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Opera in Ireland - general discussion thread on all things opera in Ireland

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Comments

  • #552
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I met a couple of people who were at La Trav on Thursday. They all thought it was very uneven in quality. They said that the first act was very poor and that it improved a lot in the 2nd and 3rd acts. They also said something about the production. Two Violettas on stage at the same time - one at a ball and one in a hospital bed (flashbacks and all that) and it wasn't clear which one was actually singing.


  • #553
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Hit by a bout of insomnia I was browsing through youtube and watching music clips ( what a brilliant resource it really is), I started with Ravel's piano concerto (michelangeli ) , worked my way through Brahms , Handel , etc etc, all the time following the links on the right side of the screen. It is like six degrees of separation. 'Eugene Onegin' led me to 'None but the lonely heart', and then a version by Mario Lanza and then 'Golden Days' from 'The Student Prince' and suddenly like Proust and the madeleine I was back in the Limerick of my childhood and listening to my mother's favourite song.

    The memory hit me with such power it brought tears to my eyes and an ache for times past.

    ''Looking back through memory's haze
    'We will know life has nothing sweeter than its springtime
    Golden days , when we're young.
    Golden days ''

    I felt like saying ''Lutz you will have the train stop at Heidelberg'' but alas it has long ago left the station.

    The power of music is wondrous to behold and a bit of nostalgia is a good thing now and then, is it not .


  • #554
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Anybody go to Rodelinda ? I thought Renee Fleming was not up to her usual standard.


  • #555
    Sandwlch
    Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    The Green Pixie wrote: »
    I met a couple of people who were at La Trav on Thursday. They all thought it was very uneven in quality. They said that the first act was very poor and that it improved a lot in the 2nd and 3rd acts. They also said something about the production. Two Violettas on stage at the same time - one at a ball and one in a hospital bed (flashbacks and all that) and it wasn't clear which one was actually singing.

    I saw it. Was it any good ? Two answers :

    1) To have a full opera production in Dublin is a lot better than none at all in my book, and so it was good. You cannot judge an opera company on one outing - I have seen poor productions from some very renowned houses. If this company was resident in Dublin and providing a varied repertoire throughout the year we would be the better for it. Having given up completely on any serious domestic opera, I would hope they come back and let us judge a few more performances.

    2) As Pixie's contacts report, the first act just seemed off, but I couldnt quite pinpoint why. The rest was much better. If the music making is good, I can excuse anything, but in fact, for me the production was OK. I thought the double Violetta wheeze worked reasonably well. Finding new angles for staging the staples is an almost impossible (and maybe even more so, pointless) task anyway. For the music : the Violetta had an excellent voice. Chorus, orchestra and the other voices were all only adequate. But you can enjoy adequate. La Traviata is a great opera. I enjoyed this one.

    Was there on the Saturday. As good as a full house from what I could see (despite prices that were certainly too high). I guess the other nights were quieter. Anyone at them ? Dublin still seems to have some appetite for opera. Maybe someone will will have the courage to present a little more than the most reliable crowd pullers in time. The midweek Giulio Cesares next March will be interesting.

    BTW : GTC
    - WTF about parking? Am I missing something or it it just impossible to park there without driving forever (and almost missing the curtain up), or walking miles?
    - improve your punctuality, and stop letting people in during the overture.


  • #556
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    marienbad wrote: »
    Anybody go to Rodelinda ? I thought Renee Fleming was not up to her usual standard.

    I didn't see it, but I can say this: Renee Fleming is fantastic in certain roles - Richard Strauss, Mozart, Dvorak and I'm sure quite a few others, but in coloratura she is a lost case. I've heard bits of her CD of coloratura arias and I'm in the middle of watching her Armida I recorded from Sky Arts, and she is hopeless. No spark, lots of wrong notes etc. The problem is that the Met will give her any role she likes, whether she's suited to it or not, because she puts bums on seats (lots of them). This might be the problem with her Handel as well.


