Attila & The Nose@ The Met

In less than 24 hours The Met has had two of the season's most exciting broadcasts on Sirius and I, for one, am one deliriously happy man!

Last night I was glued to Shostakovich's "The Nose" - so much so I was two hours late to a party - I didn't care! I'm surprised that an eighty-plus year old work would still meet with "it's too modern" or it's "all wrong notes" type of comments - and that seemingly most or all of the few comments I've so far read have been so negative (though I shouldn't be surprised by that at all).

I found the entire affair - even just over the radio - to be absolutely mesmerizing; a a glorious romp of sound with contrasts of darkness and light that overlapped perpetually in a manner that grabbed on and never let go.

Friends who attended said it was a major event and a "must be seen" live experience. I would gladly have given up half of this years HD transmissions to have had "The Nose" and "From the House of the Dead" on the HD roster. Hopefully one of the companies sharing the production will have it telecast and become available on DVD. Even if it doesn't, I'll cherish and smile at the memories of this score so beautifully - and entertainingly played over the airwaves last night.

The follow up of the Attila of Verdi this afternoon makes it al - to me at least - all the more sensational. The already typically amazing Met band sounded - from the very opening notes of the prelude to the prologue - breathtaking - amazing. The richness of the string sound was particularly lovely.

I feared what might happen when Ms. Urmana was announced as suffering from and struggling through a cold. I was not prepared for the way she hurled her voice out in "Santo di Patria" - it wasn't necessarily "pretty" singing, but it thrilled me right to the core. Later in her Act I aria she nailed a perfectly executed trill and through in a pianissimi that Caballe would have been proud of!

Vargas sounded a bit frantic - but in a good, slightly unhinged way that is not typical of him. He seemed to be - like everyone else - caught up in the fervor and the fever of it all. Even the intermission features today seemed of a higher level, with nice interviews and blurbs from Messrs. Muti, Abdrazakov and Ramey (with some nice clips of Ramey's Met debut in Rinaldo).

I read what seems to be perpetual criticism of Mr. Gelb and The Met - but too little praise for the things that go right. Last night and today show him and
his company doing things very, very right. Two so very different, contrasting works of different eras masterfully performed. Bravi!

The sun is shining bright and the past two days my home has been filled with glorious sounds orchestral and vocal from The Met. What a wonderful world this can be when we let it!

Met Opening Night Gala: A Wagnerian Length Evening of Scenes

After picking me up early from work, my Met HD Gang and I headed to the Brunswick Regal for the Met Opening Night Gala. Years ago I realized I’m not really an opera gala kinda guy – nights in “three acts” from different works not really being my cup of tea. Much preferable to me are evenings comprised of aria recitals or, even better, entire operas. But there was so much hullaballo surrounding this one there wasn’t a snowball’s chance in hell of missing it. It felt pretty special returning to the sold-out show (as with all of the Met HD offerings here, two or more theatres had to be opened). I must say the chaotic, disorganized hour or so before the gala proper began was a bit of a chore to sit through after a long day at work: a beer and a sandwich would have helped enormously. Still, it was pleasant enough to catch snippets of some celebrity sightings and listen to the unimportant blatherings – as we all agree – these things ain’t all about the music!

First a word on the gowns (and I’m no fashionista – quite the opposite). Renee looked sensational all night, even in that wretched, godawful, tattered Christian Lacroix deconstructed rag for the first Traviata scene. Seriously, it looked like a clown blew up and was then fed into a shredding machine. It was horrific. The next scene’s gown looked considerably better, but so too would have a dirty housedress. The Karl Lagerfeld gown for Manon reminded me nothing so much as something designed for Elsa . . . and I don’t mean von Brabant, but Lanchester - as in “Bride of Frankenstein.” Seriously. It looked particularly drab in comparison to the “lesser lights” of the costumes for the overblown Cours-la-Reine scene (which looked strangely deflated on the big screen in comparison to having seen it a number of times in the house). The final Galliano number for Capriccio was absolutely stunning (though my friends and I got unduly excited thinking Fleming had a snake tattooed on her back . . . she should!). She looked like a million bucks primping, massaging her boobies, and slinking back and forth across the stage like Veronica Lake in a bob (and did anyone get a load of the heels on her? Holy Stiletto, Batman!)

I thought Hampson started off a bit dry and stiff vocally, but my lord, he opened up for the Di Provenza. I found him to be an extremely and uniquely touching, Germont: awkward and thoughtful (and I believe these were choices, not discomfort of being in the role). When Violetta asks “embrace me as a daughter” and throws herself into his arms, this Germont simply didn’t know how to respond, which I felt entirely appropriate. As to complaints about Fleming slowing down the “Amami Alfredo!” – there is a long tradition of Violettas who have done so and I LOVE it when they do. Sills, one of the lightest voiced Violettas ever, could turn, pull and chew those few bars almost into an entire aria. Callas could bring down the pace here, as well. I think it fits the drama perfectly and though Fleming does not necessarily place among my favorite Violettas of all time, I liked what she did with the role (at least for an act) last night. Very much so. (What a drag that Vargas didn’t get his cabaletta, though!)

Throughout the night the singing would be mixed, but mostly good throughout the night, with top vocal honors going easily to Ramon Vargas. My God, I cannot wait to hear him as Des Grieux, a role I find it hard to believe he’s not yet taken on. The “Ah, fuyez” began a bit softer than I like (but hardly inappropriately so) with a slight hesitancy that had me worried he wouldn’t pour everything he had into it. I needn’t have been concerned, as he simply tore the aria up! I really think this is one of the “prettiest” tenor voices in the opera world today, and even if he’s not quite a dynamo actor, he has such appealing, genuine presence that I find myself always routing for this singer (and his Rodolfo last season was exceptional). I loved how he and Fleming kicked it up a couple of notches completely losing all inhibitions and raising the erotic quotient to . . . well, pretty damned high. People in the Cineplex gasped and tittered when Renee literally flung herself backwards over the Prie Dieu, pushing up her girly bits and striking – and holding – a “take me now” pose that was smoking hot! This really is the best scene (and music) of this opera and they did it proud last night.

I really thought Robert Lloyd pulled off Daddy Des Grieux rather nicely (loved the mocking applause and admonishment he gave his son – comical, snide, paternal . . . ). Armiliato got a good reading of the French perfume out of the Met band, moving things along nicely when necessary while still being able to luxuriate in the sound of his singers.

Though Fleming sounded good, involved (and sometimes slightly taxed by the evening) the Strauss was sung with an often refulgent tone that hadn’t been present in anything else all evening. It was a nice capper and what made it especially sweet was seeing Michael Devlin again . . . I’ve always been a fan of his and he seems to be going on forever, good for him! I was startled - pleasantly so - by how many people in our audience were riveted by the Dr. Atomic previews. I can't wait for this one!

It was fun spotting Joe Clark in an early backstage moment (funny how many people recognized him from previous cinecasts, even though he was “out” of the limelight last night) Equally fun was meeting his replacement, (can’t remember his name, but we dubbed him “Little Joe” last night!) who seems like a real charmer. Susan Graham and Deborah Voigt seemed a little odd and stiff last night, both in a sort of "charm the masses" mode that didn't feel natural from either of them.

I think Martha Stewart should've been mixing those cocktails a little earlier in the evening. It WAS funny watching Rufus Wainwright in his sparkly cowboy outfit trying to steal a bit of camera time thought mostly ignored and blocked from view by Martha and Susie. It was a ridiculously long night and not the best showing from from the Met, but as noted already, these evenings ain't all about the music; the buzz is out for the season and I think great, great things are in store for us this year! I can't wait!