Four Artists and a Fat Man

Happy New Year everybody and merry Christmas! Long time no see! I’m so sorry about that, I did try to write several posts but they all kind of couldn’t stand for themselves, I’m feeling kinda bitter today so this post might be a little poisonous. And let me just draw your attention to the title of this post, it's supposed to be a derivation of Four Weddings and a Funeral, I'm so witty haha

Today I’m talking about the two operas I saw in December of last year in São Paulo.

Generic Falstaff

Now, everybody went to the live in HD of Falstaff but I wasn’t able to make it. I was really upset about that. BUT only a week before that transmission the opera house just around the corner from my house was actually doing a production of Falstaff. Funny enough, that looking back at that production and of what I saw of the Met’s production they are oddly similar. Set in the same time in history, even the color choice of some sets were very much alike. But no matter. I did like this performance a lot. The guy playing Falstaff was really very good and VERY funny! It’s very difficult for me to warm up to female singers, maybe because being a female singer myself I can spot defects more easily in women. I thought they were all OK, Nanetta was kinda pissing me off, she was odd. The lady I mostly liked was Mistress Quickly, she was real good and her scene with Falstaff in the beginning of the third act was just superb. Another superb moment was Mr. Ford’s aria in the first part of the second act. That guy was good, real good. He got quite a nice ovation for his performance. But I think the part I mostly liked was the end in the woods. Maybe it’s because the chorus was a bunch of people that I knew from a choir I used to be part of and it was real fun to see them all dressed up.

But there lies one big problem with opera in Brazil. Those people, the chorus people, they are great people, such nice, hardworking and fairly good sounding people. BUT they are not singers, this choir is not a professional choir, it consists mostly of retired people who love to sing and although they sound quite nice I don’t think its right for them to do this project. This is supposed to be a professional production of Falstaff and the people who call the shots decided to call these people to sing for a very simple reason. They love to sing, singing for them is a hobby and they will sing for free, because they always sing for free and they did sing this opera for free, all of them. I just think it’s wrong having so many unemployed singers out there to just grab an amateur chorus that consists of people who learn their parts via audio MIDI files made in Finale to sing in a Verdi opera just because they will do it for free. And don’t get me started on “they don’t have enough money to pay for a chorus” because they do. This opera house is founded by the State Government and we pay a hell lot of taxes in this damned State. But that’s just a taste of glorious Brazil politics and lack of interest when it comes to anything that won’t profit billions.

Closing the Year a la Puccini

The last opera I saw last year was La Boheme, I must admit I was very skeptical going to the Theatro Municipal to see this. Last time I’d been there I saw the most horrifying thing ever, the singers managed to kill one of my favorite operas and I grew rather resolute in never getting back there. I did skip a performance of Cavalleria Rusticana and another of Das Rheingold that I had tickets for just because I knew there was a very big chance that I would hate them. And also because those were after I came back from NYC and really nothing I have seen yet has matched or even come close to that experience. But I love Puccini and I had tickets for opening night so I thought I’d give the São Paulo Opera House another chance. 

I actually really liked this production, I went alone, as always, and I had one of the best seats in the house, 9th row orchestra center, quite nice. When the curtain went up the whole audience went “OOOh!”, seriously, that’s exactly what happened. The stage was all covered with white paper and in the center we had some boring looking furniture all pilled up. As Marcello and Rodolfo sang they also organized the furniture and before you know it you have a flat in the middle of all that white paper. I found that even though it was rather different it worked marvelously well. The tenor playing Rodolfo was none other than the Brazilian who’s been singing all over Europe with Angela Gheorghiu, Atalla Ayan. He was just stellar, really fantastic! But for me the best of the night was the baritone playing Marcello. He really had it all, a fantastic, well projected and beautiful voice and refined acting skills. The other artists weren’t far behind and I did love this staging, the stage director had them hoping from one place to the other almost all the time and it gave the first act such incredible lightness as if they were really just chatting and happened to be singing. There was an easiness to their movements and interactions that was really quite nice to watch.