  • #557
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    I didn't see it, but I can say this: Renee Fleming is fantastic in certain roles - Richard Strauss, Mozart, Dvorak and I'm sure quite a few others, but in coloratura she is a lost case. I've heard bits of her CD of coloratura arias and I'm in the middle of watching her Armida I recorded from Sky Arts, and she is hopeless. No spark, lots of wrong notes etc. The problem is that the Met will give her any role she likes, whether she's suited to it or not, because she puts bums on seats (lots of them). This might be the problem with her Handel as well.

    Agree with you on that, her diction and pronunciation was just terrible , particularly in the first act . She was just vocalising vowel sounds rather than singing , if you know what I mean.

    Recording too much Lord Of The Rings and such where she produces sounds rather than words.

    The MET is notoriously indulgent to its stars, you are definitely correct in that, remember Bartoli and Miller?


  • #558
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I certainly remember Bartoli, but who's Miller?


  • #559
    Sandwlch
    Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    A case of what might have been in the latest OTC Magic Flute. Much better than Don Pasquale earlier this year.

    The voices were possibly the best collection that I have heard from OTC (only wobble was the Queen in O zittre nicht which was poor, but she pulled off Der holle rache very well). Setting and acting was good and did strike a good balance of humour and drama in this dog's dinner of a libretto. Good Tamino, excellent Pamina, Sarastro hit the low notes well - I dont remember hearing him before but would like to hear again, Papageno good, the three ladies were super(one doubling as Papagena), and the three boys (or 2+a girl) were perfect.

    But all the good only leaves you regretting that it was hobbled by what was no more than an augmented piano accompaniment. Most notable in the non vocal music, where, despite their best efforts, you just cannot do justice to the colour of such a masterpiece of an orchestral score with 6 musicians. Concert performances with a decent band are preferable to this compromise.

    Nevertheless, most enjoyable - but best when the singing distracted you from the ugly scar of the lack of instruments.


  • #560
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    I certainly remember Bartoli, but who's Miller?

    Jonathan Miller - opera director


  • #561
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    marienbad wrote: »
    Jonathan Miller - opera director

    Oh, of course I know who Jonathan Miller is.
    He will be ever remembered positively for his ENO Rigoletto, and will be ever remembered negatively for a risible production of the Magic Flute he did in Israel.


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  • #562
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    Oh, of course I know who Jonathan Miller is.
    He will be ever remembered positively for his ENO Rigoletto, and will be ever remembered negatively for a risible production of the Magic Flute he did in Israel.

    He was directing a production at the MET a few years back with Bartoli in it, I can't remember what opera it was, she wanted to introduce an aria into the production , either from a earlier version or a different opera. He said not a chance that the opera should stand as written. She went to management , Miller got the chop and Bartoli got her aria.

    I know it was a common occcurance in earlier times, what were they called ? portmanteau arias or something like that but star power seems to wish to bring it back


  • #563
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    A merry christmas everyone who writes on this thread. I wonder where opera in Ireland will go next year. Anyway tonight I am listening and watching a recorded Skyarts showing of Cosi from glyndebourne, I am so thankful of all this new media in opera - but also so lucky to have experienced so many of the great opera houses of the world. I haven't listened to Cosi for awhile. What a delicious opera, it is hard to find any part of the score that is not sheer beauty. It is rather like sitting down for three hours and absorbing the finest cognac ever produced, along with the finest arabic coffee, and the finest pastry filled with the finest fruit and finest cream, it is truly delicious lush and all consuming.

    A bottle of red wine helps. Merry Christmas everyone - and lets not despair - there are opera lovers in this country we all care passionately about what is happening to opera here and all we ask for is a simple national opera company that would compare with the standards of the regional opera companies in the UK or a small regional company in Germany. It may yet happen but as andy dufres (correct me please) said in the shawshank redemption after days in the slammer - how did you survive - I wasn't alone I had Mr Mozart with me.

    too much red wine. Merry christmas folks, I am returning to cosi. this is a bloody fantastic production and cast!!


  • #564
    Sandwlch
    Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    Happy Christmas All.

    And do listen to Mozart. Especially Cosi. It is the least obvious of its sibling triplets in some ways, but its music throughout is just the most enchanting of all of opera for me, and the older I get, the more it has become my all time favourite. Not a dull note in it. And much as I love the brilliance of Don Gio or Le Nozze, the serene pace, sustained beauty, and balance in Cosi, is truly superb.

