Metropolitan Opera – Puccini’s Il Trittico. December 5, 2018.

Metropolitan Opera at Lincoln Center.  Orchestra (Seat M22, $25.)

Story.  See previous post.

Conductor – Betrand de Billy.

Cast Il Tabarro: Giorgetta – Amber Wagner, Michele – George Gagnidze, Luigi – Marcelo Alvarez.

Cast Suor Angelica: Sister Angelica – Kristine Opolais, The Princess – Stephanie Blythe, The Monitor – MaryAnn McCormick

Cast Gianni Schicchi: Zita – Stephanie Blythe, Lauretta – Kristina Mkhitaryan, Rinuccio – Atalla Ayan, Gianni Schicchi – Placido Domingo.

Anne and I saw these operas in 2009, while I forgot most of the experience, the writeup I did in some way baselined my expectations.

The Program Notes has a lot of good things to say about these three one-hour operas, including drawing a parallel with hell, purgatory, and heaven.  My encounter tonight would have to stretched considerably to be close to that.  The first opera was clearly very dark, with Michele first killing Luigi and then Giorgetta.  The second opera was just sad, with Angelica committing suicide at the end; the “redemption scene” was an incongruous add-on, in my opinion.  The third one was just a comedy, and contains the famous melody “O mia babbino caro.”  I can’t imagine anyone associating the plot with anything that happens in heaven.  The Program Notes contains remarks to the effect that Suor Angelica is the weakest, and Gianni Schicchi is the strongest.  That would mean Il Tabarro is in the middle.

Not having found deep meaning in the operas, we come to how I reacted to each opera.

Before curtain someone came on stage.  Instead of the announcement of a cast change, she mentioned that Marcelo Alvarez had a sore throat but decided to go on and asked for understanding.  I had heard Alvarez several times, and have characterized his performance from great to adequate.  Tonight’s was more towards the adequate end of the spectrum.  He didn’t seem to have a firm approach to some of the high notes (surprisingly few, in any case.)

Curtain call Il Tabarro (which according to Google Translate means a coat).  The people in the center are Alvarez, Wagner, and Gagnidze.

The headline singer in Suor Angelica was, of course, Kristine Opolais.  With binoculars and a seat in Row M, I had a good view of her role.  I have been puzzled by the praises that have been heaped on her in recent years, and tonight didn’t change that view.  She certainly sang well, but not exceptionally so.  She could also use more coaching in acting.

 Suor Angelica was the only opera where we were shown the set at curtain call.

Blythe and Opolais.  Not sure who is on the left.

Domingo is the big name for Gianni Schicchi.  Many critics have panned Domingo as a baritone, and I had always defended him.  Tonight’s performance would provide ammunition to those who call for his retirement from singing.  It also calls to mind the interview of Beczala who said he would rather retire at his peak as a tenor, rather than follow the footsteps of Domingo (ouch!)  However, it is a monumental achievement to be singing for a 50^th season, as this season is for Domingo.  “O mia babbino caro” is always a crowd pleaser, and is the (short) aria that could well be worth the price of (a regular) admission, but tonight’s rendition was just adequate.

 Domingo at the end of Gianni Schicchi.

The lady in the short red skirt is Mkhitaryan, to her left Domingo, and her right Ayan.

It isn’t a surprise that the standout was Blythe who appeared in 2 of the 3 operas.  In the 2009 performance we saw, Patricia Racette sang all three lead soprano roles.

So my specific comments about the performances were all negative.  However, I was glad to have gone. So, perhaps there is some truth that when taken together, the operas will provide a more powerful effect.

I found some extra time on my hands this week as a trip to Asia didn’t materialize.  While the performance didn’t have too many seats left, I still managed to get a rush ticket, in Row M.  The regular price for this area is $160 (my guess looking at the prices for 12/12), in the typical rush ticket section of Row BB the price is $85.  The view is clearly better, but I am not sure the acoustics is close to twice as good.  Most of Domingo’s singing was done stage right, that probably contributed to my having problems with his performance.

The New York Times review is very positive, even labeling this as “NYT Critic’s Pick.”  In addition to calling this a “very fine” Trittico, the reviewer also had good things to say about all the principals.  Regarding Domingo, the reviewer wrote “That 1968 Times review described him as ‘a strapping fellow with a plangent and sizable voice as well as considerable stage magnetism.’ Fifty years later, I second that.”

With two long intermissions, the three operas – each lasting about an hour – took more than four hours this evening.  I had enough time to walk from Penn Station to Lincoln Center, and had to wait for the 12:05 am train to return to New Jersey.