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Home , Ambrogio Maestri, Angela Meade, Robert Carsen

...... I | MONDAY,OCTOBER 7, 2013 ADVERTISING SUPPLEMENT INTERNATIONAL HERALD TRIBUNE THE GLOBAL EDITION OF THE NEW YORK TIMES ADVERTISING SUPPLEMENT MONDAY,OCTOBER 7, 2013 | II

Renée Fleming stars in ‘‘,’’ oneof10 productions featured in METROPOLITAN the Met’s 2013-14 Live in HD season.

CENTER ROLANDO VILLAZÓN CAPTURING ADARK, POETIC SOUL Rolando Villazón was discovered almost by accident, overheard by aMexico City neighbor as he sang in the shower. That dis- covery revealed what has proved to be one STAGE of the most remarkable voices in opera today, asmooth tenor with apassionate stage presence. Hiscareer was launched in 1999, when he won three prizes at Plácido Domingo’s Operalia competition. But his career was almost ended six years ago. Avocal crisis that started in 2007 sidelined the singer for almost two years. O PERA ‘‘I had acongenital cyst in the vocal PETER GELB cord,’’ hesays matter-of-factly. ‘‘It had to be removed, and Iwas told by many doctors ‘A LIVING,BREATHING ART FORM’ that my career was over. Fortunately, Imet a ETRO POLITAN doctor in Paris, and he said you would be Says Peter Gelb, general manager of the The third Russian offering is and teenage angst; ‘‘Die Fleder- able to find your way back. Idid, and it took

Metropolitan Opera of New York: ‘‘The over- ‘‘Prince Igor,’’ the lone (and unfin- maus,’’ with new dialogue by the patience and alot of work. Ihad to learn to HOWAR D/M arching theme of any Met season is one of ished) opera by the composer Al- Broadway playwright Douglas speak and then sing again, and slowly put eclecticism.’’ Indeed, the 26operas offered exander Borodin. Astylish slice Carter Beane and new lyrics by one note in front of the other.’’ KEN by the Met this year are adiverse group. of early Russian history, ‘‘Igor’’ is Jeremy Sams; and Massenet’s ‘‘It was ahard process mentally and Rolando Villazón, pictured here as Rodolfo in Puccini’s ‘‘La Bohème,’’ will sing the role of Lensky in There are rarities by and reimagined in this new produc- ‘‘Werther,’’ starring Jonas Kauf- physically,’’ he recounts, ‘‘but it has allowed Tchaikovsky’s ‘‘Eugene Onegin’’ in November. . Six new productions are on tion as the title character’s own mann in the title role. me to look for new horizons and new reper- offer, two of which are Russian , in- psychological journey. Visuals Of the new productions, the toire, to reach new goals and perceive my- things to the limit and takes love very seri- are singing the right tension, the right em- cluding ‘‘Eugene Onegin,’’ which opened the will include afield of 12,000 wire- most eagerly anticipated is the self as more than asinger. I’m feeling very ously and takes friendship seriously, and is phasis in each phrase.’’ season on Sept. 23. and-cloth poppies, the scarlet new production by Robert Carsen free and very lucky that Icould have gone very passionate and strong in his belief. He made his debut as Lensky in 2006 in ‘‘Onegin’’arrives in ahandsome new pro- setting forthe opera’s ballet: the of ‘‘,’’ starring Ambrogio through that process and still keep myca- He’s one of those dark poets, lookingfor an aRoyal Opera House productionatCovent duction staged by Deborah Warner and di- ‘‘Polovtsian Dances.’’ Ildar Ab- Peter Gelb,general Maestri as Shakespeare’s most reer on the best stages in the world.’’ excuse to make something extraordinary of Garden in London. Each time he sings the rected by Fiona Shaw, who stepped in after drazakov sings the title role. manager of the Met. famous comic creation. His November performances as Lensky his life. He lives his life as abig, tragic role, he says, requires renewed preparation Warner had to bow out because of unexpec- The production brings the ‘‘In ,’’ says in Tchaikovsky’s ‘‘Eugene Onegin’’ are his poem.’’ and refreshment. ted surgery. This tragic Tchaikovsky story sweeping epic of the steppes to the Met Gelb, ‘‘we have one of the top two or three OPERA first on the Met stage since a2009 perfor- He continues: ‘‘He is avolcano, it ex- ‘‘I have to do it again every time Ising tells of an ill-fated love triangle and stars stage for the first time in a century. One chal- Falstaffs in the world today.’’ An all-star cast mance of ‘‘Lucia diLammermoor’’ opposite plodes! He is all emotions, aflower that is this part. After two orthree years, Ihave to as Tatiana. The production is lenge of staging Borodin’s unfinished opera includes the sopranos and Anna Netrebko. Lensky is an ardent young opening his soul.’’ learn it again, and then do the very impor- LACOMBE acollaboration between the Met and the is making the unconnected scenes dramat- . The production also marks aristocratwho competes withOnegin for the Villazón says that singing in Russian tant and necessary work of polishing. You English National Opera. ically coherent. ‘‘For Dmitri Tcherniakov,’’ the the bicentennial year of , ETR OPOLITAN hand of the beautiful Tatiana in the tragic ‘‘was the biggest challenge —totranslate listen to the music, to what the music is /M Also at the end of September, the Met director, ‘‘this is apiece he grew up with, it’s BRIGITTE whose ‘‘’’ also returns to the sched- opera. from the Cyrillic and then to use the phonetic demanding of you as asinger, and you try to welcomed back ‘‘The Nose,’’ an absurd apiece that all Russians know,’’ says Gelb. ule in its Las Vegas-themed production from ‘‘‘Onegin’ is afantastic opera,’’ says translation to pronounce the words with a enter into the style of what Tchaikovsky

