All this is to advise that COMMANDOpera will be around for another complete season of covering Opera globally, in a manner no other venue is capable. Those in the know recognise this was not necessarily a given, however this writer finds his health significantly restored from the chaos of three months ago. During that period, one gave a great deal of consideration to the necessity of time required to maintain such a venture as COMMANDOpera. Yet the weight of speaking intelligently as a serious informational venue on the art form of Opera for readers who are tired of gossip driven sites was the most inescapable point, the elephant in the room. Three decades ago, this writer was obliged to undertake a journalism course, and true to form managed to corner an iconic news anchor for an interview. He was rather amused by it all and granted 10 minutes. When asked why he continued, he fixed a stare and replied; ” Because every day that I can muster the energy to get out there and do it, the public has a right to know the real story” (this was long before journalists felt a personal right to imbue their unwanted  and biased leanings into the news). And so COMMANDOpera remains.   

To further enlighten perspectives, COMMANDOpera has determined to occasionally undertake an essay on societies implosions as they occur globally, eventually finding their way down the corridor of history. Although such writing is fraught with concern, we are living in a most extraordinary and dangerous age. These articles will contain relevant historical references so that readers may appreciate the currents of today more cogently. Rest confidently however; COMMANDOpera will remain steadfastly dedicated to the service of Opera for your reading pleasure.

CRITICAL UPDATE:

COMMANDOpera can now inform readers the production of Anna Bolena at the Mariinsky in St. Petersburg has been quietly dropped from the schedule at both the theatre’s and Miss Netrebko’s calendar. This is a breath taking development. The artist is now scheduled to debut the role at the Weiner Staatsoper on April 2 2011 with an top rank cast which includes Mr. Ildebrando D’Arcangelo as Henry Vlll, and Miss Elina Garanca as Seymour. COMMANDOpera wonders the wisdom of risking such a debut in front of an audience (though Miss Netrebko is much adored in Vienna) perhaps less friendly then the Mariinsky. Withdrawal from this production will not be an option without extremely deleterious consequences to the artists reputation. The tourneé of this work opening the new season at The Metropolitan will be far and away more challenging. The Metropolitan audience who applaud even banal performances wildly, cannot be counted on to do so this time. There are effete knives out for Miss Netrebko in certain quarters of the city to make certain she will NOT be favourably compared to Miss Callas. COMMANDOpera objects strenuously to this irrational behaviour, given Miss Netrebko has yet to essay the role and should be judged on the merits of her performance that evening.

COMMANDOpera conveys best regards to Canadians abroad, particularly those within the armed services overseas.

This article is for my ex who remains the Queen of this heart.

Photo Credit: Miss Jeanette Handler courtesy of Deutsche Grammahpon.

The opera is set in Renaissance Italy and concerns intrigues centering around the Medici family. Giuliano de’ Medici loves the sickly yet gentle Simonetta Cattanei (even as he carries on a liason with her best freind Fioretta), who tries to warn him of the conspiracy against his family. But she is killed by Montesecco, a murderer hired by Pope Sixtus V. Young Giuliano is killed by the conspirators, but Lorenzo de’ Medici escapes with the help of the poet Poliziano. He then wins the support of the people, who lynch the conspirators. The cast for this recording is as follows:

Giuliano de’ Medici: Mr. Placido Domingo
Lorenzo de’ Medici: Mr. Carlos Alvarez
Simonetta Cattanei: Miss Daniela Dessi
Fioretta de’ Gori: Miss Renata Lamanda
Giambattista da Montesecco: Mr. Eric Owens
Francesco Pazzi: Mr. Vitalij Kowaljow
L’Arcivescovo Salviati: Mr. Arutjun Kotchinian
Il Poliziano: Mr. Fabiano Capitanucci
La madre di Simonetta: Miss Debora Beronesi

