Sick, sick, sick

Who could possibly have guessed?

"Due to illness, tonight the role of Hélène in Les Vêpres siciliennes will be sung by Italian soprano Rachele Stanisci from the side of the stage and acted by Armenian soprano Lianna Haroutounian."

Comments

[Cherry]

Sondra Radvanovsky will be the ideal one for Helene. If ROH can bill her for HD broadcast, I will fight for a ticket.

[Faye]

Interesting. I wonder if she's the official cover? If so, I'm surprised she's singing from the side of the stage and not acting too. Wishing her good luck for tonight.

I think Intermezzo needs to start a sweepstake on who will be singing at the HD broadcast.....
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Intermezzo replies - Haroutounian is the official cover.....

This has all the hallmarks of a barrel-scraping exercise. Stanisci was singing in a multi-soloist Verdi concert at the Liceu on Monday night. It was clear to me (even if not to the critics) that Haroutounian was unwell on opening night, last Thursday. If the ROH had wanted to bring in Stanisci for Monday, that would have given them plenty of time to sort things out with the Liceu.

No, I think they hoped Poplavskaya would cope with Monday, and with tonight too if it became necessary.

[John]

This is rapidly turning into the ROH's version of the night that Birgit Nilsson had three different Tristans. What's going to happen if neither of them are fresh enough for the broadcast?

[Vincenzo]

Sondra Radvanovsky is still in the middle of a run of Norma at the Met, so it might be a bit complicated to get her in to sing a five-act opera by Tuesday

[Faye]

Ah. Given that Poplavskaya was clearly ill on Monday as well then I'm amazed they didn't make an announcement to explain that she was indisposed but would try her best anyway. That would certainly have been fairer and kinder to her under the circumstances.....and the audience would have had more understanding and sympathy for her situation

[Siggy]

While I have more sympathy than most for ROH, were they just sitting crossing their fingers and hoping that one of their erstwhile sopranos would be fit to sing? I note that they left it awfully late in the day to announce this compromise - presumably no real chance for any ticket holders to object or return tickets?

That said, I really do wish Ms Stanisci the best of luck - she's probably going to need it.
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Intermezzo replies - I think the answer to your first question is yes. But is it really so unreasonable to expect that at least one of the two sopranos you've engaged might be available on the night? And is it reasonable to expect a third soprano of comparable standing to keep herself on-call on the off chance? Of course the ROH have now been caught out, and not for the first time. But in the vast majority of cases covers are never called on to sing at all. I don't think it was such a wild gamble.

The answer to your second question is that they never offer refunds for late cast changes, and I don't think this particular case warrants an exception. How many people booked purely to see Poplavskaya and/or Haroutounian? If it were Domingo or Kaufmann there might be some logic, but not here.

[PetetheCheat]

Stanisci might well sing better than either of the other two sick sopranos.

[regkarpf]

I am rooting for Angela Meade, who sang the part, in French, earlier this year in Caramoor, as well as the Italian version last year in Vienna. I heard her in January at the Met in Trovatore and was very impressed. She has a real Verdi voice and a solid technique. Meade sings Norma there tonight and on Monday, and after that seems to be free for a few weeks. The ROH should book a plane ticket for her (perhaps two seats would be better - she's that sort of soprano) and get her over here. For a Covent Garden debut, I doubt she would refuse.

I don't entirely buy the sickness arguments. Nor do I blame singers for taking on parts they can't sing. Vanity is not unknown in opera singers. But I do blame the casting department.

[Richard]

Meanwhile in The Killing Flower tonight, someone was sick in the audience. Suspect many thought the dark suited first aiders were part of the performance.
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Intermezzo replies - I was amazed how long it took the first aiders to get to her - must have been 10-15 mins. Luckily she seemed to have recovered a little by then. Remind me never to fall ill in the ROH.

