We've decided to take a tag-team approach for our review of the Met HD Broadcast of Tristan und Isolde. There is no way one person can possibly opine on all 5.5 hours of that monstrosity.
First up: The Music
Sid Says: Tristan und Isolde is VERY long. It would be impossible not to say that it is genius. With that much volume (both in sound and number of notes), you're going to get some really amazing moments. But it's soooo long. From the beginning notes of the overture (including an awesome bass clarinet lick) to the last notes of Isolde singing her way to her death, the music keeps going and going. Did I mention it's long? I'm a big fan of Romantic music, and Wagner writes a bunch of it for this one. Love music, martial music, sailor music, bass music, soprano music, tenor music, slow music, fast music, sad music, dying music, angry music....and 95% of it's amazing. It's just that there's a lot to try to remember. I was overwhelmed. Sadly, I only remember the six note main theme. Probably not the best thing considering the length of the show. Did I mention it was really long?
Nancy responds: Yep. Long. First act...crappy. Second and third acts...very beautiful! Therefore, I found 66.6% of the music amazing. I feel like Tony and Wilbon from PTI! I wish we still had cable, Sid.
Next: The Singers
Nancy says: Deborah ("Debbie" for you cognoscenti) Voight can sing really really loud. I mean L-O-U-D, LOUD! Truly, it's impressive. The orchestration in Wagner is just monstrous. Her voice had to carry over like a billion trombones or something. Fortunately for all of us, her voice is also amazingly beautiful. It has a really lovely shimmery vibrato, and she has great ease in her singing. It's a pleasure to watch her and listen to her. Great!
Robert Dean Smith was Debbie's fourth Tristan in as many performances (read about all of the drama here). He sounded great (in a European kind of way...little bit smaller voice, but very focused and clean vibrato and great intonation), but was a little stiff in the first two acts. In act III, however, he just blew us all away! It was so exciting to watch and hear. It was his Met Opera debut, and you could tell how thrilled he was at the curtain call. Hooray for you, Robert Dean Smith! It was especially cool to see behind the scenes before act III...he was being shown his blocking (where to go when)!!!! Talk about stress.
I kind of have a crush on the guy who played Kurwenal. He, too, had this huge voice (baritone), and would just sort of stand there and sing. We call that "park and bark" in the biz. It was cute.
Sid responds:
Dear Peter Gelb, Met Director,
If you do not hire Robert Dean Smith to sing lots of other things at the Met. You are stupid or something. Maybe it would be ok if Ben Heppner didn't get well....
Dear James Levine, Conductor,
You gotta make the old bass guy sing faster. Sheesh...he was going so slow, I thought we were going backwards through time....that may be why it's sooooo long?
Lastly: The Production
Sid Says: NO, NO, NO, NO, NO!! Bad Met!
....Um, I don't know if the designer knows this or not, but a triangle (which is what the stage was shaped like), comes to a point. When you put that point at the front, you severely limit the number of singers who can stand there (one, particularly at the size that Wagnerian singers tend to be). Somehow, bewilderingly, the set itself made the singers "upstage" themselves. (For the non-theater person, upstaging means, that a performer has to turn away from the audience to look at other performers while they are doing something important like SINGING. It is a VERY bad thing to do, especially to your fellow performers.)
When there was more than one singer on the stage, the action had to move away from the audience to allow the singers to be able to sing out over the audience. That's a pretty important logistical mistake considering the previously-mentioned million trombones. The orchestra out numbered the singers 10 to 1. They needed to be able to get as near to the front of the stage as possible.
The lighting was expensive.
The props were stupid.
Nancy Responds: I really liked the minimalist, Eastern, Zen-like feel of the production. It made an epic event seem a bit more intimate. The camera-work for the broadcast itself was a bit different for this show. They did lots of split-screen work, enabling us to see the big stage picture, and the artist's faces at the same time. It was a great idea, but "less is more (Sid's quote)." In act III, there were these weird miniature sculptures all over the stage. I couldn't tell if they were supposed to represent actual farm animals/implements of Tristan's, or if we were in his statuary. Then they disappeared later in the act before Isolde sang her famous Liebestod. They could have done without them.
The lighting was amazing! They constructed a gigantic light-box for the back of the stage.
Final Thoughts
Nancy: Overall, I came away surprised that I really loved the show. The music was gorgeous (except act I). I'm pretty sure I would sit through it again, if I knew that the singers were really top-notch. It was quite an event!
