Capriccio, decaf

Capriccio - Metropolitan Opera, 7 April 2011

In spite of a few severely testing evenings, I have only ever fallen asleep at the opera twice. Once was about five years ago, mid-Rodelinda. The second was this one. The fact that both nights were at the Met and starred Renee Fleming perhaps speaks to the comfort of the Met seating and the soothing qualities of The Beautiful Voice (not to mention my overpacked NY schedule and lingering jetlag) more than the inherent tedium of the performances. 

But two and half hours without an espresso break is a challenge that several met by simply leaving early. I myself might not have woken until the applause had a neighbour not clambered over me to escape a few minutes before the finish line. By which time Renee had changed frocks, the battle between words and music remained unresolved, and the jolly posh drawing room set was exactly as it was found at curtain up.

From what little I heard, I suspect this is a decent bash at a difficult opera - and certainly Renee herself sounded in good form in a role that fits her like a glove. So I'll be trying - coffee in hand - next weekend's HD screening (which, incidentally, will cost me more than my Family Circle ticket for the real thing). 

 
   
 

production photos: Metropolitan Opera

curtain call photos: intermezzo.typepad.com

 
 
 
 
 
 
 
 
 

Comments

[Nik]

Would that all critics were this honest. Mind you, some of them would never publish any reviews.

[asperia]

who is the man in the second picture in the middle of the two other men?

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Intermezzo replies - Joseph Kaiser

[marcillac]

Mezzo,

I won't assert that the evening (I saw the March 28 opening night performance) was entirely devoid of ennui (to say the least). However, the opera is difficult, as you say, they did a great job and I managed to stay awake (though not always engaged).

Still, Renee singing her core repertoire and doing it in good voice is a sufficiently rare event and one likely to become more scarce as the years go by, and would seem a worthwhile evening.

The Rodelinda next fall might be quite a bit less so. I too fell asleep when attending several years ago.

[Matthew]

And do we think Renee had a helping hand from some amplification like Florez et al had?

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Intermezzo replies - if there was any amplification, it was done so discreetly I didn't notice. The 'interference' (whatever it was) in Ory was a single echo, more pronounced for some singers than others, but obvious whichever direction they were singing in.

[Stephen]

Granted 2-1/2 hours with no intermission makes for a very long sit, but I thought this was a rather fascinating opera and not dull at all. Apparently, the last time the Met mounted this production, Kiri insisted on an intermission. I can't imagine where it could be broken. Does anyone know?

[FC]

"who is the man in the second picture in the middle of the two other men?"

That would be the FINE AS ALL HELL Joseph Kaiser.

[Deborah]

Stephen, Glyndebourne performed Capriccio back in 1998. I quote from the synopsis:

"[Flamand] describes precisely the moment when he fell in love with her [the Countess]...In spite of all his entreaties the Countess will not give him an unequivocal reply - yet. He must present himself in that same library the following morning at eleven o'clock, by which time she will have made her choice. Flamand rushes out leaving the Countess alone with her thoughts and the sounds of the rehearsal next door. She orders refreshments for the company.

DINNER INTERVAL OF APPROXIMATELY 85 MINUTES

The Count returns from the rehearsal &c"

[Sarah R]

@ Stephen; Ditto Grange Park's Capriccio last summer.

I do sympathise with Intermezzo about falling asleep at the Met! We once made the mistake of booking tickets for Turandot for the evening of the day we flew into NYC and, to my shame, I have to admit that we dozed through much of the performance.

[Jeremy C]

We flew in on 7th and went to the performance that nigh (and also Comte Ory for the Saturday Matinee). Both were excellent performances of rare works and the only disappointment was the number of people leaving during Capriccio, including one just as her final scene opened - were they expecting Renee to do the Dance of the Seven Veils or something?

[inkstain]

Just saw the HD version and I was embarrassed by Fleming's disconnect between a "dilemma" that on viewing it as a student had her crying versus her own rendition, dripping with narcissism and sly smiles that had nothing to do with the lyrics. (Who did she see in the role?) This is not the first time that I've felt cheated of the theatrical experience by Fleming's self-celebration at the expense of the character. She just wasn't convincing as someone who was torn by anything, or had gone through any character arc. I think it might not be so "difficult" if she believed in a character instead of seeing herself as the character.

[Capriccio blog]

She saw Helena Doese perform the role and describes her as glorious. As is maybe obvious from my screen/blog name this opera is very close to my heart, and I really don't think the Met did it much justice. I think it was a bit a bore, but I mainly blame poor direction for the bad acting - none of them were particularly good in that regard. Fleming is a curious creature with regards to her acting - sometimes so natural and moving (as in her Thielemann DVD Rosenkavalier), but often there's a self consciousness and artifice which is lacking in her recordings. Her Strauss Heroines CD is a picture of great Strauss singing and vocal acting.

(Not to be too shameless, but there are more of my thoughts on this performance on my blog - don't want to clog this place up with my ramblings)