a Trittico à la Danielle

I was in London twice this month, and my timing was impeccable, as I was able to catch a concert version of Otello (Verdi) with Gerald Finley as Iago!!! with the LSO on Dec 3 and Der Rosenkavalier at the Royal Opera on Dec 13.

While Finley's interpretation of Iago was pretty much revolutionary and well-matched by the masterful playing of the LSO with Sir Colin Davis at the helm (and would we have expected anything different? The LSO IS RAD), I am sad to say his colleagues paled in comparison.
Otello was actually a pinch singer, whose name I am embarrassed to forget (the program is safely packed away in the suitcase heading to Canada with my mom) and I forgive him for any indiscretions (ie vowel modifications) he committed during the performance. I bet he'd gotten off the plane that morning; these things must be considered.
Entrances were made during the music, as it was a concert performance; Ms Tufano, who had 3 lines as Emilia, sashayed onstage with as much ado as she could muster during a very dramatic bit of Otello's, completely upstaging him, in a black strapless number that left absolutely nothing to the imagination from my seat in the rafters. She took her seat and proceeded to drink water, play with her hair, and rifle repeatedly through her score before completely botching her miniscule bit in the ensemble near the end of the first(?) act. I was unimpressed.
Anne Schwanewilms as Desdemona left a little to be desired as well -- absolutely not artistically, though, and I am sure she had a pretty voice, but I couldn't hear her at all for a good 90% of the opera. Good thing the orchestra was making pretty sounds.
As I mentioned, Finley absolutely stole the show. His Iago was ruthless and technically impeccable. The colours he achieved -- at one point subsiding to barely a whisper that was audible in every corner of the hall -- brought shivers and the notion that here was a man who had not a good bone in his body.

Der Rosenkavalier was certainly more polished, well-balanced, and overall, enjoyable. It boasted Sophie Koch (who is DROP DEAD GORGEOUS) as Octavian, Lucy Crowe (young and up and coming and really quite charming) as Sophie, and Soile Isokoski (no idea who she is, but a nice light lyric) as Marschallin, and the three made a very very dynamic trio. The cast included Thomas Allen as Faninal, which was a treat, and Peter Rose was an excellent Ochs. The production was a revival of the 1986 Covent Garden production , for which I give them props: the dress the Te Kanawa is wearing on the front cover is worth the price of admission (£12.50, I stood) alone.
I left the theatre that evening feeling as though I myself had done the opera: drained but wired, as you often are after a show, and craving human contact. I ended up writing something like 6 pages in my journal. I felt as though the performers really took me on a journey; I was inspired as I am not very often inspired after a night at the theatre. I can't say much more about it because some things you don't have words for.

The third opera of my Trittico is Carmen, here in Milano, which I have gotten sneak peeks of by way of my obliging colleague who is singing a supporting role. Sitting in on rehearsals of the opera that will open La Scala's season and chatting with JONAS KAUFMANN (who should be People's next Sexiest Man Alive, if only because he's SUUUUCH the Gentleman) is certainly how I like to spend my Friday nights. Tomorrow I will stand in line for one of 140 10-euro gallery seats to see the finished product. This is Emma Dante's new production which has gotten a lot of hype; from what I saw in rehearsal, there is a good deal of Roman Catholic imagery, as well as many allusions to the Sicilian mafia. It isn't really updated, though; it seems as though it will be suspended in time as more of an allegory than anything.

Stay tuned...