A trip to the opera in Verona – Part 2

20190903_161708 copy.jpgNext stop was the Roman amphitheatre, not to be confused with the Arena where we would be seeing the opera..built around the end of the first century B.C. its visible remains today include the stage, the orchestra, the auditorium and some galleries on two subsequent levels together with a top corridor.It was being set up for a pop concert on our visit….
20190903_172945 copy.jpgbut the Roman seating was still clearly visible,20190903_162128 copy.jpgand the setting marvellous….20190903_162523 copy.jpeg20190903_162558 copy.jpg20190903_162741 copy.jpg20190903_163009 copy.jpgAlso on site there is a fascinating museum with Roman finds from Verona in an old fourteenth century monastery behind the theatre………….here a floor…20190903_163621 copy.jpeg                           a wall decoration….20190903_163851 copy.jpeg……a funerary Stella which translates “Cippus lays a curse on anyone who dares to dirty or violate  the sepulchre”. Obviously this must have been an issue in Verona!20190903_163913 copy.jpg…..lots of pottery and glassware….absolutely incredible it survives….20190903_164704 copy 2.jpeg20190903_164711 copy.jpg…..a larger than life-size bronze foot from a statue….20190903_165642 copy.jpgand an upper walk…….Verona full then of layers of History which is all wonderful to see……..20190903_172146 copy.jpgNext day we again walked into town passing one of the ubiquitous policemen. wherever we went there were police of varying sorts some with sub machine-guns , all with holstered pistols……..all very different from England.20190904_101130 copy.jpegOur first destination was the Arena itself…of the outside only the Ala, a short section of the outer ring that was the façade of the Arena, has been preserved, shown here in my photo. Under the reign of Theodoric (493-526 AD), the outer ring was partially demolished for the construction of a second set of defensive walls, and until the Renaissance the Arena was used as a stone quarry. The façade features just one architectural style, the Tuscan order, with bossages and limestone blocks from Valpolicella.20190904_114138 copy.jpegOnce inside the scale of the building became clear…..this was after all the third largest arena in Italy…..20190904_112347 copy.jpeg20190904_112501 copy.jpg20190904_112825 copy.jpgExcavations under the structure have brought to light a complex hydraulic system which enabled water to be brought inside the amphitheatre, both for spectacular water games and to clean up the arena after the bloody fights held there. All quite incredible to behold.20190904_113541 copy.jpgOn our way to our next point of interest we popped into one of the many churches. This was St Niccolo, a fine example of Italian seventeenth century architecture…..20190904_114659 copy.jpegWe also explored the church of Sant’Anastasia.20190904_141857-copy.jpegI loved the flooring in particular, all local marble…..20190904_142508-copy.jpegThe hunchbacks of Verona are two figures in the church, which are supporting the two stoups at the base of the first columns of the church’s central nave.20190904_142523_001.jpg20190904_143018-copy.jpg20190904_143710-copy.jpg20190904_143740-copy.jpgNext on our itinerary however was the Torre Dei Lamberti Tower – located in the Piazza della Erbe, the Torre Dei Lamberti is the tallest of several towers in Verona. In 12th century Verona, as was the practice in many Italian cities at the time, noble families demonstrated their power and wealth through constructing tall and elaborate towers. The towers acted as luxurious homes as well as watch towers. Ideally, towers were built to be bigger than the nearest tower. Writing this has brought back memories of San Gimignano where there are many such towers giving it the name ‘The Town of Fine Towers’.

Anyhow as the name suggests, the Lamberti Tower was built by the wealthy Lamberti family. Work was begun on the tower in 1172 and was eventually completed in 1463. Over the years however, modifications have been made including the raising of the height by the Venetians in the 16th century. It is still possible to make out the different sections of the tower based on the building materials used.

