This past season brought you a trio of Verdi classics sandwiched between our signature production and a world premiere -- it's been quite a year for us here at Seattle Opera! Before we move on to the 2010/11 season, we want to take a moment to look back at our soaring 2009/10 season. This week, we're conducting a poll to find out audiences' favorite production of the past season. Are you a Ringhead or did you prefer the elegance of La Traviata? Did Peter Kazaras's innovative Falstaff tickle your funny bone or did you prefer the flames of Il Trovatore? Or perhaps the excitement of Amelia, a brand-new opera, was your perfect cap to a fabulous season. We want to hear from YOU -- so cast your vote (the poll is on the right side of your screen) and, if you want, share your thoughts with us in the comments section.
Ring photo © Chris Bennion. All other photos © Rozarii Lynch.
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I'm going to make the call for Falstaff with Traviata at a close second. I'm kind of a sucker for comedy - really looking forward to Barber and The Magic Flute this year!
ReplyDeleteToo bad there isn't an option for the Young Artist production of Ariadne auf Naxos, which was staggeringly good.
ReplyDeleteThat being said, I voted for Amelia, which, though the work itself may not be as great as Wagner or Verdi's masterpieces, had as stunning a production and wonderful singing as could be hoped for.
Il Travatore is one of my all time favorite operas - the intensity, the music, the Anvil chorus. Together with the trio of Verdi's (by far, my favorite composer), I was over-the-top in ecstasy this season! Thank You for all of it.
ReplyDeleteI can't vote for the whole Ring, as I don't like parts of it. If I could vote singly, my favorite opera - of all time - is Die Valkure.
ReplyDeletei've dreamed about seeing La Traviata since I first heard it as the house music for a high school play back in the 90s, when I worked backstage. It was a dream come true in that aspect, but the staging, the costumes, the singers, the music, the whole production was PHENOMENAL even if I hadn't had all that built-up anticipation. And the ending, how can you beat that? I heard some patrons thougt the program was too heavy on the Verdi last season, but that was just fine with me :) Thank you for a wonderful show.
ReplyDeleteAlthough Falstaff is not my favorite opera, it was the best overall production of the season among the traditional repertoire in terms of singing and acting/staging.
ReplyDeleteAmelia was a close runner-up as a wonderfully integrated music/theatre experience which was deeply moving. Kudos to all who had the courage to step out of the comfort-zone and present this subtly anti-war, pro-human work
Next came Die Walkure, the only Ring opera I was able to attend. The orchestra was glorious,Stephanie Blythe couldn't help "outsinging" everyone else, all of whom gave fine performances. Brunnhilde was vocally weak, often inaudible from my stage-right box. The role may work better for her in smaller European houses.
After Act I, Traviata improved, and the final Act was truly affecting.
I love Trovatore when it is well-sung. Sadly, I found the Leonora vocally unexciting, frankly, I believe Ms. Daltirus' is temperamentally and vocally unsuited for dramatic roles like Tosca,Aida and the Trovatore Leonora, she delivers some lovely pianissimo singing, but does not have the vocal "heft" for the big moments. The "mezzo" singing Azucena was excellent in Bluebeard's Castle, but this gypsy needs a voice with Zajick-like timbre. I loved Signor Palombi's Rhadames, but I think Manrico is not his best role. The Count di Luna sounded as though he might have been indisposed on opening night and Il Balen was painful to hear. Ferrando was fine! The silhouettes of hanging corpses was grotesquely distracting in the Miserere tower scene. How did that get past the first tech rehearsal?