two gentlemen brought together there and then before our eyes and ears, to make the truest, most gripping picture of the protagonist's desolate journey. Here is a young man suffering from unrequited love who leaves his sweetheart's house and goes on a-wandering through the chilling and stark wintry landscape, determined to put some mileage between him and his cold-hearted love. That's the surface. At the same time, however, the young lover's journey is directed inward. You feel his pain, his frustration, his heartache, his false hope, his weariness, his heart-wrenching loneliness and ultimately his quest for death.. 75 (or so) minutes of pure drama. Not playacted, no costumes, no fancy sets, no props, no big orchestra.. just two men, the piano and the voice. And what a voice. Delicate, soft, strong and booming where need be. Questioning, disbelieving, defiant, raging, snarling, soothing, loving, indescribably sad, even dead and empty. Kaufmann is an extremely perceptive artist and his capacity and willingness to plunge into the young lover's skin and soul truly remarkable. It's a wonderful privilege to witness that. Makes you grateful and humble at the same time. And most certainly leaves a lasting impression.

Why include a Lied cycle here, on a blog about opera? (yes, now comes the explaining bit.. ;) ) Because I'd venture to say Winterreise is operatic in nature. The big feelings, the capacity to move, the gripping story.. Sure the fact that on stage performing is undoubtedly one of the greatest tenors of our time, famous for his veristic characterizations, doesn't hurt either. It's thoroughly plausible, profoundly moving and doesn't let you off the hook easily. All marks of True Art. And all attributes many an opera composer would have been envious of.

The cycle of all cycles. The crown jewel. Hear it, and your world will never be the same.

Here the three last songs; Mut, Die Nebensonnen, and Der Leiermann.. *sniff*

Verdin Kohtalon voimaa - La Forza á la Verdi

Giuseppe Verdi: La Forza del Destino
Bayerische Staatsoper, München 050114

Scroll downwards for English..

Ohjelma - The program
Photo: me

Oi mikä elämys!! Kuulla noin upeita laulajia, noin monta samassa produktiossa. Kyyneleet silmissä pelkästä ajatuksesta. Kaunista musiikkia. Suuria surullisia tunteita. Lavasteistakaan ei ollut haittaa. Ja kun ei ole vertailuversiota nähnyt on kaikkeen tyytyväinen, ainakin melkein ;)  Tiivistelmä englanniksi.

Tärkein ensiksi: Jonas Kaufmann lauloi!! <3 Sitä ehdin päivällä jo spontaanisti kyynelehtiäkin, kun hyvät uutiset kuulin. Kävin aamulla toteamassa talon seinästä plakaatista nimensä, ajatellen että kaipa olisivat tuuraajasta siinä ilmoittaneet kun otsakkeena oli "Heute". Oli näetsen pelko pyrstössä ettei ehkä olisi vielä kuntoutunut, kun edellisen esiintymisensä joutui sairastuttuaan peruuttamaan. Onneksi lauloi. Oli upeaakin upeampaa häntä lavalla nähdä ja kuulla. Sielukas, ainutlaatuinen tulkinta.

Laulajat olivat kaikki todella huippuluokkaa. Tiesin sen jo nettinähetyksen perusteella, mutta aivan toiselta planeetalta on kuulla heitä livenä. Aijai, oh ja voi! Kyllä hemmotellaan oopperayleisöä Münchenissä!

Preziosillaa laulanut Nadia Krasteva oli nyt miellyttävän tasainen. En havainnut lainkaan niitä hieman kiusallisia kiekauksia jotka kurtistivat kulmiani striimissä. Vahva ja voimakas mezzo, komea ääni. Tapasinkin hänet ovella nimmarijaossa. Oli ihastunut kun kuuli minun tulevan Suomesta. Kertoi tulevansa Savonlinnaan ensi kesänä laulamaan Carmenia. Hmm, varmasti oikein hyvä Carmen, uskon. Vahva, tumma ääni, temperamenttia ja sopivaa näköäkin löytyy, ja kokoa ;) Voisipa vaikka mennä katsomaan..

Basso Vitalij Kowaljowista kaksoisroolissaan Markiisi-isänä ja Isä Guardianona pidin jo paljon häntä ensi kertaa kuullessani. Äänensä on ihastuttavan lämmin. Soinnukas ja syvä. Erittäin kaunis, surun hetkissä varsinkin. Virkistävää sitäpaitsi kuulla syvää kaunista normaalipainoista bassoa, vaikka tiedän ettei olekaan enää niin että matalan äänen edellytyksenä olisi myös suuret raamit.. Rauhallisesta lavaolemuksestaan pidin myös paljon.

Jonas Kaufmann (Alvaro) &  Ludovic Tézier (Don Carlo)
Photo: Wilfried Hösl / BSO

Ludovic Tézier Don Carlo di Vargasin roolissa (eikö nyt olisi voinut jotakin muuta nimeä keksiä, sotkeentuuhan näissä don carloissa..) oli niin ikään mielestäni livenä parempi. Hänen äänessään on ajoittain sellainen hieman minua häiritsevä jotenkin ahtaalta kuulostava sointi, ikäänkuin ääni tulisi enemmän nasaalina.. Nyt sekin oli suurilta osin poissa. Vahva, erittäin kyvykäs baritoni. Parhaimmillaan todella komean kuuloinen. Ja kuinka vaivattomasti äänensä soljuukaan. Wau! Erityisesti duetot Kaufmannin kanssa olivat hienoja. Roolinsa on melkoisen epäkiitollinen kyllä, hyviksiin on katsojan aina helpompi samaistua. Carlo on suurimman osan aikaa vihainen ja kostonhimoinen, ei niillä tunteilla yleensä kovin paljon kaunista laulettavaa saa! Aikamoinen kohtalo hänellä, jos ajatellaan että tarina menee niin kuin tässä versiossa tulkittiin, että Carlo on vasta poikanen nähdessään isänsä kuolevan ja että hän siitä lähtien elää elämänsä vain kosto mielessään. Mikä painolasti! Eihän hän saanut mitään mahdollisuutta edes suunnitella itse elämäänsä, piti vain maksaa isien velkaa. Poikaparka! Karmaisevan läheltä riipaisee näitä nykyajan sukukostoja aihe vieläkin..

Eipä saanut Leonorakaan tavallisia kortteja, vaikka oikeastaan kuvio 'rakkaudessa pettynyt neito sulkeutuu luostariin' onkin tuttu. Tässä tarinassa tosin lähtökohdat ovat pikkuisen erilaiset heti kättelyssä, eikä Leonorakaan suostu tarjottuun luostarivaihtoehtoon. Ja ihan oikeista syistä! Joskin aika erikoista lie, että hän pitää luostaria liian turvattomana, avoimena. Erakon luola on siis hänelle oikea vaihtoehto. Runsaasti roolissa on rukoilua, kuten Anja Harteros haastattelussa totesikin. Miellyttävää että näyttämösovitukseen oli osattu tehdä mukavasti vaihtelua näiden rukousten osalta. Ei alkanut haukotuttaa missään vaiheessa. Eikä varsinkaan Harteroksen laulua kuunnellessa! Näin ja kuulin häntä livenä nyt ensimmäistä kertaa. Upea ääni. Yksi kauneimmista mitä olen koskaan saanut kuulla. Mielettömän kauniit kuulaat korkeat äänet. Selkeän puhdas ja kirkas muutenkin. Esiintymisensäkin oli mielestäni paljon vapautuneemman oloista kuin usein ennen, varsinkin yhteispelinsä Kaufmannin kanssa. On ehkä hyvä esimerkki vieressä vaikuttanut.. ;)

Jonas Kaufmann Don Alvarona oli niin täydellisen upea kuin vain olettaa saattaa. Roolinsa on kovin fyysinen. Paljon vauhdikkaita kaksintaisteluja tai sitten muuten vain hän saa laulaa melko mahdottomissa asennoissa. Tärkeimmän aariansa "La vita è inferno all'infelice.." (3. näytös) Alvaro aloittaa makuulla vatsallaan pöydän alla. Hetki myöhemmin vakavasti haavoituttuaan laulaa taas makuulla "Solenne in quest'ora..", nyt seljällään ja sillä samaisella pöydällä. Ja kuinka kauniisti! Sydän särkyy kuunnellessa. Carlo tukee häntä puoliksi istumaan. Eikai siinä voi henkikään kunnolla kulkea ja varmasti joutuu lihaksia jännittämään. Ja silti, kuinka helposti, upeasti ja uskottavasti hän laulaa. Uskomatonta! Kaksintaistelut eivät myöskään liikkuvuudessaan lie niitä helpoimpia paikkoja laulella. Ei hidastanut kumpaakaan, Tézier-Carloa tai Kaufmannin Alvaroa. Loistavaa laulantaa. Taistelut olivat ohjauksellisestikin oivaltaen toteutettuja mielestäni. Ei pelkkää simppeliä tikarinkalistelua vaan ennemminkin aika modernia puukkohippaa. Aidon tuntuista jopa. Tykkäsin kovasti. Erityisen riipaiseviksi ne tekee Kaufmannin loistava näyttelijäntyö. On lumoavaa seurata hänen heittäytymistään hahmojensa syövereihin. Hän tekee niistä niin tosia! Alvaron sisäinen tuska ja piina järjen äänen ja ryöpsähtelevien tunteiden välillä, hänen kamppailunsa kun hän koettaa niin kovasti olla hyvä ja silti sortuu Carlon yllytyksiin. Raastavaa! Upeaa!

