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Contact: irina.stanescu@ymail.com
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October 2nd, Berlin, SOLD OUT

It's the first performance of Adriana Lecouvreur. It was sold out only two days after the tickets went on sale. There are just a few tickets left for the second performance, on October 5th. Jonas Kaufmann will join Angela on stage in this concert version of Cilea's opera. If you want to see a full production, grab a ticket for ROH in November.
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If you want to attend the second performance in Berlin, visit Deutsche Oper's website.
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Metropolitan Opera New York - some impressions

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The Met is impressive. Both on inside and outside. It’s not that easy to get there especially if you live in Europe or in any other part of the world that involves a long flight. But if the trip is planned in advance, it might not get so expensive. Regarding the tickets for the opera, the prices range from about 40 dollars to more than 300 dollars. If it’s your first time at the Met, try something at 80-100 dollars. The visibility will be definitely better. The seats at the balcony are good but too far away from the stage as the venue is huge. I would recommend the seats at the dress circle, left or right. They have good visibility even if they involve some leaning. This depends on the production.
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Right before the opera starts the small chandeliers the lit up the parterre go up to join the big one in the ceiling. As they go up, the light goes dimmer and dimmer. When they reach the top it’s already dark. I haven’t seen that anywhere else.
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Most of the people come to the Met smartly dressed. I saw some limos too. And some tuxedos and evening dresses at the grand tier. This is what makes these people feel good. What makes me feel that it’s not an ordinary evening but an evening at the opera. But I’ve also seen jeans and T-shorts (inappropriate if you ask me) but as it’s not a dressing code, nobody says anything.
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During the intervals people eat and drink, just as it happens in other opera houses. The reservations are made in advance and the order is already on the table when the interval starts. Sometimes I think that the interval is 30 minute long also for them to finish eating/drinking not just for the musicians to rest.
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I’ve talked so far about pros at the Met. There are also some cons.
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First of all there’s too much noise in the hall. When you listen to the broadcast, the microphones are on the stage and it’s voices that can be heard most and not what happens in the venue. I heard 3 types of noises. The most annoying is the coughing. Every 10 seconds somebody is coughing. There are almost 4000 people in the hall. On the evening I attended the performance I think almost half of them coughed or sneezed even during important arias. It was as if Violetta’s sickness spread among us. There should be a huge sign saying “try not to cough. Get a mint”. I wonder if people on stage hear everything. I feel sorry for them.
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The second noise is the one made by the chairs when people try to change position. The boxes have movable chairs and there’s not too much room for legs. And too many people move without paying attention to what happens with the chair. I heard a lot of “hrshhh”s. Bad, very bad.
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The third noise came from my neighbors that felt the need of holding the program in their hands and play with it all the time. And the Playbill makes some very disturbing sounds.
Thank God, no cell phones this time. During the broadcast 3 days before a cell phone accompanied Valenti’s voice towards the end of the first act.
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The second con is the program. It was the April issue of Playbill with Renee Fleming’s face on the cover. There are only a few pages dedicated to Traviata and only one black and white photo of Angela. I guess it’s a matter of funds or this is the custon here in US. But I would have gladly paid for a nicer program. The Playbill is for free and people don’t even bother to take it at home. They just leave it under the chair or on steps (which is another con).
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With its pros and cons, the Met is a place that made me feel special. From the moment I steppd in to the end of the evening. And I’ll go back soon. For Carmen and Armida.
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Photos of Traviata in Met's archive

Photo@Marty Sohl/Metropolitan Opera. Taken during the rehearsal on March 25, 2010 at the Metropolitan Opera House in New York City
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The archive of the Metropotlitan Opera was recently updated. There are some other photos from La Traviata than the ones already posted in different articles. Check them out!
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Adriana Lecouvreur at Deutsche Oper Berlin - October 2010

Photo@ www.angelagheorghiu.com
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Deutsche Oper Berlin announced the new season. The concert version of Adriana Lecouvreur will be performend only two times, on October 2nd and 5th.
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Conductor Marco Armiliato
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Maurizio Jonas Kaufmann
Il Principe di Bouillon Stephen Bronk
L'Abate di Chazeuil Burkhard Ulrich
Michonnet Markus Brück
Adriana Lecouvreur Angela Gheorghiu
La Principessa di Bouillon Anna Smirnova
La Jouvenot Hila Fahima
La Dangeville Katarina Bradic
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Orchester der Deutschen Oper Berlin
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"Fedora" project