20190904_115438 copy.jpgBefore ascending the tower we visited what was called an exhibition of Veronese modern art. I must say it didn’t seem very modern to either of us, but that just shows everywhere is different.20190904_115946 copy.jpegWhat I did like very much was the sensuous painting by Hayez (the Italian equivalent to DeLaCroix) of the personification of “Italy”. She holds the cross in one hand and the volume entitled “History of Italy” in the other, in memory of the martyrdom that took place in the streets of Milan in the days of 1848, when attempts were made unsuccessfully to obtain  independence from the Hapsburg Empire and work towards the unification of Italy…..she is therefore both strong yet vulnerable. 20190904_120335 copy.jpegand these sculptures I admired which were about six or nine inches tall…..20190904_121052 copy.jpegWe then exited into the courtyard where the striping effect of use of brick interlaid with marble was quite clear………..20190904_121306 copy.jpgand we ascended the tower not slowly by its 368 steps but quickly on the elevator! The views were worth our admittedly slender effort…..20190904_122252 copy.jpeg20190904_122350 copy.jpgWhat is absolutely clear looking at these photos is the significance in historic towns of roofing all done in the same local materials….this gives such a sense of unity.20190904_122748 copy.jpegWe came out into the Piazza Della Erbe  for a quick look at the pensive statue of Dante…..it represents another manifestation of the struggle for independence…20190904_123131 copy.jpg20190904_123317 copy.jpeg20190904_123328 copy.jpg………………we just had a fleeting visit then to the Scaliger Tombs – a group of five Gothic funerary monuments in Verona, celebrating the Scaliger family, who ruled in Verona from the 13th to the late 14th century.The tombs are located in a court of the church of Santa Maria Antica, separated from the street by a wall with medieval iron grilles. Built in Gothic style, they are a series of tombs, most of which are in the shape of a small temple and covered by a baldachin. According to the French historian Georges Duby, they are one of the most outstanding examples of Gothic art. The  wrought iron enclosure is decorated with a stair motif, in reference to the Italian meaning of the name of the family, della Scala………..20190904_123900 copy.jpg20190904_124204 copy.jpgLunch beckoned and whilst the restaurants in the Piazza looked lovely……… 20190904_124639 copy.jpgwe found, down a side street, what turned out to be a fantastic local restaurant for my birthday lunch…..20190904_130206 copy.jpg20190904_131042 copy.jpegProsecco, Soave, brilliant food and a relaxing coffee…what more could one ask?20190904_135126 copy.jpgOn our way to the Duomo…20190904_140931 copy.jpegwe saw yet another elevated tomb….it seems the Veronesi are trying to get as close to Heaven as they dare.20190904_141501 copy.jpeg20190904_144632-copy.jpg20190904_144719-copy.jpg20190904_145118-copy.jpgThe Cathedral, which is dedicated to Santa Maria Assunta, is the central structure of a complex of architectural buildings which include San Giovanni in Fonte, Santa Elena, the Canons’ cloister, the Capitular library, the square in front of the church and the bishop’s residence. During the Roman Empire, in the area of the present day church, there were villas with private thermal baths (balnea) and probably also a few small temples. duomo800.jpgThe first palaeo Christian basilica was built on the area occupied today by the church of Santa Elena. It was consecrated by S. Zeno, bishop of Verona, between 362 380 A.D. but it soon turned out to be too small and a few decades later it was replaced by a larger basilica. Quite a few remains of the mosaic floor of both palaeo Christian basilicas can be seen under the church of Santa Elena and the Canons’ cloister.

The second palaeo christian basilica collapsed, probably during the 7th century A.D., due to a strong fire or maybe an earthquake. Archdeacon Pacifico was in charge of the reconstruction of the church, between the 8th and the 9th century and the Cathedral, known by the name of Santa Maria Matricolare, was built further south, on the area on which it is situated today.

The church was greatly damaged by an earthquake in 1117 A.D. and reconstruction work lasted at least 20 years: the building acquired its current width and the two Romanesque porches.
The inside was completely renovated between the second half of the 15th and the second half of the 16th century with the addition of the side chapels and the semicircular choir screen.The floor is magnificent and composed of local marbles….20190904_145841 copy.jpg20190904_150014 copy.jpg20190904_150124 copy.jpeg20190904_151339 copy.jpg20190904_151544 copy.jpegAt one point I was amazed to find on a shelf some modern scriptural texts bound exquisitely which I examined……works of art in their own right…..20190904_151929 copy.jpegBack home over the bridge of stone to get ready for the opera….20190904_154423 copy.jpegEven arriving at the opera was special…..we were due to see Carmen.20190904_201846 copy.jpgand once inside it was obvious how spectacular the occasion was going to be….20190904_203049 copy.jpg20190904_203055 copy.jpg20190904_215633 copy.jpgThe performance was outstanding with two of the three main singers very strong. The orchestra was on top form and the production itself was all you would expect in so magnificent an arena. As a birthday present – sensational!20190904_235150 copy.jpegCarmen_FotoEnnevi_220618_0020_20180622-blocco-show-2018-1.jpgThe walk home through Verona at night was delightful…….20190905_001732 copy.jpg20190905_001904 copy.jpg