Jonas Kaufmann (Alvaro) & Anja Harteros (Leonora)
Photo: Wilfried Hösl / BSO

Illan esitys oli kyllä tenoritähden juhlaa. Ylitti jopa livestreamin, mikäli nyt sellaista suurenmoisuutta saattaa mitenkään parantaa.. Silti minusta Alvaron ja Leonoran ensimmäisen näytöksen duetto (jos heidän 'keskusteluaan' sellaiseksi kutsua voi) oli nyt onnistunempi. Laulajilla oli jotenkin parempi yhteys keskenään ja näytteleminenkin oli luontevampaa. Streamissä Kaufmannin Alvaro vaikutti ehkä juuri alussa pikkuisen liiankin innokkaalta, hätäiseltä ja eleistä tuli aavistuksen ylikorostuneita. Nyt ilmaisu oli mielestäni rauhoittunut oikealle tasolle. Eikä moiseen muuten kiinnittäisi huomiotakaan, mutta kun hän tapaa olla niin yhtä rooliensa kanssa ja luonnollinen. Kenties nauhoitus vähän jänskätti.. Inhimillistä. Suloisesti :) Nyt mietin, että josko hän hieman varoi ääntänsä alussa.. vaikkei kokonaisuutena siltä vaikuttanutkaan. Ei ollut laulaminen työlästä tai vaikeaa missään kohtaa. Ehkä hieman keskittyneempää vain. Se taas puolestaan ei haitannut lainkaan. Lisäsipä vain tulkinnan taskokkuutta ja koskettavuutta. Loistokasta ja äärettömän kaunista. Pehmeät pianonsa olivat jälleen minulle rakkaimmat <3 Helposti kajahtavat korkeat ja fortet olivat ällistyttävänkin voimakkaat. Suurin ihmetys oli jälleen se kuinka hyvin jokainen ääni, pieninkin, kuului. Mitä ilmeisimmin loistava tekniikka ja täydellisesti hallussa. Akustiikkakin varmasti auttaa. Niin ja se, ettei orkesteri jyrää.

Sillä sanottakoon Asher Fischistä puikoissa mitä tahansa - en oikein ymmärrä miksi hänelle buuattiin striimissä, osin kai nytkin, en kuullut niin tarkasti - minun korvilleni hän ei ainakaan soitattanut liian lujaa. Muuta en osaa arvioida, kun en sävellystä juurikaan vielä tunne, eikä ole ennakkokokemusta muista versioista vertailukohtana.

Kuoro oli niin ikään hieno. Erityisesti pidin kastekohtauksen mieskuorosta sekä 2. näytöksen siitä osuudesta missä Leonora laulaa valokeilassa mieheksi pukeutuneena muiden ollessa pimeässä. Häntä tukevat taustalla munkkikuoron lisäksi ainakin Carlo ja Preziosilla sekä joku tenori, en nähnyt valojen puuttuessa kuka, epäilen sitä alun hovimestarihahmoa. Voi jeskamandeera että soivatkaan äänet kauniisti! Pari aivan mielettömän upeaa korkeamman miesäänen kohtaa. En tiedä lauloiko Tézier vai se hovimestari, mutta oijoi kuinka upeaa! Saa Verdi laakeriseppeleen tuosta hyvästä! Pieni juttu, ja minä taas ihan pähkinöinä :) Rataplanin chorus oli myös hieno. Eikä vähiten siksi, että kuoro lauloi seljällään maaten. Kaikki! Pakko varmaan olla monitorit jossakin lavalla, että näkevät maestron lyönnit.

Ohjaukselle ja näyttämökuvalle hieman nyrpistelin ensimmäisellä kerralla. Tuntui kovalta ja karkealta. Nyt livenä nähdessä oikeastaan mikään ei haitannut. Välimatka taisi helpottaa ;) eivät tulleet lähikuvat silmille. Päinvastoin pidin siitä, ettei näyttämöä oltu tungettu täyteen lavasteita ja tapahtumia (kuten esimerkiksi Il Trovatoressa..). Mielestäni laulajat ja musiikki saivat sopivasti tilaa. Se minusta oopperaesityksissä tärkeintä onkin. Suurinta osaa kuvista en varmaankaan ymmärtänyt, mutta ei sekään minua häirinnyt. Olin vain äärettömän tyytyväinen musiikilliseen antiin ja saatuani kuulla noin loistavia laulajia.

Loppukiitoksissa tuntui kuin salissa olisi ollut kollektiivinen kiitollisuus ja ihastus siitä että kaupungin oma kultapoju oli takaisin lavalla ja laulukunnossa. Sellainen erityisen lämmin tunnelma. Toki esiintyjät kaikki saivat ansaitusti osansa taputuksista ja olivat silminnähden hyvillään ja iloisia, ihmeissäänkin villiintyneestä yleisöstä, joka otti heidät vastaan kerta toisensa jälkeen hurjasti taputtaen, tömistäen ja Bravo-huudoin. Yhtäaikaiset rytmikkäät taputukset taisivat tehdä suurimman vaikutuksen :) Täysin ansaittuja kaikki. Upea, unohtumaton ilta.

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Photo: http://medicine-opera.com

La Forza del Destino (synopsis in English)

What an experience! To hear such glorious singers, and so many in the same production. In tears. Beautiful music. Grand emotions. Even the staging was ok, no big disturbance there. And having no previous experiences of it, I was happy with mostly everything.

First things first: Jonas sang!! <3 Was already emotional over that during the day when I heard the good news. Went over the theater in the morning to witness a poster on the wall with his name on it and thought that probably they'd announced the replacement there had there been one because the caption on the poster read "Heute" ("Today"). There had been some anxious waiting of the news for a few days, because he had had to cancel the previous performance due to illness. Thank God he was all well now, and sang. It was thrilling and absolutely wonderful to hear and see him on stage. A soulful, one of a kind Alfredo. As he only can be.

It must be said that all the singers were of top quality. I knew that already, based on the livestream I saw earlier. But to see and hear them there on the spot with your own eyes and ears.. oh my! Can't say nought but the opera going audience in Munich is sure treated well!

Nadia Krasteva singing Preziosilla was more even now, I thought, than in the stream. Couldn't find a hint of those somewhat painful squeaks I had frowned at before. Strong sure mezzo, a handsome instrument. Met her at the stage door, too. She was pleasantly surprised to find me coming from Finland and told she will come to Savonlinna next summer, to do Carmen. Hmm, that's interesting, she'll make a nice Carmen, I'm sure. Has the voice, strong and dark, the temperament, the looks :) Might go and see..

I very much liked bass Vitalij Kowaljow in his double role as Il Marchese and Padre Guardiano. He has a wonderfully warm voice, vibrant and deep. Extremely beautiful, particularly in sorrowful moments. Loved it. Besides it was refreshing to see and hear a good solid bass without a weight problem, even though I know it's not like that anymore.. not a prerequisite for a low voice to have voluminous body as well, I mean. Liked his understated stage presence too.

