Watching the Live in HD Metropolitan Opera cinema broadcasts has always been a fascinating and mostly worthwhile experience for me. Some productions are better than others, most ranging from decent to great, with a fair share of superb productions but also some disappointments. That being said, there has always been the thrill of feeling like you are there at the Met yourself, that's how authentic the impact is, except you are actually seeing the production for a much cheaper price and in a more accessible location.
'Adriana Lecouvreur' will never be one of my favourite operas, certainly don't dislike it though at the same time (that couldn't be further from the truth). Cilea's music is lovely, especially Adriana's "Io Son L'Umile Ancella" and the story has touching moments, such as the long death scene, with some great melodrama in the big confrontation between Adriana and the Princess. It is quite artificial generally though and one needs good luck in completely following what is going on in the story because the brain does get into a muddle. 'Adriana Lecouvreur' is generally well served on record and the viewed productions of it mostly did a great job bringing it to life (i.e. the 1976 production with Montserrat Caballe and Jose Carreras). This production is the high-point so far of the 13th season of the Metropolitan Opera HD Live series , even more so than 'La Fanciulla Del West', having liked to loved four of the six productions of the season transmitted so far while being lukewarm on 'Marnie' and especially 'Samson et Dalila'. One of my favourites from the Met actually too for a while.
The production values are just great, the colours are incredibly rich, and the costumes and sets are sumptuous in how they look and are designed as well as being evocative. Netrebko's gowns are just ravishing show-stoppers. Cannot fault the HD, nor Matthew Polenzani's very engaging and at ease hosting. David McVicar directs with intelligence, making the character and story complexities clear with no signs of irrelevance, annoyances or distaste. All while capturing all the numerous tensions and emotions of the story spot on. A lot of scenes are beautifully done, with a blistering in intensity confrontation and heart-wrenching final scene that did have me reaching into my bag for tissues. The ballet managed to be witty with the camp nature it sometimes adopted not being overplayed or irritating.
Musically, this production of 'Adriana Lecouvreur' is faultless. There is very lush orchestral playing and Gianandrea Noseda conducts with nuances, freedom and a great deal of respect and clear love for Cilea's beautiful score, as well as keeping the momentum alive rather than wallowing too much.
Have no issues with the performances from the cast either, though not everybody is going to forgive some of Anna Netrebko's unintelligible consonant singing. Decided to overlook this though because Netrebko not only looked ravishing and wore her costumes as if born to wear them, but her darkly rich voice didn't sound taxed at the bottom and soared at the top and there are some lovely musical details throughout (still swooning at some of those pianissimos).
Piotr Beczala is a youthful and ardent Maurizio with a ringing, unstrained voice that sounds easy throughout. Have always really liked him and his voice and love that he keeps growing as a singer and actor and into every role he takes on old or new. Anita Rachvelishvili's Princess, along with the title role the Princess is one of two roles particularly that makes or breaks a production or recording of this opera, is magnificent and she actually gives my favourite performance of the production, despite it being advertised as a Netrebko vehicle. Her voice sounds even and rich from top to bottom and manages to be both thrilling and delicate. Her chemistry with Netrebko is the very definition of hair-raising.
When it comes to the other roles, Ambrogio Maestri's affecting and sonorously sung Michonnet is one of the better interpretations of that role from personal opinion and cannot imagine anybody today sing or act it as well as he. Carlo Bosi and Maurizio Muraro fare strongly too.
In summary, a wonderful production. 10/10 Bethany Cox
'Adriana Lecouvreur' will never be one of my favourite operas, certainly don't dislike it though at the same time (that couldn't be further from the truth). Cilea's music is lovely, especially Adriana's "Io Son L'Umile Ancella" and the story has touching moments, such as the long death scene, with some great melodrama in the big confrontation between Adriana and the Princess. It is quite artificial generally though and one needs good luck in completely following what is going on in the story because the brain does get into a muddle. 'Adriana Lecouvreur' is generally well served on record and the viewed productions of it mostly did a great job bringing it to life (i.e. the 1976 production with Montserrat Caballe and Jose Carreras). This production is the high-point so far of the 13th season of the Metropolitan Opera HD Live series , even more so than 'La Fanciulla Del West', having liked to loved four of the six productions of the season transmitted so far while being lukewarm on 'Marnie' and especially 'Samson et Dalila'. One of my favourites from the Met actually too for a while.
The production values are just great, the colours are incredibly rich, and the costumes and sets are sumptuous in how they look and are designed as well as being evocative. Netrebko's gowns are just ravishing show-stoppers. Cannot fault the HD, nor Matthew Polenzani's very engaging and at ease hosting. David McVicar directs with intelligence, making the character and story complexities clear with no signs of irrelevance, annoyances or distaste. All while capturing all the numerous tensions and emotions of the story spot on. A lot of scenes are beautifully done, with a blistering in intensity confrontation and heart-wrenching final scene that did have me reaching into my bag for tissues. The ballet managed to be witty with the camp nature it sometimes adopted not being overplayed or irritating.
Musically, this production of 'Adriana Lecouvreur' is faultless. There is very lush orchestral playing and Gianandrea Noseda conducts with nuances, freedom and a great deal of respect and clear love for Cilea's beautiful score, as well as keeping the momentum alive rather than wallowing too much.
Have no issues with the performances from the cast either, though not everybody is going to forgive some of Anna Netrebko's unintelligible consonant singing. Decided to overlook this though because Netrebko not only looked ravishing and wore her costumes as if born to wear them, but her darkly rich voice didn't sound taxed at the bottom and soared at the top and there are some lovely musical details throughout (still swooning at some of those pianissimos).
Piotr Beczala is a youthful and ardent Maurizio with a ringing, unstrained voice that sounds easy throughout. Have always really liked him and his voice and love that he keeps growing as a singer and actor and into every role he takes on old or new. Anita Rachvelishvili's Princess, along with the title role the Princess is one of two roles particularly that makes or breaks a production or recording of this opera, is magnificent and she actually gives my favourite performance of the production, despite it being advertised as a Netrebko vehicle. Her voice sounds even and rich from top to bottom and manages to be both thrilling and delicate. Her chemistry with Netrebko is the very definition of hair-raising.
When it comes to the other roles, Ambrogio Maestri's affecting and sonorously sung Michonnet is one of the better interpretations of that role from personal opinion and cannot imagine anybody today sing or act it as well as he. Carlo Bosi and Maurizio Muraro fare strongly too.
In summary, a wonderful production. 10/10 Bethany Cox
