The Modern Opera Experience II

Yesterday mom and I went to our final opera broadcast of the season: that of Gaetano Donizetti’s Roberto Devereux, the completion of the Met’s staging and broadcasting of all three of his “Tudor Queen” operas four an a half years after they first aired Anna Bolena in 2011.  It was a season of the familiar on the Met’s screen; they had already had Roberto Alagna and Kristine Opalais singing opposite each other in two of the broadcasted operas, and now they had Matthew Polenzani and Mariusz Kwiecien for the second time this season singing two points of a love triangle and seeming to be more in love with each other than with the woman involved!  Although despite the title the real star was Sondra Radvanovsky singing Queen Elizabeth I.  Throw in Elina Garanca, and some of the most beautiful music Donizetti’s ever written, and one’s in for an afternoon of true beauty-if, that is, you are lucky enough to be a theater where the sound is working.

Unfortunately, my mother and I were not.  Instead we were in one that had continual problems with both the image and sound; they both would sometimes go smoothly for a while, then start freezing and stammering, then there would a loud burst of static and sometimes after that things would get better, but not always, and they wouldn’t stay better.  During those minutes where everything was working, we could greatly admire the singing, the acting, and the drama especially during the second act, where it had better emotional effect, but then would come that stammering again and we’d be knocked out of it.  The climax was intense enough that even with the sound still struggling it was easier to stay engaged with it, and yet one is still aware of how it could have been far better still, had Radvanovsky been the wall of grief and song she’s supposed to be.  Also the finale wasn’t quite over when whoever was in charge of the lights thought it was and raised them!

At the intermission, as I read the Wikipedia article on the actual Robert Devereux and noted how ridiculously unlike the opera the true history was(but it’s opera; one should expect that), we also got a list of next year’s operas.  Mom wants to see quite a few of them, even some of the reruns of operas we’ve seen already.  I’d be for seeing some of them too, but given that apparently the sound issues were even worse when she attended the rerun of Madam Butterfly, perhaps we should look into any other cinemas doing the broadcast, and if there are any that aren’t too far away.

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2 thoughts on “The Modern Opera Experience II

  1. You’ve made it hard for me to find something to say. I like the sceptical perspective on how the presentation of the opera was central to the concocted experience for the manager at the Met. Yes maybe next year let’s try for Potomac Mills or Ballston. The transmission of Madame Butterfly two weeks ago was nearly unwatchable.

  2. Pingback: The HD-Met Roberto Devereux: ripe for delivering the new mode | Ellen And Jim Have A Blog, Two

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