Ludovic Tézier as Don Carlo di Vargas (come on, master Verdi, couldn't you have thought of another name.. all these don carlos make me confused..) was also better live. His voice tends to have a certain slightly irritating somewhat constricted quality, more nasal sounding than I'd like.. now it was all but gone, or at least I wasn't bothered by it. His baritone is very strong, and very able. At its best really strapping. And how easy it flows, wow! Especially the duets with Mr. Kaufmann were magnificent. The role is rather ungrateful really, good guys are always easier for the audience to identify with. Carlo is most of the time angry and vindictive, not very pretty emotions, or ones you'd get something beautiful to sing with. His lot really isn't an easy one, assuming the story goes as it was interpreted in this version.. that Carlo is a mere boy witnessing his father's violent death and living ever since with the revenge in mind. The weight of vendetta! I mean he never had any chances whatsoever to even map out his life for himself, all he did was with one purpose only: to pay for his dad. Poor boy! Sounds shockingly familiar with the news of present day family vendettas..

Jonas Kaufmann (Alfredo) & Anja Harteros (Leonora)

Neither was Leonora dealt an easy hand. Although the pattern 'damsel disappointed in love secludes oneself in the cloister' sounds rather familiar. This time though the basis is a bit different, and Leonora doesn't take the cloister option. For the right reasons, I might add, even though it is quite unusual to regard the cloister too open and too unsafe, but it is the right decision for her. A recluse cave it is then. There's a lot of praying for Leonora, as Ms Harteros commented on in an interview about her role. What a pleasant thing to see so much elegant variation in her interpretation of these prayers! Must be a tricky task to stage. Now it was never boring, especially with Ms Harteros' exquisite voice. Saw and heard her now live for the first time. Without a doubt one of the most wonderful voices I've ever had the pleasure of hearing. Soaring high, crystal clear with a glorious ease and lucidity. Angelic. Her onstage persona, too, I think, has progressed a great deal from what she used to be. Much more free and easy and vibrant, particularly when partnering Mr. Kaufmann. Maybe it has rubbed off on her.. ;)

Jonas Kaufmann as Don Alvaro was as glorious, gorgeous and great as one could expect. The role is quite a physical one. Lots of daring action-packed duels or otherwise impossible spots for him to sing in. Alvaro's biggest aria "La vita è inferno all'infelice.." at the beninning of Act 3 he starts singing lying down on his stomach under a table. A moment later after having been fatally wounded he sings again lying down, on his back this time and on the same table "Solenne in quest'ora.." The most moving heart-wrenching thing you could have! And he's sprawled on the table, half sitting, Carlo supporting him!! Can't have an unobstructed flow of air there. But how effortless and brilliant he sounds, and how true!! Amazing! The duels are surely not the easiest spots to sing at either, with sudden fierce movements. No hindrance to either of them, Messrs Tézier and Kaufmann. Outstanding singing all along. And they were really exciting too, the duels. Niftily staged, not just a simple clatter of daggers here and there, but a rather modern set of knife fighting, I thought. Surprisingly authentic. I was impressed. What made the duels even more harrowing are Mr. Kaufmann's brilliant acting skills. His willingness to dive deep into his characters is fascinating and extremely moving to follow. He makes them so true! Alvaro's inner torment between reason and rush of feelings, his palpable battle of trying his hardest to be good and yet succumbing to Carlo's goading. Ahh, heart-rending!

Alvaro (Jonas Kaufmann) & Carlo (Ludovic Tézier) duelling
Photo: Wilfried Hösl / BSO

Tonight's performance was a real triumph for Mr. Kaufmann. Even topped the live stream, if it is indeed in any way possible to top such greatness.. Still, Alvaro and Leonora's duet (if you can call the conversation that ;)) in Act 1 was better now, I thought.  They connected better and were both more natural. In the stream Alvaro was perhaps a bit too anxious and hasty there at the start, his gestures slightly over-emphasized. Now it was more calm and on the right level. One wouldn't really notice these things, were it not for Mr. Kaufmann's extraordinary quality of acting.. he is normally so thoroughly in tune with his characters and very natural. Perhaps the filming added an extra bit of tension.. Which is perfectly understandable, and rather sweet and endearing really :) Now I was wondering if he maybe was a bit cautious with his voice at first.. although in general he did not hold anything back. And it's not that his singing seemed in any way difficult or trying. On the contrary, it was as easy and free flowing as ever. Just perhaps a tad more focused. Which I did not mind at all. If anything I thought it lent an altogether commendable earnestness and a deep sense of high quality  to everything he did throughout the performance. Magnificent and very very special. It was again his delicate soft piani that were the most dear to me <3 Furthermore, I thought his high notes were effortlessly resounding and fortes amazingly strong. The greatest wonder to me was that I could hear him so clear and well, each and every sound, even the most delicate ones carried absolutely beautifully. He must have superb technique and master it perfectly. Great acoustics in the hall probably help too. And the fact that the orchestra wasn't overpowering.

For whatever is said of Asher Fisch's conducting, - don't really understand why he was booed at in the livestream, maybe now too, I didn't hear that well for all the applause - I think he at least did not make the orchestra play too loud. I can't tell otherwise, not being an expert, and not really knowing the piece that much yet.

The choir was also very good. I particularly liked the male choristers at the baptism scene and the part of Act 2 were Leonora sings dressed as a man at the spotlight and the others are in the dark. The choir sings in the background and Carlo and Preziosilla join in, as well as a tenor voice, whom I did not see but I think it was the butler from the Overture scene. How beautifully do their voices blend! Took my breath away <3 A couple of passages with the high male voice were so gorgeous. I don't know if it was  Mr. Tézier singing those or the butler, but oh my.. out of this world!  Salutes to master Verdi for that! A small detail like that and I'm all over the place.. :) Hih! The Rataplan chorus was excellent, too. Not least because of the choir singing lying on their backs, all of them! There must have been monitors somewhere on stage for them to see the Maestro.

I wasn't that convinced with the staging and directing when I watched the live stream broadcast. Seemed somewhat bleak and stark. Now seeing it live I wasn't really bothered by anything at all. The distance must have helped, close-ups weren't too close ;) I rather liked that there was space on stage and that it was not stuffed to the brim with sets and scenes and happenings (as for instance was the case with Il Trovatore..). That to me is the main purpose of setting and scenery, to support and illustrate the story and give ample room for the singers to give their best. This was met here, quite well. Of course there were pictures I didn't fully understand, but that didn't bother me either. I was just so happy with the music and the experience in general and pleased as punch of having the opportunity to hear such glorious singers.

Jonas Kaufmann (Alvaro), Vitalij Kowaljow (Padre Guardiano), Ludovic Tézier (Carlo) & Anja Harteros (Leonora)
Photo: Wildfried Hösl / BSO

At curtain call it seemed as if there was a collective feeling of gratitude and delight in the audience that their favourite tenor star was back on track, all well and singing fabulously. A dose of extra-special warmth and good vibes in the air. All the performers had their fair share of the cheers and were clearly pleased and happy, even amazed at the audience going wild for them, shouting Bravo / Brava / Bravi, applauding enthusiastically and stamping their feet to no apparent end. The rhythmical clapping in unison seemed to make the biggest impact ;) Well deserved, all of it. A very special, quite unforgettable evening.

Wagner juhla jatkuu - More Wagner feast

Scroll down for English..

Kuten lupasin (kauan sitten!), Sormus -sarjan seuraavat osat..

Kolmas osa, Siegfried

Odotin innolla, enkä vähiten Reininkullan upean Mime-väläyksen takia. Jänskätti myös kuinka nimirooliin lyhyellä varoitusajalla tullut Jay Hunter Morris pärjäisi.

Jay Hunter Morris - Siegfried ja Gerhard Siegel - Mime
Kuva: Ken Howard / Met Opera

Gerhard Siegel oli loistava, ihana, upea Mime! Juuri niin hyvä, ja parempikin, kuin osasin odottaa. Mitkä näyttelijänlahjat! Laulua ei edes huomannut, niin kiinteä osa kokonaisuutta se oli. Täydellistä roolin ilmaisua. Oi voi! Toivoin vain, että olisipa ollut häntä varten oma kamera, joka olisi seurannut häntä koko ajan. Olisi nähnyt jokaisen eleen, ilmeen ja nyanssin.. Tai vaihtoehtoisesti istumapaikka keskellä edessä.. ;)

Hunter Morris istui vallan hyvin sankaripojaksi. Sopivan nuorekas, freesi ja innostunut. Muutaman saksan tunnin sietäisi ottaa lisää (ääntämys!) ja välillä vibratonsa oli hitusen liian laaja minun makuuni. Näyttämöllä hän pärjäsi mielestäni oikein hyvin, jopa upean Mimen vierellä, ja suoriutui kokonaisuudessaankin vallan hyvin todella haastavasta roolistaan. Miekantaontakohtauksesta pidin kovasti. Lohikäärmeen kohtaaminen oli myöskin hyvä, ei vähiten itse harvinaisen onnistuneen elikon vuoksi. Näytti melkein uskottavalta. Napsut siitä.

Lavasteista puheenollen, Kone pisti todella parastaan tässä jaksossa. Upeita 3D projisointeja!! Leukaaloksauttavia suorastaan. Ihana metsä vipeltävineen ötököineen matoineen kaikkineen. Hieno Mimen paja ja helmeilevä puro erityisesti. Käsittämättömän upea Metsälintu - kuinka ihmeessä se tehdään! - istui jopa Siegfriedin polvella!!

Pidin Wotanista enemmän Wandererina. Niin taisi Brynkin pitää.. Ehkä pienempi roolivastuu antoi enemmän tilaa pönötyksettömälle vapautuneelle ilmaisulle. Kenkien riisunta ja väsyneen selän oionta Mimen pöydän ääressä osuivat juuri nappiin :) Niin sitä pitää, olla roolissa! Tuost mie piän! Ehkäpä hänen täytyikin jotain tehrä, jotta huomattaisiin, kun Siegelin kanssa lavalla yhtä aikaa on ;)


Neljäs osa, Jumalten tuho

Upea Hans-Peter König Hagenin roolissa. Hän oli lavalla ainakin kahdessa aikaisemmassa Sormus-osassa. Reininkullassa toinen jättiläisveljeksistä ja Valkyyriassa Hunding, Sieglinden aviomies. Hagenina onnnistui ehdottomasti parhaiten. Vahva, rikas, sointuva, vakaa ja vaikuttava ääni, vau!

Hagen ja Gudrune (Hans-Peter König ja Wendy Bryn Harmer)
Kuva: Ken Howard / Met Opera

Naisrooleista pidin myös. Viimeisin Valkyyriavahvistus, Waltraud Meyer Brunnhilden Waltraute-sisarena (ha, nimet!) jäi erityisesti mieleen. Eloisa ja ketterä, miellyttävä mezzo. Onnistuneen roolin teki myös Wendy Bryn Harmer Gutrunena. Häntäkin nähtiin lavalla jo Sormuksen aikaisemmissa osissa, ainakin Reininkullassa Frickana. Gutrunena sai suuremman roolin, kolmiodraaman yhtenä osapuolena.

Brünnhilden uhrautuminen roviolla on epäilemättä tämän osan kuuluisin yksittäinen kohtaus. Olihan se vaikuttava. Soturityttären rakas hepo, Grane, kyllä melkeinpä varasti shown. Upea elikko, vaikkakin hieman luisevan oloinen.. Rauhoittava, tyyni ja luotettava. Kantoi emäntänsä horjumatta kuin vankka ja turvallinen vaunuhevonen kohti tulta, keinahdellen luonnollisen oloisesti. Huu, kylmiä väreitä! Hie-no!

Aikamoista juonittelua tämäkin tarina. Kuinka valta korruptoikaan ja vallanhimo sokaisee. Eipä järin positiivista kuvaa maailmasta maalannut, vaikka nyt yliluonnollisia kuvasikin. Surullisen ja ilmeisen todellista sekä ilmestyessään että nykyisin. Jotkin asiat ne eivät koskaan muutu.


As previously promised (a long long time ago), the following episodes of Der Ring des Niebelungen..

Part Three, Siegfried

Eagerly awaited, not least because of glimpses of glorious Mime in Das Rheingold. Anxcious to hear and see how Jay Hunter Morris who stepped in just at the nick of time would do as Siegfried.

Gerhard Siegel was a brilliant, lovely, gorgeous Mime! Every bit as good as expected, and more. Perfect characterization! What an actor! And singing.., was he singing?!! You couldn't have told, such an integral part of the character it was. Oh boy! My only wish was, please, let there be a separate camera for him. So that no gesture, expression or nuance shall go unnoticed. Or an Orchestra Premium seat.. ;)

Jay Hunter Morris was rather good as Siegfried. Appropriately fresh, vigorous and youthful. Could take a few more lessons in German (diction! diction!) and at times his vibrato was a bit too broad for my liking, but he was really good on stage, second only to the outstanding Mime - who wouldn't! - and did an altogether decent job with that one heck of a difficult role. Loved the sword-forging (or actually re-forging) scene. Dragonbusting was nifty, too. Not least because of the cool beast himself. Managed to look almost believable. Snaps for that!

Siegfried (Morris) and Brünnhilde (Voigt) in the woodlands
Photo: Beth Bergman

Speaking of props, the Machine really worked amazing wonders on this episode. Stunning 3D projections!! Awestruck! Beautiful woodlands, scurrying bugs and worms and all. Loved Mime's smithy, the sparkling spring especially. Gorgeous Waldvogel - how ever do they do that! - even perching on Siegfried's knee!

Liked more of Wotan as a Wanderer. Suspect Bryn did too.. More room to move characterwise, so to speak, although the part isn't that prominent this time. Easing his shoes and resting his travel-weary back at Mime's hearth was spot on! That's what I like to see more, acting in character. Mind you, he probably had to do something to be noticed/seen, sharing stage with Siegel ;)



Part four, Gotterdämmerung

Outstanding Hans-Peter König as Hagen. He was onstage at least twice before, on previous Ring episodes. In das Rheingold he was one of the giant brothers and in die Walküre he played Hunding, Sieglinde's husband. Hagen however was by far his best role, I thought. Strong, resonant, rich, solid and commanding, absolutely fascinating voice! Awestruck.

Liked the ladies, too. The most recent addition, Waltraud Meyer as Brünnhilde's sister Waltraute (names!) was very nice. Lively and nimble. Wendy Bryn Harmer as Gutrune was successful, too, I thought. She appeared on previous episodes as well, at least as Fricka in das Rheingold. As Gutrune she got a more substantial role as one of the angles of the love triangle.

Brünnhilde (Deborah Voigt) on Grane
Photo: Ken Howard / Met Opera

Brünnhilde's immolation is probably The Piece of this story. Must admit, it was impressive. The warrior maiden's beloved mare, Grane, almost stole the show. A beautiful creature, if bony in appearance. Tranquil, reassuring, calm, trustworthy.  Like a steady Clydesdale carried her lady unwavering towards the fire, swaying smoothly, natural-like. Ooo, chills!

Quite a lot of scheming an plotting in this story, too. How the power corrupts and the lust for it blinds. Not a very pretty picture of the world, even if there were godly characters. Sadly and apparently as true today as it was at the time of its release. Some things never change.

Iloitteleva Don Pasquale - Cheerful Don Pasquale

Gaetano Donizetti: Don Pasquale
Kansallisooppera - The Finnish National Opera, 30.10.2013

scroll down for English..

Talo Töölönlahden rannalla korkattu. Nätti talo. Hienoja taideteoksia lämpiössä. Salissa istuin rivillä 6, taaempaa olisi nähnyt tekstityksen paremmin, ilman ylös-alas kurkkimisia. Ensi kerralla aion olla viirun viisaampi. Toisaalta oli tietysti kiva nähdä myös esiintyjien ilmeet. Akustiikkaa jäin vielä makustelemaan. Ei niin hyvä, ainakaan siihen permannolle, mitä odotin. Alkusoitossa piccolo tööttäsi hieman liikaa, riipien, muutenkin sointikuvalla oli taipumusta jäädä etenkin forteissa jotenkin sotkuiseksi. Hiljaisemmat kohdat erottuivat kauniimmin. Ajoittain tuntui myös, että laulajat jäivät orkesterin alle, alussa varsinkin. Ehkäpä vola oli hieman liian isolla. Väliajan jälkeen asia tuntui korjaantuvan. Hyvä niin. Tarinakin parani edetessään. Lopussa herui jo yleisöstäkin naurahduksia.

Ohjelmalehti (Photo: me)

Asetelmaltaan Don Pasqualen tarina muistuttaa kovasti Sevillan Parturia. Molemmissa iäkäs poikamies vastustaa kahden nuoren avioitumista. Neuvokas baritoni justusripattina keksii juonen jolla nuoret saadaan yhteen. Hauskoja käänteitä, huiputusta ja valepukuja. Lopussa kupit kääntyvät tietysti kaikille oikeinpäin ja onnellisesti, opetusta unohtamatta. Tässä juonitiivistelmä englanniksi.