Shostakovich comedy in astriking, visually ‘‘Together in collaboration with Gianandrea last season. The show is aco-production by HOWARD Villazón, and he relishes singing the role: Russian coach. You need to know where to wants. You have to bring your individuality to innovativestaging by WilliamKentridge. Noseda,’’ who is conducting, ‘‘they have the Met, House of London, ‘‘this passionate poetic soul who takes stress, which way you go in the line, so you the part, which is part of the process.’’ n ‘‘The Nose,’’ one of the great successes of come up with anew dramaturgical structure Teatro alla Scala of Milan, the Canadian Op- KEN Gelb’s administration, will also be presented of the piece which makes it more of an in- era Company and De Nederlandse Opera of in alive, high-definition broadcasttotheat- ternal psychological journey.’’ Amsterdam. RENÉE FLEMING ers, allowing operalovers around theworld New shows, in addition to ‘‘Igor’’ and ‘‘I believe no opera production should last to see what happens when aman’s nose ‘‘Onegin,’’ include ‘‘Two Boys,’’ Nico Muhly’s forever,’’ Gelb says firmly, ‘‘even if the LOVE AND DEATHLY ATTRACTION IN A CZECH CLASSIC runs away. bold first opera about Internet chat rooms scenery doesn’t collapse. It’s healthy to know MET OPERA ON DEMAND that opera is aliving, breathing art form. Ob- Renée Fleming is the most famous Ameri- unique gift for melody and command of Bo- to learn, but mastering singing in Czech is ‘Kiss me,’ Rusalka warns him that he’ll die, visuals and watery effects in an opera that to engage the audience’s sympathy with viously, we have to keep pace with society can singer of the last two decades, reigning hemian folk idiom to create amagical only one of the challenges of the work. but he understands and accepts his fate. spends so much time close to the shore. movement alone, not an everyday task for a As part of the ’s ‘‘While the app is free, viewing content Met also makes audio and video titles and the world. If opera is to have afuture it in awide repertory from Verdi to Strauss to opera. ‘‘This is asurprising version of the tale we It’s amorality tale in away, and it’s often di- ‘‘It’s very physical!’’ says Fleming.‘‘But that soprano.’’ continued efforts to extend its appeal be- requires asubscription,’’ Fuhs explains. available for rental or purchase through has to be alive on the stage, and the way to baroque operas and bel canto rarities.But Like its protagonist, ‘‘Rusalka’’ can cap- know as the LittleMermaid,’’ she says. ‘‘It rected as acoming-of-age story for her. The final scene, when she walks on water, is a She continues: ‘‘And as I’m bringing her yond the walls of its Lincoln Centerhome, ‘‘The majority of our subscribers join after partnerships with iTunes and Amazon keep it alive is through new productions.’’ the role the soprano is most closely associ- tivate an audience,and Czech opera isin has avery dark and complex ending. It took opera is an intriguing version of this beloved sublime piece of stagecraft.’’ to life the audience has questions.Why the company has expanded its video and experimenting with the service during the Instant. He adds, referring to Franco Zeffirelli pro- ated with is the title role in ‘‘Rusalka,’’ Antonin Fleming’s blood. ‘‘I love this opera —every- me awhile —afew productions —tofully story, and withstands interpretation well.’’ ‘‘Portraying Rusalka requires stamina,’’ does the Prince react so badly? Why does audio streaming service to tablet com- seven-day free trial we offer.’’ The billing ‘‘The video and audio quality of the ductions: ‘‘Other than the ‘Bohème’ and ‘Tur- Dvorak’s 1901 fairy tale of amermaid strug- thing about it,’’ she confides. ‘‘My great- understand what happens to Rusalka in the The Met production dates from 1993 — she says. ‘‘Because she’s onstage almost Rusalka’s simple longing for human love go puters via the launch of the Met Opera on rate following the trial is $14.99 amonth, HD performances is extremely impres- andot,’ everything is fair game.’’ gling for acceptance in the human world. grandparents were from Prague. Iremem- third act. Her punishment for breaking the Fleming first appeared in the role in 1997 — the entire time.’’ so wrong?’’ Demand app. or $149.99 ayear, with further discounts sive,’’ Fuhs adds. ‘‘They really capture Another major thread of 2013 at the Met The story of Rusalka is an old one, retold ber, as achild, hearing them speak Czech to vow of silence, for not being able to live in the and is by the legendary team of the director Fleming points out that this opera is un- Finally, however, she says: ‘‘While there’s The Met’s media manager, Justin available for Metropolitan Opera Guild the experience of seeing and hearing the is the eagerly anticipated return to active by Hans Christian Andersen and Walt Dis- each other, especially when the conversa- human world, is to become adeath sprite,a Otto Schenk and thedesigner Gunther usual. ‘‘As my portrayal has evolved, Ihave no redemption for Rusalka and her Prince, Fuhs, explains the development of the di- members. live transmissions. Our subscribers