But then came Mimi and at first when her music started playing I felt tears come to my eyes but not because of the singer but because I’m starting to learn this music so it really hits home. And since I’m getting far too familiar with this La Boheme score I almost couldn’t stand this lady playing Mimi. In my opinion her take on the character was almost all wrong, she wasn’t delicate or fragile at all. She was too energetic and bubbly singing “Si mi chiamano Mimi” as if telling a friend of all the fun things she has done which really didn’t work out for me. Plus she was doing something that THOROUGHLY irritated me which was imitating Angela Gheorghiu’s voice. Now, I’ve had my share of listening to Angela Gheorghiu specially in this particular role and I’m telling you this lady would imitate to the last portamento EVERYTHING Angela would do. She even sort of lost her voice in the middle of her first aria, I imagine because singing with a voice that isn’t yours isn’t really healthy, which resulted in her forte moments being transformed into piano which was really a shame. Even the ignorant ladies sitting next to me who knew nearly nothing about opera noticed there was something wrong.

Second act out on the streets was pure fun! The stage was over flowing with people and the choruses were wonderful! Again there was no scenery just various pieces of furniture and everyone was wearing tones of blues and grays. something else that bothered me was the fact that Mimi's hat wasn't pink, it was gray just like all the ladies on stage, boo for that. Again, the other lady of the production did not amuse me not even a drop bit. The lady playing Musetta was very pretty, very thin, blond with quite a nice body a petit body, what was missing was body of voice, that beef a singer must have to sing Puccini. She did not posses that, I’m not saying she was a bad singer, no, but she didn’t have enough size of voice or enough warmth of voice o even enough size for this role that is pure seduction. Her aria came out little and bland to me and after second act we had intermission and everybody seemed to be talking about the lack of Musetta qualities in that Musetta. It’s just sad that people are cast to play a role like this just because they are pretty. 

During intermission I didn’t even bother to get up, since 1 I was wearing very high heels and 2 I wasn’t meeting anybody anyways. Third act was up and it’s not one of my favorite moments in La Boheme, I find it’s all so mushy and melodramatic, Angela… oops I mean Mimi with the cough and Rodolfo being an ass. The only part I do like in this act is Musetta’s and Marcello’s argument, I find it quite funny. Maybe I’ll grow to like these things but for now, na.

We had another short intermission after the third act and as the curtain came up for the last time I understood why. There was again another collective “WOW” from the audience as we saw the whole stage floor covered with neatly placed red roses. The effect was absolutely gorgeous! Really a work of art! The beginning of this act felt like the beginning of the opera with the 4 friends playing around and they did such a fantastic job! Musetta arrives and the mood completely changed, they bring Mimi up and lie her down. It was really very sad but the whole scene was directed very well, you could see that the director took very good care of this work. And quite unexpectedly when Mimi dies and Rodolfo holds her and screams the famous “MIMI!” red rose petals fall from the sky and I could not hold back my tears. It was very beautiful.

Overall I really liked this opera, I left the theater pleased. Well, until next time peeps! Peace!

The best of my musical 2013

The end of the year is near! And so I thought it would be fun to do some “best of 2013” lists! I might do this in more than one post, depending on the amount of stuff I write.

Best Operas

It’s in alphabetical order because I really don’t wanna choose which I liked best than the other, so those are the highlights of the year of operas I’ve seen live in 2013

Aida (Theatro Municipal de Sao Paulo)

This was my first time seeing Aida and it was really love at first sight! The music is just so incredible, the chorus parts are exhilarating and the solos, duets and trios just swept me off my feet! The staging was simple but dignified and Radames and Amneris were particularly wonderful. I saw this production of Aida twice at the Theatro Municipal in the city where I live, Sao Paulo, it was my very first time going there.

Eugene Onegin (Metropolitan Opera)

I felt so privileged to be able to see this opera live not only once but twice! Before I even saw this production I already loved this opera thoroughly. And then having such a stellar cast under the musical direction of none other than Valery Gergiev was just an absolute delight. The staging was beautiful and the interpretation of the characters was slightly different but it worked incredibly well for that particular set of performers.