Nimiroolin Hannu Forsbergistä pidin kovasti. Miellyttävä bassobaritoni, joka omaa taidon olla luontevasti roolissa lavalla. Kolmannessa näytöksessä kypsyi komeasti ja kuuluvasti matalimpiinkin ääniin. Muhevaa. Olemukseltaan hänen Pasqualensa oli itse asiassa hyvin charmantti. Olisipa saattanut Norina/Sofronia hyvinkin lipsahtaa kässäristä ja vaihtaa tunteittensa kohdetta oikeasti.. ;)

Juonikkaan Tohtori Malatestan roolia lauloi Ville Rusanen. Salskea ja ilmeikäs esiintyjä, viihdyttäväkin. Hänet myös Figarona nähneenä, tuli olo kuin olisi seurannut lähes samaa roolia, vain eri sanoilla. Olisi kiintoisaa kuulla häntä vaihteksi hieman vakavammassa roolissa. Seurata kuinka hän sellaisen tekisi. Äänestähän ei tarvitse huolehtia, se kyllä toimii.

Tenori Tuomas Katajala lauloi ensilikistäjä Erneston roolin. Mielenkiintoinen ääni, lähinnä kai tyypiltään Leggero. Välillä vaikuttaa kuin tulisi hieman pinnistäen, puristaen, ohuelta ja yhtäkkiä avautuukin vaivattoman kauniisti kajahtava ylärekisteri. Wau! Saatan tehdä hallaa arvioillani, tarkemmin asioista tietämättä, mutta jotenkin jäi mielikuva kehon jännittyneisyydestä.. siitä lie seurasi pinnistyksen vaikutelmakin. Sen toivoisin pois. Ja ehkäpä lisäksi hieman vivaihteikkaampaa näyttämöilmaisua. Kaunis serenadi "Com' e gentil" Norinalle 3. näytöksessä kitaroiden ja tamburiinin säestyksellä. Tässä näyte maailmalta Juan Diego Florezilta.

Hanna Rantala - Norina
(Kuva: Kansallisooppera/Heikki Tuuli)

Naiskauneutta edusti sopraano Hanna Rantala Norina/Sofroniana. "Nuori köyhä leski", kertoo esittely Norinasta. Sanoisin, että leski on kyllä melkoisen reipas ja iloluonteinen, eikä vaikuttanut tässä versiossa järin köyhältäkään ilmestyessään palazzonsa terassille simpsakassa ranta-asussa :) Olemukseltaan, ilmeiltään ja eleiltään Rantala istui rooliin uskottavasti. Ääneen kaipasin lisää rikkaampia sävyjä. Ensimmäisen näytöksen aaria jäi vielä aika laimeaksi, joskin koristelut kulkivat kylläkin nätisti. Kasvunvaraa siis, mutta paljon myös potentiaalia. Mielelläni kuulisin tätä nuorta sopraanoa lavalla toistekin.

Ohjaaja Tuomas Parkkisen valinta sijoittaa tapahtumat 1950-luvun Sisiliaan oli mielestäni varsin onnistunut. Lavastus, josta vastasi Hannu Lindholm, oli erittäin kaunis ja yksityiskohdiltaan rikas. Pyörivää näyttämöä hyödynnettiin upeasti ja valosuunnittelu loi hienoa syvyysvaikutelmaa. Tuumin jopa josko paketti oli liiankin kaunis sisältöönsä nähden.. upeat kuvat nostivat odotusarvoa, johon musiikillinen taso ei tainnut aivan kaikilta osin yltää. Tasapainoisempi kokonaisuus olisi kenties ollut miellyttävämpi. Toisaalta miksipä piilottaa kynttilää vakan alle, jos kerran osaamista löytyy. Iloksensahan noita katseli toki. Joskin oopperassa ikään kuin odottaa musiikin olevan pääasia.. Toivoa sopii, että panostusta löytyy maastamme sillekin saralle. Näinä aikoina varsinkin.

Hieno idea oli niin ikään tuoda orkesterin soittajia lavalle. Toinen näytös alkoi käsiohjelmassakin kaunopuheisesti kuvaillulla haikealla trumpettisoololla, jota ei siis kuultu montusta, vaan orkesterin soolotrumpetisti Esko Savioja soitti sen lavalla, rooliasussa! Kohtaus oli muutenkin onnistunut, satamakapakan tiivis tunnelma miltei käsin kosketeltava Erneston laulaessa tuskaansa rakastetustaan eroon pakotettuna ja suunnitellessaan pakoa merille. Toisen kerran muusikkoja oli näyttämöllä edellä jo mainitussa Erneston 3. näytöksen serenadissa. Kitaristit ja tamburinisti, hekin rooliasuissa. Herkkä serenadi toimi hyvin säestyksen tullessa läheltä ja kuva oli totuudenmukainen.

Hannu Forsberg & Ville Rusanen   (Kuva: Uutisaalto)

Parasta: Don Pasquale-Tohtori Malatesta duetto "Cheti, cheti immatinente.. Aspetta, aspetta cara sposina" 3. näytöksessä. Hieno, huima ja hilpeä! Herraveijarit Forsberg & Rusanen intoutuivat irrottelemaan varsin komeasti. Juhuu ja taputuksia! Klippi vie Metropolitan Oopperan esitykseen v. 2010, rooleissa siellä John Del Carlo ja Marius Kwiecien.





First visit at the Finnish National Opera. Nice house. Beautiful artwork at the foyer. Had seats at the stalls, 6th row. Would have been easier to follow the surtitles a bit farther back, without constant looking up and down. A notch smarter next time, although I did enjoy seeing the faces and expressions of the performers properly. The acoustics left something to be desired. Not as good as I'd expected, at least down at front stalls. Piccolo was a tad too loud at the Overture and the overall tonal image was somewhat smudgy, especially at forte moments. The piani passages were more subtly discerned. At times it seemed that the orchestra played a bit too loud, especially in the beginning. After the interval things got better. The story seemed to improve, too, going on. Sniggers, giggles even laughs were heard from the audience towards the end.

The storyline in Don Pasquale resembles greatly that of The Barber of Sevilla. Both have an elderly bachelor opposing to the wedding plans of a young couple. A resourceful baritone acts as a go-between and devices a plan to bring the lovers together. Funny twists and turns ensue, not forgetting disguises and shenanigans. In the end things turn out right and everybody's happy. Sure, there's a moral, too.. :) Read the synopsis in English.

Hannu Forsberg in the title role presented a truly likeable bass baritone with heaps of natural charm and a very nice presence on stage. Liked him a lot. Towards Act 3 his voice had warmed up beautifully to reach even the lowest pitches. Rich and sonorous. His Pasquale was in fact a real Charmeur. Would not have been surprised to find Norina/Sofronia deviate from the script and switch her affection from Ernesto to.. ;)

The inventive Dr. Malatesta was performed by baritone Ville Rusanen. A strapping, spirited entertainer, always a pleasure to watch and listen to. Having seen him onstage as Figaro, too, it seemed that this role was from the same mold, save for differing text and tunes. It would be nice to see him in a different role, for a change, perhaps a more serious one. To see how he'd tackle that. The voice is there already, no doubt about that.

Tenor Tuomas Katajala played the lover-boy Ernesto. He has an interesting tenor voice, type Leggero, I'd guess. Sometimes seeming slightly strained, pressed or quavery, yet suddenly opening up into an effortless, resounding upper register. Wow! I might very well be very wrong, ignorant as I am of things really to do with singing, but I had a feeling there was a certain tenseness in him (the back, the shoulders), maybe causing the strain.. That, I wish, would be gone. And to have more varied acting skills to complement the voice would be nice, too. Ernesto's Act 3 serenade "Com' e gentil" to Norina in the dusky garden was nevertheless very beautiful. Here sung by Juan Diego Florez.

The female leading role of Norina/Sofronia was sung by soprano Hanna Rantala. "Young penniless widow" said the programme of Norina. A pretty merry and cheery she was, I thought, and didn't seem very poor either appearing on the terrace of her palazzo in a smashing, sassy bathing suit! Ms Rantala looked the part alright, in her voice I'd have liked to have heard more nuances and body. Norina's big Act 1 aria was yet somewhat tame, although the flourishes went well. Lots of potential there, if also room for growth. Would definitely like to hear her again, though.

