Meandering Along The Opera Trail ....

..... as I do, and just reflecting that although at times I feel a little frustration (and just why aren't days 72 hours long to fit in everything I want to be consuming from the opera world!) that I am still so new and ignorant of this amazing world that is opera, so much to learn still and that in itself is indeed a doubled-edged sword of a position to be in, in that I also feel most highly privileged too, to be experiencing so many things for the first time, to me all so new and fresh-soooo exciting, the operas, the singers (oh thoooooose singers, did I really have no idea of that incredible beauty), it truly is a fantastic journey of discovery that I continue - the hunger and excitement I feel just seems to increase daily, just wanting more and more as singers new to me join the ever-growing list of my favourites who I must, just must see again-I get just as excited, if not even more so at "finding" these "new" (to me) singers as I do enjoying those I already know and love.

Just a little word in here in ROH's ear on something that would have been nice to experience for first time - Rusalka, would have loved that, but for my first taste, dished up in a brothel - erm, no had to pass on that one thank you - spending my hard-earnt cash on something visually noooot pretty, nooooo waaaay!!!

Having perused the offerings released by both Metropolitan Opera New York (their Live in HD broadcasts) and now The Royal Opera House for 2012/13 I can safely say that both these schedules excite me immensely, just can't wait to be in there feasting on the delights being served up, though at this point in time am more than somewhat bewildered/stunned/disappointed at no mention of Dmitri Hvorostovsky for ROH-hope there is something in the offing still to be confirmed there, my very fave baritone, well ony just there are so, so many fabulous and delicious baritones out there who appear on these two stages it is hard to be upset for too long, and there will be a Met Live in HD showing of Un Ballo in Maschera featuring Dmitri to look forward to, plus their premiere of Thomas Ades The Tempest which I am very, very excited about as this features baritone Simon Keenlyside (adorable) as Prospero (also appearing ROH Eugene Onegin as Onegin and Die Zauberflotte as Papageno-yippee).

Simon Keenlyside

I am finding it very hard not to be incredibly excited at just about everything on the menu from both Royal Opera House and The Met Live in HD for 2012/13 as I really love both the live in Opera House experience and the live in cinema experience, opera does translate so well to the big screen (though I am a tad bewildered, have to say, at the two 3D offerings by ROH-why 3D????), I get such a huge buzz watching my fave singers in those up close shots as they sing and breathe, sing and breathe .... ooohhhh just awesome!!!

Did I say meandering along the opera trail, hahaha - impossible, I am running headlong and enjoying every single moment!!!

Links to those delicious menus for 2012/13 - I can't possibly pick out all the high points for me as, well pretty much everything qualifies for that ..... the seed has been well and truly sown and the excitement grows and grows!!!!

Met Opera Live in HD
http://www.metoperafamily.org/metopera/liveinhd/liveinhd1213.aspx?icamp=HD1213int&iloc=leftnav

Royal Opera House (using the Intermezzo link as they kindly inserted cast details which ROH have not as yet-and their site is a bit clogged up with booking at the moment)
http://intermezzo.typepad.com/intermezzo/royal-opera-house-2012-2013-season-calendar-.html#tp



OK, there are things from each of those mouthwatering menus that sent me totally dizzy with delight -

Dmitri Hvorostovsky

Met Opera -
Maria Stuarda ...... Joyce DiDonato
Un Ballo in Maschera ..... Dmitri Hvorostovsky
Parsifal ...... Jonas Kaufmann

Joyce DiDonato

can't help myself, they are my three fave singers!!!

Jonas Kaufmann

Royal Opera House
La Donna del Lago .... Joyce DiDonato
Don Carlos ...... Jonas Kaufmann

Sophie Bevan

am also delighted to see that soprano Sophie Bevan (she was a fantastic Sophie in ENO's Der Rosenkavalier) will be appearing in Die Zauberflotte (ROH) as Pamina - May 2013, can't wait to see her sing again ..... so much to look forward to can hardly catch my breath.


Not forgetting - how could I possibly - there is still Les Troyens to come from Royal Opera House this summer starring Jonas Kaufmann, having just booked my seat I so can't wait for that!

It's all happening, hot on the heels of the schedule announcements ROH deliver their cinema screenings listings for both opera and ballet - link below - yet more excitement as I note I will get a second dose of Les Troyens/Jonas Kaufmann in cinema (recorded) this time (swoon), along with both Eugene Onegin and La Donna del Lago, both live transmissions - so if I time my visits to the Opera House right could get to see the both of those twice over as well - oh greedy, greedy me!

http://www.roh.org.uk/news/cinema-season-201213-announced

Le Nozze di Figaro : Mozart : Royal Opera House

Friday 2nd March

Figaro                      Ildebrando d'Arcangelo
Susanna                  Alexandra Kurzak
Bartolo                     Carlo Lepore
Marcellina                Ann Murray
Cherubino                Anna Bonitatibus
Count Almaviva        Lucas Meachem
Don Basilo                Bonaventura Bottone
Countess Almaviva   Rachel Willis-Sorensen
Antonio                     Jeremy White
Don Curzio                Harry Nicoll
Barbarina                  Susanna Gaspar

Nobody died of consumption, no-one was murdered, no suicide took place .... this is my kind of opera. Don't get me wrong I adoooooore those gut-wrenching, emotional roller-coasters that pull relentlessly at the heartstrings I really do but this oh so delightful tale with such charming characters left me feeling so happy inside that I think Le Nozze di Figaro has just become my new favourite opera! I could not stop smiling with sheer delight all the way through, really I loved it so very much. Think the leading man might have a little (lots, if truth be told) to do with it as well, Ildebrando d'Arcangelo was just a too too gorgeous Figaro, he just lived the role, fitting into Figaro's shoes with seemingly effortless ease and his singing was just fantastic, that voice just wrapped it's deep velvety tones around me and I was lost in it's magic ..... oh you have to hear don't you it's so fabulous I have to share - here's a vid clip from a few years back in another Figaro but the voice remains ..... stunning

an aria from Nozze di Figaro, Se vuol ballare Signor Contino - Ildebrando D'Arcangelo

can't help it but for me he has just been propelled right up there alongside Jonas Kaufmann and Dmitri Hvorostovsky as yet another of my favourite male opera singers, right at the top of the tree perched right alongside the other two.

Aleksandra Kurzak and Ildebrando d'Arcangelo

There was so much on the night that I found enchanting, Cherubino for sure, what a simply divine impish character is Cherubino, you can't help but love him, a Mozart masterpiece of a creation - what mezzo worth her salt cannot help but throw herself into this delightful role and Anna Bonitatibus certainly did just that, a joy to watch.

Rachel Willis-Sorenson and Anna Bonitatibus

Jeremy White and Anna Bonitatibus

Applause all round to Royal Opera House for putting together an outstanding cast - just as exciting as seeing a wonderful world-renowned opera star such as Ildebrando sing is finding singers that one has never seen before put in stunning performances (all the others were new to me) and I would here like to give an extra special mention to Rachel Willis-Sorensen, she was a fabulous Countess Almaviva with a delicious soprano voice that held me spellbound, can't wait to see more of her in the future..... ok, yes you get to hear some of her too, this is Rachel in rehearsal, Detroit last year, sounds great but she sounded even better filling The Royal Opera House to the roof with her beautifully controlled voice

Rachel Willis-Sorenson

Rachel Willis-Sorenson and Lucas Meachem

Lucas Meachem, standing in for the indisposed Simon Keenlyside, put in a great performance as Count Almaviva and Alexandra Kurzak has to get a special mention too for her lovely portrayal of Susanna, and I liked very much Carlo Lepore's singing as Bartolo and Susana Gaspar (a member of Jette Parker young artists) a delightful-voiced Barbarina.

Susan Gaspar and Ildebrando d'Arcangelo

Rachel Willis-Sorenson Aleksandra Kurzak Ildebrando d'Arcangelo

Thank you Mozart/Lorenzo da Pointe, your beautiful masterpiece has won a very special place in heart and thanks to Royal Opera House for such a delightful production with great cast, this is the real deal! Really don't think it gets any better than this.

 All there is left for me to do is give you a little look at my £13 bargain bench seat

with such a lovely view I could truly admire the beautiful ceiling

and the view of the stage and orchestra pit was darn good too - yes this really is The Royal Opera House, London - opera really is for everyone!!!!!!