A trip to the opera in Verona – Part 1

20190901_154650 copy.jpegFor my 70th Birthday I was treated to a trip to Verona to see the opera in the Roman arena ( a lifetime’s ambition). The flight from Bristol was great with unusually clear views over England and France and Italy. Landing at Milan Malpensa airport, we then caught the train to Milan. The station at Milan was incredibly large, imposing and typical of Fascist Brutalist architecture. I have since found out it is in fact the largest station  in Europe.20190902_102834 copy.jpegIt’s always nice to get your first cup of coffee and pastry when in Italy…here in one of the many station cafes…20190902_101952 copy.jpgGetting to our hotel/apartment Residenza delle Città we found it to be immediately full of Italian style….20190901_204250 copy.jpgRDC_Social_Lobby_04.f8f13c6ddc1a9cbab724bb6abd5ef197.jpgand the apartment itself was terrific.tzoo.hd.85800.3586.450427.ResidenzaDelleCitta.jpgI had done a lot of research on where to eat. However, around the corner we ignored all that research and found a lovely pizza place that looked like a regular neighbourhood hang-out rather than any chain pizza restaurant. And so it proved. Not a single tourist in there, English or otherwise. It was just what we wanted. One of the two brothers who own it looked after us and a good time was had by all. The pizzas were fantastic.20190901_221226 copy.jpeg20190901_213340 copy.jpgNext day we went first of course to the Duomo famously the largest church in Italy. Knowing we had only a few hours in Milan we made no attempt to go inside, but we looked at it from every angle, and enjoyed the sumptuous carving….20190902_114026 copy.jpeg20190902_112040 copy.jpegin stone……20190902_113415 copy.jpegand bronze….interestingly the doors are nineteenth and twentieth century not the work of medieval craftsmen as I first thought.20190902_113633 copy.jpegThere was much to admire.20190902_113554 copy.jpgAfter a quick walk around Piazza del Duomo…20190902_111919-copy.jpg20190902_110910 copy.jpegwe passed up one of the streets full of stylish shops….20190902_123656.jpg……..here a bookshop ( which we can never resist of course)….20190902_111715 copy.jpgto come quickly to la Galleria Vittorio Emanuele  which was second on our list of must-sees, and an absolutely stunning example of a posh shopping arcade, full of Versace, Prada and other famous Italian and international designers.20190902_111513 copy.jpeg111247580-milan-italy-april-13-inside-shopping-mall-galleria-vittorio-emanueke-ii-on-april-13-2-018-in-milan.jpg20190902_103429 copy.jpgBut all the shops in downtown Milan are sensational, not just in the arcade. How about this for an alternative to the Aga?20190902_105524 copy.jpgOur stroll through the city revealed a superb range of classy buildings….20190902_104957.jpeg and even gateways to splendid private houses…20190902_100455-copy.jpegWe lunched in the Piazza Del Duomo….20190902_125005.jpghaving passed on the stairwell what looked like a very old olive tree but was in fact a bronze sculpture……..a- ma-zing….20190902_124313.jpgWe then wound our way slowly down cobbled streets with a mix of old and new trams (very reminiscent of Lisbon)…..20190902_110215 copy.jpgto a favourite Milanese public garden – the Parco Sempione – a large placid green area, nice after the bustle of town,  running from the Castello Sforzesco to Arco della Pace. After our peaceful interlude in the park…..20190902_121107.jpgwe had a good look around the castle, the core of it dating back to 1358-1368  during the Visconti’s period who used the Castle as his residence while he stayed in Milan, but mostly used it as a military base. Later, it was mainly Francesco Sforza who, as ruler of Milan in 1450, gave particular impetus to the reconstruction of the building  which had been seriously damaged between 1447 and 1450. He quickly rebuilt the castle, this time with a 230 ft tall central tower – the Torre del Filarete (now a symbol of Milan itself), flanked with large round towers. His successors further improved and embellished the castle. 20190902_120611.jpg20190902_120307.jpg20190902_120138.jpg20190902_115811.jpgThe inside of the castle is now home to several museums which we noted as worth our attention on a longer visit (let’s hope it’s soon!). 