La Cenerentola (Theatro Sao Pedro)

This opera I also saw more than once, if you have been reading this blog for a while you will know that I actually watched some rehearsals of this opera. The cast was adorable, the staging slightly bleh but the performers totally made up for it! Special spotlight for the ladies who played the evil step sisters who are sisters in real life and totally stole the show!

Norma (Metropolitan Opera)

I had never seen this opera and let me tell you, even though the staging was as dull as it gets, I loved it! It was my first night at the Met and I was alone and it couldn’t have been more perfect! I remember my eyes filling up with tears seeing Sondra come out for the first time and feel the tears roll down my cheeks when she started singing. Again, I saw this opera twice when I was there and feel so fortunate!

Best Concerts

Again in alphabetical order because they were all such different kinds of concerts and I really can’t choose, each had a very different kind of special meaning

Annick Massis Concert (Theatro Sao Pedro)

Two incredible nights. Annick is such a fine artist and with such an impressive repertoire. I remember that in her very last encore I nearly cried at her rendition of “Chi bel sogno di Doretta”. And also her reading of Papa Germont’s letter and “Addio a del passato” was heart breaking and inspired. I was SO lucky to sit in the front row for this concert in both days!

Maryinsky Theater Orchestra plays Stravinsky led by Valery Gergiev (Carnegie Hall)

I’m such a grateful person to have seen this! I guess that’s why I wanna live in NYC, I mean, come on! I stayed there 10 days and was able to watch so many top notch musical performances, like with the absolute best in DA WORLD! Ah well, this concert was incredible. I mean, it’s not every day that I get to see an entire all Russian orchestra play Stravinsky. I was particularly moved when they played “The Rite of Spring” because my history teacher back in college dedicated quite a lot of time to this piece in particular. So to be able to see an orchestra like that play it was something I will never forget! Plus this concert was on the very DAY of Verdi’s 200th anniversary so as a present to the audience maestro Gergiev led the overture of La Forza del Destino that was composed for the Maryinsky theater! By the end I was in tears, tears, tears!

Metropolitan Opera Orchestra and Joyce DiDonato led by James Levine (Carnegie Hall)

This was one of those things that is on one’s bucket list, again I felt very blessed to have been able to attend this one night only sold out event! First of all y’all know Joyce is one of my personal heroes, so just to get to see her perform was already such a thrill for me. And let me tell you, she was everything I had ever dreamed of and more, such an amazing artist. Then you add the Met Orchestra led by none other than the legendry James Levine and it’s heaven! Seriously, Beethoven’s 7th Symphony was just impossibly gorgeous and the overture of Il Vespri Siciliani being played the WEEK of Verdi’s 200th anniversary was just a marvelous slap of my musically drugged face.

Vesselina Kasarova and the Camerata Berg (Sala Sao Paulo)

Two magical nights in a row! I was already a great fan of Vesselina’s work but to actually see her live right in front of me was so incredible. Plus, as you guys have read in my posts about this concert, she kept looking and smiling at me and my bff for almost half of the concert which was just impossible and insane and wonderful. She did her Mozart and Rossini repertoire which I love and I got to fall in love with her Sesto once again! *sighs*

Best Opera Singer Meetups

Now this is where I get overly emotional like a good Brazilian always does and start crying. I can’t help it though, these are also in alphabetical order because they were all equally awesome.

Annick Massis

Annick is such a generous person and I knew that from the moment she walked on stage she gave it her all to that performance. I will never forget the kindness she showed towards me, looking in my eyes and being sincerely interested in what I had to say. She showed such interest in me I was a bit shocked and even gave me my very first opportunity to sing in a real life masterclass, her masterclass. I look back at those two amazing evenings that I chatted for a while with her after her performances with always a smile on my face.