On the surface of this cast list COMMANDOpera could only note some rather top tier names. With caveats. Mr. Domingo is a rather senior artist, as is Miss Dessi. Yet this is a studio recording, and thus much can be done if there exists a bad take here and there. Take for example the final recording of Miss Sutherland as Elvira in Ernani circa 1998. At 72, Miss Sutherland gives a brilliant, thought provoking introspection of the role, and a fine farewell recording from the studio. Mr. Domingo handles the role of Giuliano with excellence, yet there is something missing from the characterisation. It simply is not enough to sing well when one owns an established reputation for dramatic, heroic roles. The fire was gone. This was initially noticed with the words ‘Rimani ancor’, from the first Act where the two lovers first encounter each other. At this moment Giuliano is desperately trying to dissuade Simonetta from leaving his presence. Those two words should have been inflamed with ardour like no other. However there was nothing. One can only imagine the sultry emotion from either Mr. Michael Fabiano or Mr. Javier Camarena which would have been attached to these few, yet priceless words. Miss Dessi was simply out of her depth throughout the recording. Was it the demands of Verismo style? COMMANDOpera simply cannot gainsay what the difficulty is here. The vocal instrument of Miss Dessi has long owned a distinctive ‘wobble’ which in earlier years was perhaps more easily camouflaged with stunning florid artistry. As the years have moved forward with tonal issues beginning to be in evidence with a pronounced reedy quality, factor in this wobble, and it is game over. Even a studio recording could not cover to a correct degree, the unhappy signature of Miss Dessi’s voice. There are moments which are more kind than others, but you will simply have to buy this set to find out where they are.  Mr. Alvarez as Lorenzo was most redeeming. The declamation of ‘quest’invida ed ingrata razza umana’  from the air ‘Da lunga pezza’ (which concludes the work) were spat out with a vigor one associated more with Verdi’s Macbeth. The air itself finishes once more with a Verdian tone, this time reminiscent of Nabucco introspectiveness. The Fioretta of Miss Lamanda is one the characters which lives throughout the work. Miss Lamanda handles the numerous twists to her character with great care, coaxing out of her instrument every technique she can. There are moments one hopes for more from this artist, yet with the critical air ‘Che iddio ti benedicta’, she handles every turn with gripping emotion like no other. The Montesecco of Mr. Owens was ruthless: one could not help but hate him whenever he sang. He is that incredible! The wildest applause however must be reserved for Maestro Veronesi. The atmospheric qualities brought to the symphonic parts of the score were singularly delicious. When there existed a melodic line required to underline the most delicate vocals, it was like a diamond tennis bracelet: even, perfect, and understated elegant. If the score demanded values which resided more with Beethoven in their strictness, it was as if one was near a volcano trembling to eruption. Conducting a Verismo work requires a sensibility which one almost has to have lived in Hamburg Germany today to really appreciate. One does not acquire the correct thinking on Verismo style by conducting Bel Canto or Baroque works on a routine basis. Therein lies the radiant success of Maestro Veronesi. The conductor’s full time interest lies with Verismo and not with other, well understood styles. In this, COMMANDOpera credits the Maestro for single handedly bringing such excellent works as I Medici to the fore so these rarities may enjoy a rightful place within today’s operatic pantheon of works.

COMMANDOpera advises readers to do the same this summer: get out of the house, go for long walks and get to know your territory again: its a beautiful thing. Re ignite friends you have not seen for a while and do brunch. Determine to return to an earlier time cerebrally unfettered by daily irrationalities you can’t regulate: it’s summer…. revel in the season for all the tranquility it avails. Opera will be around waiting to be picked up when you return whole by the autumn, and COMMANDOpera will be there ready to take you around the globe with endless, in-depth, daily articles not found anywhere else within the new media.