In a recent interview for a Romanian newspaper, Jurnalul National, Angela confirmed what Albero Veronesi said some time ago. That there’ll be a recording of Fedora. Now we also find out that Placido Domingo sings with Angela. She said “In the following months we (she and Placido Domingo) are waiting for the new CD of Fedora that we recorded together”.
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The interview is long. You can read it here in Romanian. And soon in English.
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2 new photos from Armida premiere




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Interview during the first interval of La Traviata_Met_April 17th


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The interview is very short. Angela and James Valenti speak about singing in Traviata. Jump to minute 4 to listen to it. Before that there's some music and a story about La Traviata.
We find out that Angela hates singing in the morning. And there's a little surprise in the end. I let you see what it is :)
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Bogdan, thanks for sending the interview :)
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Adriana on both sides of the Atlantic

This small excerpt was published in the April issue of About the House (ROH's magazine). So first of all we have Adriana Lecouvreur in Berlin in October (concert version). Then the premiere at ROH in November, both featuring Angela and Jonas. And after that we have to be patient and wait for the other opera houses to announce it and the casts involved.
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Thanks Hariclea for letting me know!
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"One important coproduction that is being built with a partiular singer in mind is a new staging of Cilea's Adriana Lecouvreur, coproduced with San Francisco opera, Liceu and Vienna State Opera. ' It's the sort of title that we don't often do', says Padmore, 'but it's a major work that needs great singers, and that lost of big companies really want to have in their repertory occasionally. It would be a waste of resources if didn't all put our head together for it.' The new production which comes to the ROH in Nov this year, features Angela Gheorghiu making her debut in the title role. 'It'sa brilliant vehicle for a major star like Gheorghiu,' says Padmore,'and it would be really difficult for the ROH to present a suitably large-scale production alone. But thanks to the mechanism of coproducing, audiences will be able to hear er in the title role on both sides of the Atlantic in some of the world's major cultural centres.'
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Traviata. 7th performance. Met/April 21st

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This is the 7th and last performance of this run with Angela as Violetta Valery. The rest of the cast remains unchanged. Yves Abel is conducting. It won't be broadcasted.
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Out of 7, she performed in 6. It's a good start. According to her schedule, her next performances are in July, at Royal Opera House in London. Also Traviata.
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Flicka and Friends, with Angela among guests - April 20th

This ad appeared in the April issue of Opera News
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Metropolitan Opera Guild Pays Tribute to Beloved American Mezzo Frederica von Stade
Two Days Before Her Farewell Recital at Carnegie Hall


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Flicka and Friends – A Loving Tribute to Frederica von Stade,” The Guild’s 75th Annual Luncheon takes Place at New York’s Waldorf-Astoria on Tuesday, April 20.
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On Tuesday, April 20, two days before bidding farewell to her New York fans in a concert at Carnegie Hall, the beloved mezzo-soprano Frederica von Stade will be honored at the Metropolitan Opera Guild’s 75th annual luncheon. With “Flicka and Friends – A Loving Tribute to Frederica von Stade,” the Guild will gather together colleagues and friends to salute the legendary artist in the Grand Ballroom of the Waldorf-Astoria, with a musical tribute by baritone Thomas Hampson and spoken tributes by some of Flicka’s long-time colleagues and friends, including baritone Vladimir Chernov, stage and screen actress Tyne Daly, mezzo-soprano Marilyn Horne, soprano Evelyn Lear, and baritone Richard Stilwell.
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Among the many artists who will be there to help celebrate Flicka are Lucine Amara, Martina Arroyo, Barry Banks, Harolyn Blackwell, Rockwell Blake, Lawrence Brownlee, Chris Brubeck, Angela Gheorghiu, Marvin Hamlisch, Kristine Jepson, John Macurdy, Terrence McNally, Mildred Miller, Regina Resnik, Julius Rudel, Benita Valente, and James Valenti.
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"This new production was my call"