Setting the story in Sicily in the 1950's was a smart move from the director Tuomas Parkkinen. The stage looked gorgeous, the sets designed by Hannu Lindholm were beautiful and full of thoughtful detail. The revolving stage was well taken advantage of, great lighting building up the atmosphere, adding lovely depth and bringing out the best of the designs. Maybe the package was even too beautiful.. gorgeous pictures raising expectations, which the performance did not otherwise fully meet. A more balanced show would perhaps have been more pleasing. On the other hand, why hide your light under a bushel. It sure was a pleasure to see such set design talent, although in opera one would expect music to be the main focus.. One can only wish there'll be continuous support and investment in our country for music studies, too. In particular at times like these.

Ernesto (Tuomas Katajala) contemplating sailing off.
(Photo: FNO / Heikki Tuuli)

Another great idea was to bring musicians on stage. Act 2 opened with a wistful trumpet solo, eloquently described on the programme and played by the orchestra's solo trumpeter Esko Savioja, not from the pit, but on stage and in costume! The scene was a success overall, the dense atmosphere of a seaside tavern almost palpable with Ernesto lamenting his lost love and planning to sail off. Another scene with musicians on stage was the aforementioned Act 3 serenade scene. Two guitarists and a tambourine player, also in costume, accompanied Ernesto delicately, creating a nice, truthful picture.

A moment to remember: Act 3 duet with Don Pasquale & Dr. Malatesta: "Cheti, cheti immatinente.. Aspetta, aspetta cara sposina". Splendid! Cheerful! Cracking! Them two roguish gents Forsberg & Rusanen let their hair down brilliantly :) Bravo! Clip to Met 2010 performance by John Del Carlo & Marius Kwiecien.

Wagner juhlaa - Wagner feast

Scroll down for English.. ;)

Johan on luxusta korville nämä Wagnerin synttärijuhlallisuudet! Katsellut Teemalta Sormus -sarjaa, Metin taannoista produktiota. Vihdoinkin näen ne kokonaisuudessaan! Puolimatkassa menossa. Järisyttävän mielenkiintoista! Mahtava show, upea lavastus - Konekin toimii yskimättä! Hengästyttävä orkesteri ja Maestro Levine, hienoja, hyviä laulajia.. Oi voi, ihmetyksestä mykkänä! Unohtumatonta!

Reininkulta oli tosi tosi mielenkiintoinen ja viihdyttävä. Juuri passeli alkupala kolmelle seuraavalle tarinalle. Mitä suhmurointia ja juonittelua! Pohjoisen jumaltaruston Kauniit ja Ruskeat ;) Täytyy tutustua tarkemmin taustamytologioihin ja noihin mielenkiintoisiin tyyppeihin.

Reinintyttäret  (c) Ken Howard / Met Opera

Esiintyjistä pidin eniten.. Reinintyttäret on pakko mainita heti kärkeen. U-pei-ta! Mahtavat puvut, hienot sulokkaat liikkeet - vaikka olosuhteet olivat varmasti vaativat Koneen päällä roikkuessa - ja kaiken kruunuksi kaunista laulua riemulla. Kilisytän vilpittömästi jalokiviäni! Hieno suoritus!  Eric Owens Alberichin roolissa oli varmaankin illan Kingi, mikäli loppuaplodeista mitään saattaa päätellä. Maukkaan matala basu ja hauska rastapää look ;) Laulullisesti kuitenkin minun pojoni sai Richard Croft Logena. Kuinka kaunis tenori! Ihanan sointuva. Meni melkein tarinakin ohitse kun piti soundiaan ihastella.. wau! Luonteva näyttelijänä myös. Täytyypä höristellä korvia hänen laulunsa suuntaan tulevaisuudessakin. Veljensä Dwayne Croft oli Donnerina niin ikään hyvä. Mieluisa baritoni. Näyttämö on siitä jännä paikka, että pienessäkin roolissa voi varastaa shown. Näin teki Gerhard Siegel Mimen roolissa. Lauloi tuskin montaakaan säettä, eikä viipynyt kovin pitkään kuvissakaan, mutta voi pojat mikä äly, olo ja presenssi! Täydellinen lipevähkön ovela ja rakastettavan hupsu kääpiönhutilus. Tuskin maltan odottaa Siegfriediä, jossa hän on enemmän lavalla.

Seuraava ilta ja Valkyyria. Sormuksen osista minulle entuudestaan tutuin, johtuen Jonas Kaufmannista Siegmundin roolissa. Olen nähnyt videopätkiä hänen esityksestään aikaisemmin, mutten koko oopperaa vielä. Masiina miellyttää heti alussa, hienot metsäprojisoinnit, jopa puiden rakenne näkyy. Myöhemminkin hienoja Kone-kohtia; vuorenrinne jolla Wotan ja Fricka keskustelevat ja aivan lopussa kallio, johon Brünhilde vangitaan uneen. Yllättävän hyvin toimivat lankut myös valkyyrioiden orhina oopperahistorian ikonisimmassa ratsastuskohtauksessa. Hieno skene muutenkin. Musiikki on niin vahvaa ja riemukasta.

Entäs laulajat? No Jonas tietysti superupea. Järkyttävän komea sitäpaitsi sankarina, hevilettiperuukin ja passelin parransänkensä kanssa. Laulullisesti huomaa, että rooli on hänelle vielä ehkäpä hieman matala. Ei niinkään sävelistä, kuin siitä kuinka keskittyneesti hän laulaa. Totutun upea näyttelijäntyönsä jää aavistuksen ajoittain tuon keskittymisen jalkoihin, mutta toki hänellä on tilaa siltikin loistaa ja lumota runsaasti ja täysillä. Toisaalta keskittynyt ilmaisu toimii tietyissä kohtauksissa äärimmäisen hyvin, esim. 2. näytöksessä kun Brünhilde ja Siegmund tapaavat ensimmäistä kertaa. Siegmund kuin pidättelee energiaa suojaten samalla Sieglindeä tuntematonta vastaan. Tehokas jännite!

Siegmund ja Sieglinde  (c) Ken Howard / Met Opera

Sieglindeksi ei varmaan parempaa saattaisi toivoa kuin Eva-Maria Westbroek. Hyvin luonteva ja vapautunut näyttämöllä, laulaakin kauniisti. Sisarusparin keskinäinen kemia toimii ja he täydentävät toisiaan niin ilmaisullisesti kuin vokaalisesti. Bryn Terfel Wotanina lauloi minusta paremmin nyt kuin Reininkullassa. Vähemmän vouvausta, herkemmällä otteella, muttei hävinnyt pätkääkään tehokkuudessa. Deborah Voigtin Brünhilde vaikutti paikoin työläältä äänellisesti, näyttämöllä pidän hänestä paljon. Reipas, raikas ja nuorekas soturitytär. Näyttääkin sopivan sirolta ja nuorelta isä-Wotanin kainalossa :)

Samana Valkyyria-iltana satuin bongaamaan nettilähetyksen Wagnerin synttärikonsertista Dresdenistä. Orkesterina Staatskapelle, puikoissa Christian Thielemann ja solistina Kaufmann. Ohjelmassa valikoituja alkusoittoja ja kohtauksia synttärisankarin ooperoista. Tuli Rienziä, Lohengriniä ja Tannhäuseria. Varsinkin viimeksi mainitun Inbrunst im Herzen oli todella upea! Kuin tehty hänen äänelleen. Ei maailma turhaan odota Kaufmannin Tannhäuseria. Mutta vaikkei vielä pitkään aikaan (tai koskaan) koko roolia esittäisikään, maistiaisiinkin olen enemmän kuin tyytyväinen. Ällistyneenä suorastaan! Almächt'ger Vater oli myös hieno. Niin kaunis melodia. Hieman kiireinen Thielemanin tempo aavistuksen häiritsi, mielestäni on kauniimpi hitaampana. Antaa enemmän tilaa Kaufmannin kauniille pitkille laululinjoille. Lohengrinin Gralserzählung on taattua tuttua tavaraa ja laatua. Pidän kovasti tuosta pidemmästä versiosta, valaisee enemmän henkilöiden ja tarinan taustoja. Joutsenkuviostakin tulee selkeämpi. Ja hipaisunherkkä "Taube" uppoaa minuun aina *huokaisee väräjävästi*.

Valmistautuu seuraavaan Sormus -istuntoon.. Siegfriedin näin jo eilen, Jumalten tuho tulee tänään. Niistä myöhemmin..