One more thing. By the end of the summer Crew Mantle will finally be recalibrated to a physique far more sculpted than the previous muscle heavy version of old (more out of dietary changes than anything else with a measure of narcissim thrown in). A proper photographic essay will be taken in full mask, and released on this venue to motivate other over 40 types as to just what can be done when obliged. Here is an image of what one may expect: 

COMMANDOpera arrives to vocal artists in the most unusual ways. To know Miss Latonia Moore comes from the Tenor Michael Fabiano who spoke of the artist as a soprano he would wish to sing with one day. Given such a recommendation, COMMANDOpera was obliged to look closely at Miss Moore who is currently appearing at the Staatsoper Hamburg starring in Aida. COMMANDOpera advises readers to head over to the page from the link and view the promotional video of Aida. One might soothingly venture to suggest, the good people of Hamburg at least enjoyed the pleasure of Miss Moore’s vocal instrument. The tonal purity found is of the most velvety, golden quality: there is no edge, while her technical artillery is second to none. Understand clearly, the vocal instrument of Miss Moore is international in calibre, and there can be no question this artist will be playing more often than not at the top tier theatres in the future. COMMANDOpera highly advises North American theatres to engage this artist early, so that she may look kindly on future engagements further down the road. Before COMMANDOpera continues, here is Miss Moore singing an air from Edgar by Giacomo Puccini. Be prepared to sigh a few times, such is the ethereal beauty of this woman’s voice in this air.

Miss Moore sings ‘Addio, mio dolce amor’. Seattle 2005.

Miss Moore who it appears is fortunate to also be a natural and graceful dramatic actress, owns an interesting repertoire of roles which is weighted clearly in Verdi. Aida, both Amelia’s, Gulnara, Elisabetta in 2012 (who knows where), Lucrezia, Elvira, Desdemona, and Leonora in 2012 (in Il Trovatore, and once again who knows where.. actually COMMANDOpera is aware but this information is not available for the public domain). There is some Puccini, yet only one Donizetti: Lucrezia Borgia. COMMANDOpera certainly would advise further Donizetti such as the Tudor trilogy. Perhaps down the road we may see Alceste or Medea. This is an artist who is stylistically accurate for Baroque works in a manner only a very few are today. There is more to know about Miss Moore and to this end, COMMANDOpera has begun negotiations for a full on interview upon her return from Europe in the middle of June.

Miss Moore in an extract from L’Arlesiana. Carnegie Hall 2007.

I digress to make a nascent and well founded point to those who have followed opera criticism for some time. The history of what is written by COMMANDOpera is in the public domain.

COMMANDOpera warrants we are living in a very special time. It is the era of Primo Tenore Assoluto Michael Fabiano. One first noted something was afoot when COMMANDOpera came across the artist quite by chance and first wrote an article on Mr. Fabiano which was updated here. Since this time we have had the opportunity to reflect with extreme gravitas on what this man means to the art form of Opera. In these days one gives far too much emphasis to artists which are merely technically able: those who rip high notes for the gaggling airheads who adore such histrionics (Far too many of the top tier houses engage ‘names’ who simply are beyond their abilities. One has found the greatest opera is often performed in the regional houses, such as the extraordinary Opera Lyra Macbeth of Mr. Greer Grimsley partnered with Miss Brenda Harris. There are simply no other artists today who come close to capably rivalling their portrayals as this wretched couple, yet the great houses are too fixated on ‘names’ to offer artists who are actually without peer in the roles. It is the resolute opinion of this venue the seats of houses are filled only when great art takes place).