[SJT]

Where's Maria Agresta, the one who should have been singing this ab initio, I wonder. Or the locally ignored Daniela Dessi, who if in total collapse could not possibly sound any worse than poor Poplavskaya did on Monday.
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Intermezzo replies - Perhaps the facts that Agresta is currently working in Zurich, has never sung the role in French and in fact doesn't have any French opera except Carmen in her repertoire may have swayed the casting decision - from her perspective if not the ROH's.

I don't think you can assume either that the ROH can just snap their fingers and summon any singer they choose. Casting is a two-way decision.

[Richard]

They were gathered at the back for some time waiting for (I assume) a break which never came. I think would have been better to get straight in and help her out - more disruptive in the short term but better all round

The chap who stomped out 40 minutes in was also somewhat distracting!

Anyway after a fairly stressful day the piece really cheered me up!

[SJT]

In this case, the power play rests with them in that it's very high profile, a major large-scale new production and being relayed/filmed live. That kind of thing will always have allure for the right kind of performer. Zurich is hardly Sydney in terms of distance, and given the general level of the French, would anyone even notice if the soprano sang in Italian?

[PetetheCheat]

Did it work, one soprano singing offstage and another miming and acting the part ?

[AlisonC]

If I ever feel ill in the ROH auditorium I'm going to try and get out my phone and make as if to take a picture, as I've noticed that seems to make staff appear instantly from nowhere. Not sure if it works in the Linbury though.

[PushedUpMezzo]

Might have depended on where you sat, but I found her performance really satisfying, completely in tune, every note in place, and sung with enormous respect for the score. A slight lack of power in ensembles is my only criticism. I have no idea how much preparation Ms Stanisci had, but I think she might be able to do the acting thing as well by the time the live relay comes along. Can't comment on the previous 2 ladies' vocal efforts, but strongly suspect that, in the absence of Agresta, Radvanovsky, Meade, Latonia Moore and others mentioned, this lady was probably the best of the bunch. For someone who was a young artist at La Scala in the 80's this was a major triumph. I also loved the production apart from the silly final massacre via flagpole.

[Nikolaus Vogel]

French grand opéra seems cursed at Covent Garden. I wonder if this will make them think twice about Guillaume Tell? I suppose it will be Pappano's recording cast so at least they all have form in their roles. I guess the entire original line-up for Vêpres were role debutants. Haroutounian has sung the role before.

[Nikolaus Vogel]

Daniela Dessi? Isn't she singing the big dramatic roles such as Gioconda, Fanciulla and Turandot these days? Not sure she'd have the flexibility for Hélène these days. And it was never a really first class voice. Not that I'm suggesting Poplavskaya's is. Agresta is due to sing Lucrezia Contarini in the new Due Foscari next season, no?

[Miriam]

I have just come home from the performance and thought Ms Stanisci sang quite well.

What I thought was rather stupid was that she stood on the left, thus making the view of the people up close to the stage in the stalls circle even more restricted than it is normally. Given that the SS above the pit on the right was not in use for this production she would not have got in anyone's way if she had stood on that side instead.

I agree with IM's comment above that it is not unreasonable if two singers have been engaged to expect at least one of them to be fit to sing on any given night.

I was in the SS left but my seat was far enough out that this was not a big problem, but I did find that the sound sometimes seemed a bit unbalanced in the ensembles because she was so much closer than the other singers.

[John]

Poplavskaya has actually sung Elena before, but not in French. When she was based in Russia she did some baffling repertoire including Rosina and Adina, and she has also sung Aida and Senta in the past. She probably didn't have much choice over them, but odd repertoire is not a new thing for her. I would still be keen to hear her as Helene, but who knows what might happen now?

[Where's Shuard?]

PushedUpMezzo is on the button - it must indeed have depended on where you were sitting because Ranisci sounded on the heavy side in the ensembles from where I was sitting. Getting the balance right with one of your singers stuck at the bottom of the proscenium arch must be tricky. No complaints from me though - it was a smashing evening and great to be able to expunge the memory of Poplavskaya's efforts on Monday. If neither of the two engaged for the production is available on 4th November, they could do a lot worse than keep with the Italian. She seems to be free - and she looks good. I am not a fan of curtain call photos, but I hope someone was there to catch the delighted smiles tonight. It couldn't be that someone in Bow Street actually knew what they were doing, could it?

