I write this for those who are relatively new to opera, and who read over these reviews for assistance in deciding which one
to try "this month".(budget constraints, you know). I am confident you will delight in this one. I wish they were all so sublimely carried off as this one. It is mentioned in another review that this masterpiece by Rossini was ostensibly meant to be a bon bon, performed for a special occasion of a French Coronation. The French Revolution had taken place many years before, which as it turned out was not a pretty sight thanks to barbaric excess. But now, there seems this chance to reclaim the old glory days of the Regency. So from all over Europe come the creme de la creme of society to attend the coronation and, of course, rub elbows with everybody who IS anybody.Alas, their plans are foiled, "curses"..."drat it all", and they must remain to celebrate the coronation from afar, in a gorgeous and sensuous spa. (awww) Here lies the opportunity to have a little fun with pomp and elitism, indulgence, and romance. Here also lies the opportunity to provide a glorious array of sublime melodic rapture. The difficulty of this opera is the sheer number of consummate talents required ( I counted 19 taking curtain calls?) . Rossini, ever gracious, allows each talent a gracious plenty of limelight opportunity, and miraculously, is able to provide each with a tour d'force aria- solo, pair, trio, quartet, quintet, octet...you name it. This is an opulent melodic romp from start to finish-an endless stream-an encyclopoedia of soaring, bird fluttering melodic line.
One of the most astounding things is the very delicate balance of gorgeous people whether in sartorial splendor or in skivvies, managing to walk the comedic tight rope taking themselves dead seriously, exuding melodrama, yet without ever once going too far with aping, or awkward bufoonery. I don't have any other word for it but consummate comedic artistry.
It is mentioned elsewhere here that Rossini brought some of the music over to his "real" opera buffa, "Le Comte Ory". I am afraid that if you see Il Viaggio a Reims first, Le Comte Ory will seem a let down. Dramma Giacoso is indeed a delicate art. It suffers with the slightest heavy handedness... owing to which the tight rope walkers plunge. In this opera, they all remain gloriously aloft, cavorting and somersaulting with the greatest of ease.
The really nice thing about this opera, the story line is not so very critical...you know the story now...it is a series of melodramatic vignettes for vocal artists...you can just select the scene you want to see again..and you Will want to see them again...and again!
Oh how I wish more operas could be this superbly staged. What a glorious set, what glorious costumes, every bit player playing his or her part perfectly. The lighting beautiful. This is a fun opera, every scene. I like the Russian, played by Kenneth Tarver, with a burning passion for the voluptuous and beautiful Polish Marchesa.
I must describe this one scene in the hope of enticing you-This scene being but one of numerous wonderful sets-The Spanish regent, "Don Alvaro" ( played by Angel Odena -one of the most pleasant baritones you will ever hear ), is seen flirting with the gorgeous,and voluptuous Paula Rasmussen, playing the Polish Marchesa Melibea-and both are in turn of the century swimsuits in the Hot Tub Pool. What man would not flirt with her?
I want to draw your attention to the glorious melodies they sing- so joyous, flitting and soaring-so perfect for the scene. Even though it is a comic opera, Rosssini does not let anyone off lightly. Each one in turn sings a matching suite of melodies, requiring each to jump whole octaves at a single bound ( try this one you singers!). Paula gets to display her rich tambre and range, and so does her flirtatious partner in crime - partner in crime? Well, immediately after they each proudly display their talents like a pair of peacocks, while flirting shamelessly,-enters the Russian Regent Conte Libenskof, played brilliantly and with astonishing facility by Kenneth Tarver...it is now his turn to continue with the same complex and exceedingly artful melody set-but this time, it takes on a subtly different character...an ominous character, for the Marchesa is his ardent love interest. Kenneth also jumps whole octaves at a single bound. All the while the men are posturing like school boys about to engage in fisticuffs...and in their skivvies, I remind you. What perfect comedy. things ease down a bit, thanks to the timely and artufl intervention of the Marchesa...and Kenneth then goes into one of the most beautiful, heartfelt melodies. And it just goes on and on my friends! Kenneth Tarver both acts and sings supremely..one of the best in the entire opera ... (they are all so very good, though, how can one choose, really! Following this enormous tension, easing bit by bit, then is heard in the distance, the tender aria by Corinna the Roman Poetess, who sings a peaceful, sensuous, a deliciously soothing aria followed by a fervent chorus of prayer by all, a curious blend of sincerity, contrition, and bombastic, tumultous joy. In the last scene The Roman Poetess, Elena de Merced, sings another tender praise of the "King to be", and all the hapiness and joy that will fall upon the populace now, which she sings so sweetly... a sweet song which gradually becomes a majestic prayer again for blessings on the future,( don't forget that Rossini wrote wome of the most beautiful hymns ever composed ) sung by all on stage....while scenes of the grim future of Europe and the world are projected behind them...this is irony..sweet, brilliant irony. It is a masterpiece.