What a treat this Wagner bicentenary, and this birthday week especially! Been watching episodes of The Ring, the recent Met production on tv, hip hip hooray to Yle (the Finnish broadcasting company) for showing them. Finally I get to see the whole cycle! Two done, two to go. A feast for them ears! So big. So luscious. So lovely. So well presented. Glorious orchestra and Maestro Levine, wonderful singers, grrreat show - even The Machine seems to work without hiccups. Unforgettable!

Das Rheingold I found extremely exciting and very entertaining. Just the right appetizer for the three heavyweights. Quelle intrigue and skulduggery! A real Who's Who on the Bold and the Beautiful of Nordic Gods :)  Left me with a keen interest to find out more about the underlying mythology.

Loge and Freia  (c) Ken Howard / Met Opera

Of the performers I liked most.. well, first of all, the Rhinemaidens! Wo-how, grreat! Fabulous costumes, lovely moves - in what must have been rather demanding conditions, with the dread-machine and all.. and they managed to look like they were enjoying themselves - no small feat! - and on top of all that, beautiful singing. Big cheers for them ladies! Really good. Eric Owens as Alberich was probably the King of the Show, judging from the whoops at curtain call. Deliciously low bass. Strong and solid. Loved his dreadlock-do, too. Biggest wow for me was, however, Richard Croft as Loge. What a splendid tenor voice! Lovely ring. Rich and beautiful tone. A pleasure to hear. Convinced as an actor as well. Will certainly keep track of him in the future. Oh, and his brother Dwayne Croft as Donner was good, too. A very pleasing baritone. The stage is a funny place, concerning who's to shine.. no need for star roles, a smaller one can do the trick just as well. Gerhard Siegel as Mime did just that. A few lines to sing, a relatively short time on stage, and he just owned it, completely! The brains and the presence! Every move! The slightest tick! He embodied that smarmishly cunning yet lovable goof of a dwarf perfectly. Can't wait to see more of him in Siegfried!

Die Walküre: Finale Act 3  (c) Ken Howard / Met Opera

The next night: Die Walküre. The most familiar of The Ring parts for me. Because of Jonas Kaufmann as Siegmund. Have seen his bits before as sneak peaks, but never yet the whole piece.

Taken by The Machine right from the start, works wonderfully as a projection pad. Love how the planks transform into a forest, beautiful texture on the trees. And later, too, the cleft of a mountain where Wotan and Fricka converse, and at the very end the rock where Brünhilde is set to rest. The Machine also turned surprisingly well into steeds for the Valkyries to ride on in the most iconic of scenes in the Opera. Loved that scene as a whole anyway. The music is so powerful and joyous.

Of them singers. Jonas, of course, is megagorgeous. Stunningly handsome, btw, with his long curls and a suitable stubble. Vocally it is apparent that the role sits slightly low for him, for now. Not so much in the sounds he lets out, they're invariably gorgeous, but more in the extra focused way he sings. His usually marvellous acting might just slightly be affected by this. It's like he's more in his own world when he sings in such a concentrated way, taking less than usual contact to his fellow singers onstage. Sure there are still plenty of moments for him to shine and charm in full force :) And the restrained interpretation sits very well at certain points of the story, like for instance the Act 2 scene where Siegmund encounters Brünhilde for the first time. It's like he's holding back energy in face of the unknown and at the same time shielding the sleeping Sieglinde. Lovely, palpable tension! Eva-Maria Westbroek's Sieglinde is more than a perfect match for his Siegmund. Natural, effortless ease onstage and flawless singing, as far as I can judge. They look and sound beautiful together.

Brünhilde and Wotan  (c) Andrea Mohin / The N.Y. Times

Bryn Terfel as Wotan, I thought, did a better job now than in Das Rheingold. Less wobbly, more sensitive but no less authoritative. Deborah Voigt's Brünhilde was in places rather laborious, but I do like her presence on stage. Brisk, bright and breezy warrior maiden, managed to look appropriately petite and youthful alongside papa-Wotan :)

At the same evening I chanced upon a live stream of Wagner's Birthday concert from Dresden Semperoper. The Staatskapelle playing with Christian Thielemann at the pult and Jonas Kaufmann as a solist. The programme included selected arias and overtures from the birthday boy's catalogue, most notably Rienzi, Lohengrin and Tannhäuser. Especially Inbrunst im Herzen from Tannhäuser was cobsmacked gorgeous! Like made for Kaufmann's voice. Not for nothing does the world wait for his Tannhäuser. No matter if he doesn't do it for a long time or indeed ever onstage, I'm more than happy with such delicious tidbits. Downright amazing! Rienzi's prayer Almächt'ger Vater was excellent, too. Such a delicate, sweet melody. A somewhat brisk tempo by Thielemann was slightly unnerving, I prefer it slower. Gives more room for Kaufmann's beautiful long lines. Gralserzählung from Lohengrin was great, as always. Very much like that longer (two stanzas) version, because it provides more information of the characters and the story. Explains the swan, too, clearer. And that ultra delicate "Taube" gets me every time *heaving a quivering sigh*.

Getting ready for the next Ring session. Siegfried was on yesterday, it's Götterdämmerung -time today. More on those later..

Massenet: Werther

Mannheim, Nationaltheater - Oper, 13.04.2013

A pleasant wake up call on Sunday morning, a myriad of church bells tolling, clinking and tinkling, and twittering blackbirds soloing on top. An exotic treat to someone eagerly awaiting Spring to come, so far in vain, back home. Wonderfully warm Sunday it turned out to be, too. Must have been over +20.

Jonas Kaufmann & Marie-Belle Sandis     Photo by Michel
Source: Morgenweb

But the reason I was in Mannheim wasn't Spring. It was - might as well own up to it - my Lieblingstenor Jonas Kaufmann. Had managed to get tickets, albeit far and high, to one of his performances, usually they sell out like fire. Maybe somewhat smaller theatres (as comparison to, say, ROH, La Scala, Vienna, Munich..) are the trick.

Was pleasantly surprised to actually see quite well from my balcony seat. Nice view to the stage, close-ups were of course out of my limited sight, sans opera glasses. Haven't yet developed my new hobby to such levels of fancy gear. It's coming, though, I think. Any day now..

Staging and set, costumes alike, were gracefully modernized. The palette consisted mostly of dark colours. Singers wore smart suits and dresses. Simple chic. The set was black and white with a clever semi-opaque backdrop covering half of stage left. There was a stylized tree drawn on it. Stage right was set up by a built-in living room of a house. Behind it a steeple of a church could be seen. Perspective was created with lighting. Nifty. The set seemed to work well. The only thing I found a bit challenging was the rather bare and basic skeleton of a house in Act 3 that was to depict both Charlotte & Albert's home and Werther's lodgings. Couldn't have guessed a change in scenery, had I not been familiar with the story. A leap of faith was in order. But no biggie, that, really. After all, it was the people on stage who were the main focus.

The cast was, on the whole, very good. Well played and sung throughout. The minor roles were perhaps not that strong, but they, too, filled their slots quite adequately. The four main characters (Charlotte, Sophie, Werther and Albert) were all highly enjoyable and Mr Kaufmann in the title role was in a class of his own. The two sisters, Charlotte (Marie-Belle Sandis) and Sophie (Katherine Göres), did by no means fall back very far. Beautiful singing from both of them. Especially delighted by Sophie. A very well portrayed sweet and fresh young girl with a beautiful, sparkling tone of voice. Charlotte likewise was very good. Hers is more dramatic a role, as well as considering voice quality. Ms Sandis has a pleasing darker and chocolaty tone. Liked her a lot. Her acting was convincing, too. Seemed she shone particularly alongside Mr Kaufmann, in their scenes together. Not a bad place.. :) Nice chemistry.

Him I hardly recognized when he first appeared on stage in Act 1. He looked so young! And slender and small in his dark smarts. What a makeover from Parsifal (where I last got the sight of him)! Perfect for Werther, the young artist. Impeccable singing, too, as could be expected. Smiled like a loony at his gloriously resonant fortes and heaved quivering sighs whenever his honeyed tender pianos hit my ears. A feast for them drums, like I knew it would be. I'll probably never cease to wonder how a human voice can be so marvelously, exquisitely beautiful. Truly amazing. A sheer bliss and joy to listen to. And his acting skills must be equally praised. He's a natural on stage. Always a pleasure to follow. Seemed surprisingly well adapted to the new sets, surroundings and colleagues around him. After all, there can't have been too much time for rehearsing! Looked like he belonged there, like he'd always been there. Loved his (i.e. Werther's) timid wonder on the face of budding love in Act 1. And his Act 2 polite, slightly embarrassed yet firm decline to switch his affections to the more available unattached younger sister, as prompted by Albert. There was some nice bonding between the rival suitors even. An endearing reluctantly hesitant but friendly punch on Albert's shoulder in Act 2, after he expressed sympathy for Werther's former affections for his wife. Thomas Berau did a handsome, even likable Albert. A pleasing baritone. Would be nice to hear him in a more substantial role.