    A book to recommend for those who have not already come across it, that I have enjoyed over the last few days : The Gilded Stage - A social history of opera by Daniel Snowman. Not a history of opera composers or a musical study, but a history of our predecessors - those who have been attracted and passionate about opera during the last 400 years. Easy going and informative reading.

    2012 looks especially grim for the Irish opera scene. Unless you like Butterfly(catch it in the NCH in Feb, if you miss it you can try again in Belfast in March, or in the GCT from ON in March. If you somehow dodge all those, just to really try and snare you, its back in the NCH (visitors from Ukraine) again in April - talk about bad planning - languisce il mio cor'). Disapointing that the visits from ETO of Eugene Onegin and Il Barbiere to BGOH have been cancelled. So the only light on the horizon is hope for a good Giulio Cesare from ON. Investment in DVDs or flights looks like the only way to get an opera fix next year.


  • #565
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Sandwlch wrote: »
    Happy Christmas All.

    And do listen to Mozart. Especially Cosi. It is the least obvious of its sibling triplets in some ways, but its music throughout is just the most enchanting of all of opera for me, and the older I get, the more it has become my all time favourite. Not a dull note in it. And much as I love the brilliance of Don Gio or Le Nozze, the serene pace, sustained beauty, and balance in Cosi, is truly superb.

    A book to recommend for those who have not already come across it, that I have enjoyed over the last few days : The Gilded Stage - A social history of opera by Daniel Snowman. Not a history of opera composers or a musical study, but a history of our predecessors - those who have been attracted and passionate about opera during the last 400 years. Easy going and informative reading.

    2012 looks especially grim for the Irish opera scene. Unless you like Butterfly(catch it in the NCH in Feb, if you miss it you can try again in Belfast in March, or in the GCT from ON in March. If you somehow dodge all those, just to really try and snare you, its back in the NCH (visitors from Ukraine) again in April - talk about bad planning - languisce il mio cor'). Disapointing that the visits from ETO of Eugene Onegin and Il Barbiere to BGOH have been cancelled. So the only light on the horizon is hope for a good Giulio Cesare from ON. Investment in DVDs or flights looks like the only way to get an opera fix next year.

    Already booked Beatrice & Benedict and Figaro with WNO in Birmingham in March.Alas Ireland is a wasteland as regards opera. Thankfully we have the MET broadcasts,who would have thought it would have become so important .

    Did anyone see the ROH Tosca with Gheorghiu-Kaufmann-Terfel on BBC over Christmas ? Watched it a few times now and it is really growing on me. Initially I thought Terfel was shouting rather than singing but whatever he was doing it became more effective the more I watched it. He dos'nt have as 'big' a voice as I thought , in some of the scenes with Kaufmann he can only just be heard .

    Kaufmann and Gheorghiu are really superb , she brings out all the vulnerability and tenderness at the heart of Tosca. So many I have seen just bring out a kind of calculating jealousy .I wish they had'nt made her wear that silly dress though , but she made the best of it.


  • #566
    EI787
    Registered Users, Registered Users 2 Posts: 39 ✭EI787


    Hi all,

    This might interest some of you:

    http://www.boards.ie/vbulletin/showpost.php?p=76273791&postcount=85

    Handel's Semele is being staged by the Royal Irish Academy of Music in St. Werburgh's Church, Dublin, beginning Jan. 16th.

    Whilst I have to declare that I am involved in the opera (one of the cast members), I've got to say that it is a really fresh and engaging production, hilarious in parts (!), and of course featuring some of Handel's most beautiful arias.

    Would be great to see some of you there!


  • #567
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    westtip wrote: »
    A tonight I am listening and watching a recorded Skyarts showing of Cosi from glyndebourne,

    I watched that a few months ago, and thought it was fantastic. The most interesting aspect of the production was this, in my opinion. Usually, when the two boyfriends turn up in fancy dress they look absolutely ridiculous, which turns the whole thing into a total farce. In this production, when they appear dressed up they are actually much more attractive than they were before, making the difficulties experienced by the two ladies a great deal more real and believable. Absolutely top class.