Spitzenrezensionen aus anderen Ländern
Frank Elliott
A rare and precious gem of an opera
Rezension aus den Vereinigten Staaten vom 18. Februar 2006
Frank Elliott
Rezension aus den Vereinigten Staaten vom 18. Februar 2006
to try "this month".(budget constraints, you know). I am confident you will delight in this one. I wish they were all so sublimely carried off as this one. It is mentioned in another review that this masterpiece by Rossini was ostensibly meant to be a bon bon, performed for a special occasion of a French Coronation. The French Revolution had taken place many years before, which as it turned out was not a pretty sight thanks to barbaric excess. But now, there seems this chance to reclaim the old glory days of the Regency. So from all over Europe come the creme de la creme of society to attend the coronation and, of course, rub elbows with everybody who IS anybody.Alas, their plans are foiled, "curses"..."drat it all", and they must remain to celebrate the coronation from afar, in a gorgeous and sensuous spa. (awww) Here lies the opportunity to have a little fun with pomp and elitism, indulgence, and romance. Here also lies the opportunity to provide a glorious array of sublime melodic rapture. The difficulty of this opera is the sheer number of consummate talents required ( I counted 19 taking curtain calls?) . Rossini, ever gracious, allows each talent a gracious plenty of limelight opportunity, and miraculously, is able to provide each with a tour d'force aria- solo, pair, trio, quartet, quintet, octet...you name it. This is an opulent melodic romp from start to finish-an endless stream-an encyclopoedia of soaring, bird fluttering melodic line.
One of the most astounding things is the very delicate balance of gorgeous people whether in sartorial splendor or in skivvies, managing to walk the comedic tight rope taking themselves dead seriously, exuding melodrama, yet without ever once going too far with aping, or awkward bufoonery. I don't have any other word for it but consummate comedic artistry.
It is mentioned elsewhere here that Rossini brought some of the music over to his "real" opera buffa, "Le Comte Ory". I am afraid that if you see Il Viaggio a Reims first, Le Comte Ory will seem a let down. Dramma Giacoso is indeed a delicate art. It suffers with the slightest heavy handedness... owing to which the tight rope walkers plunge. In this opera, they all remain gloriously aloft, cavorting and somersaulting with the greatest of ease.
The really nice thing about this opera, the story line is not so very critical...you know the story now...it is a series of melodramatic vignettes for vocal artists...you can just select the scene you want to see again..and you Will want to see them again...and again!
Oh how I wish more operas could be this superbly staged. What a glorious set, what glorious costumes, every bit player playing his or her part perfectly. The lighting beautiful. This is a fun opera, every scene. I like the Russian, played by Kenneth Tarver, with a burning passion for the voluptuous and beautiful Polish Marchesa.
I must describe this one scene in the hope of enticing you-This scene being but one of numerous wonderful sets-The Spanish regent, "Don Alvaro" ( played by Angel Odena -one of the most pleasant baritones you will ever hear ), is seen flirting with the gorgeous,and voluptuous Paula Rasmussen, playing the Polish Marchesa Melibea-and both are in turn of the century swimsuits in the Hot Tub Pool. What man would not flirt with her?
I want to draw your attention to the glorious melodies they sing- so joyous, flitting and soaring-so perfect for the scene. Even though it is a comic opera, Rosssini does not let anyone off lightly. Each one in turn sings a matching suite of melodies, requiring each to jump whole octaves at a single bound ( try this one you singers!). Paula gets to display her rich tambre and range, and so does her flirtatious partner in crime - partner in crime? Well, immediately after they each proudly display their talents like a pair of peacocks, while flirting shamelessly,-enters the Russian Regent Conte Libenskof, played brilliantly and with astonishing facility by Kenneth Tarver...it is now his turn to continue with the same complex and exceedingly artful melody set-but this time, it takes on a subtly different character...an ominous character, for the Marchesa is his ardent love interest. Kenneth also jumps whole octaves at a single bound. All the while the men are posturing like school boys about to engage in fisticuffs...and in their skivvies, I remind you. What perfect comedy. things ease down a bit, thanks to the timely and artufl intervention of the Marchesa...and Kenneth then goes into one of the most beautiful, heartfelt melodies. And it just goes on and on my friends! Kenneth Tarver both acts and sings supremely..one of the best in the entire opera ... (they are all so very good, though, how can one choose, really! Following this enormous tension, easing bit by bit, then is heard in the distance, the tender aria by Corinna the Roman Poetess, who sings a peaceful, sensuous, a deliciously soothing aria followed by a fervent chorus of prayer by all, a curious blend of sincerity, contrition, and bombastic, tumultous joy. In the last scene The Roman Poetess, Elena de Merced, sings another tender praise of the "King to be", and all the hapiness and joy that will fall upon the populace now, which she sings so sweetly... a sweet song which gradually becomes a majestic prayer again for blessings on the future,( don't forget that Rossini wrote wome of the most beautiful hymns ever composed ) sung by all on stage....while scenes of the grim future of Europe and the world are projected behind them...this is irony..sweet, brilliant irony. It is a masterpiece.
Bilder in dieser Rezension
Richard
What opera's really all about
Rezension aus den Vereinigten Staaten vom 11. Oktober 2004
Abert
Forget those nonsensical ratings - this one offers fine entertainment.
Rezension aus den Vereinigten Staaten vom 30. Januar 2012
D. Burgess-joyce
Very colourful and amusing
Rezension aus dem Vereinigten Königreich vom 9. November 2004Rafael T. Beckford
a very good recording of a rarely-heard gem
Rezension aus den Vereinigten Staaten vom 21. Juli 2005