20190902_120324.jpegWe had covered a lot of ground and after another quick coffee made our way to our train, and here a word about the Italo trains. We went on two during our time in Italy, and I think we were in ‘Smart’ class both times, the lowest of four classes. To us it smacked of style and comfort with leather seats, foot rests, individual waste containers etc etc. If only Italo would take over our national railways!stazione-termini-italo-2.jpg20190902_170129.jpgThe area between Milan and Verona is famous for a number of significant wines including Prosecco, Valpolicello and more….so, vineyard after vineyard was glimpsed from the train windows…..20190902_174628.jpgalso the odd lake, and always the mountains in the background – the Apennines, the backbone of Italy, 870 miles long and surging up to 9000 feet at their highest…20190902_173743.jpegThe railway infrastructure was quite impressive too…here a signal box…what was most impressive however was the smoothness and speed of the journey – at one point we were doing 247k an hour (153mph). Fantastic.20190902_163829.jpegOur flat in Verona was booked through Airbnb and was very pleasant. But its big plus was that it was outside the tourist centre and in a residential district. So the people we bumped into were Italian. Whilst this meant a reasonable walk to get into the centre, it was absolutely fine. We were in no hurry anyway.20190902_191915 copy.jpeg20190902_191942 copy.jpegOn our first night we wandered over the Porta Nuovo into town, and relaxed with an outdoor meal at one of the hundreds of cafes and restaurants…20190902_203108 copy.jpegF. had the most boring salad ever, my spicy aubergine bake was very tasty. The bottle of local wine went down a treat..20190902_205649 copy.jpgAlong the street of our restaurant were some excavations revealing what? I never did find out!20190902_215756 copy.jpgThe atmosphere at night in Verona is great….it’s a pleasure to walk around.20190902_215838 copy.jpgand lively……20190902_220420 copy.jpg20190902_220426 copy.jpg20190902_220717 copy.jpegThe next morning – our first – we ambled along our narrow little street to the river…20190903_100358 copy.jpgThis is the river Adige, second longest in Italy, rising in Switzerland…..and there are beautiful walks and promenades along it….20190903_113506.jpeg20190903_113523 copy.jpgAs this is Italy there are quite a lot of bikes…..20190903_114354 copy.jpgafter walking into town we reached what is regarded as the centre of Verona – Piazza Bra, huge and full of restaurants, cafes, bars, shops……..20190903_115318-copy.jpegand of course the Roman amphitheatre  built in the first century, and where we were due to go to the Opera the next day. In fact it is internationally famous for the large-scale opera performances given there and is one of the best preserved ancient structures of its kind. In ancient times, the arena’s capacity was nearly 30,000 people. The stage for concerts and opera performances decreases the available places to a maximum nowadays of 15,000. It will be used as the closing ceremony for the 2026 Winter Olympics in Milan and Cortina d’Ampezzo. (Must watch if we’re still around!). 20190903_115112 copy.jpgLuckily, as the weather was hot, there is a beautiful little garden in the midst of Piazza Bra which we availed ourselves of to consult our map.20190903_120408 copy.jpegHaving bought a Verona card which was 25 Euros each for two days ( a bargain as it turned out ), and which allows entry to all sorts of places as well as bus travel etc, we then made our way through one of the ancient arches, this one fifteenth century……20190903_123127 copy.jpegand along some nice arcades……20190903_123252_004 copy.jpegto the Castelvecchio fortress which took the name “Castelvecchio” (meaning “old castle” of course in Italian) just after the construction of the Castel San Pietro in 1393, which is located nearby.
The castle, an imposing complex marked by seven brick towers, was completed in 1356 as a defensive structure aimed to control the access to the city from the river Adige and it was converted into a museum or in fact a series of museums in the 1920s.
From 1958 to 1964, the museum was completely renovated and updated after a design by famous Italian architect Carlo Scarpa. Scarpa’s project, which harmoniously combined contemporary building materials, such as bare concrete and steel, with the castle’s medieval architecture, is still widely considered among the best examples of the conversion of a historic building into a modern museum.20190903_125242 copy.jpg20190903_125454 copy.jpegThe building is a large square compound made mainly out of red bricks and is an impressive example of Gothic architecture. One of the most noteworthy features of the castle is its imposing M-shaped merlons which run along the walls of the bridge and the castle itself. There are seven towers in the castle along with a maschio or a super elevated keep. Inside are four main buildings. Castelvecchio is surrounded by a ditch that is now dry. When the castle was first built, the moat was filled with water from the nearby Adige. 