Sid: Overall, I'm feeling pretty mixed emotions. There's a sense of congratulations/relief that we made it through. I kind of felt like those of us in the audience should have had a big group hug/high five at the end. If a sense of accomplishment in watching the whole thing is a good thing, then that was the best opera I've ever seen.
Showing posts with label Peter Grimes Review. Show all posts
Showing posts with label Peter Grimes Review. Show all posts
Monday, March 24, 2008
Sunday, March 16, 2008
Peter Grimes, So Good, You Want to Have a Drink
Nancy said, "you get to do the review."
So...here goes.
We watched the HD broadcast of Peter Grimes today at our local movie theater. As we had expected, turnout was low. Every broadcast we've been to up to this point has been completely jam packed. Britten just doesn't get folks excited. (I will rant some other time about the strange prejudices typical opera-goers show to their own chosen art...but not today...) We were excited, however. Nancy, the super Britten lover, would have gone if she were suffering from leprosy, to hell with the contagion. I was interested in the heavy/modern drama. (see previous posts about our week long lead up to the event).
A few things before I get into the actual work, because, if you were interested in reading a flat-out, reviewer's review, you could go to the New York Times, (and probably wish you had jammed a nail in your eye after being inundated by pretension and snootiness).
Dear Met people,
Natalie Dessay is probably a really neat person. And she certainly is famous. Renée Fleming has got to have one of the top ten beautiful voices of all time. And seems like a really genuine person. But they are Opera Singers. PLEASE, PLEASE, PLEASE, get an equally famous, opera-loving reporter to do your behind the scenes stuff. Five million of us shouldn't be subjected to the awkwardness of these folks trying to conduct interviews. I know, I know, "it's charming", you say. Nope...just uncomfortable. A really good on-camera reporter will also be charming, and not make us all run for the popcorn and the bathrooms to avoid watching these world class performers humiliate themselves. PLEASE!!
Kisses, Sid
To the review:
Peter Grimes was pretty freakin awesome. However, it was not for the opera-noob. Also, inappropriate for anyone who'd had a bad week or struggles with any mental/emotional issues.
The production/direction/design by John Doyle was stark, dirty, dark and absolutely perfect. You have to understand me. This may be the only time you will see me write those words. I'm usually apoplectic about the staging, direction, lighting, sets, etc. This time, though, it couldn't have been more perfect. A particular kudos has to go to the set designer, Scott Pask. The huge set piece with doors that opened chunkily, and weren't quite evenly set with each other, matched the strangeness of story perfectly.
The chorus was astonishing! I don't know what the chorus master has done to these people, but they are a machine. Under the masterful direction of conductor, Donald Runnicles, they blew us out of our seats. Thank you, chorus. You made the show.
Anthony Dean Griffey (an Eastman alum!) put on a clinic in operatic descent into madness in the title role. His performance should be burned onto DVD and sent to every other opera singer in the world. He didn't fall into the usual operatic trap of hysteria. He just went nuts. You really believed that he was hearing voices. When he walks off to sink himself and his ship, you truly felt like it was the best choice. You could bury an opera house in manuscripts/scores of operas that end with a character going insane. So, all other opera singers are on notice. Do it like Anthony Dean Griffey. You aren't as good as he is, so copy him.
He sang well, too.
Patricia Racette had a strange role, in a strange opera. She has to be sympathetic, and a little suspicious, too. She was mostly both. It may just be the libretto, but I thought her character got off a little easy. I don't want to lay it at her feet. She did choose to play the part pretty prettily, though. (Please forgive the alliteration. Ouch, Sid.).
However, her singing was tremendous. Powerful, sublime, clear. She showed it all. I'm not super high on heavy-voiced sopranos, usually. In my opinion, most of them should read the paragraph on Anthony Dean Griffey's acting. She, however, sang perfectly.
I'm not going to go through all of the other cast members. Other than the screamy preacher-dude, they were right on. The old lady with the laudanum habit was perfect. As were the two baritones. I don't remember their names...let's call them, Dirty and Top-Hat. Top-Hat could knock over walls with his sound (in a good way). Dirty is the character who suggests that Peter go sink himself and his boat. He was so convincing, that I started heading to the marina.
This show is a dead-duck without a good ensemble cast. It had one. It was tremendous.
The orchestra and Donald Runnicles played the @#!! out of the score. It was mind-blowing. BUT...Britten's music is a hard listen. You find yourself scrambling for someplace to settle. And that place never arrives. It is a giant, sprawling, post-romantic, through-composed beast. Do not approach a performance of Peter Grimes, if you have no experience with opera. I don't see you coming out a long-term opera lover if you do.
