Good Evening!
I'm back from the Opera...
Boy, am I glad I only paid $20 for my Standing Room ticket, and not $240 like the people who were sitting right in front of me... The main thought that started going through my head about 10 minutes into Cavalleria Rusticana, was "Boy, is that one hoary chestnut!" (-Said to the inflection of, "That is one spicy meatball!")
The operas weren't bad, just extremely old-fashioned. Yes, I knew that going in, but I had forgotten how dated the Zeffirelli staging and design was too. And considering how big the Met stage is, and how "opulent" the sets and costumes are, there are still those very awkward bits of staging that make it seem like Zeffirelli was working in a black box space. It also didn't help that the program notes state how nothing really happens in either opera until the closing scenes, so... And then there was the good ole Metropolitan Opera Chorus. Singers, yes. Actors, not really. Comfortable moving and singing at the same time, eh. In any case...
Good singers tonight. The tenor in Pagliacci was making his debut. He did well, but his voice was the smallest and weakest of the cast. He also did not move that well - well, at least "chase" that well. There were more than a few giggles as he halumphed across the stage trying to catch Silvio. Patricia Racette was in glorious voice as Nedda, and Juan Pons set the bar high after his opening "Prologo".
Starting the evening off, Cav was Cav. After the orchestra prelude, we hear Turridu singing off-stage. Then after that, there's another long orchestral interlude while Santuzza keeps "emoting" on stage, and the chorus comes on to show off their various costumes. Generally good voices, with the women outshining the men. There were also some unintentional giggles as a result of the casting. Santuzza was being sung by the Lithuanian soprano, Violeta Urmana. She is built very solid - not fat, and, well, Lithuanian. On the tall side too. Her two competing love interests were played by men of a more squat and stout nature. I had the impression she was keeping herself hunched over in a few places in order to make her appear more weak and vulnerable. The "fight" was pretty laughable between her and Turridu, Eduardo Villa. I would have put the money on her!
However, the biggest giggle and laugh moment - which happens each time this opera is done - occurred right after Turridu has challenged Alfio, Frederick Burchinal, to a duel. They trade their words, and a few moments after Alfio leaves the stage, Turrido cries out, "Mamma!... Mamma!!" to his Mamma Lucia. And then goes on to say that he thinks the wine made him dizzy. -Only in the world of opera.