  • #568
    Sandwlch
    Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    For anyone who might have been put off by the over priced tickets to the few offerings from the GCT, I see that the ON performances of Giulio Cesare are available for €20-€60. Reasonable pricing I think, and may encourage some people to 'chance' going to more than the Puccini.

    But the Butterfly at the same time is priced from €30-€120.

    I know which I will be avoiding. May even go to the Handel twice, with a quiet thanks to those paying the fancy prices to the Puccini for subsidising my entertainment.


  • #569
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Sandwlch wrote: »
    For anyone who might have been put off by the over priced tickets to the few offerings from the GCT, I see that the ON performances of Giulio Cesare are available for €20-€60. Reasonable pricing I think, and may encourage some people to 'chance' going to more than the Puccini.

    But the Butterfly at the same time is priced from €30-€120.

    I know which I will be avoiding. May even go to the Handel twice, with a quiet thanks to those paying the fancy prices to the Puccini for subsidising my entertainment.

    These are just ridiculous prices - and for regional opera standard, is there no end to rip off |Ireland. I definitely won't be going and if enough people take the same attitude they might learn some sense.


  • #570
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    Sandwlch wrote: »
    For anyone who might have been put off by the over priced tickets to the few offerings from the GCT, I see that the ON performances of Giulio Cesare are available for €20-€60. Reasonable pricing I think, and may encourage some people to 'chance' going to more than the Puccini.

    But the Butterfly at the same time is priced from €30-€120.

    The Handel obviously isn't selling. I might just gamble on it.
    It just goes to prove that the biggest problem in the opera world is that the average Mr and Mrs opera-goer are only interested in about six operas, with absolutely zero interest in all the others. Which is why we get more and more ridiculous productions of the same old things over and over again.


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  • #571
    Philomelos
    Registered Users Posts: 7 ✭Philomelos


    I regularly went to Opera North in Leeds when I lived in Yorkshire and they are generally excellent, so €20 for Giulio Cesare is good value. It would be great if they could be encouraged to become regular visitors to Dublin. I'd sooner pay Dublin prices at a decent modern venue than the old theatres with all their poor seating and blocked views, but in fact the Dublin prices for ON are similar to those in the (old) Grand in Leeds (except there are no pillars to be seated behind at £8)


  • #572
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Philomelos wrote: »
    I regularly went to Opera North in Leeds when I lived in Yorkshire and they are generally excellent, so €20 for Giulio Cesare is good value. It would be great if they could be encouraged to become regular visitors to Dublin. I'd sooner pay Dublin prices at a decent modern venue than the old theatres with all their poor seating and blocked views, but in fact the Dublin prices for ON are similar to those in the (old) Grand in Leeds (except there are no pillars to be seated behind at £8)

    Sure 20 for Giulio Cesare is good value, but it is more the 130 for Butterfly I am talking about. I am all booked of for the Welsh National Opera Productions of The Marriage of Figaro and Beatrice and Benedict in March at the Bermingham Hippodrome- best seats in the house @ 45 pounds,
    I saw The Meistersinger there a season or so ago with Terfel and again best seats for 65 pounds .

    Last year the same productions were on in Belfast and Dublin and the top Belfast prices were around the 4o pound mark .

    As I say rip off Ireland is alive and well


  • #573
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    marienbad wrote: »
    These are just ridiculous prices - and for regional opera standard, is there no end to rip off |Ireland. I definitely won't be going and if enough people take the same attitude they might learn some sense.

    The prices for the Handel are ok, as for Butterfly - I would need to be paid to go and see it, quite utterly the worst thing Puccini ever turned his hand too.

    However in the GCT would not want to be miles from the stage for Handel. Might go - depends on other committments.


  • #574
    Maggie McGaggie
    Closed Accounts Posts: 287 ✭✭Maggie McGaggie


    Am considering attending Gotterdammerung in the cinema this Saturday. At 4 euro per hour it seems to be good value. Has anyone applied for tickets via the offer in the Sunday Times Culture magazine and is it easy to avail of? I think that Gotterdammerung is the best opera of the cycle and really appreciate the opportunity to attend this scenario in my locality.


