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I was listening to the Met's new Carmen this evening on my computer. Everyone sounded wonderful, particularly Elena Garanca's Carmen. I'm looking forward to seeing this live at the MET next week. There was some booing of the production team, including Chris Wheeldon as choreographer (I wonder if anyone who was booing actually has a clue who Chris is, or was he merely booed because his curtain call followed the director and production designers.) Anyway, Wheeldon apparently choreographed a pdd at the opening of acts I, II and III. The announcer said that the dancers were Maria Kowroski and Michael Harvey. I didn't realize our own Maria K. from NYCB was cast in the production. I hope she is doing the role on the night I see it. If anyone has seen the production, please post.

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I heard it, too, and I loved Garanca, Mariusz Kwiecien, and conductor Yannick Nézet-Séguin. Alagna, not so much, although he reportedly has had a bad cold, and Brandon Jovanovich, who was covering him, said in the intermission interview that he sang the last two acts from the side of the stage during the final dress. I would rather have heard Jovanovich, who Margaret Juntwait and William Berger said was scheduled for another Sirius broadcast, or Jonas Kaufmann, who sings the last two performances in April and May.

I'd be interested in hearing about Wheeldon's choreography from someone who sees it live or on the HD broadcast, which I'll miss.

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Wheeldon's contributions included two 'front of curtain' duets for MK and MH - the production has only 1 intermission and these 'guest duets' took place during the end of the overture to act 1, before the full-stage curtain when up on the Seville sc, and again before act 3 (or the production's second part) before the second half's full stage was revealed the smugglers' hideout.

CW's work also resulted in a flamenco-styled dance in tavern sc. (ABT veteran Griff Braun was evident as was Philip? Otto), and, presumably, some of the dancing worked into Carmen's 'dance' moments.

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The other way to listen is to get a 30-day free trial of Sirius radio.

http://www.sirius.com/siriusinternetradio

This is the high-end version that can be streamed to an iPod/iTouch.

The Sirius schedule is here:

http://www.sirius.com/metropolitanoperaradio

There are usually at least three live broadcasts a week, including the Saturday broadcast. For example, next week there will be two "Der Rosenkavalier"s and one "Turandot". There are five-six operas broadcast a day; the rest are from the archives. Juntwait said in her interview with Jovanovich that they'd be broadcasting a performance with his Don Jose on Monday, 1 February. Based on past experience, I would guess that there will be at least one more broadcast before then with Alagna scheduled.

I can't find a link to an advanced schedule for RealPlayer. The only references I see are on the Met weekly schedule, which is limited:

http://www.metoperafamily.org/metopera/thisweek/

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Most first nights, whether of a new production or of just the season's revival of an older production, are carried on the free, Realplayer link from the Met's site.

As others have noted, there are many more performances carrier on the premium Sirius network

Here's a link to a pdf file, not 100% accurate, but pretty close.

The performances in BOLD are the ones carried by both Met Realplayer and Sirius. The performances is regular type are Sirius only. Well sort of :thumbsup:

the Saturday afternoon broadcasts sponsored by Toll Brothers don't fit neatly in this schematic. They are NOT bold because they are NOT Realplayer but depending on the date it may be a Toll Brothers event and a Sirius or just a Sirius. I would suggest supplementing this document with info from the Met site on Toll Brothers.

The casting was up to date as of some weeks ago, so take it for what it's worth

http://tinyurl.com/yzhah2p

One detail that was not yet resolved at the time this document was created was the March 9 TBD. Logically, it would would seem to be a Saturday afternoon Toll Brothers Radio

broadcast of Atilla, but it seems to were many bits of negotiations with Maestro Muti that took a while to resolve .

I believe Toll will carry Muti's new production of Atilla on that date

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Wow, thanks richard53dog! I remember a number of early discussions about some legal sinkhole that prevented Sirius from publishing the schedule more than a week in advance, but this is the whole season in one place. A definite keeper.

According to the Met Opera website, the 16 January is a Toll Brothers broadcast, and it's also the live HD broadcast with Garanca, Alagna, Frittoli, and Kwiecien. The next RealPlayer broadcast of "Carmen" is on 9 February, with Borodina as Carmen, Jovanovich as Don Jose, and Kovalevska as Micaela.

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I was at the Met Opera house yesterday (for Der Rosenkavalier) and picked up a casting sheet. The dancers for the next two performances of Carmen will be Ashley Tuttle and Keith Roberts. There is no published info re subsequent performances yet. (Der Rosenkavalier was wonderful, and the production is gorgeous.)

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Anthony Tommasini's review in the NY Times is fantastic:

http://www.nytimes.com/2010/01/02/arts/mus...n.html?ref=arts

I didn't reserve tickets for the HD Live performance, since we're committed to a series of live performances of our local company's Carmen this spring. Now, however, it appears to be too late to change my mind. All Encore performances (Feb 3) within a reasonable driving range are Sold Out. That's 8 venues (with multiple auditoriums in almost all of them) just around here! I had forgotten the incredible drawing power of this opera.