OPERA conducting duties ofJames Levine, the mu- ney. But Dvorak’s opera stands out, a lush tion wasn’t intended for my ears.’’ siren, acreature who lures men to their Schneider-Siemssen. had to work on Act II, during most of which the reward is in the surpassing beauty of gital opera house. ‘‘The Met has offered The Met has also added the on- have been very pleased with the video sic director. Levine will lead three operas at construction that uses the composer’s She admits that the language is difficult deaths. At the end, when the Prince says There’s aprice to pay for spectacular the character is mute,’’ she explains. ‘‘I have Dvorak’s music.’’ n streaming of select video and audio per- demand service to its educational pro- quality that the iPad has been able to the Met this year: ‘‘Così fan tutte,’’ formances since 2008,’’ he says. ‘‘At the gram. The new service, Met Opera on De- deliver.’’ ‘‘Wozzeck’’ and ‘‘Falstaff.’’ time we launched the service, opera fans mand: Student Access, is available to uni- In addition to the HD transmissions,

ETROPOLITAN Levine’s return after aleave ‘‘is an excit- could watch and listen to about 170 oper- versity libraries and allows students to ‘‘We also offer 67 standard-definition

/M ing moment in recentMet history,’’ says as on their desktop computers. As the view or listen to allofthe operas in the broadcasts,’’ saysFuhs, ‘‘most of which Gelb. ‘‘He’s returning so energized and on service becomes more popular, we’veex- catalog as well as other educational con- are from older Met telecasts that were top of his game. He hasn’t conducted opera panded our catalogand made the service tent related to the featured operas, com- seen on PBS.’’ These titles range froma