Don Giovanni : Mozart : Royal Opera House

Cast:

Don Giovanni         Erwin Schrott
Leporello                Alex Esposito
Donna Anna           Carmela Remigo
Don Ottavio            Pavol Breslik
Donna Elvira           Ruxandra Donose
Zerlina                    Kate Lindsey
Mesetto                  Matthew Rose
Commendatore       Reinhard Hagen

Last night, on visiting The Royal Opera House I achieved three goals I had been aiming for

1. To see Mozart's Don Giovanni performed live for first time
2. To see baritone/barihunk Erwin Schrott perform live for first time
3. To see Kate Lindsey perform live for first time

Having now achieved all these things in one performance I am well and truly stoked! Before I go any further I must just state that my seat at The Royal Opera House was the cheapest I had thus far managed to obtain - in the Upper Slips area, seat DD19 set me back just £13! OK the view was restricted, the seat a bum-numbing bench seat but I have to say my enjoyment of the evening was in no way curtailed by these factors, to sit there and enjoy either just the music of the orchestra and singing of the performers was more than worth it, but I managed to get quite a decent view of much of the proceedings into the bargain - note I had seen this production on TV before with a different cast so did have an idea of what was going on .... most of the time). The Royal Opera House have been staging a trio of Mozart Da Pointe opera and there was another in this series I very much wanted to see also, Le Nozze di Figaro, no way could I have splurged out on decent seat even in the Amphitheatre for both so decided it was The Slips or nothing for me to be the greedy person I am and get to enjoy both.

Don Giovanni, one of the most famous opera out there I just had to see it!
If you want to know more about the opera itself - here's The Royal Opera House guide to Don Giovanni http://www.roh.org.uk/discover/opera/dongiovanni/discoverdon.aspx
I have wanted to see Erwin Schrott live since seeing him perform this little number - Leporello's catalague aria from Don Giovanni -  for Placido Domingo at the great man's 70th birthday concert

Don Giovanni/Erwin Schrott and Donna Elvira/Ruxandra Dunose

such an expressive performance, I had never heard of Erwin up to then, but I was well and truly hooked and wanting more, and with his performance as Don Giovanni last night, wow, I can't believe how much more I got!!!! He was an incredible Don, full of character but with an incredible smooth baritone voice that easily reached me way up in the rafters .... and some, his just voice seemed to reach out and caress the whole theatre. It was beautiful, I so enjoyed his singing.

Donna Anna/Carmela Remigio and Don Ottavio Pavol Breslik

Back to the performances soon but now Kate, Kate Lindsey that is. I had seen her perform as Niklaus/The Muse in The Met's production of Les Contes d'Hoffmann and her performance in that just stole the show, for me anyway (it's a fabulous production all-round if you haven't seen it-one of my faves) if you have not seen it yet I highly recommend it (psssst, Mrs Schrott is in it too, lol). Kate was a lovely Zerlina, beautiful singing from her too, with lovely duets with Erwin Schrott and Matthew Rose. I really hope to see her more at The Royal Opera House - I can already see her as a wonderful future Octavian, but maybe it is wrong of me to pin another trouser role on such an undoubtedly beautiful young lady.

Zerlina/Kate Lindsey and Masetto/Matthew Rose

Leporello-Alex Esposito

OK, so I did pretty much knew I was going to get quality from Erwin Schrott and Kate Lindsey, but confess I had not heard anything of the rest of the cast so was delighted to find that to a man/woman they all put in outstanding vocal performances, three of which I feel I have to give extra special mentions as they, to me, seemed stunning. Donna Anna/Carmela Remigio, Don Ottavio/Pavol Breslik and Donna Elvira/Ruxandra Donose, their obvious strong vocal talents left me definitely wanting more from all of them, tenor Pavol Breslik in particular, wow, he was just fantastic, such a tender and sensitive portrayal, and for the sextet in the end scene with Donna Anna/Don Ottavio/Donna Elvira/Zerlina/Masseto/Leporello I found myself almost trying to hang over the wooden ledge in front of me to try see everyone on stage creating those beautiful beautiful sounds. What a great singing cast, I could have quite happily sat with no view at all and still come away with that happy blissful feeling I left the Opera House with, despite the numb feeling even in my well-upholstered rear. It was soooo worth it! Top cast, all of them! YAY!

Would have like to have taken a bit more time here an gone into specific singing parts a bit more but with another opera on the menu tomorrow night afraid there has not been time as yet, but I will try get back and do a bit more if I find I have some free time soon.

I go tomorrow night (2nd March) for my next dose of Mozart/Da Pointe - Le Nozze di Figaro/Ildebrando d'Arcangelo.