  • #575
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I'm going to see it in Dun Laoghaire. I bought tickets ages ago. I'm not particularly into Wagner (not for lack of trying) and have never seen any of his works in the theatre.


  • #576
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Can't wait- going in Limerick , booked ages ago. I missed Die Walkure and Siegfried so really looking forward to this . I heard the cycle will be repeated in one week next year, don't know if it is true though.


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  • #577
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    What a quite astonishing Ring Cycle this has turned out to be at the Met bought to a global audience in cinemas. I am truly envious of all those who have seen it live in the theatre, but even in the cinema that was a truly stunning performance tonight. The production is quite breathtaking. This Ring Cycle surely has no detractors - Breathtaking.


  • #578
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Not that impressed with tonight's MET Gotterdammerung,- First thoughts- Jay Hunter Morris seemed to fade as the evening went on, the staging varied between alsolutely astonishing and absolutely annoying. Voight is not a great Brunnhilde. Hans-Peter Konig has a great voice as Hagen, I just wish he could act just a little bit more. Fabio Luisi is a huge improvement over Levine ( though that is not saying much). Meier still a star.

    As I say first thoughts an hour after the performance, I might feel differently tomorrow.


  • #579
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    Just got back from Dun Laoghaire after seeing Gotterdammerung.
    The first act bored me stiff, but I was quite enthralled by the second and third acts.
    And as for the visuals, that was probably the best stage set I've ever seen. So unbelievably simple, unbelievably versatile. Sheer genius.


  • #580
    Maggie McGaggie
    Closed Accounts Posts: 287 ✭✭Maggie McGaggie


    marienbad wrote: »
    Not that impressed with tonight's MET Gotterdammerung,- First thoughts- Jay Hunter Morris seemed to fade as the evening went on, the staging varied between alsolutely astonishing and absolutely annoying. Voight is not a great Brunnhilde. Hans-Peter Konig has a great voice as Hagen, I just wish he could act just a little bit more. Fabio Luisi is a huge improvement over Levine ( though that is not saying much). Meier still a star.

    As I say first thoughts an hour after the performance, I might feel differently tomorrow.

    Have to admit that the time went by quickly considering i was there for the bones of six hours. It was my first time at a telecast this season and i was slightly disappointed that the performance was homed in a smaller screen. The Robert Lepage extravaganza didn't leave up to expectations especially during the orchestral interludes such as the Rhine Journey and the Death-march.

    I agree that JHT did fade and some of his pronunciations were poor also. He was physically impressive(compared to some others) but was more of a late call-up than a first-teamer. I was happy with D.Voigt but she was not as emotionally involved as one would hope. The star performers, for me, were the Gibichungs. Wendy Harmer is surely deserving of even greater roles in the future.

    One area that pleased me was the interviews with the cast and crew. The seemed to be less luvveyism on show. This drove me cracked last year and doesn't appeal to most people's sensibilities. There theatre was pretty full meaning there is a demand for this service especially out here in the provinces where opera outings are at a premium.


  • #581
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    Well I dunno folks - I have seen about 9 or 10 full ring cycles - plus various one off performances of the various component parts, and this one is visually and dramatically the most impressive, and by god I have seen one or two bad ones in which the audience wanted to put the director in the flames at the end. Hans Peter Konig was the complete star, scenes that before have passed me by just smacked me in the face as pure brilliance last night - the trio final scene of Act two: Hagen, Gunther, Brunnhilde was about as impressive as it gets. Drama - who couldn't call that scene dramatic.

    Iain Patersons Gunther and Wendy Bryn Harners Gurtrune enlivened the at times difficult Gibichung palace parts of the opera - which truly can drag, but these two made them fly by.

    On the technical side - the hunting scene next to the cascading Rhine was brilliant, the faint sound of the babbling waterfall - personally I think added to the whole thing and then the washing of Gunthers hands to make the Rhine flow with the blood of death that the Ring brings to all those who wear it was great theatre.

    Look folks this production took technology and the theatre to a new level - what would you rather have "realistic" forests with guys wearing horns and looking like viking pantomine pieces, or some real modern theatre.