Yet one senses something has grown out of the insipid silliness of the days of Opera by high notes. If one considers the over night  fame of Miss Sutherland as Lucia, or Miss Sills as Cleopatra, or Miss Caballe as Lucrezia, we must all concur these successes were built on histrionics of one form or another. However the greatest artist of all, Miss Maria Meneghini Callas essayed starring roles for at least 3 years before recognition was finally felt with I Vespri Siciliani. This was no overnight sensation from histrionics, but rather years of working as a star in regional houses, accomplishing some of the most glorious dramatic singing not heard (but fortunately recorded) since the previous century. Miss Callas, it was said in later years, was an aggressive competitor in those early days, elbowing out others in the most unflattering way. COMMANDOpera has not seen ‘The Audition’, but understands from others, Mr. Fabiano was rather focused on the end game. A similarity? who knows. Miss Callas completely changed how Opera was viewed, not by pyrotechnics, but by reviving the dramatic content of the works and the roles she essayed. There can be no question Mr. Fabiano is an artist who is unique on the planet today, with an ability to actually morph into a character while onstage with the subtlest, most natural gesture from any part of his body to draw you in. It’s not only the eyes, or the use of hands, but the slouch of a shoulder, or literally shaking knee’s. Mr. Fabiano gives Sir Laurence Olivier a run for his money on his average days: he is that extraordinary an actor. But it is the vocal instrument, and what Mr. Fabiano does with it. High notes have never been his concern or interest, but rather what dramatic inflection, the minutest shading, or colouring to underline a single word (in concert with the precise movement of something on his frame) he can evict from his throat. Every word this artist utters is soaked with intent and deep meaning. Nothing is missed, and everything has been properly thought out long and considered in advance. The work begun by Miss Callas has been reborn in Mr. Fabiano. Understand and be aware of this moment in which you live.

COMMANDOpera warrants Mr. Fabiano has perhaps two more years before he completely ascends to the vacant, most rarefied tier in Opera, via his catalogue of stunning historic assumptions. No one like this artist exists in Opera today…. even remotely. There will come a time, when Mr. Fabiano will have to endure the rudest snipes from an endless line of nobodies (particularly from America where they ape such behaviour), such is the short span of their tenuous wisdom. Who knows what kind of mettle a man must own to survive in the place of Miss Callas today?

Although the once great theatre which once owned top tier status, and a sought after destination for those who followed and appeared in Opera, such is no longer the case. COMMANDOpera has personally behind the scenes, reached out to the theatre on numerous occasions through the most senior avenues. And just whom has COMMANDOpera spoken directly with on the matter? The most celebrated Mexican vocal artists on the planet, the Ambassador from Mexico to this country, the senior minister responsible for the theatre, senior ranked personnel from the other top tier theatres, and at least a half dozen influential and well placed private Mexican gentry. COMMANDOpera has not enjoyed the luxury of getting through to President Calderon, although not for a lack of trying and the generous intercession of the gentry.

COMMANDOpera takes the art form of Opera globally most seriously, and has learned one thing over the years: if you want to get anything done, go to the very top. Those who have followed COMMANDOpera from the beginning, are aware of this venues strong interest in seeing El Palacio de Bellas Artes resume its historic position. It is one thing to write on the art form, but it is critically important for those who are most influential to wield such strength to the service of Opera. In view and summation of the extensive discussions COMMANDOpera has undertaken over the past several months with the above noted individuals, it is the position of this venue there exists no further cachet for contemporary artists to include the theatre on their C.V. Nor is it important to speak with gravitas where this theatre is concerned whilst discussing one’s global debuts.

The unspoken reality of Mexico today is of a corrupt government, a violent lawless society, and continued degradation to the bottom of third world stature. When such obvious factors are in play one can appreciate the art form of Opera has no place for the ordinary man or woman within. Let alone as a shining example of a meritous burgeoning society. 

Vergogna.       

The top 14:

The Metropolitan
The Royal Opera House
Teatro alla Scala
Teatro dell’Opera di Roma
Opera National de Paris
Deutsche Oper Berlin
Gran Teatre del Liceu
Weiner Staatsoper
Lyric Opera of Chicago
San Francisco Opera
Teatro Colon
Sydney Opera
Teatro La Fenice
El Palacio de Bellas Artes

COMMANDOpera will pronounce which theatre will replace El Palacio de Bellas Artes as a top tier and desirable theatre in the near future. The criteria will depend on the number and quality of performances, the status of artists who regularly appear, and what the house has done historically regarding the commissioning of new works. The short list currently under review in no particular order:

Mariinsky
Houston Grand Opera
Teatro Real
Canadian Opera Company
Bayerische Staatsoper
De Nederlandse

COMMANDOpera will listen to what others have to say, however please underline your assertion with sufficient historical data. At the moment a new theatre is acclaimed, El Palacio de Bellas Artes will be removed from the rotation at the top of this venue, with the image of the new ascendant theatre installed.