20190903_125647 copy.jpg“It is believed that the castle was built on the location of an earlier Roman fortress. The castle and nearby bridge were built by Lord Cangrande II della Scala, who in 1350 married Elizabeth, the daughter of Louis IV of Bavaria and the Countess of Hainualt, Margaret II. The castle was constructed as a deterrent to attack by powerful neighbors like the Sforzas and Gonzagas and the city state of Venice.                                                        The construction of the castle started in 1354 and Cangrande died in 1359, before it was completed. The fortified bridge over the Adige was designed to let the castle’s inhabitants escape north to Tyrol in case of a rebellion or a coup d’etat.                                                 During the time of Venetian rule in the area slits were added to the structure to allow defence by cannons. The fortress was badly damaged during the Napoleonic Wars and Napoleon himself stayed in the castle many times when he visited Verona. Under the later rule of the Austrians the castle was used as barracks and was later restored in 1923.”20190903_131029-copy.jpgThe art galleries and museums were full of surprises and well worth an extended visit…20190903_130423 copy.jpgOne thing that particularly caught our eye on the walls were these artists’ preparatory drawings and underpainting – absolutely fascinating – and fourteenth century.20190903_131552 copy.jpg20190903_131556 copy.jpgand this – almost like a cartoon book – thirty Bible stories painted on wood, again fourteenth century.20190903_131754 copy.jpegThese pics give some idea of the sumptuousness of medieval wall decoration….pretty spectacular you have to agree.20190903_131945_007 copy.jpeg20190903_133153 copy.jpg20190903_133340 copy.jpegAnd here a view of the Skaliger or Castelvecchio Bridge – a fortified bridge that was built over the River Adige. The bridge featured segmental arches and when it was originally constructed it had the world’s largest span at 48.7 meters.The bridge was built as we noted around 1354 by Lord Cangrande II in order to facilitate escape from his fortress. A reflection of the times! The construction was solid and the bridge remained intact until the end of the 18th century when French troops destroyed the left bank tower. In 1945, during World War II, the bridge along with Ponte Pietra was totally destroyed by the Germans. Reconstruction began in 1949 and was completed two years later on all but the left tower. The bridge was built using red bricks for the upper part, quite common with the landmarks in the city during the Scaliger era. The lower portion of the bridge was fashioned out of white marble. Legend has it that the designer of the bridge, Guglielmo Bevilacqua arrived at the inauguration ceremony riding a horse, ready to flee in case it came crumbling down. When the bridge was seen to be a success Bevilacqua was reportedly presented with a sword belonging to Saint Martin by Cangrande.20190903_133710 copy.jpgOne of the highlights of our visit was the walk around the walls and battlements…..20190903_133832 copy.jpg20190903_133914 copy.jpgand I thought a very unusual and perhaps typically Italian stylish touch was to find a little garden perched on the battlements themselves. Terrific.20190903_134304 copy.jpg20190903_134315 copy.jpgAt the end of the high-level walk we came across a statue of Cangrande II Della Scala himself, immortalised in stone like the archetypal cavalier. Scarpa the architect decided to place this particular sculpture on a concrete plinth seven metres high, creating an  niche that allowed the work to be seen from multiple angles…….20190903_133951-copy.jpgOur little tour finished, just beside our bus stop was The Arco dei Gavi  an ancient structure built by the gens Gavia, a noble Roman family who had their hometown in Verona, at the beginning of the Via Postumia, the Roman road leading into the city. During the Middle Ages it was used as a gate in the walls.20190903_135524_001 copy.jpegOur free bus was very pleasant and free of tourists….20190903_141618 copy.jpgWe got off in an area where we quickly disposed of a double ice cream each and headed past a group of rather nice buildings….20190903_142117 copy.jpg20190903_142212 copy.jpgand along a promenade…..20190903_142217 copy.jpg20190903_142658 copy.jpgto the funicular which we took up to the viewpoint…910A4130_1-1030x687.jpgwhere we stayed a while enjoying the amazing vistas……20190903_145141 copy.jpeg20190903_145500 copy.jpeg20190903_145721 copy.jpegIt had all been thirsty work, so we stopped off at a hilltop cafe again with the incredible views and sank a large beer and orange juice…..20190903_154824 copy.jpg