    This Ring is brilliant!!! I am a huge fan of it!!!


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  • #582
    Maggie McGaggie
    Closed Accounts Posts: 287 ✭✭Maggie McGaggie


    westtip wrote: »

    Look folks this production took technology and the theatre to a new level - what would you rather have "realistic" forests with guys wearing horns and looking like viking pantomine pieces, or some real modern theatre.

    This Ring is brilliant!!! I am a huge fan of it!!!

    I'm not trying to saying that the production or effects weren't impressive just solely in this part of the cycle. For example, during the Rhine journey it looked like an actor playing Siegfried, the body-shape seemed wrong. I didn't feel that it added to the story or helped build a sense of tension or momentum throughout the piece. I thought that in the other operas the theatrics were asounding, esp.in Rheingold.

    I agree about Hagen but imo he has some of the best and most dramatic music in the opera(eg. summoning the vassals, his watching song) + his character is one which an actor can really get his teeth into.

    Agree about the ring. I absolutely love it too. Hopefully, Parsifal or Tannhauser will be screened in near future. Sickens me that i wasn't into opera when ring was staged in ul a decade ago. Did anyone on here see that production + did you enjoy it? A once in a lifetime experience to see the Ring in Ireland probably.


  • #583
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    Maggie McGaggie wrote: »
    I'm not trying to saying that the production or effects weren't impressive just solely in this part of the cycle. For example, during the Rhine journey it looked like an actor playing Siegfried, the body-shape seemed wrong. I didn't feel that it added to the story or helped build a sense of tension or momentum throughout the piece. I thought that in the other operas the theatrics were asounding, esp.in Rheingold.

    I agree about Hagen but imo he has some of the best and most dramatic music in the opera(eg. summoning the vassals, his watching song) + his character is one which an actor can really get his teeth into.

    Agree about the ring. I absolutely love it too. Hopefully, Parsifal or Tannhauser will be screened in near future. Sickens me that i wasn't into opera when ring was staged in ul a decade ago. Did anyone on here see that production + did you enjoy it? A once in a lifetime experience to see the Ring in Ireland probably.

    Yes I saw that cycle in UL all those years ago - fantastic to see in in Ireland as you say and as a bonus we got to see Maxim Vengerov doing a dry run of his opening night of the Proms piece - Symphony Espagnole by Lalo- those were the days when we had outstanding performers coming to Ul in Limerick.

    Back to The Ring - I love it also , the music mainly , most of the libretto I do find problematic- but it is redeemed by the magnificent score. This particular production I found was a bit hit or miss - the staging was outstanding but owed a huge amount to the Chereau/Boulez Bayreuth 1976 production with the added bonus of computer technology.

    I spoke to a couple of friends of mine that were at the MET for one of the earlier performances and apparently the ''giant machine '' could be heard clanking and clicking all over the theatre and was a phenomenon and annoyance at the same time . Maybe it was sorted out by the time of the broadcast performance.

    But other than the new technology it was as traditional an interpretation as one could find .


  • #584
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    marienbad wrote: »
    Yes I saw that cycle in UL all those years ago - fantastic to see in in Ireland as you say and as a bonus we got to see Maxim Vengerov doing a dry run of his opening night of the Proms piece - Symphony Espagnole by Lalo- those were the days when we had outstanding performers coming to Ul in Limerick.

    Back to The Ring - I love it also , the music mainly , most of the libretto I do find problematic- but it is redeemed by the magnificent score. This particular production I found was a bit hit or miss - the staging was outstanding but owed a huge amount to the Chereau/Boulez Bayreuth 1976 production with the added bonus of computer technology.

    I spoke to a couple of friends of mine that were at the MET for one of the earlier performances and apparently the ''giant machine '' could be heard clanking and clicking all over the theatre and was a phenomenon and annoyance at the same time . Maybe it was sorted out by the time of the broadcast performance.

    But other than the new technology it was as traditional an interpretation as one could find .