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Said Angela in a recent interview given to the Romanian newspaper "Adevarul", speaking about the new production of Adriana Lecouvreur at ROH. It was published on April 15th and it can be read online (in Romanian) HERE.
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You perform for the first time a part inspired by a real person, Adrienne Lecouvreur. How did you prepare for it? What documentation did you use?
A lot of materials. Adrienne Lecouvreur was the most important tragedienne of her time. She seduces with her elegance, talent, novelty and noble attitude. At 15 she was hired at the French Comedy and she performed the most important dramatic parts. She performed Racine, Corneille and Moliere, great figures of universal literature. But she died alone, poisoned, because of jealousy. Catholic Church refused to bury her. Voltaire dedicated a poem to her. The audience and the Royal House adored her. Later on, Sarah Bernhard, Yvonne Printemps and other great actresses from the previous century performed in the play entitled “Adrienne Lecouvreur”, co-written by two great French writers: Eugene Scribe and Gabriel Legouve. The latter was among the first French to fight for the rights of women. Later, in 1902, the Italian composer Franceco Cilea had the brilliant idea to compose an opera having a libretto based on this fantastic character. The premiere was in Milan and then at Covent Garden in 1904 and Metropolitan in 1906. Since then, great divas from the world of the opera have been portraying this character: Lina Cavalieri, Renata Tebaldi, Mirella Freni
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Why have you accepted the leading part in an opera whose libretto was found ambiguous and difficult to follow?
It’s impossible to answer this question with a critical approach. So many geniuses created a character that existed in real life, such as Adrienne Lecouvreur. I intend to follow the example of modesty in the memory of a great actress who changed an era.
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How would your cooperation with David McVicar be, as he’s knows as an “enfant terrible” of the opera?
I suggested that he should direct this new production, as I did with Richard Eyre. We worked together for Traviata at Covent Garden and he was hired by the Metropolitan to direct Carmen, which I’ll do in 2012. David was happy to accept the new production of Adriana Lecouvreur at Royal Opera House. We worked together before for Faust at Covent Garden and Monte Carlo. We fir together as we are both “enfant terrible” of the opera. I love the way he works and he has a great team.
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What would be the touch of originality in his direction?
David already sent me some sketches with details of the production and I’m very fond of them. I hope that the audience will like it too. This is our great cause as artists: to be able to present an innovative and spectacular opera people to enjoy.
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What side of Angela Gheorghiu would this production of ROH reveal?
Maybe I’ll be able to answer this question after the premiere
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The premiere is scheduled for November 18th 2010 and the cast includes Jonas Kaufmann.
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Simon Boccanegra - AGOTADO

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Or SOLD OUT. All three performances at Teatro Real Madrid on July 22nd, 25th and 28th, starring Angela Gheorghiu and Placido Domingo.
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Domingo is doing well. He's in Milan, singing Boccanegra. I read a review saying that the audience booed Barenboim (again). Uh... I'm so totally against booing...
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Traviata at the Met. April 10th. Photos and impressions