If you're prepared, however, for the gritty realism of both the story and the music, and need a show that will harrow your soul, then Met's Peter Grimes is a must-see. Just have a bottle of hard liquor ready at home for the post-show trauma. It's intense
So...here goes.
We watched the HD broadcast of Peter Grimes today at our local movie theater. As we had expected, turnout was low. Every broadcast we've been to up to this point has been completely jam packed. Britten just doesn't get folks excited. (I will rant some other time about the strange prejudices typical opera-goers show to their own chosen art...but not today...) We were excited, however. Nancy, the super Britten lover, would have gone if she were suffering from leprosy, to hell with the contagion. I was interested in the heavy/modern drama. (see previous posts about our week long lead up to the event).
A few things before I get into the actual work, because, if you were interested in reading a flat-out, reviewer's review, you could go to the New York Times, (and probably wish you had jammed a nail in your eye after being inundated by pretension and snootiness).
Dear Met people,
Natalie Dessay is probably a really neat person. And she certainly is famous. Renée Fleming has got to have one of the top ten beautiful voices of all time. And seems like a really genuine person. But they are Opera Singers. PLEASE, PLEASE, PLEASE, get an equally famous, opera-loving reporter to do your behind the scenes stuff. Five million of us shouldn't be subjected to the awkwardness of these folks trying to conduct interviews. I know, I know, "it's charming", you say. Nope...just uncomfortable. A really good on-camera reporter will also be charming, and not make us all run for the popcorn and the bathrooms to avoid watching these world class performers humiliate themselves. PLEASE!!
Kisses, Sid
To the review:
Peter Grimes was pretty freakin awesome. However, it was not for the opera-noob. Also, inappropriate for anyone who'd had a bad week or struggles with any mental/emotional issues.
The production/direction/design by John Doyle was stark, dirty, dark and absolutely perfect. You have to understand me. This may be the only time you will see me write those words. I'm usually apoplectic about the staging, direction, lighting, sets, etc. This time, though, it couldn't have been more perfect. A particular kudos has to go to the set designer, Scott Pask. The huge set piece with doors that opened chunkily, and weren't quite evenly set with each other, matched the strangeness of story perfectly.
The chorus was astonishing! I don't know what the chorus master has done to these people, but they are a machine. Under the masterful direction of conductor, Donald Runnicles, they blew us out of our seats. Thank you, chorus. You made the show.
Anthony Dean Griffey (an Eastman alum!) put on a clinic in operatic descent into madness in the title role. His performance should be burned onto DVD and sent to every other opera singer in the world. He didn't fall into the usual operatic trap of hysteria. He just went nuts. You really believed that he was hearing voices. When he walks off to sink himself and his ship, you truly felt like it was the best choice. You could bury an opera house in manuscripts/scores of operas that end with a character going insane. So, all other opera singers are on notice. Do it like Anthony Dean Griffey. You aren't as good as he is, so copy him.
He sang well, too.
Patricia Racette had a strange role, in a strange opera. She has to be sympathetic, and a little suspicious, too. She was mostly both. It may just be the libretto, but I thought her character got off a little easy. I don't want to lay it at her feet. She did choose to play the part pretty prettily, though. (Please forgive the alliteration. Ouch, Sid.).
However, her singing was tremendous. Powerful, sublime, clear. She showed it all. I'm not super high on heavy-voiced sopranos, usually. In my opinion, most of them should read the paragraph on Anthony Dean Griffey's acting. She, however, sang perfectly.
I'm not going to go through all of the other cast members. Other than the screamy preacher-dude, they were right on. The old lady with the laudanum habit was perfect. As were the two baritones. I don't remember their names...let's call them, Dirty and Top-Hat. Top-Hat could knock over walls with his sound (in a good way). Dirty is the character who suggests that Peter go sink himself and his boat. He was so convincing, that I started heading to the marina.
This show is a dead-duck without a good ensemble cast. It had one. It was tremendous.
The orchestra and Donald Runnicles played the @#!! out of the score. It was mind-blowing. BUT...Britten's music is a hard listen. You find yourself scrambling for someplace to settle. And that place never arrives. It is a giant, sprawling, post-romantic, through-composed beast. Do not approach a performance of Peter Grimes, if you have no experience with opera. I don't see you coming out a long-term opera lover if you do.
If you're prepared, however, for the gritty realism of both the story and the music, and need a show that will harrow your soul, then Met's Peter Grimes is a must-see. Just have a bottle of hard liquor ready at home for the post-show trauma. It's intense
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