Joyce DiDonato

I think this was one of the best moments of my life, getting to meet Joyce the way it happened. It was so surreal, first to walk in that room and see her SO DAMN CLOSE and just wait a few minutes that felt like 974298734 hours. Then to get to have her first words uttered to me be my own freaking name, I mean, how cool is that? She’s like one of my heroes and she actually knows who I am and plus was so thrilled that we had finally met and that I went to see her. I mean, that’s daydream material, that’s fanfiction material and it happened to me in real life. I got several hugs and even more kind and amazing words from her. Plus I got to walk around the Carnegie Hall backstage area WITH HER and talk.

Sondra Radvanovsky

Now Sondra is someone who inspires me SO MUCH to pursue this career. She’s also one of my personal heroes and ultimate role model. And I got to see her twice! First time I met her it was in the Met’s stage door area and I was terrified because A- it was my first time stage dooring at the Met B- she walks out and she’s like SUPER TALL C- I’m afraid I won’t be able to speak because of nervousness and/or unexpected tears. So I just stood there like an idiot with my mouth probably hanging opened looking her while she sighed stuff feeling my heart beat in my throat (Lord help me I might choke in my own heart!). She saw me there and walked up to me, took my hand and shook it and said “Hi! I’m Sondra! But you probably know that, right?”, for the first 3 seconds I was frozen but then I regained consciousness and was able to speak fluently and well and we hit it off quite well. After talking to her for a while I told her I’d be watching Norma again on Monday and she proceeded to invite me to go to her dressing room to talk to her after the show on Monday. I nearly had a heart attack then. Monday we met again, in the dressing rooms area backstage at the Met and she was again, SO SWEET and SUPER KIND. Seriously, I wanna be like this lady when I grow up, she’s fabulous and all kinds of wonderful!

Vesselina Kasarova

Vesselina’s heart is the size of a house. And it’s funny because she has such a strong stage presence that me and my bff were a bit apprehensive about going up and talking to her. But she was a bucket of sugar, so sweet I couldn’t believe it. She was particularly fond of us because she saw us in the front row smiling at her every 5 seconds. We both quickly connected with her and had a lovely time talking to her. The second day she waved at us from the stage when she walked in and actually took my hand during one of her last ovations to thank me. That was SO SURREAL!

Well, I guess that’s it for now. In other news I’m NEARLY graduating, I have one grade to come out yet. I pray to God everyday to help me pass, so help me God I WILL!

A Love Letter to Anmeris

EDIT; Ok, this was supposed to be a review of the Aida production I saw last week but I got a tad bit overly excited about Amneris so I think the title explains itself, hun?

What a crazy week! Wow, I was practically out of the house for most of it. But now I'm very happy to say that I'm home for at least the weekend. Before I get down to the subject in hand let me just tell you guys that my friend Xenia, who already has ReJoyce in her grasp, tells me that my picture made it to the CD! HUL! I'm very happy about that. I made all sorts of silly ReJoyce marketing this week in college. Wrote “#ReJoyce is Coming” every where chalk would write in. It was fun.

But what I want to talk about is my new found love for Aida. I know what you might be thinking, that I should already love Aida because it´s one of those IT operas, right? Ah well, let me explain myself then. About seven, six years ago an opera company came to Brazil in tour with Aida. I was 16 at the time and absolutely devoted to musical theater and dance. When my grandma invited me I didn't really want to go, but she told me there'd be loads of dancing, so I went. Well, the dancing itself disappointed me thoroughly, but what I think let me down the most was the fact that they were using microphones. Yeah! In opera, heresy! And I also didn't like the fact that Aida and Radames looked like two McDonald's junkies as opposed to fierce Egyptian/Ethiopian lovers. The only thing I liked was Amneris, especially in the final act when in their staging she’d crawl up steps of huge stairs begging for mercy. I LOVED that actually. 

Well back to modern days, last Saturday was the very first time I went to Theatro Municipal, the big opera house here in São Paulo. I have to tell you I was quite taken aback. The place is gorgeous, it really looks like someplace out of a dream or something. Like a palace, just magical! I was actually glad I was alone because then I could explore the whole building and take my time looking at everything. 

Well, I did go to watch this opera twice this week, on that Saturday and last Thursday so I’m going to try and review both performances at once. It was the exact same cast. Aida was played by the Uruguayan soprano  Maria José Siri, Radames was played by the north american tenor Gregory Kunde and Amneris by Tuija Knihtilä who is from Finland.  