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Thanks for waiting. I know that some of you are curious :). The pictures are uploaded on the other blog. Click HERE or on the picture to see them. And come back soon. I have some more photos of the Met (inside and outside).
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The 2009/2010 season at the Met was announced 1 year ago. I thought this was the chance for me to finally see Angela in Traviata.
One year later, on April 10th, my little dream came true. Met is an experience in itself. A proper state of mind in needed. Open your heart and receive the beauty.
This was the 4th performance of this run. The cast remained unchanged (Gheorghiu/Valenti/Hampson) as well as the conductor, Steven White. I was so nervous before the overture started as if I was about to sing. Here it goes. I was at the Met and Traviata was ready to start. *sigh*. The overture went gently. The orchestra sounds so well. They know exactly how loud to perform and they pay huge attention to the conductor.
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There is a great difference between listening to the broadcast on the radio and being in the venue. The stage noise is almost inexistent (the sound of the high heels and dresses on the floor, the doors opening and closing, even the breathing). This is very good because you can concentrate on the voices. On the other hand, you have to stand the sound of the venue (with coughing, sneezing and so on. There was about one coughing at 15 seconds. I'm so sorry for those on stage!).
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The sets are beautiful. Nobody talks about them on the radio or in the reviews. They’re Zefirelli’s trademark. I’m sorry that this is the last “traditional” Traviata at the Met. Next year there’ll be a new production (the one presented in Salzburg, in 2005). But I got to see the one I wanted to see.
In act 1 there’s Violetta’s party room, large wooden panels, big mirrors on the walls, a chandelier. She wears a pink coat (well, it’s not the best word but you can see how it looks like in the pictures that accompanied the first reviews) and white skirt and corset under it. At the beginning of “Sempre libera” she removes the coat and finishes the act in the white outfit. There was so much passion in those arias – E strano/Follie/Sempre libera. The repetition of Follie is well marked as if she wakes up from a dream and gets back to the real life. “Free forever” she says moving continuously on the stage. Until the voice of Alfredo is heard from the backstage. Then the attitude changes again as she rushes to the doors in the background. It was so touching and it ended too soon. There was excitement and also desperation.
The first part of the act 2 shows Violetta’s country house. There are many flowers on the left side of the stage, as well as her writing desk. There’s a table in the middle, a sitting area and a fireplace on the right. Valenti comes first and people cheer again. Two beautiful and well handled arias followed. He gets this part right this time and there’s no problem with the high notes. He leaves and she comes, wearing that gorgeous white with pink flowers dress and a straw hat. As part of the opera, the moment of the duet between Violetta and Germont is my favorite. There is so much sadness in everything they say to each other. Violetta decides to leave Alfredo and there’s a particular color in her voice. Really emotional. She also acts very well. For sensitive people in the audience, that meant a few tears. Hampson’s voice is powerful, although I would have like it to be deeper. And it also seemed that “Di Provenza il mar, il suol” was a little bit too slow. But it was his choice.
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The second part of act 2 opens in Flora’s ball room where a Spanish themed party takes place. At the beginning some large pieces of colored lace (resembling big fans) cover the back of the stage. But when the dancers come, they are all being pulled upwards. Angela wears the white dress covered in silver lace and that traditional Spanish cone in her hair. The concertato in the end of the act is even more impressive now that I can also see them on stage. Angela is in the middle, on the steps, Valenti on the right and Hampson on the left. A-ma-zing!
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Act 3 follows. It opens in Violetta’s bedroom. It is not all dusty and poor as in most of the productions. At first it seemed strange, but I got it soon. The bed is on the right side of the stage, there’s a sofa in the middle and a door on the left. “Addio del passato” is my favorite aria. I practically devoured it from the first word of the letter to the last note. I couldn’t help shedding a few tears. It was perfect. After singing it, Violetta leaves the stage through the door on the left and she starts getting down on some stairs I hadn’t seen from the beginning. The room she left starts going up. Better said, it’s pushed up by another room that comes from the basement. The place of the bedroom is slowly taken by Violetta’s ball room (the one from the first act). Only that it’s not shiny and colorful anymore. It’s gloomy, dusty and the furniture is all covered up. The doors in the background are broken. It was an unexpected change of sets. Maybe Zefirelli chose the variant in which everything that happens after “Addio del passato” is a story in Violetta’s mind. She only thinks that Alfredo came back to her, a beautiful dream before death. I might be wrong. That’s what I imagined. The death scene is again touching. Violetta lies on a coach while singing the part where she gave the portrait to Alfredo. Then he moves to the right of the stage. She says those last words “io riotorno a vivere” while rising. There is that smile of relief on Violetta’s face. As if she knew that all will end soon. She moves towards Alfredo. He smiles and look happy to see her feeling better. It’s just an illusion. When she reaches “gioia”, she fells in his arms and dies.
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Violetta died again. In the most magnificent way possible. I had the same feeling as many times before; that everything passed by too fast. As I always say, I would have loved them to start all over again. I was there. And I took everything with me as it was my long waited for night at the Metropolitan in New York.
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Thank you, Angela. For everything.
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Traviata. 6th performance. Met/April 17th

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If nothing changes while I'm not here, the cast remains the same (Gheorghiu/Valenti/Hampson) and Yves Abel is conducting. It is SOLD OUT
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This performance is broadcasted by Sirius. And for those who don't want to subscribe, a Romanian station is also broadcasting it live. You have all the details here.
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Angela nominated for Female Artist of the Year at Classical Brit Awards 2010

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Classical Brit Awards will take place in London at Royal Albert Hall, on May 13th. Angela was nominated at this category along with soprano Anna Netrebko and conductor Marin Alsop. See here the complete list of nominees for this edition of the awards.
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At the premiere of Armida

