Yesterday evening, I had a message from a violinist friend - she had a spare ticket for Nabucco at the Palace, would I be interested? Yes. Yes I would. A 1pm showing, and my 1pm student had to come earlier because he was in a concert in the afternoon - perfect. I'd known for some time that the Palace screened operas and ballets, but hadn't ever gone to one. This was well worth it so I can see this happening again.
I had no idea of the story, or any famous bits (yes - as a musician I'm a little embarrassed about this). However, it wasn't just the opera - the musical director, and the conductor, spoke about the work. Where it fit in Verdi's life, the significance of various aspects, what the plot was all about, etc. Before the beginning we had a snapshot of rehearsals with the 2 leads, and before the 2nd half (after a timed 15 minute interval) we had a bit of chorus behind-the-scenes. Both of these segments I found wonderful. Seeing the personalities of the top shots (just, you know, Placido Domingo and Liudmyla Monastyrska) as well as the enthusiasm of the chorus made the whole experience a bit more personal. It was such a relief to hear the chorus members being so excited about their jobs - especially when we heard that 400 people applied for 4 jobs. Two of them said the best thing - and it's something I've felt myself. That is, that looking out at the 2000 or so people who are there to watch you, and you're singing to them, and not only that, but you're surrounded by 60 other singers who are singing with you, all on the same page (so to speak), is the most amazing feeling.
As for the actual opera-on-the-big-screen - I'm a little bit morally torn. It was such a good production. I'll get to that in a moment. The moral dilemma comes from knowing that, if we always went with the cheaper cinema option, the opera industry would die. And there is so much involved in producing an opera! However... This was fabulous. Close-ups of the singers (slightly disconcerting with the mouths doing what they need to do, but I can deal with that); easy-to-read sur-titles; peeks into the pit. And I don't have the money to get to London, so this is a reasonable alternative.
The setting work was so simple but very effective. It didn't detract from the music or drama at all. Well, except for the fire, which had me slightly on edge. Yes, I knew it would be controlled and safe and all that, but still. The costumes I mostly liked. They went with a modern setting, and they all looked like they were in a World War II movie. Which was rather appropriate, considering this is a war opera. However, the 'sisters' Fenena and Abigaille wore these really unflattering tent-like coats. I really wanted them to wear 40s dresses that wouldn't make either of them look like a big lump. Oh well. The orchestra was noticeably wonderful. Tuning. Tone. Balance. But, best of all, togetherness. The pizzicati! So together! There was only one place where it sounded like there were maybe 2 people playing them together, and then - only just. And when there was an instrumental part (without singers, that it), it was so intense.
The singers. Wow. The chorus was well done (and snaps to the guys willing to go shirt-free for an act). The soloists were all top notch. Opera hasn't made me cry before, especially when seen live (creaking stages, anyone?) but this one had me tearing up a few times. Well-balanced voices combined with acting skills make for a powerful production. Placido Domingo is a well-known force, and rightfully so. He sang and acted his part so well. Liudmyla Monastyrska was a new name to me, but jaw-dropping. Such a huge voice, with (as she put it herself) enough vocal mastery to pull off the part. I'm so glad I went to this!
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