[SJT]

"I was in the SS"

So many were: but they're not usually so keen to broadcast the fact.

But I do understand. Black is SO slimming....

[WvH]

Agresta sang two concert performances of La Vestale in French in Dresden in July. Perhaps that doesn't rise to the level of having the work "in her repertoire," but her French was acceptable.

[sub_opera]

Stanisci was the best thing about the performance. She sang the role eloquently and elegantly.

She was also the most interesting thing going on in Herheim's derivative production (and I am, or have been, a fan).

Curiously, on Stanisci's first entry, she was wearing glasses and she fiddled with them and with her hair a fair amount nerves, doubtlessly). She also did quite a lot of acting which I found very, very thrilling. (I had close seats).

However, when she came back, and subsequently, the glasses were gone, she didn't touch her hair once and she sang most of the time with her arms crossed.

Surely no one at the ROH would've 'dared' - under the circumstances - to ask her to tone it down?

If it was her own choice, why such an amazing and noticeable change?

Has anyone else present last night noticed this? I'd be most interested to hear any comments.
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Intermezzo replies - Usually these stand-ins act like choristers. I imagine the ROH asked her to blend into the scenery a bit more. There are ways to ask nicely.

BTW, anyone who finds the production derivative would benefit from watching it again (especially if they were distracted by a fidgety soprano). If you look at the photos, yes, it could be any old McVicar froth. But it's how Herheim builds relationships (in the consumer's eye) between the various music and design elements that give his work a resonance beyond mere decoration.

[verulamsteven]

I thought Stanisci gave a great performance (from Stalls Circle)and noticed some gesture, which I agree bodes well that she can act. Holten's announcement was that they had worked intensively on the music during the day so presumably she hadn't much time for preparation which add to the credit to be given to her. To me, her vocal tone and delivery is reminiscent of Callas (strongly reminiscent - but I am only working from Callas on record here) although I presume she does not have Callas' power. I'd rather keep Stanisci than take a chance on any others that might be flown in….so well done RoH on that score.

Brian Hymel - a more than decent tenor IMHO, and decent enough to turn up reliably and give a committed performance - I don't understand why he receives a lukewarm (or worse, here) reception. The part is high, he delivered it securely. I'm sure there are other tenors who can outshine him - how often are they scheduled at RoH and turn up to fulfil the engagement?

I did think, however, for a work that is known to require a large chorus, the sets restricted the space for them to operate. And, my other principle sentiment from the evening - in terms of production, I can only assume the chorus were woefully lacking in rehearsal or input from the producer? On many occasions the necessary conviction of dramatic gesture was absent on others it seemed likely they had been largely left to their own devices, apart from being told when and where to move...... The chorus also had cliché inflicted on them - at the end of the "toffs singing in a boat on the way to the ball" madrigal, the toffs were swaying from side to side -for goodness sake! I put this down to production, as over the last few years I've the RoChorus, particularly with extra chorus, thrilling in vocal power and convincing dramatically.
I came away more satisfied than I thought likely at the first interval(creaking sets, whirring motors, hearing FoH tannoy announcements etc). As a piece it comes together, and the efforts of the cast begin to take effect, with, to name three, the contributions of Schrott, Hymel and in particular, Stanisci.

[villagediva]

Stanisci sounded good from mid-Amphi, and very much together with the ensembles. It’s a very sweet, warm voice, not powerful, but very musical from top to bottom. Not very full right at the top, but a pleasure to listen to. She was singing carefully, as you would expect. (From what Kasper said at the start, they must have booked her two days ago, but Lianna had decided she couldn’t sing only 4 hours before the show started.) The house was on her side, probably with relief that at last there was an Helene with an intact voice. You could have heard a pin drop during her lovely aria before the first interval, and she got an enthusiastic ovation. In fact, some of her most powerful sound was right at the end of the opera, so she may have been pacing herself carefully. Haroutounian pushed her forward at the curtain calls to take a solo bow, and also gave her a hug as they came on together. General relief all round that what Kasper had said might be a slightly ‘schizophrenic’ experience had worked really well.