Photo@ angelagheorghiu.com
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According to the pictures posted on her official website, Angela attended the premiere of Armida at the Met, on April 12th.
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There are more photos HERE.
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And another one
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Photo by Charles Eshelman @ Getty Images
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On a beautiful evening of April I saw Traviata at the Met

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For the moment, just this. So you'll be curious to see what's next and you'll come back. I attended the performance on April 10th. The picture was taken at curtain call after the first act.
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More photos and some comments... soon :)
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Traviata. 5th performance. Met/April 13th. Abel takes the baton

UPDATE - Angela cancelled this one.
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The cast remains the same. But Yves Abel takes Steven White's place. This performance is not broadcasted. The show is SOLD OUT.
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Good luck!
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Traviata. 4th performance. Met/April 10th

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Same cast, same conductor.
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This performance is not broadcasted.
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3rd is the lucky one. Traviata at the Met. It was THE one!

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The 3rd performance of Traviata at the Met just ended. It was soooo different from the premiere night. I don't know how it was when Mr Armiliato conducted, but Steven White held everything together perfectly. Great debut at the Met! It was like he was breathing with the singers. He was glued to Angela. Sometimes I felt like she was the conductor. Her voice was very confident. There was a beautiful ending for Sempre libera and an amazing concertato in the end of act 2. I instantly thought I would love this part to go on and on, forever. Not to mention Addio del passato. It was one of the most beautiful ones I've heard during a live broadcast. This should have been the premiere night.
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Thomas Hampson's voice seemed a little bit odd. I don't know why. But you know, when you're just listening without seeing the sets and characters that can distract the attention, the brain focuses on the voice. Many times I thought he was just a little bit behind Angela. Or like he's chewing something. Maybe it wasn't his best night.
This was his 200th performance at the Met.
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James Valenti did good again. People love him very much. even there was a momentary disconfort in his cabaletta at the beginning of the second act and that high C was not supported at all, that was only a small detail. The pleasure of singing tonight was obvious.
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If at the premiere I liked it simply because Angela was there, tonight I heard THE Traviata. Good luck for the rest of the performances! Just as fun fact, the performance tonight had a special guest - a cell phone, that rung at the beginning of the first act :)
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And some excerpts. Besides E strano and Teneste la promesssa (that I posted also one week ago) I thought you might like to hear the concertato from the second act and the finale. Enjoy!
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Un di felice - James Valenti

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E strano... Ah, forse lui... Sempre libera - Angela Gheorghiu
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Dite alla giovine - Angela Gheorghiu & Thomas Hampson
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Concertato in the end of act 2

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Teneste la promessa... Addio del passato - Angela Gheorghiu

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Se una pudica vergine - Angela Gheorghiu

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Teatro Real - a whole different story

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Shopping on the website of the Teatro Real was a relaxing activity, opposite to the rush at ROH yesterday. There are still some tickets left. Those very expensive and those with limited or no visibility. There's a clear difference of interest between the performances starring Gheorghiu/Domingo (July 22nd, July 25th and July 28th) and those with the second cast.
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I read that Placido Domingo feels better, he opened a restaurant in New York and he's preparing to sing Simon Boccanegra in Milan. All his performances at La Scala are sold out.
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The Waiting Room at ROH = nerve racking

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It was the last sale of the season at Royal Opera House. There was a long queue seconds after 10am. I already had tickets for what I wanted but I was trying to buy a ticket for a friend. A cheap one. I managed to sign in after 10 seconds. Queue = 1512. After one hour and 20 minutes, the connection with ROH was lost because there were too many people online. Back to the queue = 1869. After another hour and half I finally managed to sign in and try to buy something. But all the cheaper tickets were already sold out.
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My goal was Traviata on July 14th. There are still tickets available, but 90% expensive (150 - 170 pounds and over) and 10% in the Amphitheatre (60 - 80 pounds). The most requested Traviata was the one on July 8th - the premiere - for a very good reason ;)
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There are a few tickets left for July 8th and July 14th and plenty of tickets left for Sunday performances. Why do people prefer week days performances?
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After checking out what's left I understood the endless queue this morning. Simon Boccanegra was on sale too, starring Placido Domingo. Don't bother to sign in. For the moment all the performances are sold out. But there'll probably be tickets for sale in a few weeks. And there's always the queue on the day of the performance. And there was a third very requested performance, Manon starring Anna Netrebko.
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It was a long waiting and in the end I didn't buy anything but it's interesting to see what a fuss can famous names create on a rainy Spring day.
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Hope you got what you wanted.
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Going back at the Met, Traviata for tonight (April 7th) is SOLD OUT. It will be broadcasted live by Sirius starting 8pm, New York Time. And there are only 7 tickets left for the performance on April 10th.
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Traviata. 3rd performance. Steven White's debut at the Met/April 7th

