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Showing results for tags 'Metropolitan Opera'.
For those who missed this announcement (lucky for some): https://www.metopera.org/about/press-releases/the-met-announces-launch-of-new-streaming-platform-making-live-simulcasts-available-for-home-audiences/
“Turandot”, Saturday 30th January After having to attend a funeral service for an acquaintance of Mr P we decided to distract ourselves with a visit to a cinema live broadcast of “Turandot”. As we had just seen the Rhapsody/2P relay with an audience of about 10, we were surprised to find a packed cinema. Turandot is a production by Franco Zeffirelli from 1987 and I’ve never seen a stage so overdecorated and cramped. I can’t imagine how, if sitting high up in the auditorium, one could manage to find the leading characters if they weren’t placed front and middle (as they were most of the time). Such an overwhelming amount of extras, dancers and props! But I must admit, the camera work was very good in concentrating on the important actions, much better than with the RB broadcast. The conductor was Paolo Carignani who too often preferred to push the sound level as far as possible but Nina Stemme as Turandot was of Wagnerian stance and strength and held up as the true dramatic heroine that she is even in a lavish but quite unflattering costume. Her Calaf was not as impressive (Marco Berti), he acted as if he was under-rehearsed and too often took refuge to the standard tenor moves like the single-handed throw, the double heart grasp, the two-arms-out… quite annoying. A revelation was Anita Hartig as Liu, who was able to send long, colourful, lyrical ribbons of music into the air, she really sang from her heart, I felt she was the only one who truly lived the role. She made the incredible beauty and complexity of Puccini’s music audible, and visible, too. Also very interesting was Alexander Tsymbalyuk as Timur, a beautiful voice and quite a good actor, as far as could be seen under the exaggerated make up. I find close-ups at the opera as difficult as at the ballet, particularly with an ugly pseudo chinese make-up (the three “ministers” were an especially bad example). The presenter was Renee Fleming, and she did her job with a professional friendliness (albeit with some gushing) and she obviously had much fun. Very interesting were the intervals – there were cameras onstage and we could see the changing of the scenery, what an enormous amount of work! If they were not so expensive, I’d rather like to see more of the Met broadcast events. Does anybody else go or do you stick to the ROH?