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I have tickets for one of the last performances (with Kaufmann), but the reviews have been so good I'm going to try to get a rush ticket for 1/12 to see this cast. I have my fingers crossed for Kowroski but it would also be interesting to see Tuttle after all these years. In addition to that Times review, all of the word of mouth has been great. Here's a link to an interview Wheeldon did about creating the choreography for the production:

http://thefastertimes.com/dance/2010/01/01...pera/#more-8088

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Maria Kowroski just posted her upcoming Carmen performance dates on her Facebook page:

Tuesday Jan 12 8pm

Saturday Jan 16 1pm

Thursday Jan 21 8pm

Wednesday Jan 27 8pm

Tuesday Feb 9 8pm

BTW, the HD live performance is showing at 3 theaters in Manhattan and they are all sold out

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Maria Kowroski just posted her upcoming Carmen performance dates on her Facebook page:

Tuesday Jan 12 8pm

Saturday Jan 16 1pm

Thursday Jan 21 8pm

Wednesday Jan 27 8pm

Tuesday Feb 9 8pm

BTW, the HD live performance is showing at 3 theaters in Manhattan and they are all sold out

Thanks for the info, NYSusan.

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Just got back from the HD broadcast.

If singers are being cast for looks, they hit the jackpot with Garanca; she's got the looks and she can sing and she can act and she moves well. Sensational performance.

Alagna's not a favorite of mine, but no question this role suits him. Committed performance and great chemistry with Garanca.

Mariusz Kwiecien was ill and replaced by Teddy Tohu Rhodes as Escamillo. Vocally he sounded fine, especially in his Act II aria, but physically he seemed hesitant and less commanding than I would expect of Escamillo (understandable since, according to his intermission interview, he had three hours notice that he'd be singing today).

Barbara Frittoli was good as Micaela. I think the Liu from the Turandot broadcast (sorry, don't have her name at hand) is also cast in the role later in the season and I'd like to hear her, too. Also liked Zuniga and the two Gypsy women (I really wish someone would provide FULL cast listing -- can't even find one on the Met website).

Although I usually have issues with updating opera to make it 'relevant' (whatever...), this update works beautifully. I did fear for Garanca having a costume malfunction a few times though.

Orchestra sounded fantastic; I'm curious where all these 12 year old conductors are coming from (well, Nezet-Saguin looks about 12 to me).

As to Wheeldon's dances: the first one was very brief and, um, explicit. This was the first time I've seen Maria Kowroski and I have to ask, are those legs for real? The opening flamenco dance of Act II was effective (lots of heel stomping; in his intermission interview, Wheeldon said he and the conductor had to come to an agreement over how much noise the dancers could make while the music was playing). The second pas de deux, at the start of Act III, was pretty much a waste of time -- she runs away, he drags her back, she runs away, he... think I've seen that one before.

A big :thumbsup: for the production, the singers, the orchestra and (some of) the dancing.

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Thank you for the review, PeggyR!

Wow, if there's an HD to DVD candidate, this "Carmen" is one of them. It's a bad break for Kwiecien to have been ill. Teddy Tahu Rhodes is a fine singer who's spent years trying to live down a beefcake image. (Directors routinely figured out ways to have him go shirtless on stage.) It's too bad he looked hesitant -- did he even have a stage rehearsal before going on? -- because he's known as a convincing actor.

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Thanks, Peggy R. I'm sorry the dancing seems more routine than promised. Wheeldon's interviews suggested something profound and never-before-seen.

Wow, if there's an HD to DVD candidate, this "Carmen" is one of them.
As someone on the receiving sign of universal "Sold Out" notices in 4 different theaters, I found myself thinking (seriously) about buying a ticket to the latest teenage vampire film or adventure/blockbuster of the week and then sneaking into one of the rooms showing the Carmen Encore on Feb.3. :thumbsup: :blush:
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As someone on the receiving sign of universal "Sold Out" notices in 4 different theaters, I found myself thinking (seriously) about buying a ticket to the latest teenage vampire film or adventure/blockbuster of the week and then sneaking into one of the rooms showing the Carmen Encore on Feb.3. :thumbsup: :blush:

(Shuuuuuushhhhhh)

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Thank you for the review, PeggyR!

Wow, if there's an HD to DVD candidate, this "Carmen" is one of them. It's a bad break for Kwiecien to have been ill. Teddy Tahu Rhodes is a fine singer who's spent years trying to live down a beefcake image. (Directors routinely figured out ways to have him go shirtless on stage.) It's too bad he looked hesitant -- did he even have a stage rehearsal before going on? -- because he's known as a convincing actor.

Someone correct me if I remember incorrectly, but as I recall, in his intermission interview Rhodes said that the covers had plenty of rehearsal, and that he was glad he hadn't known he'd be going on until that morning because had he know about it the night before, he wouldn't have gotten any sleep.