Met just announced on the website that the conductor for the performance on April 7th will be Steven White. This performance is SOLD OUT. So he'll conduct two Traviatas, on 7th and 10th of April.
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He's an opera conductor with a long biography also engaged in symphonic music. In February of 2009 he joined the conducting staff of the Metropolitan Opera to serve as cover conductor for a new production of Bellini’s La sonnambula starring Natalie Dessay and Juan Diego Florez. White became a popular figure at Baltimore Opera in the few seasons before that company's demise; his sensitive conducting was a decided asset in works by Rossini, Bellini and Gounod. A successful Met debut could give him a substantial boost in many ways.
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He'll make his debut as conductor at the Met tonight, with Traviata. The cast includes Angela Gheorghiu, James Valenti and Thomas Hampson. This performace is broadcasted on Sirius starting 8pm New York time. It's 3am in Romania (on April 8th), if anybody here is interested in waking up :)
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His wife is Elizabeth Futral, the beautiful soprano that will be Violetta in Traviata at San Diego Opera this April (accompanied on stage by Marius Brenciu as Alfredo).
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Good luck!
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Armiliato: "Angela knows exactly what she wants"

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A nice, long interview that Mrs Armiliato gave to Zinta Lundborg from Bloomberg. He tells how he couldn't refuse Peter Gelb when he asked him to conduct Traviata because "I can’t say no to the Met".
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Asked about working with Angela he says "Angela has sung Violetta so much it’s in her body and so it is difficult for a conductor to change her. She’s a diva and she prefers the conductor to follow her lead. She knows exactly what she wants, and 99 percent of the time she’s right".
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And talking about articles, there's another interesting one published today in New York Times. Anthony Tommasini did some research on the style of conducting La Traviata. He listened to 3 recordings: Toscanini’s live 1946 performance with the NBC Symphony Orchestra (RCA and other labels), Carlo Maria Giulini’s live 1955 performance at La Scala Opera in Milan (EMI Classics) and Carlos Kleiber’s studio recording with the Bavarian State Orchestra, released in 1977 (Deutsche Grammophon). The results he got are here.
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His conclusion is that "it takes musicianship of a special kind, as well as deep understanding of the voice, to conduct these scores with insight and taste. Mr. Slatkin’s mistake was to accept the “Traviata” gig in the first place. No musician can be good at everything. He had nothing to prove."
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Tickets for Traviata and Simon Boccanegra go on sale

In the second part of the 2009 - 2010 opera season Angela will appear in two productions, both in July. And for both of them the tickets go on sale soon..
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La Traviata at Royal Opera House London - the tickets go on sale on April 6th. The sale starts at 10am GMT. You need an account and also have to be very quick. You have to sign in at 10am sharp, or the queue will be too long for you to find the tickets you want. Atention~ there is a limit of 2 ticket/person/all performances for Traviata.
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Before starting the quest of getting tickets, take some time to study the seating plan and ticket prices. The first performance is on July 8th and there are 3 more: July 11th, 14th and 17th. James Valenti is Alfredo and Zelico Lucic is Giorgio Germont.
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Simon Boccanegra at Teatro Real Madrid - the tickets go on sale on April 7th. The sale starts at 10am, Madrid time. An account is also needed. This is considered an event as Angela Gheorghiu and Placido Domingo will perform the title roles on July 22nd, 25th and 28th.
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Simon Boccanegra: George Gagnidze (17, 20, 23, 26, 29)
Simon Boccanegra: Plácido Domingo (22, 25, 28)
Amelia Grimaldi: Inva Mula (17, 20, 23, 26, 29)
Amelia Grimaldi: Angela Gheorghiu (22, 25, 28)
Japoco Fiesco: Giacomo Prestia (17, 20, 23, 26, 29)
Japoco Fiesco: Ferruccio Furlanetto (22, 25, 28)
Gabriele Adorno: Fabio Sartori (17, 20, 23, 26, 29)
Gabriele Adorno: Marcello Giordani (22, 25, 28)
Paolo Albiani: Ángel Ódena (17, 22, 25, 26, 28)
Paolo Albiani: Simone Piazzola (20, 23, 29)
Pietro: Miguel Ángel Zapater
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Dirección musical: Jesús López Cobos
Dirección de escena: Giancarlo del Monaco
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As you can see, this is a great cast. Again, take your time and study the seat plan and price list. Teatro Real also has a virtual tour that shows you the view to the stage from different parts of the venue. It will help a lot. Atention~ again, only two tickets/person for Simon Boccanegra!
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Good luck and let us know what you got!
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Armiliato, the wizard of Traviata