Photo Credit: Miss Deborah Gray Mitchell courtesy of The Florida Grand Opera

Photo Credit: Mr. Jeffrey Dunn courtesy of The Florida Grand Opera

Photo Credit: Miss Carol Rosegg courtesy of The Florida Grand Opera

Photo Credit: Mr. John Grigaitis courtesy of The Florida Grand Opera

Although the details as to the hiatus will remain private, COMMANDOpera especially would thank those who enquired with discreet concern. Crew Mantle particularly notes Opera Chic. The words of this extraordinary individual arrived at the precise moment when there did not appear many were left. 

COMMANDOpera resumes in appreciation of the fact there are so few important voices speaking seriously on Opera in a daily manner. COMMANDOpera is respected, widely read, quoted globally, and speaks to everyone from an intelligent, informative perspective.

The three operas chosen by the new Artistic Director, Mr. Alberto Triola, culturally underlines the dramatic and musical purpose of the Festival: Baroque, Romantic Bel Canto, the twentieth century. The first work which opens the festival on July 15th is “Napoli Milionaria!” by Mr. Nino Rota after a comedic story by Mr. Eduardo de Fillipo which depicts postwar Naples riddled with ruins and black market corruption (a link to the entire 1950 movie version is found here). The second work which takes place on July 18th is Gianni di Parigi by Gaetano Donizetti which will include unpublished and never before heard sections of the score. The third and final work is Rodelinda by Georg Handel which the festival surprisingly announces has never been mounted before in Italy. There is also a concert which will be given to celebrate the 300th anniversary of Maestro G.B. Pergolesi. If your looking to find big name stars at this festival, your at the wrong place, however one could be mistaken. Vocal artists names for the performances could not be found, which means it could be really excellent or seriously not. Nevertheless, a more relaxing getaway in Italy you will not find.

Miss Martorana sings ’Del sen gli ardori’ Achille in Sciro, Festival Delle Valle D’Itria 2007.

Acclaimed American male soprano Michael Maniaci has joined the roster of Fletcher Artist Management, where we will serve as his General Management.

Mr. Maniaci made an acclaimed debut at the Metropolitan Opera in 2007 as Nireno in Giulio Cesare. Other appearances include his list-minute debut at the Teatro la Fenice in Venice performing the title role in Meyerbeer’s  Il crociato in Egitto, Amor in L’arbore di Diana with Gran Teatre del Liceu, Lucio Cinna in Lucio Silla with Santa Fe Opera, and Nereno in L’incoronazione di Poppea with Houston Grand Opera.

In January of 2010, he released his first solo album of Mozart Arias for Telarc, recorded with Boston Baroque and including such works as Mozart’s Exsultate, jubilate and arias from Lucio Silla, La clemenza di Tito, and Idomeneo, which debuted at #13 on the US Billboard Charts.

Future engagements include tours of Madame Whitesnake to the Beijing International Music Festival and Singapore, as well as performances of the works of Handel and Vivaldi at the Ludwigsburger Schlossfestspiele and a concert of his Mozart Arias album with Boston Baroque.  Mr. Maniaci will be seen at Fort Worth Opera as Sesto in Giulio Cesare and as Mozart’s Sesto in La clemenza di Tito with Opera Atelier in Toronto, as well as future concerts and recordings for EMI/Virgin, which include recording a leading role in Vivaldi’s Farnace, and the title role in a rare Leonardo Vincis opera, both of which will have subsequent performances throughout Europe.

