First Time at the Opera

Dear Giacomo,

A little over a week ago, I took my first trip to the opera since grade school. Given my rationale for going then (a day without class is better than a day with class), I believe this was the first true opportunity of my adult life to appreciate the beauty of the opera.

First, I must say that the most striking thing about Madama Butterfly--and what I expected the least--was the set. Although the set consisted of but a single location, it seemed that it might be more appropriate to a Broadway Musical than an opera stage. I know you didn't really have anything to do with the scenery of this performance, but I cannot help but thank you for picking such a beautiful setting for your work. I only wish the video gave justice to the scenery.


I must also complement your soprano for the performance, Patricia Racette. She certainly does bring the emotion into her singing that this piece requires--and the endurance. From Cio-Cio San's first entrance in Act I, she hardly leaves the stage, and she is part of nearly every piece. No wonder there's a long intermission!

And I couldn't help but feel sorry for Cio-Cio San's misguided hope in "Un bel Di Vendremo". Knowing (from the program notes and the pre-opera lecture) that Pinkerton has long ago abandoned her, it was painful to see such hope and longing.



And truly, your music was lovely. It captured the emotion wonderfully--the soaring love duet and the pain of the end of your story.

My only complaint about the opera (and I'm sure this will not endear me to BRD), is that the plot moves slowly. For all the beauty of the music, I couldn't help but want to shout, "Get on with it!" But then, I'm accustomed to movies, musicals, and TV, where plot is quick, and the focus is on the acting rather than the music. If it weren't for the beauty of the set, I might have preferred to listen to a recording.

As it was, I thank you, Giacomo, for your work of beauty, and for sharing such a pitifully sad story. I look forward to my next opera (so long as it isn't the 5-hour Tristan and Isolde and only hope it might be as beautiful as this one.


TheUkieVillain

Il Trittico by Puccini (with special thanks to the Met in Hi Def)

Dear Amy,

(Author Note: I wrote this a while ago, and forgot to post it. Who knows why.)

Wow! It was so nice to be with you at the Metropolitan Opera's high definition movie screening of Il Trittico. Our only disappointment in the entire afternoon is summed up with the question, "Why didn't they list the singers at the beginning of each of the three operas?" And you had to rush home to the twins and Cloe or you might have said, "Why did they run the credits so fast." It was like a race. Of course, as with most operas, everyone was streaming for the doors anyway (or the rest rooms--the thing did last 4 hours), so I guess it makes some sense.

At any rate, here, to assuage your curiosity is a listing of the primary cast members. Go here, if you want some criticism by Martin Bernheimer.

THE CAST

Giorgetta: Maria Guleghina

Luigi: Salvatore Licitra

Michele: Juan Pons

Suor Angelica: Barbara Frittoli

Sister Genovieffa: Heidi Grant Murphy

Frugola in Il Tabarro, La Principessa in Suor Angelica, and Zita
in Gianni Schicchi : Stephanie Blythe

Lauretta: Olga Mykytenko

Rinuccio: Massimo Giordano

Gianni Schicchi: Alessandro Corbelli

Conductor: James Levine

They say that it takes quite a soprano to sing all three of the main roles in the three one act operas that make up this triptych. Supposedly Beverly Sills tried it and broke down during the performance. In 1981, Renata Scotto sang in all three operas, a feat repeated in 1989 by Teresa Stratas. This time there were three sopranos, but I thought the high point of the production was the singing and acting of Stephanie Blythe who sang Frugola in Il Tabarro, La Principessa in Suor Angelica, and Zita in Gianni Schicchi. She made us laugh, cry, and then laugh again. I have never genuinely laughed so hard at an opera as during this particular performance of Gianni Schicchi. (And I think our tears were quite real during Suor Angelica.) And it was Stephanie Blythe who got us hating her and set us up for Suor Angelica's demise.




Blythe is a great actress with a wonderful voice. I am going to keep my ears open for her.

I'm so glad we ran into each other. Hope to see you for next season's eight operas at the movies.

Betsy DeGeorge