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With Mr Armiliato in the pit, everybody was happy on stage. According to the article published by Anthony Tommasini in New York Times, Marco Armiliato did everything by the book even if he hadn't had any rehearsal with the cast. He knows Traviata very well. He also knows how to keep the orchestra in tempo with Mrs Gheorghiu, an impassioned and impetuous artist. As on Monday, she was so swept up in her singing that she sometimes jumped ahead of the orchestra. There were moments when the tempo she wanted seemed not at all clear. But Mr. Armiliato ably navigated these hazardous spots. He knew when to ease the orchestra into place behind Ms. Gheorghiu and when the better course was to set a steady tempo and let her adjust. In contrast, Mr. Slatkin had seemed rattled by Ms. Gheorghiu’s impetuosity.
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Two performaces are history. 5 to come.
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Traviata. 2nd performance. The Met/April 3rd

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Saturday evening, April 3rd. Marco Armiliato is conducting this performance, replacing Leonard Slatkin who whithdrawn "for personal reasons". The rest of the cast remains unchanged.
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It starts at 8:30pm, New York time. It is not broadcasted. If you want to go, there's only one seat available: Orchestra Premium, row B, seat 3 - 295$ + some fees.
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The next performance is on Wednesday, April 7th, at 8pm, New York time. This one will be broadcasted live by Sirius. There are 3 seats available: Center Parterre Boxes, box 14, seat 6 - 320$+fees and Center Parterre Boxex, box 29, seats 7&8 - 320$ + fees each.
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Traviata. Curtain call on Monday evening


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Thanks a lot, Linda! I'm also waiting for your thoughts ;)
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La Rondine Cinemacast: April 3 & 7 at Sundance Kabuki Cinemas, San Francisco

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San Francisco Opera's production of Puccini's La Rondine will screen in high definition at Sundance Kabuki Cinemas (1881 Post Street at Fillmore) on Saturday, April 3 (10am) and Wednesday, April 7 (6:30pm).
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This production features two world renowned singers at their finest: Angela Gheorghiu and Russian tenor Misha Didyk. Ion Marin conducts La Rondine in an opulent Art Deco production design by Nicolas Joël.
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The price of the tickets is 14$ and can be purchased online or at the theatre.
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Slatkin out. Armiliato takes the baton

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So the change took place afterall. This is good. Leonard Slatkin won't conduct Traviata anymore. Marco Armiliato is in for the performance on April 3rd. Steven White (another Met debut) will conduct the performance on April 10th and Yves Abel the rest of them. There's only a TBA conductor, for the Traviata on April 7th. More details on metoperafamily.com.
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The Met says that Mr Slatkin withdrawn "for personal reasons". Douglas Sheldon, Mr. Slatkin’s representative at Columbia Artists Management, gives more explanations “has decided to withdraw from the Metropolitan Opera production of Verdi’s La Traviata, believing that his artistic contribution, which he feels he has thoroughly prepared, does not however coincide with the musical ideas of the ensemble. He wishes the members of the orchestra and musical colleagues well for the remaining performances.” in an article published today in New York Times.
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Some other articles on the same topic:
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Maestro Slatkin keeps writing about Traviata. Conducting it might be history...

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It's just a rumor, but when La Cieca "hears" something, it's true in most of the cases. As it was Angela not showing up at the rehearsal last Wednesday. It was also a rumor, but Leonard Slatkin confirmed it in the part II of his "Days and nights at the opera" saying as introduction to March 24th: Oh-oh! Guess who did not come to the rehearsal today?.
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Maybe Marco Armiliato is around... We'll see soon.
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