the odd couple

The first time I saw the famed Freddie Mercury/ Montserrat Caballé duet about 4 years ago, my jaw dropped to the floor. How had this existed for nearly 15 years, and I'd never heard nor even heard of it ? Since that discovery, I've heard a variety of opinions about the duet, as well as various other crossover combos. The general rule is: if you've studied classical music, you hate it. And these people are quick to generalize that those who do enjoy this diluted classical recordings are most probably totally ignorant when it comes to high culture. I can sympathize with this, as I have often been guilty of such judgements myself-- see my previous post on 'popera' singing. However, I'd like to clarify that I appreciate any artist that can broaden an interest in classical music. Whether or not I personally want to listen to that artist on my own time, or whether I think they should be able to call themselves an opera singer when the likelihood of their singing through an entire opera anytime in the future, is another matter.

With this said, I do find the unlikely classical/popular duets a terribly charming, though slightly indulgent repertoire. There is something exciting for me as a singer to hear two voices from totally different genres coming together in one piece of music. These collaborations are not a recent revolution, however. I've always found a smile on my face after listening to this trio of the late Dame Sutherland, Ella Fitzgerald, and Dinah Shore:



But the most fruitful resource I've found thus far for unlikely duos is a simple search for "Pavarotti and friends", in which Pavarotti proceeded to invite every musician he liked to participate in a charity concert. Quite possibly my favorite from this treasure trove of delightful duets is that of Pavarotti & Miss Liza Minnelli:



and as kitsch as it may be, what's not to love about Pavarotti and Stevie Wonder ?



Next time, my favorite duets of opera singers & fictional characters !

starting off the season

Yesterday I had the pleasure of hearing my first opera of the season. With my pass jeune in hand, I was off to the Bastille for a matinee performance of Der Fliegende Holländer by Wagner. I showed up an hour before the performance, and managed to snag a seat in the second row (one of the many beauties of being under the age of 26 in Paris). Though I do not particularly advise the second row for Wagner, as my ears were still ringing hours after the performance.

While familiar with the plot and music of the Dutchman, this was my first time seeing it in person, and it most certainly delivered. I enjoyed the staging for the most part, though the stage entirely slanted downwards towards the audience was slightly unnerving at times. James Morris, well-known for his interpretation of Wagner, was the headliner for the afternoon, but for me it was the full-voiced and ravishing soprano who the stole the show. The performance marked both a role and house debut for Canadian Adrianne Pieczonka, and it was easy to see why. I especially enjoyed her beautifully nuanced high notes--quite exceptional for a repertoire usually associated with the "park and bark" method of singing. I also enjoyed the fresh voice of swiss tenor Bernard Richter.

As this was her role debut, there was no video available of Pieczonka singing my favorite passage of the opera, Senta's Ballad. Here is Nina Stemme instead:




And here is Pieczonka singing the aria from Dvorak's Rusalka:




My first opera was quite breath-taking, and I have high hopes for the season to come.