Rossini’s Le Comte Ory is a very silly opera about the wicked count and his equally randy page scheming to get into the pants of the virtuous, more or less, Countess Adele while all the local men, including the countess’ brother are off at the crusades. To this end in Act 1 the count appears disguised as a hermit and in Act 2 as a nun. Add to the silliness a fiendishly difficult set of vocal parts and you have a sort of bel canto comedy extreme. To up the ante, today’s Comte, Juan-Diego Florez had been up all night waiting for his wife to pop a pup which she did 35 minutes before curtain.
Tag Archives: metropolitan opera
Lucia di Lammermoor
Today’s Met in HD broadcast was Donizetti’s Lucia di Lammermoor; the same production that I saw with a different cast in 2009. Today, Nathalie Dessay sang the lead with Joseph Calleja as Edgardo and Ludovic Tezier as Enrico.
So who’s biggest and baddest?
There’s a bit of a debate about which North American opera company is the second largest. Nobody, of course, disputes the Metropolitan Opera’s overwhelming lead in sheer size. With 26 productions in repertoire for 2011/12 and something like 220 performances it is over three times the size of it’s leading rivals. It also has the biggest house, seating 3,800 with 300 standing room spaces. The next largest operations are:
San Francisco Opera – 9 productions, 72 performances plus 2 “Carmen for Families”.
Canadian Opera Company (Toronto) – 7 productions, 68 performances plus 1 Ensemble Studio performance.
Lyric Opera of Chicago – 7 operas plus “Showboat”, 59 opera performances plus 12 of Showboat (It seems to be SOP at the Lyric to do 7 “proper” operas plus a musical or operetta).
No-one else has more than 6 productions. All figures based on 2011/12.
Now the war Memorial Opera House in San Francisco seats 3,146 so assuming a reasonable capacity utilisation I think that makes them no. 2 by any measure. The Civic Opera House in Chicago seats 3,563 so assuming they too sell a reasonable proportion of their seats they probably come in at 3. The Four Seasons Centre only seats around 2,100 (actually a much more typical number for an opera house by world standards) but is almost always virtually sold out. So around 140,000 seats are sold for the COC in a season bringing them in at no. 4.
Iphigénie en Tauride
Iphigénie is one of my all time favourite operas and has some absolutely gutwrenchingly beautiful music. The Met production had Susan Graham, Placido Domingo and Paul Groves. This looked set to be amazing. It wasn’t quite though it was very good indeed and the problems were all with the production. Despite Peter Gelb announcing before the curtain that Ms. Graham and Mr. Domingo were both suffering from colds the singing was first rate across the board. I’m looking forward even more to Susan Graham singing this with Russell Braun and Joseph Kaiser next year in Toronto.
Nixons in China
What looked like a bit of a nuisance turned out instead to be an interesting opportunity. By chance, the Friday evening performance of the COC’s Nixon in China (our season tickets are for Friday nights) fell the evening before the Met’s HD broadcast of its production of the same piece affording me the opportunity to see two contrasting productions in less than 24 hours.
La Fanciulla del West
Fanciulla is Puccini’s American opera. It’s set during the California gold rush and it was the first opera ever to premiere in New York, one hundred years and a couple of days ago. The soprano role, Minnie, is notoriously difficult to sing and so it isn’t produced all that often.