Tears at the opera…….not mine this time

1600x685_fille4.jpgSaturday night at the New York’s Met, well Vue cinema Plymouth actually. A surprisingly large attendance, but the average age was let’s say over 60 – as usual. I really think a younger age profile would enjoy Opera so much. I was only introduced to it in my sixties, and am trying to make up for lost time. It’s great. Now I had never heard of  Donizetti’s ‘La Fille Du Regiment’ but as soon as the excellent orchestra and conductor played the overtures you wondered why not. A breezy introduction to what followed set just the right mood for this comic opera. The usual corny back-story….here’s the Met’s summary…..

ACT I

The Tyrolean mountains. On their way to Austria, the terrified Marquise of Berkenfield and her butler, Hortensius, have paused in their journey because they have found the French army blocking their way. When the marquise hears from the villagers that the French troops have at last retreated, she comments on the crude ways of the French people (“Pour une femme de mon nom”). Hortensius asks Sulpice, sergeant of the 21st regiment, to let the marquise continue on. Sulpice is joined by Marie, the mascot, or “daughter,” of the regiment, which adopted her as an orphaned child. When Sulpice questions her about a young man she has been seen with, she explains that he is a local Tyrolean who—though an enemy—once saved her life. Troops of the 21st arrive with a prisoner: this same Tyrolean, Tonio, who says he has been looking for Marie. She steps in to save him, and while he toasts his new friends, Marie sings the regimental song (“Chacun le sait”). Tonio is ordered to follow the soldiers, but he escapes and returns to declare his love to Marie. Sulpice surprises them, and Marie must admit to Tonio that she can only marry a soldier from the 21st.

The Marquise of Berkenfield asks Sulpice for an escort to return her to her castle. When he hears the name Berkenfield, Sulpice remembers a letter he discovered near the young Marie when she was found. The marquise soon admits that she knew the girl’s father and says that Marie is the long-lost daughter of her sister. The child had been left in the care of the marquise, but was lost on a battlefield. Shocked by the girl’s rough manners, the marquise is determined to take her niece to her castle and to give her a proper education. Tonio has enlisted so that he can marry Marie (“Ah, mes amis”), but she has to leave both her regiment and the man she loves (“Il faut partir”).

ACT II

 

The marquise has arranged a marriage between Marie and Scipion, nephew of the Duchess of Krakenthorp. Sulpice has joined the marquise at the Berkenfield castle, recovering from an injury and supposed to help her with her plans. The marquise gives Marie a singing lesson, accompanying her at the piano. Encouraged by Sulpice, Marie slips in phrases of the regimental song, and the marquise loses her temper (Trio: “Le jour naissait dans la bocage”). Left alone, Marie thinks about the meaninglessness of money and position (“Par le rang et l’opulence”). She hears soldiers marching in the distance and is delighted when the whole regiment files into the hall. Tonio, Marie, and Sulpice are reunited. Tonio asks for Marie’s hand, declaring that Marie is his whole life (“Pour me rapprocher de Marie”), but the marquise declares her niece engaged to another man and dismisses Tonio. Alone with Sulpice, the marquise confesses the truth: Marie is her own illegitimate daughter whom she abandoned, fearing social disgrace.

Hortensius announces the arrival of the wedding party, headed by the Duchess of Krakenthorp. Marie refuses to leave her room, but when Sulpice tells her that the marquise is her mother, the surprised girl declares that she cannot go against her mother’s wishes and agrees to marry a man that she does not love. As she is about to sign the marriage contract, the soldiers of the 21st regiment, led by Tonio, storm in to rescue their “daughter.” The noble guests are horrified to learn that Marie was a canteen girl, but they change their opinion when she describes her upbringing, telling them that she can never repay the debt she owes the soldiers. The marquise is so moved that she gives her daughter permission to marry Tonio. Everyone joins in a final “Salut à la France.”

 

As is normal with these live broadcast events there is an opera star to introduce things and talk to set designers, producers, etc and also to the stars taking part – during the interval,  in the middle of their performances, which is quite something. All very American and very enjoyable. The other quintessentially American thing was the lavishing of praise on the main sponsors. It does make one think how generous American benefactors are compared to their British equivalents – something I have been reading about recently.

The main leads were terrific, astonishingly good, even though Sulpice had a cold. The South African soprano Pretty Yende was Marie. yende-pretty.jpgShe could have been the star of the show but wasn’t only because tenor Javier Camarena was so so good.

merlin_150231453_a33a8efb-2598-4625-bf14-265abfd01b31-jumbo.jpgThe opera is renowned for it being a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis … Pour mon âme,” with its nine high Cs. This took the real Met audience by storm and they were standing and shouting for more, and so sustained was this and so full of the moment was Javier that the tears started to trickle down his face. No acting there! An encore was called for and given. An amazing feat in opera apparently, and we could see why.  In some senses Javier with his short stature and ordinary looks is such an unlikely hero but wow did he steal the show. It was a real privilege to see this performance and massively enjoyable. Apart from the singing it was brilliantly staged and there was even an old big-screen star – Kathleen Turner – to enjoy in her speaking-only part. Her duel with the conductor was memorable. We enjoyed the music, but an Italian composer bulling up the French post-Napoleon? We discovered afterwards that Donizetti left his patron the King of Naples because he was being censored and felt free to do as he wished in Paris. All in all a wonderful evening. And back in time for Match of the Day.

