FRANCESCA DA RIMINI

FRANCESCA DA RIMINI. Opera by Riccardo Zandonai. The Metropolitan Opera 1985. Presented on Live from the Met. Stage Director: Piero Faggioni. TV director: Brian Large. Conducted by James Levine.

Francesca's (Renata Scotto) brother knows that she'll never marry Giancetto Malatesta (Cornell MacNeil) if she sees what he looks like, so he arranges a cruel trick. He has Giancetto's handsomer and younger brother Paolo (Placido Domingo) show up on the da Rimini estate, where it becomes love at first sight for the two [in a very passionate moment in which the two principals never sing, only the chorus in the background, and Francesca presents Paolo with a rose). Unfortunately, the scene in which Francesca discovers the truth is not depicted in this version of Gabrielle D'annunzio's play, but there's plenty of fireworks to come in spite of it. Try as they might, Francesca and Paolo can't quell their rising passion for one another, leading to sex and disaster, and a deeply moving, beautifully staged finale. With superior production design by Ezio Frigerio and beautiful costumes by Franca Squarciapino, this presentation by the famed Metropolitan opera is first-class virtually all the way through. Scott is perhaps not in the best voice, although no fault can be found with her acting. Domingo sings the pants off his third-act aria in which he explains how tormented he is by his separation from Francesca, and the two singers vividly display the proper amount of sexual and romantic excitation. Despite a tendency toward shrillness at times, Domingo is excellent, as is Cornell MacNeil as his frightening brother and William Lewis as the nasty Malatestina, a third brother who loses an eye in combat. Among the supporting cast, pretty Isola Jones makes a strong vocal impression as Francesca's devoted servant, Smaragdi.
Zandonai's music is attractive and powerful, intense with passion throughout, and full of forecasting of the terrible events that will transpire. A masterpiece.

Verdict: Perhaps the only time you'll see a severed head batted around the stage of the Met. ****.

GREAT PERFORMANCES AT THE MET -- TURANDOT

GREAT PERFORMANCES AT THE MET -- TURANDOT. Live Performance 2009. Rebroadcast May 2010.

This Franco Zeffirelli production of Giacomo Puccini's masterpiece Turandot is, in a word, magnificent.

Based on a Chinese fable, Turandot is the story of a princess who is desired by all the eligible and noble bachelors who come in hopes of winning her hand in marriage. But Turandot, under the influence of a female ancestor who was raped and beaten by men, will have none of it. She demands that every suitor answer three riddles, and if he fails -- as they all do -- he is beheaded. A mysterious prince [Calaf] is horrified by the woman's actions, but when he finally sees her it's love -- or at least lust -- at first sight, and to the dismay of his father and the young woman who has always loved him, he decides to try his hand at the riddles. So ends the first act of three.

Maria Guleghina is Turandot and Marcello Giordani is Calaf in this production and both have wonderful moments; for instance, Giordani nails "Nessum Dorma," the great aria in act three. [In a backstage interview during intermission with hostess Patricia Racette, both singers reveal warm and winning personalities.] Marina Poplavskaya makes a highly favorable impression as the tragic figure of Liu, who has dedicated her life to the father of the man she has forever loved from afar. Samuel Ramey is the father, Timur, and Charles Anthony [who also displays a winning personality in an interview] is the Emperor Altoum.

Andris Nelsons is the conductor, and Gary Halvorson the director of the televised program. Zeffirelli not only conceived the production but designed the memorably beautiful and striking sets.

Puccini's music is moving, uplifting, dramatic, and gorgeous.

Verdict: A stunner. ****.

THE AUDITION

THE AUDITION. Director: Susan Froemke. Shown on Great Performances at the Met/PBS.

This documentary looks at the 2007 semi-finals of the Metropolitan Opera National Council auditions. The film is very good at getting across the intensity and sometimes the desperation of the singers who are all too well aware of how important it is to become one of the finalists. The sopranos almost all seem to fit the stereotype of the very hefty -- okay, obese -- opera singer while the gentlemen are more of a mixed bag and in better physical shape. Talented tenor Michael Fabiano [pictured] has such a raw emotional need to make it that the film's most dramatic moment comes at the end when he stands figuratively naked on the stage waiting to hear whose name will be called for the last slot [I won't give it away but I will say that Fabiano has since sung at La scala]. Another winner, Ryan Smith, is an amiable African-American who died of cancer shortly after this film was made; it may have given his poor mother some comfort to know that he got to sing at the Met -- the high point of every opera singer's career-- before he died, and that he spent his last days pursuing his dreams. Alek Shrader is another talented tenor who gets a lot of screen time in the film.

Verdict: Compelling behind-the-scenes look at ambition, talent, and heartbreak. ***.

GRAND OLD OPERA -- TOSCA AT THE MET ON GREAT PERFORMANCES

TOSCA by Giacomo Puccini on Great Performances at the Met/PBS, December 2009. Live telecast.

The first great opera of the 20th century as presented by the Met in New York and telecast live on Great Performances. This is the story of a great artist Cavaradossi (Marcelo Alvarez), and his lover, the jealous and tempestuous opera singer Floria Tosca (Karita Mattila), and how they come afoul of the venal Scarpia (George Gagnidze), who promises to set his captive Cavaradossi free if Tosca will only make love to him. Well ... the best laid plans ... This was conducted by Joseph Colaneri and directed by Gary Halvorson. One could quibble about certain aspects of the production, but basically this is first-rate, with great singing [and acting] from the three principles. Puccini's music combines beauty and drama for an often very powerful effect. One of the great operatic tragedies. NOTE: To read more about Tosca and other 20th century operas click here.

Verdict: The three singers certainly hit the high note! ***1/2.

THE FIRST EMPEROR

THE FIRST EMPEROR. Composed by Tan Dun. Shown on Great Performances at the Met. TV Director: Brian Large.


The three main characters in this epic story are Qin, the first Emperor of China, his crippled daughter Yueyang, and his old friend, the composer Gao Jianli. Qin wants Jianli to compose an anthem for his empire, and takes extreme measures to try to bring this about. Jianli's village is enslaved, and while Qin greets him as a brother, Jianli is enraged by his actions. Jianli's mother was killed in Qin's attempt to "unify the land." Although Yueyang has been promised to the General who took Jianli's village, she falls instead for Jianli -- and vice versa. This leads to some arresting and dramatic developments.


Composer Tan Dun responds to this very interesting libretto by Dun and Ha Yin with music that is lyrical but never that melodious in the true sense, although at times it has a mild Puccini-esque quality. There is an occasional arioso such as "Like a stream rushing to the sea" (the opera is sung in English). Startlingly, members of the orchestra serve as the chorus. In this handsome production, Placido Domingo was Qin, Paul Groves was Jianli, and Elizabeth Futral was Yueyang; all did fine work. Dun conducted his own score, which has many interesting moments.

Verdict: Not for all tastes but not without merit. **1/2.