On Saturday I sat on an orchestra seat but it was practically by the walls and directly under the boxes so I couldn't see the subtitles. I figured it was a great excuse to practice my Italian so I sat back and relaxed. Now on Thursday I sat on an orchestra level but center seat which was just my piece of cake, 6th row, perfect view of everything.

  

One good thing about my Saturday location was that I could see the orchestra play, so that was interesting to watch. I find it funny how an opera that is so grand has such a shy overture but I'm not going about to argue with Verdi. Curtain rises and I like what I see, in terms. I’m counting this as my first Aida but even being a newbie to a certain opera I still have historical baggage. The scenery, I think, was appropriate, they were composed by big walls of stone which would move to create different kinds of locations. I found that rather smart and it worked quite well with the lighting design, they were able to create a beautiful atmosphere for the first act finale inside the temple and also a festive and ´grand´ feel to the second act finale.

But, MA, what disappointed me thoroughly in this production was the costume department. I really don't like to criticize especially because I know it's very hard to put up any kind of theatrical performance. But I'm sorry, those costumes looked like something out of a High School production of Aida, the musical. The only costumes that looked the part were Amneris’s. In some cases it seems as if they cut a whole on a piece of eccentric looking fabric and gave it to the chorus to wear. Something that bothered me beyond measure was the fact that the chorus was all dressed in the same costume basically. We had the basses and baritones wearing that said sheet as they were the priests (or something). The tenors wearing clothes that I can't really begin to explain but that were absolutely unflattering to anybodies figure and made them look pregnant. There was a group of about 15 ladies who were wearing a simple blue/greenish dress (the ladies who sang in the second act opening scene). But the other ladies were wearing dresses of the same design in the most horrid khaki color. Egypt must have been in recession and the Princess was the only one who wasn’t informed. The Pharaoh was wearing such simple clothes, I, at first, didn’t realize he was in fact the Pharaoh. I mean it’s Egypt we are talking about, and it’s not nowadays, it’s thousands of years ago, they were in their absolute prime. 

And I know what you might be thinking, who am I to criticize their costumes? Well I’ve worked with the costumes in my theater group for a real long time now and we have a ridiculous budget of $500,00 to buy everything for our plays. From fabrics, to paying the making of the clothes, from scenery to stage objects and let me tell you, some of our costumes are much richer in design and taste than this production's. 

But enough about clothes, the opera itself is so amazing! All of the 3 major singers were in very good shape and I liked what they did with what was given to them. First act with Radames’s opening aria was quite sublime and the audience in both days agreed. One thing I found quite satisfactory was the fact that the house was packed in both days and in both days the applause was absolutely thunderous.

I must admit I'm a big fan of Amneris and also find Aida to be quite dull. Her Ritorna Vincitor was really good but the character never warmed up to me, people on the fence irritate me I guess. And Amneris knows what she wants and is intensively resolute in getting it (aka Radames’s naked body! HA). 

The temple scene was quite beautiful, the production was counting with fine dancers. This scene we had about ten ladies dancing together and a wonderful soloist. Many people have criticized the soloist's costume remarking that she looked like something out of the Avatar movie. But I disagree entirely.  Yes, she was painted in blue, but not for a second did I think of Avatar or Smurfs or The Corpse Bride. I actually thought it worked, it made her stand out a lot and in my conception her character was painted in blue because she was like an oracle or spiritually connected with the Gods or something.

The music composed for this ballet in particular is quite beautiful and what I loved about the choreography was the fact that it was molded in the music. This might sound a bit silly since most choreographies are made based on the music, but I find that the dance told the story of the music, which for me is amazing. I also had never seen so many people on stage in one scene live. Little did I know they'd be able to stuff even more people on that stage on act two. 

Well act two begins and the spot is finally on Amneris, about time! I found it odd how much I adored the music composed for this character, in her scenes and her lines, they just vibrated well with my personal vibrations. It's odd, while Aida or Radames would sing solos it was really wonderful and they were wonderful singers but there was something about Amneris that made me utterly drawn to her. 