    Yes I went to the Ring in UL what a great job our youth orchestra did - how could anyone miss a Ring Cycle in ireland - the first and only one ever I think, sadly I don't think we will be seeing a Ring on these shores for a long time. I agree about the influence of the Boulez Ring of the mid 1970s - remember that was shown on TV as well, but it has also reminded me greatly of the ROH Ring of the early 1980s - which was also Boulez influenced (Directors name escapes me right now I think the Gotz Friedrich production?) this featured a huge single platorm on the stage that did spectacular things. the rise of the gods to Valhalla at the end of Rheingold still sends shivers down my spine and the fabulous end to Walkure, it was a great Ring. Mind you the current Ring at ROH is pretty dam good. Interesting what you say about the noise of the machine in the theatre that would be distracting - maybe this Ring has been designed with the global HD audience in mind? Theres no doubt it is cinematically specatacular at times.

    Look its great we all share such diverse opinions on this. I always feel sorry for those that don't like Wagner. No emotion in their souls - lost causes in the main.


  • #585
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    westtip wrote: »
    I always feel sorry for those that don't like Wagner. No emotion in their souls - lost causes in the main.

    That's a heap of bull****.


  • #586
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    The Green Pixie wrote: »
    That's a heap of bull****.

    GP I was just having a laugh! How's it going are you going to Opera North? I really don't like that theatre for opera but if in Dublin may take in the Handel, but as said before would need to be near the stage for this opera - not up in the gods of the Box on the docks.


  • #587
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I fancy going to the Handel but haven't made my mind up yet. I saw on the internet that the production got good reviews when it opened in Leeds.
    I checked a few weeks ago and at that time it was easy to pick up very good seats. I don't know what the situation is now.


  • #588
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    Just had a look at the GCT website.
    For the Handel, it says "tickets currently not available" for the Wednesday.
    When I checked for the Friday it came up with a very good seat in the middle of row F in the stalls. (didn't buy it though)


  • #589
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    That's a heap of bull****.

    Why so Green Pixie ? Do you have problems with Wagner ?


  • #590
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    marienbad wrote: »
    Do you have problems with Wagner ?

    I just don't like his music very much. Is that a problem?


  • #591
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    I just don't like his music very much. Is that a problem?


    Not at all Green Pixie, I am just interested in your opinion. As I said earlier I love the music but I find the libretto deeply troubling and racist in the extreme and a reflection of Wagner the man. Apart from Wotan and possibly Sigmund and Sieglinde I find none of the characters really appealing - I still love the whole ''gesamtkunstwerk'' though and I am overwhelmed everytime I see it. The power of art I suppose , in that it can overcome the fiercest resistance.


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  • #592
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    Whatever about any other aspects of Wagner's music, it's that overwhelming (and indeed manipulative) part of it that I find difficult, and it's a part of it that I definitely felt in the cinema on Saturday.
    Many composers (indeed most) wanted to touch the hearts of their listeners. I can't think of another composer who set out to overwhelm them.


  • #593
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    Whatever about any other aspects of Wagner's music, it's that overwhelming (and indeed manipulative) part of it that I find difficult, and it's a part of it that I definitely felt in the cinema on Saturday.
    Many composers (indeed most) wanted to touch the hearts of their listeners. I can't think of another composer who set out to overwhelm them.

    But surely all music is manipulative ? Whether it be the laughing chorus the moves us to pity or the humming chorus moving us to pathos and sadness- Handel Verdi Puccini , all are manipulative are they not ?.

    I don't mind the overwhelming aspect- no different really than The Trojans/Aida/Don Carlos etc


  • #594
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I've just had another look at the GCT website. It looks like the Wednesday night Giulio Cesare has been cancelled, so there will only be one performance on the Friday.


  • #595
    Sandwlch
    Closed Accounts Posts: 1,066 ✭✭✭Sandwlch


    The Green Pixie wrote: »
    I've just had another look at the GCT website. It looks like the Wednesday night Giulio Cesare has been cancelled, so there will only be one performance on the Friday.

    By order of the Gardai. Performance sold out, causing queues of very unhappy opera fans in Dublin today to occupy the GCT, and demanding that more performances be scheduled. Got very ugly at one stage - crowd broke in to 'Squilla il bronzo di Dio. Guerra! Guerra' from Norma. Authorities fearing riots, property destruction and injury if it went ahead on the night, so safer to cancel it. Protest march by Irish opera fans, from La Scala to the GCT, planned for this Saturday. See you there.