La Clemenza Di Tito : Mozart : The Barbican Centre London

22nd February 2012

Deutsche Kammerphilharmonie Bremen
Louis Langrée conductor
Michael Schade Titus
Alice Coote Sextus
Rosa Feola Servilia
Malin Hartelius Vitellia
Christina Daletska Annius
Brindley Sheratt Publius

An opera in two acts

If, like me, you have no idea of the story, here's the synopsis

Act 1
The father of the Emperor Titus has usurped the throne of the
father of Princess Vitellia; she, in love with both the Emperor
and the idea of regaining the throne as his consort (in the
place of the ‘barbarian’ Berenice, daughter of King Agrippa
of Judaea), seeks vengeance. She appeals to Titus’s close
friend Sextus to avenge her. He, as Vitellia well knows, is
infatuated with her. Sextus’s choice is agonisingly simple:
gain the woman he adores, and murder not only his friend
but a great and generous monarch; or remain loyal to the
Emperor, and lose Vitellia. Sextus decides to obey Vitellia’s
command: she emphasises that she wants Titus dead before
the setting of the sun. But, with love for Titus fighting for
space in his heart with infatuation with Vitellia, Sextus finds
himself shilly-shallying.
The Emperor Titus makes a grand entry, and declares his
love for his friends, Romans and countrymen by announcing
an aid package for the victims of a recent eruption of
Vesuvius. Time is flying, and Vitellia is losing patience with
Sextus. But, just as Sextus runs off to obey her, and to set the
Capitol ablaze, Vitellia learns that Titus has not only been
deserted by Berenice, but has foregone his new idea of
marrying Sextus’s sister Servilia instead. She’s at last in for
a chance. Imagine her panic! How can she stop Sextus?
Her guilt, terror and anger ignite the flame-lit finale to the first
act.

Act 2
The act opens with the discovery that, miraculously, Titus is
still alive. Sextus has stabbed a poor fellow called Lentulus in
error – and what follows is a showdown between Titus and
Sextus as they start the process of self-examination to try and
live with what has happened. Titus is frustrated that Sextus
won’t explain himself; he is, of course, covering for Vitellia.
Titus sends for the guards: Sextus is to be thrown to the lions.
Sextus makes a final plea. And Titus reflects that he cannot
do violence to the dictates of his heart. Let my friend live, he
cries – and let me be accused only of mercy. If a hard heart
is required by the Empire, then take the Empire from me – or
give me another heart.
At this point, Vitellia realises with horror just how loyal Sextus
has been to her – and how her cruelty has made him a
criminal. She must tell Titus all, and forego marriage to him.
All that lies ahead for her is death and horror. It remains only
for all to be revealed, and for all to be pardoned. Titus will
not let Fate tempt him to kill even Vitellia. In the closing Sextet
and Chorus, the clemency of Titus is celebrated, and the
eternal gods invoked to watch over the Emperor and the
happiness of Rome.

And here's a link to a copy of the libretto - English translation - a great read to get closer to the story
http://www.impresario.ch/libretto/libmozcle_e.htm
and immerse oneself in the fabulous lyrics


Another first for me - loving all of this so much - La Clemenza di Tito performed in concert format (only seen one opera before performed in this way and that was Der Freischutz at last years' BBC Proms and that was fantastic!).

When I originally booked my ticket for this months and months ago Elina Garanca was scheduled to play the part of Sextus, can't pretend I wasn't a little disappointed but not in the least surprised when I heard she had cancelled having so recently given birth back in October last year, but felt sure that her replacement, Alice Coote would put in a great performance having seen her play Prince Charming in Royal Opera House production of Cendrillon last year.

I confess that having looked at the names of the rest of the singers taking part and not knowing any of them lead to a little apprehension on my part, until the music and singing started and I found myself absolutely carried away on a tidal wave of blissful music and absolutely incredible, beautiful singing from every single member of the cast. I would just love to re-live every single moment here, truly - yes it was that good, my words just cannot match the incredible beauty that I witnessed, and no superlatives can fully do justice to the performances of every single member of that cast - an absolute delight. If I could grab a train and go see it again right away I surely would.

First up Alice Coote just has to get a very special mention, her singing was just out of this world - and as she sang this to Vitellia - Act II Scene 4 - as Publius comes to take him to Tito

"If ever you feel a light breeze
playing on your face,
that breath will be
my dying sighs."

I could feel my heartstrings being very tightly pulled here, as Sextus sings this to the seemingly ungrateful Vitellia, as he faces the prospect of death having plotted and thought he had carried out the deed of killing Titus on her behalf - aaahhhh, the things you do for love, eh!