China has a vested and long term interest in the natural resources of the African continent as a whole, and one could see this gesture as one more way China cements its ties to the continent. Algerians on the other hand have always posed an interesting dilemma to COMMANDOpera as a people. Algerians who remain within the country are a rather sturdy people as a whole with a distinctive elan that comes from years of interaction with France. Expatriate Algerians on the other hand personify hauteur to such a degree, any Parisian vendeuse from the finer salons along the Avenue Montaigne remain aghast at the impertinence. Nevertheless with great pleasure, COMMANDOpera welcomes China’s efforts in assisting Algeria’s entrance into the world of Opera.

OPERAPLOT 2010 – The Lowdown

Dates: 9am EST Monday 26th April to midnight EST Friday 30th April.
Judge: Jonas Kaufmann
Headlining House:  Opera Theatre Company based in Dublin is offering two tickets to their Marriage of Figaro production in May, 3 nights hotel stay and up to 1000€ towards flights.

Other participating houses (full details here – updated as new houses join)

Atlanta Opera, Edmonton Opera, Fort Worth Opera Festival, Opera Australia, Opera San Jose, Portland Opera, San Francisco Opera, Santa Fe Opera, Scottish Opera, Seattle Opera, Vancouver Opera,

Other prizes
Universal has put CD and DVD sets of Wagner, Haydn and Mozart into the pool.  In addition to be fantastic in their own right, these prizes help solve the problem of opera houses not being especially portable….a bit of a snag in a global competition.  Tickets for the Vancouver aren’t very useful to a winner living in Atlanta.

How it works (full rules and FAQ here)

    * Anyone can enter. Contestants must have a Twitter account.
    * The idea is to summarize the plot of an opera in 140 characters- the Twitter maximum – or less.
    * Each tweet must carry the #operaplot tag, so everyone can follow along.
    * Contestants can enter up to 10 times.
    * 5 winners will be chosen by Jonas.  They will each get to choose a prize out of the pool in a randomly selected order.
A few facts about last year (the whole story can be found here)

    * 32 opera houses in 4 countries
    * Over 500 entries
    * Danielle DeNiese judged the comp
    * It ended up with Priscilla Barrow, an inner city school music teacher in DC, getting an Opera Ball fairy tale courtesy of the Washington National Opera and #operaplot winner Stephen Llewellyn
    * Compressing the plot wasn’t enough of a challenge for some.  By the end, people were writing haiku, limericks and even doing the whole Ring cycle in one tweet.

Top 5 from 2009

    * @leboyfriend – There was a young lady called Fricka Who . . . who . . . *snore* ‘Wake up — it’s over.’ It’s good, I just wish it were quicka.  [The Ring]
    * @wordsmusic – Here’s my castle. Are you afraid? No, I’m going to open all those damn doors! Are you afraid? No, let me in! Who’s that? Oh shit. [Bluebeard]
    * @musicbizkid – Let me get this straight: unfathomable treasure if I betroth my loopy daughter to a ghost? Deal. She’ll meet you by the fjord. [The Flying Dutchman]
    * @DrGeoduck – Who wants to live forever? Me! No, wait, i changed my mind. *dies* [The Makropolus Case]
    * @voxdixit – Monk: Repent, courtesan! (Meditation) Courtesan: Okay! Monk: Wait, there is no God after all! Courtesan: Too late, I’m dead! [Thais]

COMMANDOpera is really pleased to know this contest exists with houses globally involved, and thanks theomniscientmussel for the incredible amount of work  required to take this on.

BRAVO Signor!

Mr. Valenti who is currently starring in The Metropolitan Opera production of La Traviata in the role of Alfredo spoke with COMMANDOpera a few days ago. The interview is found here. As noted by COMMANDOpera, Mr. Valenti’s career arc is already on a rather steep trajectory to the ascension of top tier international status which the honour of this award correctly underlines. The Metropolitan Opera matinee performance of La Traviata is being broadcast today at 1 P.M. EST, and is a must listen to performance for Mr. Valenti’s portrayal alone. Here is the link to access the broadcast internationally.