LACOMBE in two years. Although he is confined to a available to tablet users through an iPad posers and artists. 1977 performance of ‘‘La Bohème,’’ wheelchair, he has enormous upper body app called Met Opera on Demand.’’ ‘‘We have over 450 full-length operas starring Luciano Pavarotti and Renata strength, and he is conducting like he hasn’t Use of the on-demand streaming ser- in the catalog,’’ says Fuhs, ‘‘including Scotto, to a2003 performance of BRIGITTE in 20 years. The cast of younger singers are vice on atablet requires the app, avail- more than 65 recent Live in HD presen- ‘‘Ariadne auf Naxos,’’ starring Deborah Jonas Kaufmann is Werther in anew production of the Massenet opera, directed by RichardEyre. so excited that heisback.’’ n able for free from the iTunes Store, and tations. Those are typically added to the Voigt and . an iPad or iPad mini.The streaming ser- service three to four months after the In addition, 332 audio broadcasts vice does not allow listeners to download live broadcasts.’’ Live in HD is the Met’s drawn from the Met’s vast history of radio or ‘‘borrow’’ audio files —and requires an program for high-definition broadcasts broadcasts, dating back to 1936, are active Wi-Fi connection. to movie theaters around the world. The available through the service. n THE RETURN OF THE MAESTRO When James Levine returned to conduct comedy of disguisesand switched identit- musical rehearsals, and he’s able to slowly the Metropolitan Opera Orchestra at Carne- ies. As Despina, sheisakind of female but surely pinpoint the places where we BEHIND THE SCENES gie Hall in May, the effect was immediately Figaro, amaster of disguise. need more energy, more time, more inten- audible. The players sounded energized, ‘‘The preseason rehearsal process at tion. Those things are the icing on the cake, THE ARTISTS WHO SET THE STAGE with the 10 minutes of Wagner’s ‘‘Lohen- the Met is very different,’’ she notes. ‘‘You really.’’ grin’’ prelude seeming to shimmer and ex- have these spikes with heavy concentration Lisette Oropesa, like De Niese, is a Tall and lanky, Douglas Lebrecht strides dream is for the Act II ballet sequence, the pand on waves of sound. and performing with the orchestra the same product of the Met’s Lindemann Young Artist through avast roomfilled with fresh-cut ‘‘Polovtsian Dances,’’ the most famous Levine isn’t conducting any Wagner at day. It has kept usatahyper-focused Development Program. In December, she’ll lumber and the flotsam and jetsam of opera passage in Borodin’s opera. the Met this year, but make no mistake: the level.’’ sing Nannetta in the company’s new produc- productions past, present and future. He’s ‘‘They’re going to dance through them,’’ company’s music director is back in action, ‘‘I love doing Despina,’’ she says, dis- tion of Verdi’s ‘‘Falstaff.’’ She’s happy about the head of the Metropolitan Opera’s scenic he says. He’s not kidding. and the company is the better for it. Al- cussing the character who turns herself into Levine’s return, but for slightly different department, and on aWednesday after- Lebrecht’s main workshop (the Met has though battles with numerous health issues aquack doctor and ashrill notary to help reasons. noon six days before the opera company is three —two are in the outer boroughs) is a have left the maestro confined to awheel- bring the opera’s plot to aboil. ‘‘For the doc- ‘‘He’s the type of conductor who knows scheduled to open the 2013 season, his long, narrow work space lit through long chair, this seasonsees him conductrevivals tor, I’ve got this very big sound. For the not- how to bring the best out of you,’’ she says. work space is ahub of activity. glass windows withsouthern exposure. of ‘‘Così fan tutte’’ and ‘‘Wozzeck,’’ along ary, completely nasal. Itried to change the ‘‘He’s like apsychiatrist.’’ Today, Lebrecht’s crew, which varies The shop is ajumbled delight, decked with with an eagerly anticipated new production body language between the She explains: ‘‘Instead from about 20 to 50 carpenters spread props and imagery from present and past of Verdi’s ‘‘Falstaff.’’ doctor and the notary — of him saying ‘You’re flat on over three workshops, is creating aset of opera productions. ‘HE HELPS OPERA Levine has been the instrumental heart one slouches and the oth- this note,’ he’ll say, ‘You birch trunks, cut length- Acollection of obese of the Metropolitan Opera for the past40 er’s abit full of himself.’’ YOU BRING need to keep the breath on wise and lined up hori- ‘WE DO FLOWER chef masks collude in a years, serving as music director and shaping When working with Lev- this note.’ Some conduct- zontally to be painted. corner opposite faux- OUT YOUR the company’s orchestra into aworld-class ine —‘‘Jimmy’’ to his col- ors of his status would not Lebrecht is in charge of ARRANGEMENTS, decayed carvings from ETROPOLITAN ensemble. Acombination of illnesses and in- leagues —the smallest de- BEST AS A hesitate to blow up at making sure the sets on the company’s ‘‘.’’ At /M juries, however, aggravated by afall tails are important. ‘‘What I people. He says, with hu- the Met stage look right DRAPERIES, the top of the stairs leers suffered in September 2011, prevented him find remarkable,’’ De Niese SINGER’ man kindness, ‘You’re mak- from the audience’s per- PILLOWS AND afive-foot-wide gargoyle from conducting for the past two years. This says, ‘‘is that his contribu- ing this mistake,’ and says spective, whether it’s a face. ‘‘Cut from the siege ROSSATO season, he is in awheelchair but resuming tions even to the smallest stagingdetails so it in away that you can fix it without feeling birch forest in ‘‘Eugene HAND PROPS’ tower in Act II of his duties as the company's music director greatly improve the effect of the story and that you’re afailure. It brings up your confi- Onegin’’ or avast field of ‘Francesca da Rimini,’’’ he and most eminent conductor. draw the audience’s attention to where it dence, which helps you bring out your best 12,000 red poppies, the visual centerpiece says regretfully. Hours could be spent put- MICAELA Danielle de Niese, the soprano who ap- needs to be. That can be done withthe smal- as asinger.’’ of the company’s new production of ting everything in the room into context. Ildar Abdrazakov in the field of poppies created pears in September and April performances lest things. Which way you’re turning your Nannetta is the high soprano part in ‘‘Prince Igor.’’ The Met runs more than two dozen for the production of ‘‘Prince Igor.’’ of ‘‘Così fan tutte,’’ couldn’t behappier. head can mean turning away from the audi- Verdi’s last opera, one of apair of young lov- He shows off aspray of the poppies, shows every season, and it is Lebrecht’s ‘‘It’s so great with Jimmy coming back,’’ ence, or sharing with the audience rather ers whose duets and romances add whimsy which are in abucket in the middle of the job to keep them all looking their very best. ‘‘She’ll take abrand-new T-shirt and make it she said in atelephone interview, adding: ‘‘I than turning away.’’ to the comedy’s already piquant warmth. shop. They’re set in acollection of other ‘‘The scenic artists whom Isupervise,’’ he look like it has been worn 15 times.’’ called him Jimmy —could you please She elaborates: ‘‘He’s got such akeen This year’s offering is anew production by flowers and fake grasses. ‘‘Each of these says, ‘‘are responsible for everything from But there’s more than just scenery. ‘‘We do change that to Maestro Levine?’’ eye for that, not only musically but architec- Robert Carsen, opening on Dec. 6. had to be laser-cut,’’ he explains, pointing the wood and steel out, not just the all of the flower arrangements, the draperies, De Niese first sang for Levine as Barbar- turally, in the shape of the staging. He gets ‘‘Verdi knew what he was doing,’’ out the details of the petals and the wire scenery but the painted props and the pillows, hand props, documents,’’ he says. ina in 1998, in the premiere of anew produc- involved in abeautiful way and not an over- Oropesa declares. ‘‘All the progress in style stems. Ahint of black fuzz indicates the pis- painted costumes.’’ ‘‘You need aletter written in French, someone tion of ‘‘Le Nozze di Figaro.’’ She is currently bearing way. He’s asculptor, likeaRodin. —totake apiece like ‘Falstaff’ that is so ex- til and stamens at the center. He thenre- We do all of the aging and distressing,’’ in the scenic department may write aletter in the middle of intensive rehearsals for ‘‘He’s spot-on. He can work on the finest citing and bright and full of energy, and to veals matter-of-factly that this florist’s he adds, pointing out one of his colleagues: with anib pen. We also do fake food.’’ n ‘‘Così fan tutte,’’ the bubbling Mozart points of singing with you. We’ll gather in think that was his last opera. The opera really has got everything. There’snot amo- ment to be lost.’’ That’s not to say the experience of work- ROLEX CULTURE PARTNERS: OPERA ing with Levine is easy for ayoung singer like SPOTLIGHT ON THE METROPOLITAN OPERA Oropesa. ‘‘When we were Young Artists,’’ she says, ‘‘every time Iwent to sing with him