Opera, cinema and historic Plymouth….

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This weekend to an unknown (to us) Met opera at Vue cinema in Plymouth. The thing about this particular opera for us was that there were absolutely no tunes or melodies throughout. Everything seemed like speech that was sung in one plane as it were. Yes, the singing yet again was admirable and amazing in its power and intensity, but the plot was light and, as I say, no tunes to be hummed on the way home. Not at all memorable. The divas get huge praise in the press however.

Adriana Lecouvreur unfolds in Paris in 1730. The setting reflects a nostalgia for the Rococo era that swept over Europe and the Americas around the turn of the last century when Cilea was composing, evident in other operas (for instance, Puccini’s Manon Lescaut) and in architecture.785x590_adriana4.jpg

ACT I

Paris, 1730. Backstage at the Comédie-Française, the director Michonnet and the company prepare for performance, in which both Adriana Lecouvreur and her rival, Mademoiselle Duclos, will appear. The Prince of Bouillon and the Abbé de Chazeuil enter, looking for Duclos, who is the prince’s mistress. They encounter Adriana and compliment her, but she says that she is merely the servant of the creative spirit (“Io son l’umile ancella”). The Prince hears that Duclos is writing a letter to someone and arranges to have it intercepted. Left alone with Adriana, Michonnet confesses his love to her, only to be told that she is in love with Maurizio, whom she believes to be an officer in the service of the Count of Saxony. Maurizio enters, declaring his love for Adriana (“La dolcissima effigie”), and the two arrange to meet after the performance. Adriana gives him a bouquet of violets as a pledge of her love. During the performance, the prince intercepts the letter from Duclos, in which she asks for a meeting with Maurizio, who is in fact the Count of Saxony himself. He is to meet her later that evening at the villa where the prince has installed her. Determined to expose his seemingly unfaithful mistress, the prince arranges a party at the villa for this same night. Unknown to him, Duclos has written the letter on behalf of the Princess of Bouillon who was having an affair with Maurizio. Maurizio, receiving the letter, decides to meet the princess who has helped him pursue his political ambitions. He sends a note to Adriana to cancel their appointment. Adriana is upset, but when the prince invites her to the party and tells her that the Prince of Saxony will be one of the guests, she accepts in the hope of furthering her lover’s career.

 

ACT II

The princess anxiously awaits Maurizio at the villa (“Acerba voluttà”). When he appears she notices the violets and immediately suspects another woman but he quickly claims they are a gift for her. Grateful for her help at court, he reluctantly admits that he no longer loves her (“L’anima ho stanca”). The princess hides when her husband and the Abbé suddenly arrive, congratulating Maurizio on his latest conquest, who they think is Duclos. Adriana appears. She is astounded to learn that the Count of Saxony is Maurizio himself but forgives his deception. When Michonnet enters looking for Duclos, Adriana assumes that Maurizio has come to the villa for a secret rendezvous with her. He assures her that the woman hiding next door is not Duclos. His meeting with her, he says, was purely political and they must arrange for her escape. Trusting him, Adriana agrees. In the ensuing confusion, neither Adriana nor the princess recognize each other, but by the few words that are spoken each woman realizes that the other is in love with Maurizio. Adriana is determined to discover the identity of her rival, but the princess escapes, dropping a bracelet that Michonnet picks up and hands to Adriana.

 

ACT III

As preparations are under way for a party at her palace, the princess wonders who her rival might be. Guests arrive, among them Michonnet and Adriana. The princess recognizes Adriana’s voice as that of the woman who helped her escape. Her suspicions are confirmed when she pretends Maurizio has been wounded in a duel and Adriana almost faints. She recovers quickly, however, when Maurizio enters uninjured and entertains the guests with tales of his military exploits (“Il russo Mencikoff”). During the performance of a ballet, the princess and Adriana confront each other, in growing recognition that they are rivals. The princess mentions the violets, and Adriana in turn produces the bracelet, which the prince identifies as his wife’s. To distract attention, the princess suggests that Adriana should recite a monologue. Adriana chooses a passage from Racine’s Phèdre, in which the heroine denounces sinners and adulterous women, and aims her performance directly at the princess. The princess is determined to have her revenge.

