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Pot / kettle.
Made my way through it - the picture seemed worse than during the live stream, but watchable enough - the unsynchd sound was fine to my ears, but I had set up to play through my TV. I did pre-load it so perhaps this helped (probably not). Thoroughly enjoyed Finley - an astute playing of Sachs deploying his voice to wonderful effect. Saying this, in my opinion, I felt the world weariness / melancholic nature of Sachs was just out of his grasp, but not by much (*waiting for the many who'll disagree with me on this*). I wouldn't want to see him singing this in a bigger house though, but I guess he knows his limits better than others. But when the DVD comes it'll be worth watching for his performance alone. Although a second watching might prove me wrong I wasn't entirely convinced of the Sachs / Eva relationship - the direction felt unintentionally rudderless during their second act scene and the tension that errupted in the third act felt out of place given what had happened before. Topi Lehtipuu was entertainig as David and Kränzle made for an effective Beckmesser. Although it's one of the smaller roles I enjoyed Michaela Selinger (Magdalena) almost as much as I did Finley (heresy, I know). I guess (know) you have to be there in the flesh to really get a sense of it, but 'Wach auf!' felt slightly stunted and underwhelming to me - not sure about the chorus size though. As expected with a McVicar production it's a treat to look at, and apart from my tiny quibbles (which could well disappear on a second viewing) it'll be worth buying on DVD. @Leen It's not ideal, but as the whole Glyndebourne vibe really isn't my thing (and I'd struggle to get a ticket anyway) it's a handy way of getting to see a production on the cheap. Invest in some decentish speakers (you can start as low as £30) and it's not as crap an experience as you'd fear it to be.
Definitely has a better suntan.
Toggle Commented Jun 29, 2011 on Cecilia Bartoli doubles up at Intermezzo
@Carole Ah - I was overhanging you in 9. The New Theatre is beginning to be left behind by the other venues in Cardiff, and with RWCMD's new look being unveiled they might struggle to keep the Song Prize heats at some point in the future. Probably the main reason why it might keep the event is that it used to be WNO's theatre before the WMC was built. @Malcolm Fawcett Naforniţă is anything but a KJ - there was a big difference between what you heard on TV compared to in the hall. According to reports she's off to Vienna State Op for a year in 2012. Of the one's to miss out I was most disappointed not to see Braunsteffer make the final.
Have to say how much I've enjoyed reading Carole's reviews of events in Cardiff - particularly the Master Classes, which Ialways tend to miss for one reason or another. I'd been thinking the same thing myself about a lack of Largo - and I wasn't at all sorry to go a year without hearing it. As a matter of interest where were you (Carole - not Intermezzo) sitting for the concerts? I know the sound can alter with regards to proximity to the stage, although this year all the singers could be heard above the orchestras in the hall unlike previous years.
I've looked now - he was 1st...(there goes my career as a witty, debonair, waffling pundit)
Toggle Commented Apr 4, 2011 on on the list at Intermezzo
Where did the pig come on the list?
Toggle Commented Apr 4, 2011 on on the list at Intermezzo
...the others only come out at night...
Erm, no...
You can also listen to the premiere live on the internet via ORF Radio at 6pm on Saturday.
Toggle Commented Mar 31, 2011 on Anna Netrebko is Anna Bolena at Intermezzo
I've scoured the list several times and am saddened by the omission of James Last.
Toggle Commented Mar 18, 2011 on Carlos Kleiber is the greatest at Intermezzo
Sounds like good news to me - his Ring convinced me to give Wagner a fair crack of the whip.
"Please note: due to high demand performances of Tosca on 14 and 17 July are now sold out. You may wish to keep checking our website or telephone the box office as returned tickets do sometimes become available. Day tickets will also be available..." Hmmm. This does seem to be a definite statement - and one meant for Friends and public bookers alike. I'm very surprised that they appear to have changed their 20% policy for these dates. Although as @Samuel suggests it's a good idea to check back near the dates as I seem to remember little pockets of seats appearing online for Barbiere two years ago - but only expensive stall seats.
I wasn't at the recital but I have to agree with you about his not being booked by CG. From the DVD recordings I've seen he's far more than a pretty face. Have to admit I didn't know who his father-in-law was!
