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O Mimì, tu più non torni - Vittorio Grigolo & Massimo Cavalletti - La Boheme (by newhere66)

Che gelida manina, Met Opera 04/05/2014

Oh, I just love Vittorio Grigolo’s italianate singing and passionate acting! As gorgeous as this sounds, there is nothing like hearing it live. There’s a brilliant resonance in the house that’s just exquisite. He’s everything a Rodolfo should be.


Soprano debuts in 2 Met Opera roles within day
In this photo provided by the Metropolitan Opera, Vittorio Grigolo portrays Rodolfo with Kristine Opolais as Mimi in the Metropolitan Opera’s Live in HD broadcast of Puccini’s “La Boheme,” Saturday, April 5, 2014 in New York. Opolais made Metropolitan Opera history Saturday, stepping in for an ailing soprano to make her second company role debut in a span of 24 hours. On Friday night, Opolais sang Cio-Cio-San in Puccini’s “Madama Butterfly.” (AP Photo/Metropolitan Opera, Marty Sohl) Kristine Opolais, Howard Watkins
NEW YORK (AP) — Kristine Opolais got to bed at 5 a.m. Saturday after singing her first “Madama Butterfly’” at the Metropolitan Opera and going out for dinner.
Just 2½ hours later, the 34-year-old Latvian soprano was awakened by Met General Manager Peter Gelb, who wanted to know if she could take over a televised performance of Puccini’s “La Boheme” that afternoon after Anita Hartig took ill.

Read more.

Soprano debuts in 2 Met Opera roles within day

In this photo provided by the Metropolitan Opera, Vittorio Grigolo portrays Rodolfo with Kristine Opolais as Mimi in the Metropolitan Opera’s Live in HD broadcast of Puccini’s “La Boheme,” Saturday, April 5, 2014 in New York. Opolais made Metropolitan Opera history Saturday, stepping in for an ailing soprano to make her second company role debut in a span of 24 hours. On Friday night, Opolais sang Cio-Cio-San in Puccini’s “Madama Butterfly.” (AP Photo/Metropolitan Opera, Marty Sohl)
Kristine Opolais, Howard Watkins

NEW YORK (AP) — Kristine Opolais got to bed at 5 a.m. Saturday after singing her first “Madama Butterfly’” at the Metropolitan Opera and going out for dinner.

Just 2½ hours later, the 34-year-old Latvian soprano was awakened by Met General Manager Peter Gelb, who wanted to know if she could take over a televised performance of Puccini’s “La Boheme” that afternoon after Anita Hartig took ill.

Read more.

I love The Met and the internets. Here’s the final scene I was whining about.

The Met: Werther — Jules Massenet (by UCIcinemasBR)

“It seems to me pointless to do an opera as passionate as Werther and not try and reach out and touch the audience.” —Richard Eyre

Well, Richard Eyre, I guess I took you too literally when I went back to see Werther a second time on Saturday. Despite making it way easier to accomplish by getting a much closer seat, there was no reaching. There was no touching!

However, I can tell you that if you’re in Box 30 Seat 3 of the Grand Tier, that framing device leaves you with a view of Werther’s feet for the start of the last scene. Frankly, Jonas Kaufmann has more talent in those feet than the rest of us dream of, but I happen to be a tremendous admirer of his facial talent, which is no more deeply affecting that when his character is in emotional agony. That, and I was worried he might have lost his untied cravat, which I’d grown quite fond of.

Having now seen the Met’s Werther twice, my takeaway is that, well, of course Jonas Kaufmann can sing like you read about, and the production was gorgeous. I’d seen his Tosca and his Faust, and over-listened to countless of his recordings.* But his acting in this was just staggeringly real. This is no small feat in a role that is inherently off the well-balanced emotional chain. But Jonas Kaufmann (my heeero) did it.

________________

*In the interest of full disclosure, there aren’t all that many recordings, so they may, in fact, be countable.

And another thing: I think Gabriel Yared kind of borrowed the chord progression you hear at the beginning of the above video for The English Patient. It’s right here, at about 55 seconds in. That’s okay. My friend, CR, swears she heard Ta-ra-ra Boom-de-ay in—was it Act III?—of Werther.

I went to see this last night. *sigh*

Jonas Kaufmann stars in the title role of Massenet’s sublime adaptation of Goethe’s revolutionary and tragic romance, opposite Sophie Koch as Charlotte. The new production is directed and designed by Richard Eyre and Rob Howell, the same team that created the Met’s recent hit staging of Carmen. Rising young maestro Alain Altinoglu conducts.

For people who say writers can’t write quality work quickly, the program notes said that Goethe wrote The Sorrows of Young Werther in six weeks.

Werther - Massenet | Tickets - Metropolitan Opera

This gorgeous Met Opera mailer arrived today.

(Source: metoperafamily.org)

We were nearly here when the accident happened. I was just about to wander onstage in a full out crazed fan trance to wipe the spittle from Jonas Kaufmann’s lips. (Probably better that I didn’t.)

Faust - Love Duet excerpt - The Metropoltian Opera (by MetropolitanOpera)

Oh, can he sing! But don’t take my word for it.

(Mariusz Kwiecien and Anna Netrebko in Lucia at the Met)

(Source: youtube.com)

Mariusz Kwiecien.

And he can sing! He recently had back surgery, but they’re saying he’ll be back onstage Oct. 25th. Fingers crossed. I’ve got tickets for Nov. 11th.

I love him so much that I learned how to spell his name.

Oh yes. It’s serious.

Metropolitan Opera Live from New York: The MET Opera season continues with a new production of Don Giovanni, Opera of Wolfgang Amadeus Mozart. The tale of a proud, seducer nobleman and the women who are drawn to him. Starring Mariusz Kwiecien. 

Live streaming for all around the world by the MET Opera Live in HD, Saturday October 29th, find tickets in your location…