The introduction of this scene played by the harp transports you from the depths of the ritual place to a sunny, bright environment where everything seems to be sunshine, cool water and bliss. I might be too crazy but with the harp music I can almost see Amneris lying lazily on overly comfortable cushions while eating grapes and being fanned by huge peacock feathered fans. But in this production she was actually standing and being quite amiable to her female chorus while they sang about Radames. Amneris’s lines were delivered with such heartfelt passion and devotion I couldn't help but warm up to her even more. I mean, she's in love with the guy, she would do everything for him. But what I like the most about her is that she never sets aside her personality for him, she doesn't change for him. Aida does and that's supposed to be our hero, a woman who changes for the likes of a guy. The hero should be the strong women who love and stand their ground with their beliefs. No wonder I'm single hun?   

The ballet for this scene was absolutely adorable. They had six young ones doing what you could call a children's playing choreography. Two girls and four boys played with swords and had a blast of a wonderful time under the watch of the powerful princess. Aida arrives and is left alone with Amneris. Now this duet is quite formidable, love the way Verdi composed the music accompanies Amneris and also her lines. Call me crazy again, but that music sounds like a perfectly poised Egyptian serpent slithering her way into Aida's trust. I find it magical when I can actually grasp how exactly the orchestral music is also telling the story. 

I guess I like Amneris because she's a thoroughly intelligent and perceptive woman, she smells there is something between her lady servant and the high captain of their armies. And since it's such a forbidden love, I'm sure they did their best to hide it, they are not THAT stupid. But even though, Amneris sensed it, because she's smart, perfect modern woman. Plus Aida is also a princess, the least she could do is be more cunning.

Well, Io son l'amica tua. Gee, Amneris is such a Slytherin, she plays Aida like the flute! Tricks her into believing that Radames is dead and then has her answer, Aida does love Radames. Of course she's beyond pissed, how dare Aida have feelings for him? Am I an awful person for thinking that this scene is awesome? Well I don't care, I love it. Amneris wants to show Aida her place so she makes her go to the big festivity that is celebrating Radames’s victorious return.

The music here is also first rate, GLORIA ALL'EGGITO. Oh man, I can't believe I didn't watch this opera before. It's so cool! We have the entire chorus and all the characters on stage at the begging of this scene. As the victorious arrive more and more people fill the stage, dancers and actors. The ballet was gorgeous! This time we had couples dancing to a choreography that looked like a dancy fight. There was a soloist couple who danced extremely well to again very well choreographed modern ballet dance.

The Pharaoh gave Amneris’s hand in marriage to Radames as a gift for saving the country, which made her even more smug and confident, gotta love her! They bring in the war prisoners and amongst them is Aida’s father, who is actually the king of the Ethiopians but passes as a simple soldier. Radames urges the Pharaoh to free the prisoners and after some turmoil he does free them but keeps Aida and her father as hostages.    

Well the most loud and amazing end of act I ever saw in a live opera! It was so loud and wonderful that a couple that was sitting in my box on Saturday actually went home because they thought it was over! I'm so not making that up! Well as usual the intermission flew by and before I knew it the lights dimmed and we were back in ancient Egypt.

I must confess that although the music is gorgeous and the singers were spectacular I missed two things in act three. One of them you must have guessed was Amneris and the other was the big chorus numbers with the catchy melodies. Radames has asked Aida to meet him in secret in the middle of the night. Her father reaches her first and asks her to have Radames tell her where he's leading his troupes. When she denies him that, he grows angry and tells her she's no daughter of his, she's an Egyptian slave now. Again, in the fence Aida irritates me, make up your mind with what you want, not what your father or lover tell you to do. Aida does give in into her father's wishes and as he hides, Radames arrives.