  • #596
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    I've just bought a ticket for Giulio Cesare.
    Stalls Row J, Seat 13.
    Will anybody else be going??
    We could meet in the interval for a drink and a chat.


  • #597
    marienbad
    Registered Users Posts: 9,463 ✭✭✭marienbad


    The Green Pixie wrote: »
    I've just bought a ticket for Giulio Cesare.
    Stalls Row J, Seat 13.
    Will anybody else be going??
    We could meet in the interval for a drink and a chat.


    Alas I will be in Birmingham at Beatrice and Benedict and a few more- lets us know what was like The Green Pixie- Giulio Cesare seems to be popping up everywhere this year - So far Opera North , Eno , New York that I can think of.


  • #598
    Tangier
    Registered Users Posts: 1 ✭Tangier


    Hi everyone, i'm new here so here we go! I went to the Opera Theatre Company's production of 'Bastien and Bastienne' in a country house farmyard in Cooley last year and quite enjoyed it, only regret was i didn't bring a nice bottle of Chablis but there you go, a virgins faux pas i'm sure!
    Like to try a bit of garden opera again this summer and wondering if anyone has been to Lismore or Loughcrew or any other? Love Rossini and especially the 'Barber' but 95euro for Lismore seems a bit top endish for me. The "Figaro' in Loughcrew looks a lot more attractive at 50ish but has anyone been to one of these 'garden' productions and did they enjoy it?


  • #599
    tom traubert
    Registered Users, Registered Users 2 Posts: 217 ✭✭tom traubert


    Despite the thread being titled "Opera in Ireland", I note that at times the discussion has veered off towards other countries also. For that reason I hope you all don't mind me posting the following request for advice here.

    But first, a short preamble. My Dad turns 80 early next year (subject to the usual terms and conditions of course). We (my siblings and I) have let him know that we intend to bring him to La Scala in order to mark that auspicious milestone. He has been fortunate enough in life to enjoy opera in such diverse locations as Covent Garden, Kilrush (from the "pit") and at the NY Met, and many other points in between. He sometimes spoke of a wish to attend at Teatro alla Scala so that he might experience the three great opera houses of the world, hence our hatchling plan.

    I've signed up for the La Scala newsletter just now, and perusing the website I note that the calendar of events is only updated to late this year.

    If anyone who posts here would be willing to provide advice in relation to planning and executing a trip to Milano early next year I will be very grateful. Any tips at all, whether related to organised trips, cheap flights, suitable hotels etc etc will be gratefully received.

    Many thanks.


  • #600
    The Green Pixie
    Registered Users Posts: 171 ✭✭The Green Pixie


    One suggestion: there are loads of companies who organize opera packages - flights, transfers, hotels, tickets etc. It might work out a bit more expensive than organizing it yourself but it's a lot less hassle and you are guaranteed good seats etc.

    Also, bear in mind that the La Scala season is fairly short. It starts every year on December 7th and ends in June as far as I know.


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  • #601
    westtip
    Registered Users, Registered Users 2 Posts: 4,282 ✭✭✭westtip


    Tangier wrote: »
    Hi everyone, i'm new here so here we go! I went to the Opera Theatre Company's production of 'Bastien and Bastienne' in a country house farmyard in Cooley last year and quite enjoyed it, only regret was i didn't bring a nice bottle of Chablis but there you go, a virgins faux pas i'm sure!
    Like to try a bit of garden opera again this summer and wondering if anyone has been to Lismore or Loughcrew or any other? Love Rossini and especially the 'Barber' but 95euro for Lismore seems a bit top endish for me. The "Figaro' in Loughcrew looks a lot more attractive at 50ish but has anyone been to one of these 'garden' productions and did they enjoy it?

    Save up your money, fly into Gatwick and head for the best garden opera in the world, actually its in one of the best opera houses in the world but the garden party is on the outside. Glyndebourne of course. Worth it just for the people watching experience.


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