Quite what it was like for her to be parachuted into what by Tuesday must have been a communal basket-case, can only be imagined.

As for the production - what a kaleidoscope! Intellectually interesting, rather than viscerally moving, for me. I thought the concepts of ‘theatre of war’ / ‘theatre of cruelty’ worked fine, but there were some odd moments. In the overture to the prison scene the cellos give a phrase twice that must be the inspiration for every silent movie ‘dastardly deeds’ scene ever since - Dum da dum dum, da-a-a-a--a-a-a. We then had a mustachio-ed tenor in tails frantically pacing the stage, Erwin appearing bloodied and with wild grey hair like a scary Halloween character, and the villain swashbuckling in a cloak, (oh, and a child executioner....). Was Herheim deliberately sending up the melodrama? Montfort’s demand that Henri call him ‘father’ , and Henri’s capitulation in order to save Helene is a gem of Victorian melodrama - and it raised a few laughs around me. I’d love to see the whole prison scene done as a silent movie ........ In fact, the lovely Lianna was the silent movie star of the evening.....

Erwin was great - his prowling power the most fascinating thing on stage - loved his black dress, and the way he mirrored Helene’s movements when she was on the horns of her dilemma at the end. ‘Schizophrenic’ indeed. I prefer the wonderful Volle singing in German......

An interesting evening and lots to appreciate, but for me too much that was either cloying or cluttered, from Verdi and from Herheim. Could do with some minimalism now to cleanse the operatic palate. Now, would Herheim be interested in taking on The Making of the Representative of Planet 8, I wonder??

[Siggy]

I must admit that I am looking forward to seeing this production again next week - even given the casting dramas. It is the sort of production that benefits from more than one viewing certainly.

Bryan Hymel is indeed a decent, reliable tenor but I'm just not fond of the overall tone of his voice - and I do realise that this is a very personal preference. However, he has found a niche for himself in these high-lying roles and there aren't that many tenors who are comfortable in the highest dramatic range so go Brian! I'd actually like to hear him live in a 'standard' rep role to hear how he sounds in that.

Meanwhile, I'm seriously thinking about opening betting on which soprano is going to turn up at the next performance - any one out of the three is possible I suppose!

[Faye]

They're supposed to be filming the performances on 29 Oct and 4 Nov for the cinema broadcast. That could obviously prove problematic if they don't have the same soprano singing on both nights

Does anyone know which performance they're scheduled to be recording for the Radio 3 broadcast please?

[Miriam]

This morning after sleeping on it I decided I had "got" the massacre via flagpole, especially given the fact that the people stabbed with it were not really dead and got up again later. I think when Erwin Schrott was wearing the black gown he was no longer being Procida, he was representing Helene’s thoughts about all the death that was going to result from her wedding. Sometimes his actions appeared to mirror hers, it was as if she was looking in an imaginary mirror and seeing herself as the bringer of death.

BTW I was wondering why in the comments below everything is in italics from half way through verulamsteven's comment.
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Intermezzo replies - My reaction to the massacre scene was the same as yours - it is her fantasy. But all Herheim's productions permit a variety of interpretations, so "other answers will be accepted".

I wondered also if Herheim regards Procida as a dramatically redundant character, as I do. The story would be so much tighter if Henri was a female role, and Hélène/Procida was one male character. But we must remember that Verdi was dealing with a doctored secondhand libretto, and perhaps the Procida character was more dramatically functional earlier in its history.

Thanks for pointing out the italics problem. I have removed the rogue script so it should look better now.