ETROPOLITAN it was like being audited by the I.R.S. Al-

/M though he’s the most kind and gentle person on the planet, you never showed up

SOHL unprepared. It instilled in me agreat sense of duty and making sure that level of disci-

MARTY pline is very high. Ican’t come less than pre- The Euronews ‘‘Musica’’ series On Medici.tv, which offers alarge Jonas Kaufmann is also present on pared. I’m not going to show up with less goes behind the scenes at some catalog of classical music videos, the Opera Online site, which than my best. But when you come with your of the most outstanding opera fans can get apreview of the Met’s features articles and an opera best, he can give you adifferent kind of and classical musical experiences new production of Massenet’s encyclopedia, as well as fact sheets coaching.’’ n in the world. Jonas Kaufmann was ‘‘Werther’’ by seeing the stars of about other stars of this year’s Met interviewed by ‘‘Musica’’ about the Met’s production, Jonas season. Featured on the site is an his starring role earlier this year Kaufmann and Sophie Koch, in a interview in which he talks about his Center stage: Metropolitan Opera was in the Met’s ‘‘Parsifal.’’ Watch 2010 production by the Paris role as Don Carlo at last summer’s produced by the IHT CreativeSolutions it online by going to tinyurl.com/ Opera. See it at tinyurl.com/ . Go to tinyurl.com/ department and did not involvethe newspaper’sreporting or editorial KaufmannMusica. WertherMedici. KaufmannDonCarlo. n James Levine, the Met’s music director,conducting the company’s orchestraatCarnegie Hall on May19. departments. Text by PAUL PELKONEN.