When I said he was hesitant, I really meant physically -- he didn't strut and preen. He did say that he had been told not to overdo it, so maybe it was deliberate. Rhodes also pointed out that it's the people around Escamillo who make him into a 'rock star', so the singer really shouldn't need to do anything. Vocally he was good -- big, open, beautiful voice. I'd certainly like to hear him again.

As to the 'beefcake' issue: my mother always bemoaned the fact that traditionally tenors looked like trolls (her word) and the baritones and basses like movie stars. Fortunately, tenors have gotten a lot better looking and the baritones and basses are still gorgeous! :D

QUOTE (bart @ Jan 17 2010, 04:21 AM)

As someone on the receiving sign of universal "Sold Out" notices in 4 different theaters...

The only seat I was able to get was in row 2; I think my head now has a permanent 45 degree tilt to the rear. :pinch:

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Rhodes also pointed out that it's the people around Escamillo who make him into a 'rock star', so the singer really shouldn't need to do anything. Vocally he was good -- big, open, beautiful voice. I'd certainly like to hear him again.

That's a fascinating approach, and it's great to hear how well he sounded, since it's likely to be issued on DVD and around for a long, long time, given the popularity of the broadcast and the opera.

As to the 'beefcake' issue: my mother always bemoaned the fact that traditionally tenors looked like trolls (her word) and the baritones and basses like movie stars.

Fortunately, tenors have gotten a lot better looking

Word. Case in point: "The Audition". Sadly, too late for me :pinch:

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I'm sorry the dancing seems more routine than promised. Wheeldon's interviews suggested something profound and never-before-seen.

I wanted to clarify what I said about Wheeldon's dances, which may have sounded more negative than intended.

The first, brief pas de deux was a little like a prologue for Swan Lake: not necessary, but if it's there, you might as well enjoy it. In Carmen's case, it certainly set a mood (and elicited a few gasps from some of the LOLs in my audience -- there wasn't much left to the imagination about what Carmen was up to :pinch:).

Wheeldon said the second pdd was meant to show the tender moments between Carmen and Jose, moments that the opera doesn't show, which is a valid point. I just can't see Carmen (especially Garanca's) wearing a filmy pink gown and acting like a schoolgirl in love for the first time.

His real success was the opening of Act II at the tavern. The curtain comes up on sidelit dancers in a classic flamenco pose (sort of profile, one foot front with heel raised, hands raised near the face ready to clap, if memory serves). The ensuing scene -- until Jose shows up -- was full of dancing, mostly by the group but also, surprisingly, by Garanca. In her interview she said that while she was happy to try anything, she had to keep telling Wheeldon that there were some things she couldn't do and sing at the same time. She's clearly not a dancer, but she's agile enough to fake it -- at one point she's hoisted aloft and passed from hand to hand -- and Wheeldon did an excellent job of making her look like she was doing more than she really did. So, I'd have to say Wheeldon did at least some of what he intended: not sure if anything was 'profound', but Act II was certainly the best and most exciting integration of dance into an opera I've ever come across.

Unrelated to the dancing: it's a shame those of us not in NYC won't get to see future casts; I'd love to see what Borodina and Gheorghiu do with this production.

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Met Opera HD broadcast of Carmen in the Encore series

Feb. 3, 6:30 pm -Ann Arbor Mi.

It was a treat to see Richard Eyres' production of Carmen with a monumental set and costumes designed by Rob Howell and the (Carmen) debut of 18 yr Canadian conductor Yannick Nezet-Seguin.

[i'm kidding…He's really 34].

The cast was top-drawer, led by Elina Garança, Roberto Alagna, Barbara Fritolli, and Teddy Tahu Rhodes replacing Mariusz Kwiecien as Escamillo on the day of the performance.

(They called him at 10 am. the day of the performance, he told interviewer Renee Fleming; he thought that was fine: he got a good night's sleep NOT knowing.)

Seeing the principals through camera close-ups that are nowhere available in even the best theatre seats is a wonderful privilege.

To a person, these principals are fantastic actors creating realistic portraits and believable actions while at the same time singing as grandly as any humans can sing.

In the tavern scene Ms Garanca continued singing while being lifted (in a horizontal position her back facing the floor) by four male dancers.

The death scene with Carmen and Don Jose was emotionally wrenching in its physical intensity.

Ms Fritolli's Micaela was touching and believable.

I liked very much both Garanca and Alagna, equally for their voices and their characterizations.

Mr Rhodes has a bright and clear voice. At 6 ft 5 in. he has a fine figure for Escamillo's outfit.

Mr Eyres' production updates the scene by a hundred years, to the 1930s. His direction is free of gimmicks and conceptual innovations, the more so for the music and libretto of Bizet to breathe freely.

Oh yes. Christopher Wheeldon presented two pre-curtain duets.

The dancers were Maria Kowroski and Martin Harvey.

The first duet after the overture concerned the motif of fate.

It was very darkly lit and brief. but probably accomplished its purpose.

I had expected more.

The second duet, before the curtain of the 3rd act, is (Mr. Wheeldon explained to Renee Fleming at intermission) about the innocence of Carmen's and Don Jose's love. I lost him there.

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