Not a story to over-tax one, but frequent pulling of the heartstrings, oh yes for in Act I (a quick rewind here), the singing here between Annius - Christina Daletska was a fabulous fabulous Annius - and Servilia, who are blissfully in love, was simply lovely as he breaks the news to her that Titus wishes her for his wife and that he, Annius must give her up - sorry just had to grab the libretto extract here ....

ACT I
FIFTH SCENE
Annius, Servilia
Recitative
ANNIUS
I must not regret it. This was the duty
of a generous lover. My heart, put aside
your former tenderness: she who was your idol
is your sovereign. Love must change to respect.
Here she is. O heaven!
She has never seemed so lovely to my eyes.
SERVILIA
My dearest ...
ANNIUS
Hush, Servilia. Now it is forbidden
to call me so.
SERVILIA
Why?
ANNIUS
Caesar has chosen you
(what martyrdom!) to be his bride.
He enjoined me (I feel close to death!)
to bring you the tidings (O agony!), and I ...
I was ... (I cannot speak). My Empress, farewell!
SERVILIA
What! Wait! I Caesar's bride?
But why?
ANNIUS
Because he could not find
beauty and virtue
more worthy of an Empire ... O heavens!
What shall I say? Permit me, my Empress,
to take my leave.
SERVILIA
Will you leave me in such confusion?
Explain: tell me,
how did it happen? In what way?
ANNIUS
I am lost unless I go, beloved.

....... you think that's it, oh noooooooooo, for then they break into this incredible duet - stunning stunning stunning


No. 7- Duet
ANNIUS
Ah, forgive, my former love,
that thoughtless word;
it was the fault of lips
accustomed always to call you so.
SERVILIA
Ah, you were the first person
whom I ever truly loved;
and you will be the last
to be sheltered in my heart.
ANNIUS
Dear words of my beloved!
SERVILIA
O my sweet, dear hope!
SERVILIA and ANNIUS
The more I hear your words,
the greater grows my passion.
When one soul unites with another,
what joy a heart feels!
Ah, eliminate from life
all that is not love!

...... wipes eyes, no it's just something in my eye, honest.


More than worthy of a mention also was tenor Michael Schade as Titus, particularly in Act II as he sings that his heart will not let him see Sextus killed for his betrayal, but before that, I must rewind (yet again-apologies for the jumping about) to Act I where we saw some lovely singing between him and Servilla - Rosa Feola (soprano) as he tells her he wants her for his wife and she confesses to him that her heart belongs to another, Annius.

Yes, a thoroughly enjoyable evening that left me more entertained than I had ever expected to be, and I am sure by now you realise I could go on and wax lyrical here forever, but time is precious for you and me - so many more momentous pieces I would love to relate, but risking overkill will stop here. No sorry, just must add a short word of appreciation for conductor Louis Langree, who bound orchestra and singers together perfectly ......... aaaaand must also just say I found with the concert format it seems to make you concentrate even more intently of the great music and beautiful singing - a definite plus on this occasion being of the high quality that it was. I'm done here, honest! (But don't count on it - I may just have to sneak back with more)

Tomb of The Unknown Craftsman : Grayson Perry : British Museum

 EXHIBITION RUNS UNTIL 26TH FEBRUARY 2012 - HURRY - DON'T MISS IT!!!


Yes, I went on a pilgrimmage to the British Museum yesterday-for that is Grayson Perry's way of describing our visits to art galleries and museums.

Having seen two documentaries screened on Grayson Perry and his Tomb of The Unknown Craftsman exhibition at The British Museum I thought I had just about seen it all and wouldn't bother with the actual exhibition but found myself thinking more and more about going because the overwhelming feeling I had from these programs was what a real nice down to earth guy he really was, but incredibly articulate - both verbally and visually in his art - OK to some he may seem a tad eccentric, but isn't there a bit of that to some degee or another in all of us even if it's just lurking there in the background buried and suppressed, so I ended up eventually knowing I just had to go and try get in this guys head some more and see what he makes of this world and see a bit more of his.


Before I go any further I think I should introduce you to Alan Measles - Grayson's teddy bear/god/muse/idol/hero/fellow traveller in this world, call him what you will Alan is the centrepiece of this exhibition and features in so many of Grayson's works - so precious is he that he cannot be allowed to attend in person so stunt doubles have been recruited to take his place.