She convinces him to run away and all that jazz, and at first Radames doesn't really want to leave. That's the thing about these epic love stories, people are willing to give up what makes them happy for the sake of being with another person who makes them happy, and at the end of the day they mostly end up dying. I think there's a message there that not many people grasp. It's no use looking for your own happiness in other people, you have to be happy with yourself in order to be able to give happiness to another. I think that's why Radames is so full of love to give to Aida, he's so happy! He just had his life's dream come true, he led the army he had always wanted to command into a glorious victory and saved his patria. It's like working on something you absolutely love and getting that promotion you always dreamed of and thriving beyond your expectations! It's amazing!

Jesus, I'm so getting off topic here! And you guys must think I'm a huge self centered monster, I'm just career driven I guess. Well the plans don't work out very well though. Amneris discovers them and as Aida and her father escape, the guards seize Radames as a traitor.

Now fourth act is AWESOME. You remember that scene I liked way back in 2006 when I first saw this opera? It happened again. Things didn't really go as Amneris had planned, Aida escaped (that bitch) and Radames is to be judged as a traitor. Amneris wants him so bad that she's willing to try and help him in his trial. She calls on him in prison and offers her help and his life, because yeah, he's gonna be sentenced to death if she doesn't intervene. But then comes in love struck tenor who can't think of anybody else but the soprano while the mezzo tries her best to help him. Typical opera! It's so funny I say this since I'm a soprano. 

Radames does irritate me at this point. He's accepted he's going to die and doesn't want any help. While Amneris declares her love to him and tries to spare his life. Heartless prick! But again she's not willing to lower herself or compete with anyone. She tells Radames she will spare him if he NEVER sees Aida again. Something he doesn't agree to do. Something quite awful he says is that he's not afraid of death, he's only afraid of her pity. Ouch, that must have hurt. There was actual fire on Tuija's eyes as she tried to convince him to speak up in his own defense so he wouldn't be sentenced to death. Love, lust, hatred, anger, everything, gee, that woman was out of this world amazing!

As he leaves, Amneris is left alone and we can hear Radames’s trial happening off stage. That, I think is one of my favorite parts in the entire opera. It's quiet and intense, as the high priest asks Radames about his crimes, Amneris listens horrified as Radames remains silent. Her, “Ah pietà... egli è innocente... lo salvate, Numi, pietà!” were so heartfelt and desperate. It seemed as she was being sentenced to death as well. I actually cried watching this scene, it was as if she faded with every accusation and her pleads were in vain. So sad.  As the priests left after giving the death sentence of a traitor to Radames she confronts them, tells them they have thirst for blood and are irrational. But it's no use. The King's justice must be done (isn't that so Game of Thrones).

Radames is in his tiny cell, a tomb actually, where he will be buried alive. Yeah, that sounds pretty awful. But he's quite placid for someone who's going to die like that. Aida finds her way in there, God only knows how, you would think that thing is well guarded but elas, it's not. Stupid in the fence Aida wants to die with him and he wants to die for her and all that, at the end of the day they deserve each other. But their music is quite wonderful and the singers did it justice, I guess I just didn't buy their love story. But I did cry at the end, it's quite mooving when they say the sky is opening up to them to welcome them (A noi si schiude il cielo). It soothes me to think they managed to kill each other quickly or ate some poison so they wouldn't suffer much in that tomb.

Well, the opera ended and the audience was on their feet clapping like crazy! There were loads of young people there which pleased me a lot. I took some pictures of the curtain call, but they aren't really good, I took them with my phone. The applause was crazy, even the veteran singers got emotional with the immense cheer they got. 

On Saturday I ran from the opera house right after the curtain call was over because I was afraid the subway might close. But on Thursday I went to the stage door because I wanted to talk to the singer who played Amneris. Seriously, her performance was so touching I just had to tell her. I didn't know her name or nationality but I was resolute in talking to her. Unfortunately after about 20 minutes she didn't come out and the subway was about to close so I had to rush to get home. The worst part about this was that later as I looked at the program I saw her picture without makeup and she had passed by me and I hadn't recognized her. Yeah, big dumb face I am!

Well, that's basically it! Studying a lot, watching a lot of stuff, singing endlessly! Just how I like it! Peace everyone!