Metropolitan Opera – Strauss’s Der Rosenkavalier. May 13, 2017.

Cinemark Theaters, Hazlet, NJ.  Theater 11 (Seat C9, $28.22).

Story.  See previous post.  The only thing I would add is Act 1 is devoted to describing the love affair between Octavian and the Marschallin, and the conflict the latter feels as she realizes she is aging and must let Octavian go.

Conductor – Sebastian Weigle.  Octavian – Elina Garanca, The Marschallin – Renee Fleming, Baron Ochs - Gunther Groissbock, An Italian Singer – Matthew Polenzani, Herr von Faninal – Markus Bruck,  Sophie – Erin Morley.

This series of performances was to be Fleming’s last in her role of the Marschallin, and all of the performances were sold out, which is to be expected.  I didn’t want to pay a ton of money for one of the last remaining seats, so buying a Met: Live in HD ticket seemed to make good sense.  Anne was away with a church group, so I went to this screening by myself.

Inside Cinemark Theater 11 in Hazlet, NJ.

We saw this in December, 2013, and I called it “too much of a good thing.”  It was a double-header Strauss day for us, as we also had an afternoon concert with Ein Heldenleben in the program.  Today’s experience was much more enjoyable.

This is a new set, with all scenery based on this corner of a room.  The other set began its service in 1969, so it was time for a replacement.  I don’t remember much of the old set, but my blog seemed to indicate it worked reasonably well.  I am not sure this set has that many new aspects to truly amaze, the only “razzle-dazzle” was when the pictures turned into moving figures.  The old set depicted an opulent Vienna, the new setting is around 1911 (when the opera was written) so there is a heavy military theme to the costumes.  All good, and I suppose the large expenditure must be in part driven to make this a splash farewell for Fleming.  Of course, the last time I saw this the opera had a 30-minute delay because they had trouble with the set.

The music was much more accessible to me this time around.  I could appreciate how the orchestra worked with the singers in one integrated production.  A vocal technician may appreciate how the different singers performed, I just hoped they tuned the mikes to pick up more of the vocal lines.  I have appreciated Fleming more in other roles she played.  One bright spot was Erin Morley, she depicted well Sophie as a defiant girl who wanted to find her own way.  I had seen her a few times before, including as Sophie, and she didn’t sound as good or convincing in those instances.  The role of Ochs required quite a range (low C to G#), I didn’t catch all the instances when those notes were sung, but the couple of times I caught a low note (E perhaps) they sounded very weak.

I complained that I found the Act 3 three-women trio very confusing in the 2013 performance.  I am happy report it was much clearer this time.  I still have to learn to appreciate how it is “a gorgeous blend of female voices that is among the supreme accomplishments of lyric theater.”

Polenzani had a cameo role as an Italian singer who serenaded the Marschallin for a few minutes.  His voice clearly stood out.  He was also the host during the intermissions.  I caught a few minutes of his interviews with the cast, and that’s where I learned about Ochs’s range and Morley doing a more dependent Sophie.

The theater has these comfortable reclining chairs with full-length footrests.  My seat was in the third row, so it was very close to the screen.  Two problems.  One is that I had to tilt my head back even with the seat reclined.  The bigger problem is there is too much detail in the close up shots.  A diplomatic comment would be “I could see the stitching in the costumes.”  A less diplomatic one would be an even bigger suspension of belief is needed if the Marschallin is to be thought of as 32 years old.

The New York Times review is one of the longest I have seen, and other than a small pan here of there, is effusive.  There is also an article on Fleming's final curtain call.  Other reviews are equally enthusiastic.

Most operas I have seen were live performances, and they do feel different.  A clear example was people just walked out after the screening, there was no way to show appreciation to the singers.