[Hariclea]

Don't think Guillame Tell will be any issue, several choices for that cast and it has been planned well ahead :-) and it won't battle with as much Verdi and Wagner casting pressure as this season ;-)
But i can also understand that few very good singers will take huge chunks out of their planning to do a work/role in a language they may never perform again or very few times, this reduced choice i guess even further.

[Nik]

Maybe they can do what they did with Brandon Lee in The Crow?

[Miriam]

Thanks IM, italics all gone now.

Perhaps you may regard Procida as "dramatically redundant" but he provides a role for a bass which gives more variety in the music. I am a big bass fan and his aria at the beginning of Act 2 is one of my absolute favourites! However I suspect that Herheim and the dramaturg may share your view because it seemed rather significant to me that at the Insight Evening the character was never mentioned.

[Hariclea]

Maybe at the Insight they wanted to keep a bit of a secrete before opening night how the character would look like on stage ;-)
I am not sure at all he is redundant... Maybe in a more traditional plot of Verdi's Procida and Henri would be one rather than 2 characters ( as i don't think Helene on her own would be able to rise the locals). If Henri would be the local revolutionary as well, that would put him in a much deeper pickle in a way towards Montfort but doubtful in this situation given Verdi's fondness for father-son relationships that it would have ended in a massacre like this.
Personally i found this set up very interesting character-wise. Once Henri finds out about his father his hands are tied and he suffers and is torn to the end, making for good opera music ;-) But Procida puzzled me from the first time i read it, is he a patriot or is he more of a terrorist? He deliberately instigates the French to more murder and rape just in the hope this will kick the Sicilians into action (which is pretty wile).
And in the massacre produced ultimately through outside help surely locals will fall too. He's also got not quibbles to sacrifice Helene, never mind Henri, in his fight for freedom.

His more of an extremist, a terrorist almost than a freedom fighter.
Neither he nor Montfort can change what they really are and both step over everything and everyone to achieve their means, which is why the both of them are by far the most interesting characters for me in the piece.

It's part of my disappointment in the production that not more has been made of this political side of Procida. I understand politics were not the focus this time, which is a bit of a miss for me, as i found this side of the characters and their morals and dilemmas and rationalisations very interesting and actually very relevant today.
Having said that i do think Schrott conveys very effectively the character he portrays here and its selfish, vengeful side :-) Actually the more i see it the more i like him and Volle in their respective roles :-)

There is definitely merit in the production since it creates a lot of debate, even if i disagree with it's focus or vision ;-)))

[Richard]

What, shoot her?

[Michael M]

Stanici, from front amphi, initially sounded a wee bit rough I thought (maybe not surprising under the circumstances) but once she had settled down (and had no glasses or hair figetting) sang really beautifully and musically, with great articulation in the fast passages. I could see Pappano giving her lots of support and she was spot on with some tricky ensemble bits. I worry about her future if she sings too many Odabellas.
Holten's front-of-curtain introduction to the cast change was well judged I thought - and explained why the ROH website hadn't changed casting when I looked at lunchtime before leaving for London (yes, I live in the sticks).
I really like Hymel but felt that his voice sounded smaller than I recalled from Trojans, Robert etc - maybe this was just in comparison with Volle and Schrott?
I loved the production. Someone behind me shouted "rubbish" after the overture and was hushed by those around him - didn't notice any other protest during the curtain calls.

[operagooner]

Stanisci sang beautifully after an understandably nervy start, and the combination with Haroutounian's acting worked very well. Perhaps all fragile sopranos should keep a 'Stanisci' with them at all times, and practice their lip-syncing. But the star for me was Erwin Schrott, both vocally and in characterisation; he conveyed the sinister fanaticism of Procida most convincingly. Although his murdering spree in the style of Les Miserables was a step too far. The music is full of interesting touches and the ensembles were terrific. Having never heard any of it before, I was pleasantly surprised.

The design, inspired in part by Degas's backstage ballet images, was very effective. There was some (unintentional?) amusement as the 'fairground' wobbly mirrors made Bryan Hymel's reflection change from dwarf to elongated giant as he moved round the stage.