Turandot was on PBS today. It was the opera that started this blog, really. At the time I thought that except for a few parts here and there it was boring as all hell. Today I turned it on just before the aria that Paul Potts (I can't believe I just typed that man's name in my blog) made famous - Nessun Dorma. We sat through that and about 5 more minutes before Alex said in a tired voice, "I think I need to see a different opera right now." Thank goodness that Barber of Seville is on the DVR.
So there we were, watching Juan Diego Florez jump all over the stage during Ecco Ridente and it hit me - 7 days ago I was standing in the wings of THAT VERY STAGE!!! Sure I felt like I could hurl at any moment, but hey, I'd probably feel that way if I was brought there while healthy. Once again I have to wait for these things to transfer from my short term to my long term memory for the impact to really hit me. InSANE!!!
Anyway, Alex asked me to explain to him everything they were saying or doing so we went over how arias are named for the first few words, how they repeat, what coloratura is, what he's singing and why, and so on. He loves the part where the musicians are chasing him around asking for money. Can't find a quick link on YouTube for it. But it's funny. Trust me.
Voice lesson yesterday. Started Nel cor piu non mi sento (That's Cecilia Bartoli in that link!!) My teacher says it's much easier than the other pieces we've been working on. But since I know one version and the book we use has a slightly different version, it has a built-in challenge of me unlearning what I already know to learn the other version. And as always, me unlearning whatever mistakes I've manage to "teach" myself while learning the other version.
Two things to write about that deserve their own posts:
1. Met Opera's 2010-2011 season and their really cool online brochure
and
2. A group I just joined called The Opera Insider. Everyone should click that link, read about the group and join if you think it's for you. Note that their abbreviation is "toi." Very clever, no?
Showing posts with label Turandot. Show all posts
Showing posts with label Turandot. Show all posts
Sunday, February 28, 2010
Sunday, March 11, 2007
Turandot at the State Theater in New Brunswick, NJ
I didn't go alone after all. I remembered that my friend and neighbor Lin was an avid opera fan so I invited her along and she was thrilled! Turns out that Turandot is one of her favorites. So off we went to New Brunswick. At the box office I told the woman I had tickets reserved through Westminster. She asked one question only: How many? No ID needed. We were seated up up up in the balcony, of course. There were several rows of seats behind us but we were in the last full row. The row in front of us was empty, convenient for draping coats.
So onto the opera itself. It was semi-staged. The 100 person chorus and the entire orchestra were on the stage. The singing and acting took place toward the front of the stage, in front of the orchestra. There were monitors onstage so the singers could see a video feed of the conductor, that was pretty cool.
The singing was awesome. Soprano Sharon Sweet played the title role. She sang effortlessly. Unfortunately, she is disabled and pretty much had to sit for the entire performance. They staged it around her but it took away from the story, in my opinion. The prince (Allan Glassman) sang his arias directly to the audience, nowhere near the princess he was singing to of his love for her. He sang beautifully, although he was sometimes a bit difficult to hear over the swell of the orchestra. I do believe that Princess Turandot's confinement to the chair compromised his ability to act. He sang well, but I didn't believe that he was really in love with her. It seemed awkward when he had to bend over sideways to kiss her.
In my opinion, soprano Barbara Shirvis stole the show with her convincing portrayal of Liu, the slave girl in love with the prince. I think the rest of the audience agreed, based on the applause and standing ovation she received.
After the show we were supposed to head home to meet Ray and Jim and Alex for dinner, but then two women offered us their "Gold Circle" tickets, which included a post-concert champagne reception on stage with the cast. How could we pass that up? So back in we went. I had an agenda: I had contacted the opera company a few weeks ago to inquire about becoming a supernumerary - that's a non-speaking, non-singing role as an extra - and had been in email contact with the super captain, Mike P. This was my chance to meet him in person. As soon as the reception began, I approached one of the supers I recognized from the performance and had him point Mike out to me. I immediately went over and introduced myself. He was really nice. Unfortunately, he said that most of the directors want male supers, but he's working on them, trying to convince them to use women- even if they end up dressing as men! Works for me, if they need a 5 foot tall guy! Anyway, next year they're doing Rigoletto so I'll probably get my chance then, if not before.
So onto the opera itself. It was semi-staged. The 100 person chorus and the entire orchestra were on the stage. The singing and acting took place toward the front of the stage, in front of the orchestra. There were monitors onstage so the singers could see a video feed of the conductor, that was pretty cool.
The singing was awesome. Soprano Sharon Sweet played the title role. She sang effortlessly. Unfortunately, she is disabled and pretty much had to sit for the entire performance. They staged it around her but it took away from the story, in my opinion. The prince (Allan Glassman) sang his arias directly to the audience, nowhere near the princess he was singing to of his love for her. He sang beautifully, although he was sometimes a bit difficult to hear over the swell of the orchestra. I do believe that Princess Turandot's confinement to the chair compromised his ability to act. He sang well, but I didn't believe that he was really in love with her. It seemed awkward when he had to bend over sideways to kiss her.
In my opinion, soprano Barbara Shirvis stole the show with her convincing portrayal of Liu, the slave girl in love with the prince. I think the rest of the audience agreed, based on the applause and standing ovation she received.
After the show we were supposed to head home to meet Ray and Jim and Alex for dinner, but then two women offered us their "Gold Circle" tickets, which included a post-concert champagne reception on stage with the cast. How could we pass that up? So back in we went. I had an agenda: I had contacted the opera company a few weeks ago to inquire about becoming a supernumerary - that's a non-speaking, non-singing role as an extra - and had been in email contact with the super captain, Mike P. This was my chance to meet him in person. As soon as the reception began, I approached one of the supers I recognized from the performance and had him point Mike out to me. I immediately went over and introduced myself. He was really nice. Unfortunately, he said that most of the directors want male supers, but he's working on them, trying to convince them to use women- even if they end up dressing as men! Works for me, if they need a 5 foot tall guy! Anyway, next year they're doing Rigoletto so I'll probably get my chance then, if not before.
Saturday, March 10, 2007
Alone to the Opera
So I have these free tickets to see Turandot at the State Theater on Sunday and no one wants to go. Ok, I shouldn't say that. No one can go. They all have "other plans." Not that I don't believe them... So chances are I'll be going alone. Anyway, I'll be able to email the super captain and tell him that I saw the show. In fact, maybe I'll email him now. Maybe I'll get to meet him there.
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