Review

O don fatale: a holiday gift guide

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Presents!

Searching for an opera-related gift for someone? Here are some ideas. The Times suggests that you get them a Ring Cycle, a Ring Cycle, or a Ring Cycle, the so I’m not going to suggest that (er, is the “super-deluxe” Solti set really worth $318? Does it sound different from the $120 version that includes all the other mature Wagner operas too–which is probably a far better gift, though it may lack libretti?*).

I don’t get any $ from you clicking on these links and I know they are US-centric, but it’s the easiest way of doing it.

Stefan Herheim’s La bohème (DVD) (not pictured above): The Norwegian doyen of phantasmagorical Regietheater has been criminally neglected on video, but luckily that has begun to change. This is a deeply sad, very beautiful look at death and memory. Highly recommended, particularly for Christmas. You can now get his Eugene Onegin as well (which I wrote about here). (Bohème, Onegin)

Opera Glasses: Those dainty little ones work if you have fancy seats and want to see your favorite singer sweat, but if you’re stuck in the Family Circle these suckers mean business and still don’t take up too much space in your bag. (B&H Photo)

L’incoronazione di Poppea (DVD): Monteverdi’s Nero gets away with murder, adultery, and more in an impassioned, lush, R-rated opera that gives Lulu a run for her money in depravity. This recent performance of David Alden’s vintage production, conducted by Harry Bicket with Sarah Connolly and Miah Persson, is probably the best video around. Hey, does anyone recognize this particular staging? (It’s in Alden’s Ballo “Eri tu.”) (Amazon)

Carolyn Abbate and Roger Parker, A History of Opera (book): I am excited to see this book by two of the most important and provocative opera scholars around, which should be very interesting. I haven’t read it yet but am still recommending on general principle. (Amazon)

Tosca (DVD): Antonio Pappano’s fabulous conducting, plus the ideal cast of–bear with me–Angela Gheorghiu, Jonas Kaufmann, and Bryn Terfel make this a Tosca not to miss. I know Angela and Tosca may not seem like a natural fit, but on this video at least she’s wonderfully musical and the voice sounds terrific, and her acting also convinces. Both the men are super. Only the Regie is a little bit lacking. (Amazon)

Karen Engelmann, The Stockholm Octavo (book): This entertaining historical novel is based around the historical assassination of Gustavus III of Sweden–i.e. the events of Un ballo in maschera. Only this version involves way more fans and, fortunately, no Oscar. (Amazon)

Prima Donna, Karina Gauvin (CD): Canadian soprano Karina Gauvin is unfortunately something of a best-kept secret among Baroque fans, but her silvery tone, impeccable phrasing, and vivid expression should work for everyone. This CD is one of those historic diva tribute albums, the diva in question being Anna Maria Strada and mixes some familiar music (Alcina) with less familiar. (Amazon)

Patrick Carnegy, Wagner and the Art of the Theatre (book): This isn’t a new book, but I have to recommend it anyway because it’s absolutely terrific–overall, the single best opera book dealing with opera staging. You’ll learn a tremendous amount about stage technology, changing notions of operatic aesthetics, and landmark productions. It’s pricey but it’s a very substantial, well-illustrated volume. (Amazon)

La bohème (DVD): This is the Salzburg production with Anna Netrebko at her very best (the Act 2 consumerist frenzy is pictured at the top of this post). I enjoyed this one quite a lot, and would like to see it again with Piotr Beczala actually singing. I’m also hoping there’s a Special Feature from the crazy performance I attended. That’s what DVD extras are for.  (Amazon)

Also can someone get me a few of these and throw in a round-trip flight? Happy holidays and don’t forget to listen to some bombastic operatic Christmas music. I’ll be back from Beatrice di Tenda next week.

*Note to my mom: don’t get this for me. I have the Solti Ring already.

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Review

Debut CD by Aleksandra Kurzak

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Few singers get solo CD contracts these days, but Polish lyric-coloratura soprano Aleksandra Kurzak has nabbed one with Decca and her first CD, Gioia! is out now in Europe and on September 13 in the US. I’ve seen Kurzak sing Gilda and Blonde in the Met (perfectly good) and Donna Anna at the Theater an der Wien (excellent) and while she is a good artist with an attractive voice and solid technique (and a committed and smart actress), I didn’t note her as a big star in the making. But the CD and a September Opera News article (not online yet) suggest she is Happening. Is she?

Kurzak began as a Olympia/Queen of the Night coloratura but is taking a turn towards more lyric territory. The repertoire here spans both categories. It’s your standard “calling card”-type album of wildly assorted arias from “Mein Herr Marquis” to Mozart to Puccini. Kurzak has a pretty, light voice with a soft-grained, airy quality and wide, relaxed vibrato. Her coloratura is spotless and intonation excellent. But the exclamation point in the album’s title seems misplaced, she’s more poised and polished than expressive or exciting or varied. It is fine singing, but there are few signs of anything as spontaneous or exciting as “Gioia!” “Una voce poco fa” and “Mein Herr Marquis” both have dazzling passagework but are short on humor and personality. The sole Mozart aria, “Deh vini, non tardar,” suffers from excessive portamenti and awkward leaning into some notes. She fares better in Lucia’s “Regnava nel silenzio,” where her cool temperament is more of an asset, and her “Son vergin vezzosa” (from I puritani) is admirably fluid, but it doesn’t work terribly well without context. Was it chosen because it’s a polonaise?

Her attention to the words is spotty and Italian indistinct (is that a “babbino caro” or a “bambino caro”? it almost sounds like the second), but she turns out to be a surprisingly good Violetta, with a dreamy, floating “È strano” and “Ah fors’è lui” and a “Sempre libera” that is maybe not intense but is certainly more precise and easy than most. Tenor Francesco Demuro appears for the first Nemorino-Adina duet from Elisir d’amore, and sounds jolly if unevenly supported, and Kurzak is almost animated. The final track is the only rarity, an aria from the Polish national opera Straszny dwór (The Haunted Manor) by Stanislaw Moniuzko, an interesting piece that sounds like early Verdi with a Wieniawski-esque violin obligato. The conducting by Omar Meir Welber and the playing of the Orchestra de la Comunitat Valenciana are unobtrusively fine.

I have to wonder about the purpose of these sampler quilt albums–so few singers have the range to be equally good in such a wide breadth of repertoire, and it seems like it would be smarter for them to play more to their strengths. I think it would also make for more enjoyable listening.* Besides, who is just dying to buy another recording of “Caro nome” when you could get something new? (I know. Some people are. Not me.) The press material says this was originally planned as an all-Rossini album, and I have to think that would have been better.

Based on this, Kurzak is a promising artist still finding her footing. But between the dull selection of music and lack of temperament, this isn’t a CD I picture myself listening to many times. Here it is on US Amazon, if you are so inclined.
Trailer (is anyone surprised by the choice of freeze frame?):

*Does anyone else remember Elina Garanca’s Aria cantilena, which memorably juxtaposed Cenerentola with Villa-Lobos and followed them with Offenbach’s “J’aime les militaires”?

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