Toggle Commented Mar 9, 2011 on Luca Pisaroni at Wigmore Hall at Intermezzo
I got in around 8.05am and there were still tickets for the 17th in the Amphi. Not many mind you. I guess there'll be a lot of expensive newcomers to the standing places if they sold out during the friendlier Friends booking period...
Nice to see Prince Albert Ver2.0 of Monaco honouring Captain Merrill Stubing. Shame he couldn't find a cap...
Trying not to get into a "My brother's bigger than your brother" throwdown but WNO released their season in mid January around 9.08am on a Monday morning: By the way, my brother is a double blackbelt in No-Can-Do and is the 1,987,678,098th tallest brown haired man in the world ever in his age range...
Toggle Commented Feb 17, 2011 on 2011-12 in Amsterdam at Intermezzo
Booked yesterday - a white knuckle ride with site apparently crashing, but not really as tickets all remained in my basket. Prices are very steep throughout the hall - ended up nearly doubling what I normally spend on ROH booking. If you're looking for an affordable way to see / hear great conductors / orchestras the Southbank isn't the place to go. Buy a DVD instead. On a separate whinge - unlike ROH, if I can't make it to a performance (I buy in hope) I'm stuck with credit notes that I struggle to use, as London midweek is very difficult for me to travel to. Unfortunately that's when the majority of the more sought after performances seem to take place. I'd far rather the Southbank Centre follow ROH's example and return the money from resold tickets to my account - I'd like to think that (morally speaking) the money is mine when tickets are sold on. It's why I recently ended up buying a membersahip for the first time - soon to expire notes that needed spending. End of whinge.
Does anyone else want a recording contract? (The Art of Backtracking by HairmanWNO ©)
@Michael - I agree completely with you about Kurzak. Seeing her (and Molnar's) name on the cast was what swayed me into booking for the run again. I'm not sure if it's her perceived lighter rep that is the cause of her lack of attention, which would be ridiculous given that JDF's career will never take in heavy Verdi or Wagner. I know she sang Violetta in Warsaw last year so perhaps she might begin to enter the realms of respectability for recording companies / magazines / general public now that the characters she plays are less likely to be standing at the opera's end...
@Miriam You're welcome - it was only by complete luck that I came across it.
Got what I wanted - but not without a tiny bit of stress. Ever since the new system was put in place I've been no higher than 1000 in the queue (today was 1200 odd) no matter how *NSync I am with the timings. Better get back to watching some Top Gun the night before I guess. Have to admit that I've never heard Richards - guess I'll have to tip toe to You Tube. But hopefully Mr V will make it. Not sure about recording it though - it makes very little sense to me to record the production when there's already a pretty good recording of the same production (with the same Charlotte - Koch) on sale. By the way - did anyone else pick up a ticket for the The Three Maestros In Conversation? Either I've missed it in About the House, or it was slipped in without much heralding.
It's the Romance of the Cup - the non-leaguers beat the Premiership! In hindsight the weak link in England's bid was not getting Simon Rattle on board - although I'm guessing Dave would have had to keep an eye on the curly wonder's baton...
Russia’s got my vote. Problem is, so has everyone else...
The announcement, when it came, was predictable, and a touch funny. Although I'm partial to a bit of AG I'm not very trusting of her PR skillz, so I wasn't as angry / upset / vocal as others in the crowd. It was a bit like a panto, but with vindictive audience participation. Kudos to the poor sap who was given the short straw for keeping a cool head - there must have been a little devil somewhere in her head suggesting she a) Tell the audience to quit their moaning or b) Agree with the audience. I'd probably have gone for a mixture of a & b. Luckily there are other singers on show and in Kaufmann and Corbelli I felt my cheapo standing ticket was paid back a few times over. Schuster was on good form as well - and though a touch wild / adrenalin fuelled on times at least I felt ABG had a passion for the role. Productionally speaking I thought the designs / direction matched the melodramatic nature of the music / plot. I was waiting for some Rhinemaidens to pop on stage at one point but I thought it was all good fun. However, I do have one problem with the production. At £9 I can't complain too much, but I felt the action was thrust far too much to the right-hand side of the stage and as such I missed seeing / hearing a fair chunk of the duets. I'm not sure if anyone else on the right-hand side of the house had the same problem but I think it's a valid observation. Having said that, if it had been angled to the left I would have had a fantastic ticket and wouldn't be griping about it here...and at £9...
Toggle Commented Nov 28, 2010 on Angela Gheorghiu is unwell at Intermezzo