 

ACT IV

Adriana has retired from the stage, devastated by the loss of Maurizio. Members of her theater company visit her on her birthday, bringing presents and trying to persuade her to return. Adriana is especially moved by Michonnet’s gift: the jewellery she had once pawned to secure Maurizio’s release from prison. A box is delivered, labeled “from Maurizio.” When Adriana opens it, she finds the faded bouquet of violets she had once given him and understands it as a sign that their love is at an end (“Poveri fiori”). She kisses the flowers, then throws them into the fire. Moments later, Maurizio arrives, summoned by Michonnet. He apologizes and asks Adriana to marry him. She joyfully accepts but suddenly turns pale. Michonnet and Maurizio realize that the violets were sent by the princess and had been poisoned by her. Adriana dies in Maurizio’s arms (“Ecco la luce”).

 

Before going to Vue we had a bit of time to kill so, for a coffee and exploration, we drove to the Royal William Yard which we had not visited before. It was a revelation………20190112_161929.jpg…………..an historic piece of Plymouth restored with sensitivity but very grand. Constructed between 1825 and 1831, Royal William Yard is in fact considered to be one of the most important groups of historic military buildings in Britain and the largest collection of Grade I Listed military buildings in Europe. Pretty impressive credentials.20190112_162004.jpegDescribed as the grandest of the royal victualling yards, ‘in its externally largely unaltered state it remains today one of the most magnificent industrial monuments in the country’. Released by the MOD as recently as 1992, Urban Splash have transformed the buildings into mixed-use restaurants, shops and flats, and it is all pretty special, although you do get the impression that it is not as well-visited as it ought to be.20190112_164837.jpg20190112_164854.jpg20190112_165209.jpg20190112_165501.jpg20190112_165621.jpg20190112_165759.jpegBistrot Pierre where we had our coffee was pretty good too, an excellent looking menu, and they have just opened two of the buildings across the square as hotel rooms. They look swish.20190112_164721.jpegYesterday back to Vue Plymouth this time to see the film ‘Stan and Ollie’. Steve Coogan as Stan and John C. Reilly as Ollie were absolutely brilliant and with oodles of preparation took to their parts with perfection. ‘Stan & Ollie’ tells the story of how Laurel and Hardy, with their golden age long behind them, embark upon a tour of the music halls of Britain and Ireland in 1953.
Despite the stresses of the tour, past resentments coming back to light, and Hardy’s failing health, the show must go on: in the end, their love of performing – and of each other – ensures that they secure their place in the hearts of the public. It’s about love, passion and comedy. You come out of the cinema just loving their humour but at the same time feeling for them….when up becomes down it’s tragic to see. For once all the five star reviews are thoroughly deserved. If you get chance, watch it…….1353.jpg

Another evening at the opera…

A6BD6048-4110-4C69-9050-696A789C90A2-1170x751.jpegWell, almost – the Vue cinema in Plymouth again. And, yet again, a superb experience. This time La Traviata from The Met New York. It really is almost like being there. And this production had a few twists – features which didn’t appear in our last viewing of La Traviata. It started as a dream sequence with flash-backs which set the scene very nicely. And it included a ballet sequence which was astonishingly good since this is an opera company. The leads – stars soprano Diana Damrau and the tenor Juan Diego Flórez. were terrific, powerful, moving. And, as the NYT says ‘the solid, robust baritone Quinn Kelsey was grave and formidable as Germont’. He was indeed and obviously, as an American, a particular audience favourite. And, it was nothing less than the start of a new period in the Met’s history: the Yannick Nézet-Séguin era as Musical Director. And the music was indeed incredible. We have listened since to other recordings including Maria Callas and they don’t hold a candle to this production. Still, what do we know about opera? I only went to my first just over a year ago! I’m a definite convert. Watching this the tears started falling unbidden from my eyes. Amazing!merlin_147638601_589a5771-6177-45e6-95b1-6b564e98b1dd-jumbo.jpg

ACT I

Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love (Ensemble: “Libiamo ne’ lieti calici”). She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love (Duet: “Un dì felice”). There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved (“Ah, fors’è lui… Sempre libera”).

ACT II

Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society (“De’ miei bollenti spiriti”). When Alfredo discovers that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage (Duet: “Pura siccome un angelo”). But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him (“Di Provenza”). But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.

At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the Baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.

ACT III

Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, he has told him about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late (“Addio, del passato”). The sound of rampant celebrations are heard from outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills Violetta with a final euphoria (Duet: “Parigi, o cara”). Her energy and exuberant joy of life return. All sorrow and suffering seems to have left her—a final illusion, before death claims her.