Here is a vid with a brief introduction from Grayson himself to just one of the elements of the exhibit

and here's a bit more explaining - if it's possible - about the thinking behind the construction of the exhibition

The exhibition is a combination of ancient treasures from the vaults of the British Museum and Grayson's own works of art - a fantastic mix and I find I am kicking myself now for not looking more closely at his work in the past instead of boorishly dismissing it as "probably just more modern garbage", yes I am guilty of doing that with many modern artists. But here we have shrines, maps, tapestries, incredible ceramic vases - Grayson's work - the journey is simply mind-blowing but there's lots to smile at, laugh at and even reflect quite deeply upon along the way. OK, I thought, so maybe I would go to this exhibition but I was not - no I must not be tempeted into buying yet another expensive book to accompany an exhibition I had visited ..... well, no really I coouldn't help myself ..... I got so immersed in the guy, his work and his thinking and this exhibition I just had to have something to take home and reflect upon further.

This pilgrim, I can report - and I am sure the many others too who were also smiling/laughing out loud around the exhibits - has surely enjoyed her fantasic journey into the world of Grayson Perry. The exhibition has been extended for a further week until 26th February 2012 - seems almost sacrilege to the art world to even think of it being dismantled - would be lovely to have as a permanent exhibition.

Joyce DiDonato : New York Philharmonic : Barbican Centre

A mouthwatering program in store - got my ticket months ago and purposely have not listened to anything in advance as I felt I want it hear it new and fresh for the first time here and live - well I guess it's got to be for the UK premiere of Thomas Ades Polaris anyway, hasn't it, but as I know I like other music by Berlioz, Ravel and Stravinsky felt sure I wouldn't fail to enjoy.

Brushing everything - yes, everything else aside for a moment just have to first mention Joyce DiDonato's performance of Les Nuits d'ete - my reason for going in the first place for goodness sake, was that Joyce was performing this Berlioz piece. Beautifully attired in her Grammy-winning frock, and again looking like a princess she gave a performance to die for - truly, it was moments of immeasurable ecstacy I experienced to witness this, a thing of beauty in itself  but with Joyce's voice going from the deepest depths to the highest peaks in total control - how does she do that!!!!???

Thomas Ades - Polaris - first hearing of this and it went down very well - obviously I'm not sufficiently qualified to comment in too great a depth but this is definitley something I want to hear again - found towards the end great stirring stuff and left me very impressed - yup gotta listen again! Glancing up to balcony before start I did happen to notice small amount of the brass section positioned either side here (just for Polaris). Judging by the reception the orchestra and Thomas Ades recevied at the end of the piece the rest of the audience shared my enjoyment.

The Stravinsky (Symphony in 3 movements) and Ravel (Daphnis and Chloe) are, I am sure, well-known to any lovers of classical music and I enjoyed both pieces immensely - and feel quite confident on first hearing they will both become great favourites of mine to be listened to again and again.

I am still riding high on cloud nine from my experience at The Barbican last night, can safely say that I enjoyed the whole program from New York Philharmonic and Joyce DiDonato in particular.

Gotterdammerung : Met Opera : Live in HD

Twilight of The Gods/Gotterdammerung
Live in HD Broadcast Saturday 11th February 2012

Where did that six hours in cinema go!?!? Yes, it really was six hours! There are not many things I can think of that I would not resent giving up six hours of my life for but I can honestly say I was transported to such a magical place and fully immersed in the wonder and beauty of Wagner for the whole of that time, the incredible music and singing just took hold of me and the performing of that amazing cast left me open-mouthed,  spellbound and at moments completely breathless - yes this really is Wagner's Ring Cycle we are talking about here and Gotterdammerung in particular! If anyone had told me just a year ago I would be totally rocking to this I would have laughed in disbelief.

Six hours of glorious opera - where does one start? - oh dear this is going to be so difficult to get any sort of joined up thoughts together as my head is simply buzzing with so many outstanding moments - am hoping this blog will not quite go to the epic proportions in length of this great opera ...... but it's tempting, with the number of highlights re-playing in my head and so many fabulous performances that need, yes neeeeeed highlighting.

Synopsis here in case anyone curious
http://www.metoperafamily.org/metopera/history/stories/synopsis.aspx?id=46

We start with the Norns, the three daughters of Erda, mother earth, who are weaving a rope - the rope of Destiny and as they weave they sing to update us on the story so far contained in the three previous episodes of the cycle - oh do keep up! To my mind Wagner should have just let it be at Siegfried, with Siegfried and Brunhilde blissfully ensconced in each others arms upon her rock, but alas this was not to be, with too many plots woven into the story with so many wrong-doings perpetrated with either good or evil intent this really was never going to be a happy ever after conclusion and as the Norns conclude their song the rope snaps and their powers are lost forever - this give us a sign that the world of the gods is about to unravel.

Moving on we find new characters in the form of Hagen (Hans Peter Konig), Gunther (Iain Paterson) and Gutrune (Wendy Bryn Harmer) - fabulous performances from all three. If there weren't already enough loaded against Siegfried and Brunhilde's happiness this little lot, along with the wicked Alberich (I can't think of Eric Owens as wicked, lol, when he has such a cute smile in his press photos), will seal the fate of the two lovers. I must give extra special mention here to Eric Owens for his all too brief but stunning performance as Alberich, which I found spell-binding, he took my breath away - seriously, he was fantastic.

Now, this is what we have all been waiting for haven't we, well OK I haaaaaaave - the chance to return to the passionate pair atop Brunhilde's rock as we find Brunhilde (Deborah Voigt) and lover Siegfried (Jay Hunter Morris) still all loved-up, but incredulous mystery of mysteries the dollard - yes, that's Siegfried -wants to go a-wandering, and after a great deal of singing of their love for each other-some more hot singing from the lovestruck pair then .... off he goes, yes, he leaves his beloved alone on her mountain top ....... mutter mutter mutter ...... men!!!! Oh well, he does leave her something nice and shiny - theeeeee Ring.....let us not forget, he still has the magical Tarnhelm. With Brunhilde's horse Graine, Siegfried has made his way to the land of the Gibichings, unaware of the plotting as he arrives in their welcoming midst to be given a potion that makes him forget Brunhilde and fall in love with Gutrune - eeeeek noooooo - swearing blood-brotherhood to Gunther  (Iain Paterson) agrees, with the magic of the Tarnhelm, to disguise himself as Gunther and win Brunhilde as Gunther's bride.

Ah yes, the Ring, no sooner has Brunhilde got the ring on her finger - Sigfried departed and up turns her sister Waltrude (Waltrude Meier) who is after the ring to return to the Rhinemaidens in an effort to prevent the fall of the gods. Deborah Voigt and Waltrude Meier are divine singing here together, I just loved this bit, but for all Waltrude's beautiful singing and pleading Brunhilde will not part with Siegfried's ring, which she sees would be an act of betrayal of their love.

Waltrude departs and Siegfried arrives, with the help of the magical Tarnhelm, disguised as Gunther, steals back the ring and transports Brunhilde down the mountain, with no recollection of ever having known Brunhilde before, to the real Gunther who takes her back with him to the land of the Gibichings.

Jay Hunter Morris is a gorgeous Siegfried and so I now move the action on to the delightful scene by the Rhine with the three Rhinemaidens - Tamara Mumford, Jennifer Johnson Cano and Erin Morley - Siegfried encounters them as he is separated from the hunting party. This had to be one of my very favourite moments, the Rhinemaidens sang beautifully, really beautifully pleading for the return of their gold and Jay Hunter Morris, playful, shy, teasing seems to consider their request, but ends up refusing them - a glorious scene, but in the background the darkness is encroaching around him, the hunting party catches up with him and he meets his end at the hands of Hagen, who plunges a spear into his back having first given him a potion to restore his memory, as he dies he remembers his beloved Brunhilde - stop, wait, hold on, we have Siegfried lying dead here and now the orchestra is totally totally blowing me away with some of the most fantastic music I have heard in my life - the funeral march, fantastic!! WOW!!

It never was going to be a good ending as Brunhilde on her horse heads towards Siegfried's funeral pyre, Valhalla and the gods tumble, the Rhinemaidens manage to retrieve their gold from the ring as it flows back into the flooding Rhine, and claim the life of Hagen.

A mind-blowing and very enjoyable six hours in cinema, despite the numb rear, I loved Gotterdammerung - Wagner's Ring Cycle - oh yeeeeeeeeeeeeeeees, I love this Met Ring Cycle, I adore that cantankerous machine with a passion, and the cast are truly awesome performers, each and every one, I shall fondly remember this Ring Cycle, seems so sad to say goodbye.