Eva Mei's White Hot Thaïs

I have always loved this opera and have never quite figured out why it isn't given more of a chance to catch on. Leontyne Price, Beverly Sills, and others have taken on this femme fatale, and dusting off its magical score just every once in a while to reveal the treasure it really is.

Pier Luigi Pizzo's production for La Fenice production is absolutely gorgeous with incredible care shown down to the smallest detail, yet always fresh and never fussy. Roses seem to be a central theme in this production and Pizzi gives us have tons of them, a virtual moving wall of roses. Thais (and later, Athanael's) bed is made of huge ropey vines of roses (which transforms during the meditation!).

Mei is a moving Thais and while the voice lacks some softness or plush qualities, her piano and sustained high register singing is pure and lovely. She's an affecting actress and her transformation from courtesan to saint is not only believable but poignant, Mei actually seems to radiate as the Saint. The Mirror Aria is well sung, but it is actually her duets with Pertusi, especially the opening and closing ones of Act III where Mei shines. Her death scene is absolutely beautiful, combining the dual natures - spirituality and sensuality - of Massenet's opera brilliantly and (especially to .



Those who have nudity issues be forewarned a lot of flesh is on display here, the entire female corps de ballet is topless, save for necklace chains, and Thais has a topless doppleganger who gives a radiant performance of the Meditation (Though Mei's costume leaves little to the imagination).

Everybody has great legs here, not just Thais and the girls, but Athanaël, and Nicias too! William Joyner's bright tenor rings nicely and in Nicias's brief time onstage, Joyner creates a vain but imminently likeable fellow. His mini-skirt almost has one fearful of seeing something revealed that shouldn't be.


Everyone is barefoot but with stunning, ornate ankle ornaments by a company called (Venetian pedicurists must have been working overtime during this production!).

While the opera is called Thais – and as terrific as Mei is in the role – it is Michele Pertusi as Athanaël - who just about walks away with the show. His is a presence that is never less than magnificent and I can't think of a better master of the pose than he; his hands, feet, face and his, every gesture is weighted with meaning and seems as an El Greco painting has come to life. Vocally, Pertusi wraps his himself around the role with a seemingly instinctual madness and burns with an intensity that never lets up (even after the final curtain – you'll see what I mean!)



While costumes are "traditional" in their representation of early A.D. Egypt, the physical production is representational and sparse with stunning use of the stage (though the literally dozens and dozens of crosses – another heavy symbol here initially had me thinking "overkill" – but actually? It works!)


Marcello Viotti leads the Fenice forces - orchestra and chorus in a moving and theatrical reading. This is one of the most exciting DVDs I purchased this year (2004).

Joyce DiDonato at Carnegie Hall

Thanks to this marvelous, sometimes frustrating technology, I was able to watch it live in real time on Medici TV, so while not quite the same as actually being there, it's the next best thing . . . and a very good thing, too.

Applying the theme "A Journey Through Venice," to the program, allowed the mezzo and her marvelous pianist David Zobel to examine a wide spectrum of music devoted to one of earth's most celebrated cities. Through the music of Vivaldi, Rossini, Hahn, Faure and
Michael Head, DiDonato revealed why she's one of today's most versatile and unique singers, approaching everything with a freshness and sense of wonderment that is infectious to the listener, drawing one in as though being gently pulled by a friend from a large party into a side room for one-on-one.

So fluidly did DiDonato move through the two gorgeous, elegant arias from Vivaldi's "Ercole su'l Termodonte," "Onde chiare che sussurrate" and "Amato ben," which opened the recital, revealing a precision and elegance smoothly seguing from the virtuosity of the first into the delicate intimacy of the second, and applying a hushed intensity to this music that was breathtaking.

Hot on the heels (after a bit of banter from the singer) came Fauré's delightful set Cinq mélodies 'de Venise, the first of which feels more like Poulenc or Debussy than one usually gets from this frequently introspective composer. With her quick vibrato and slight reedy quality, DiDonato sounds almost as though born to sing French music and hearing this entire set made me curious to hear what she might do with his Pénélope. Whether or not that happens, more Fauré, please, Joyce, it suits you like an elegant glove.

The first half of the recital closed, and the second half began with Rossini, a composer one frequently identifies with this singer, his outsized La regata veneziana contrasting nicely with Desdemona's Assisa al piè d’un salice ... Deh, calma. Again a single composer providing two sides of the same coin and an opportunity for this singer to color, bend and stretch - to play with the music - in a manner many singers seem incapable of, or uncomfortable in doing.

A bit more banter ensued as DiDonato described Michael Head's Three Songs of Venice, written for Dame Janet Baker, and still sounding mighty good from another singer in the here and now.



The crown (for me) of the recital was "Venezia" the "Venice" set of Reynaldo Hahn, long one of my favorite songwriters. They were, of course, glorious sounding, with DiDonato interrupting herself to describe how, if time allowed she'd enjoy being able to change into a costume for "Che peca!": "I would go into a white sleeveless t shirt that's about 20 years old . . . a couple stains and holes, because I would be that man who sits on his porch . . . over the canal, and I envision this song with the man whose had a lot of pasta in his life and he likes a bad cigar, and he's had it . . . and this is what he would sing about." DiDonato struck a swagger-ish pose and presented a sort of artificial huskiness and sprechstimme (built into the song) that was hilarious, and felt natural and it was clear who was having the most fun of the night.

After a warm ovation, and before presenting her two encores, Rossini's "Canzonetta spagnuola" DeCurtis great hit "Non ti scordar di me," both marvelously sung, DiDonato spoke from the heart:

"I know I'm a bit of a Pollyanna about this, but when you look at the world today and it can get a little discouraging at times . . .right? This is our teacher, right here . . . because here we are of different gender, different religion, different politics, different everything . . . and yet in this moment there is harmony and there is peace. This is our teacher, and our goal is to take this that we create here and go out. So that's why . . . and I hope I'm not lecturing you all, I just want to share with you how amazing it is that we get to do this."

Amen, sister.