Having seen the Paris 2010 production exquisite finale numerous times, this one left me ever so slightly disappointed. Well, not really, but still.. there was no bed and no proper kiss. He did, however, fall on her arms convincingly and lay there beautifully. Her supporting him was heart wrenching. The kiss on the palm (she kissed his and then helped the hand to his lips) was beautiful and poetic. And most of all, he sang like an angel. Stretched on the floor! How ever do they do that!! Amazing. Deeply moving, too.

The audience went wild with applause, whoops and bravos, especially for Mr Kaufmann. No doubt about who was the star of the evening. The other three principals got their fair share as well. Lost count on curtain calls, dozens it must have been. And the signature line at the foyer was mindboggling. A very nice touch from the opera to organize that, must say. All went efficiently and smoothly, as one can expect in Germany. There was a warm, joyful, happy feeling in the house. He was very generous with his time, patiently signing people's discs, photos, programmes and graciously exchanging a few nice words with everyone. Remarkable. Sweet.

Great evening. Splendid experience. Happy as a lark :) 

Don Carlo. Ancora.

Jonas Kaufmann & Anja Harteros
Photosource

Some sweet soul has shared the Bayerische Staatsoper version of Verdi's Don Carlo on the Net. Eternally grateful. Completely made my day.

Watched the opening night live webcast little over a year ago, Jan 2012, if I remember correctly. Spellbound then and even more so now. Must have caught me on an extra-emotional moment today, such was the extent of the waterworks. Or maybe I just understood it deeper now. The first time most of the energy is usually spent on just concentrating on trying to make out what's happening. Especially without surtitles. And in a really foreign language like Italian. I so wish I knew more than your average culinary terms. Not much of an assistance on opera world ;)

Munich boasts a shining stellar cast for this Don Carlo. The title role of a disillusioned Spanish prince is sung by their very own superstar-tenor Jonas Kaufmann. Soprano Anja Harteros portrays Elisabeth, Princess of Valois, France, his love interest (and, incidentally, the king's, too, for that matter!). King Philip II is the ever-dapper bass René Pape, this time sporting a greyed do to heighten the age difference. The moving and motivating role of Rodrigo, Marquis of Posa, is sung here by baritone Boaz Daniel, though the original cast list would have had Mariusz Kwiecien onstage. He was indisposed at the time, sadly. Russian mezzo Anna Smirnova plays Princess Eboli, Elisabeth's opportunistic lady-in-waiting. The frightening and awe-inspiring role of the Grand Inquisitor is most efficiently boomed by an American bass Eric Halfvarson.

What struck me visually the most the first time I saw this Don Carlo, and even now, was how dark the stage is most of the time. You get used to it as the story goes on, and there are some brighter, or rather, more colourful moments. But as a whole, it is a very dark set. The stage is lit indirectly, light mostly coming from the doors to the sides and back. The only sources of light onstage are a few candles, and a pyre on Act 3, Scene 2. Much of the general absence of light is also due to the costumes being almost solely black. The Grand Inquisitor is just about the only character who has colour. His robes are of ecclesiastical purple. The King and Queen do wear red and gold ceremonially, but even their costumes have black as a base colour. This lightlessness is probably there to add to the general grave and gloomy mood of the piece. Point achieved. But couldn't the performers have had a tad more colourful or brighter outfits, if only to better distinguish them from the black background? Now it sometimes seemed that all I could see were floating faces and hands. Furthermore, the whole of Act One, the Fontainebleau scene, is staged under blue light. Deep in the forest? Night time? That's what it suggests. Ok, with gritted teeth, if it says so in the libretto. But the blue light makes distinguishing a tricky task and frankly does not really caress the features of even such beautiful people as Ms. Harteros and Mr. Kaufmann. A lot of rather unpleasant shadows.. Hmm, would have had second thoughts as a director / set designer (or whoever is responsible for them lights) on that.

Musically I have no complaints. Beautiful tunes. Splendid score. Lovely lines. Melancholy feel no doubt also strikes a special chord on Scandinavian ears. Like this very, very much. Might even be my favourite Verdi. The performers do well, too, especially the three principal ones.

Rene Papè & Eric Halfvarson
Photo: Bayerische Staatsoper / fotogallerie

Mr. Pape in his King's lament of unrequited love at the beginning of Act 4 ("Ella giammai m'amò!") is thoroughly believable and touching, and his bursts of jealousy ring true. The King is not really very likable a character. I mean, it's a dirty rotten thing to snatch away your son's fiancée. Couldn't help but wonder what's wrong with him. Where's his father's love? Is it because the Infante was of his previous marriage? Too painful to remember perhaps? Or is it rivalry, the young vs. the old? Reluctance to pass on the reign, to let go of the status? Or is he simply a pawn on a political game run by the Grand Inquisitor? There are glimpses of a better relationship between father and son, but then the King gets bullied by the church again and falls to his former ways. To his credit though, he does show emotion and remorse on his son's destiny in the end.

Ms. Harteros as Elisabeth did a compelling job. She may not be your absolute top of the litter actress expressively (one invariably feels she's holding something back), but boy she has a beautiful voice. Elisabeth's last act aria ("Tu che le vanità") was breathtaking in its exquisite sad tenderness and beauty. Lovely, lovely! Mind you, her somewhat demure stage presence seemed to fit well with the regal Princess/Queen. And her Act 4 swoon, after finding out it was the King who had the jewel case, was rather convincing. With Don Carlo, though, you'd have thought she'd showed a bit more heart and soul.. it was, after all, he who she loved. Or maybe it is just a case of growing pale in comparison to..

Mr. Kaufmann, then. Well, what can I say.. other than he spoils you rotten. Again. I suppose one has grown accustomed to him being superb. He never fails. His portrayal of the characters is always honest and true. It always seems well proportioned, he never gets over the top. There's hardly ever anything lacking and more than often he leaves the listener/watcher with abundant food for thought. World class. Top notch. Definitely. So is the case with Don Carlo, too. Extremely beautiful, utterly believable. The complex, torn and taunted Prince can't be the easiest to portray. I'm always a bit bewildered how come he so suddenly turns his attentions to politics and seems to forget Elisabeth. Which he, of course, after all does not. I think there's love and longing for Elisabeth till the very end even though he tries to soldier on with 'better' thoughts. He seems so perplexed and, frankly, lost. Holding on to the only tangible, plausible cause he can. Poor boy. 

Boaz Daniel & Jonas Kaufmann
Photo: Bayerische Staatsoper / fotogallerie

Back to singing.. Two of my favourite duets come from this opera: the powerful "Dio che nell'alma infondere" (Don Carlo and Rodrigo, Act 2) and the breathtakingly lovely "Ma lassù ci vedremo" (Elisabeth and Don Carlo, at the end of Act 5. Note! the link takes us to "È dessa.." when DC and E meet at Act 5, "Ma lassù.." starts at 06:41). The first always runs chills down my spine -good chills! not terrifying or bad ones!- for being so strong and heroic and potent. It's a battle cry for all causes good and worthy and a celebration for brotherly love. It gets you to stand up for your rights and crave for liberty. Messrs Kaufmann & Daniel version is slightly wavering rhythmically in places, but brilliant acting-wise. Love the touchy-feely warmth and Kaufmann's bewildered look at the end, where Rodrigo puts forth his hand and Don Carlo is hesitant whether to take it or not. "Ma lassù.." sends tears streaming down my cheeks, for being sooo beautiful and sad. Mr. Kaufmann and Ms. Harteros's performance is special to a tee. Very delicate and soft. Almost whisper-like. As if they're testing how soft a sound is still audible.. Spellbinding and very, very moving. And all the more effective while they are on the opposite sides of the stage, their movements as if mirroring each other. The best possible icing on the cake. 

Noticed that Don Carlo plays at Salzburg this summer. Starring Mr. Kaufmann and Ms. Harteros, Thomas Hampson as Rodrigo and our own Matti Salminen as the King. Sold out, of course, but when pigs fly.. and there were cancellations ;)