Leave a comment

La Fausteme

So, I promised I would have a review of La Boheme by this afternoon. I figured that since I’m talking about Faust tonight, I’ll condense the two posts into one.

La Boheme always astounds me at how fast it moves. Time flies when you’re having fun. I felt that the two leads couldn’t sing over the orchestra(Which was in tip, top shape) They were straining to reach high notes and make noise over the orchestra. For me, the highlight of he evening was Sussana Phillips as Musetta. Her acting was audible. You could tell she was living the part of a flirt with Paris wrapped around her finger. The part of Musetta is filled with other expressions, like laughter and shrieking and shouting (She told Marcello he was a house-painter). These were delivered with expertise and I’m happy I was able to hear them.

Paul Plishka is so fun to listen to. (And he has a really cool name) He will always be a Benoit or an Alcindoro. I would bet money the Met has booked him for La Boheme for the next ten years.

So tonight, we hear Faust, in it’s premiere performance of the season. A new production by Des McAnuf, too may I add.Tonight we hear the tenor Jonas Kaufman (Not a big fan) and Marina Poplavskya, everyone’s favorite Callas imitator. I’m not trying to undermine Poplavskya, but I hear she’s a real diva, not in the preferred sense of the word. She just doesn’t seen like a particularly nice person. A drama queen on and off stage.

Now this production was originally scheduled to open with Gheorghiu. Who cancelled. Again, sighting “artistic reasons” I have no sympathy for her. This is not the first time she was scheduled for a headlining new production. She canceled Carmen two years ago because she didn’t want to perform with her ex, Roberto Alagna. She also felt “unready” for the role. This woman clearly has some commitment issues. She also canceled in Romeo et’ Juliette citing “health reasons”. Now I have seen Gheorghiu, right before she thought it was cool to cancel EVERYTHING. I was impressed when I saw her in La Traviata, I admit. I don’t love her voice but she is most certainly not untalented. I just wish she would commit a little more, and show a bit more professionalism at the Met.

I must now depart to mentally prepare for Faust. Here is a libretto I found online, courtesy to Aria-Database, a website I frequent: http://www.aria-database.com/translations/faust.txt

A sta notte, e per sempre.



Tell me what you think!

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: