#Solveig Kringelborn

[aporeticelenchus]

While struck down by Covid (alas, alack, etc), I’ve been watching operas on my mom’s Met Opera account. So far we’ve gotten through:

Barber of Seville (2007, Peter Mattei and Joyce DiDonato):

Charming! A delight! I want to spend more time with the music later to get a better sense of individual movements. Largo Al Factotum looms large and is as good as promised. I enjoyed Peter Mattei as Figaro and Joyce DiDonato as Rosina a lot too! Bartolo’s patter songs are fun. Looking forward to hearing those again.

Marriage of Figaro (1998; Bryn Terfel and Cecilia Bartoli as Figaro and Susanna; Renee Fleming and Dwayne Croft as Countess and Count):

Finally watched a Figaro production after listening to it a million times! Also a delight! For some reason they switched out Susanna’s two solo arias, which threw me. I saw some reviewers thought Cecilia Bartoli did a little too much physical comedy, but I really liked her. Renee Fleming was a great countess; Porgi Amor is still a dead bore to me but that’s not her fault. Cherubino was adorable, but seemed to struggle a bit with Non So Piu.

This continues to be my favorite opera, and I enjoyed this as a production. I plan to watch the other two productions available on the Met on Demand later.

Don Giovanni (2000; Bryn Terfel, Renee Fleming, Solveig Kringelborn, Hei-Kyung Hong):

I’ve now spent enough time with Don Giovanni to have an opinion: it’s good, but I don’t like it nearly as much as Figaro. The plot flow and pacing frustrate me. There are some standout musical moments, but also some parts that drag (hi act 2 Donna Anna). I do love La Ci Darem and Hei-Kyung Hong’s Zerlina was charming. Finch’Han Dal Vino and Deh Vieni A La Finestra are songs I enjoy from Don G, and of course Lepprello’s little list is fun. Donna Elivra generally has good music behind her, as does Act 1 Donna Anna.

Does Don Ottavio need to be in this opera? I’m just…not sure he does….

Every time I hear the Statue sing “Don Giovaaaaaaaannnnniiii” at the end, my brain fills in “from thy dark exile thou art suuuuuuumoned”, and it took me a bit to realize I was pulling that from Iolanthe. I like to think it’s a deliberate musical homage by Sullivan.

I definitely want to watch some more stagings of Don Giovanni; overall I enjoy the opera and I can imagine it changing a lot with different directorial choices.

Die Fledermaus (1986, Kiri Te Kanawa, Judith Blegan, Tatiana Troyanos, and some men probably)

I love an operatta. I love a dumb musical comedy. I love a catchy waltz I can’t get out of my head. Two thumbs up; great use of my time listening, bad use of my time trying to follow the details of the plot because it did not really matter. Special shout out to the Overture for being a jam. It almost renders the rest of the operetta superfluous.

A+ joke having an opera singer character who won’t stop singing during the talky bits. Love that the prince is a trouser role; that helped me through some of the dumb gender stuff elsewhere.

Total blast. I plan to listen to some more recording, including two English-language adaptations. (The POP Opera project did their English-language adaptation set in 1920s Hollywood; that’s on my short list to watch) I think I like J Strauss II!

Carmen (2014; Anita Rachvelishvili and Aleksanders Antonenko)

I’ve seen Carmen before, but it’s been awhile. My mom loves Carmen; I…struggle with it. Maybe it’s just my pro-comedy bias.

The music is very good, of course; the Habañera and Toreador song are some of the most recognizable music today for a reason. The Act 1 overture is great! Short and punchy! I think the opera might be growing on me musically as I listen to it more; I’ve found the group numbers initially overwhelming, but with a little more time i can better parse the music and find parts I really like.

But anyway, I liked most of this production! I thought the Carmen was compelling, and Don Jose was a good singer (I just hate his character a lot). The set deign (1930s Spain vibes) worked for me, which was a pleasant surprise.

Going to see La Boheme tonight! Wish me luck.

[princesssarisa]

Hmm...

*Salzburg Festival, 1987 (Michael Hampe production – Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady, Kathleen Battle, et al. conducted by Herbert von Karajan)

*Metropolitan Opera, 2000 (Franco Zeffirelli production – Bryn Terfel, Ferruccio Furlanetto, Renée Fleming, Solveig Kringelborn, Hei-Kyung Hong, et al., conducted by James Levine)

*Festival Aix-en-Provence, 2002 (Peter Brook production – Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch, Lisa Larsson, et al, conducted by Daniel Harding)

*Innsbruck Festival, 2006 (Vincent Boussard production – Johannes Weisser, Marcos Fink, Malin Byström, Alexandrina Pendatchanska, Sunhae Im, et al., conducted by René Jacobs)

Basically, I like productions that, while not strictly traditional per se, aren't too distractingly avant garde, and strong singing actors who offer fresh, vivid, complex characterizations. A production that doesn't try to glorify Giovanni – even if it does give him some faintly sympathetic qualities – and that doesn't insult the female characters is a bonus too.

I'll leave it at these four for now, but I'm planning to do a marathon viewing very soon of all the productions I can get my hands on, whether on DVD or online.

pst what are your guys' favorite don g productions

[gifettosullaria]

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - E. Don Giovanni's ballroom - 2. Finale Act 1

Soon Zerlina scream is heard; Elvira, Anna and Ottavio, as well as Masetto, make to rescue her. Giovanni re-enters, dragging Leporello and denouncing him as the miscreant. No one, however, believe him, and Act 1 ends in confusion, with Elvira, Anna and Ottavio facing Giovanni and calling down vengeance upon him.

Index - Next Scene

[sopranoentravesti]

Low quality gif of a high quality ship. I regret to say that, however, this is not as gay as it looks

[gifettosullaria]

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - D. A garden outside Don Giovanni's palace - 2. Don Giovanni finds Zerline and the guests arrive

But then Giovanni's voice is heard and Zerlina's nervousness again arouses Masetto's suspicious. He conceals himself, but step forward to prevent Giovanni from leading Zerlina away; Giovanni hands her back to him, and all three go off to the dance. Now Elvira, Anna and Ottavio enter, masked; they intend to comfort Giovanni. They are seen from a balcony by Leporello, and Giovanni invites them in. Before they enter they pray for heaven's assistance.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - C. The Open Country - 3. Donna Elvira tries to warn Donna Anna and Don Ottavio

Now Anna and Ottavio enter, and greet Giovanni; Elvira returns, and in the ensuing quartet warns them that Giovanni is a betrayer, in spite of his efforts first to explain that she is unbalanced, then to silence her.

Index - Next Scene

[gifettosullaria]

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - E. Don Giovanni's ballroom - 1. Leporello distracts Masetto while Don Giovanni takes Zerlina away

At the ball, Giovanni - to Masetto's fury - is flirting with Zerlina. While three different dances are heard simultaneously, Giovanni has Leporello force Masetto to dance while he manoeuvres Zerlina toward the door.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - C. The Open Country - 2. Don Giovanni seduces Zerlina

(and get cockblock)

Don Giovanni sends everyone else off to be wined and dined at his house, instructing Leporello specially to look after Masetto, who is understandably resentful. Telling Zerlina he will make her his wife, Giovanni invites her to his villa. Her initial reluctance fades and, charmed, she agrees to go. But as they are leaving Elvira enters, denounces Giovanni to Zerlina, and leads her off.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - B. A public square outside Don Giovanni's palace - 1. Donna Elvira Encounter

The scene changes to a street, where Giovanni, with Leporello, is searching for fresh entertainment. He scents a woman in the air, and they conceal themselves. Donna Elvira enters, distractedly seeking the man (Don Giovanni of course) who won her and deserted her in Burgos. Giovanni steps out to console and woo her, but then realise who she is; he quickly excuses himself, and leaves Leporello to explain to Elvira that she is but one of his victims - of every country, every age, every station, who is Spain alone number more than a thousand - and that she can rest no hopes in him.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - A. The garden of the Commendatore - 2. The Commandatore's Death

As Leporello cowers in the shadows, the Commendatore appears, armed, and challengers Giovanni. At first Giovanni disdains to fight an old man; but the Commendatore, anxious to defend his daughter's honour insists. As Anna goes off the fetch help, they fight, and the Commendatore falls, fatally wounded.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - A. The garden of the Commendatore - 1. Donna Anna Encounter

The action take place in a Spanish town Leporello is waiting impatiently for his master outside the Commendatore's house. Don Giovanni comes out, pursued by Donna Anna, who is calling for help and determined to frustrate his escape.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak

The Metropolitan Opera Orchestra and Chorus, James Levine

Production by Franco Zeffirelli, 2000

Act 1 - C. The Open Country - 4. Donna Anna remembers her aggressor

The suspicious Anna and Ottavio are aroused and, as Elvira and Giovanni are leaving, Anna realizes that Giovanni is the man who made an attempt upon her honour and killed her father. She tells Ottavio the events of the nights: how a man, whom at first she took for her betrothed, entered her room; how he seized and embraced her; how she fought to free herself from his gasp, succeeded in that, but could not prevent his escaping. She again demands that Ottavio exact vengeance.

After Anna has left, Ottavio sings of his love for her.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - C. The Open Country - 1. Zerlina and Masetto wedding

Close by Giovanni's house a group of peasants are celebrating the wedding day of Zerlina and Masetto. Giovanni and Leporello chance upon them; Giovanni is immediately interested in Zerlina.

Index - Next Scene

[gifettosullaria]

Wolfgang Amadeus Mozart

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Overture

Overture - x

Act 1 -

The garden of the Commendatore - 1 - 2 - 3 A public square outside Don Giovanni's palace - 1 The open country - 1 - 2 - 3 - 4 - 5 A garden outside Don Giovanni's palace - 1 - 2 Don Giovanni's ballroom - 1 - 2

Act 2 -

[gifettosullaria]

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - D. A garden outside Don Giovanni's palace - 1. Masetto and Zerlina make peace

In the Garden of Giovanni's house are some villagers; Zerlina is trying to overcome Masetto's anger, and eventually she succeeds.

Index - Next Scene

[gifettosullaria]

Don Giovanni

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - C. The Open Country - 5. Don Giovanni decides to organize a party

Giovanni enters and meets Leporello, who tells him that Elvira has taken Zerlina back to Masetto. Now Giovanni plans the evening's party and looks forward to a night of new amorous conquests.

Index - Next Scene