MET Opera House building–Lincoln Center/Friday October 20th, 2023.
Welcome back!
This week, friends, welcome once again to the MET Opera.
Yay!
And welcome once again, to classic 19th century opera, including yet again, unbelievably stunning soaring melodies, sumptuous choruses and arias, and jaw dropping romantic, political and paranormal/”medium”/fortune telling drama.
Wow and yay!
Welcome to a lesser known opera, yet, gorgeous sounding tragic work, from iconic and revered Italian composer, the great and fabulously talented, Giuseppe Verdi (1813-1901), and in my opinion, who wrote the most beautiful opera choruses, ever, which in this instance, are also particularly spectacular.
Wow!
And by now, at 46 year-old, at the time he (Verdi), composed this mature and dramatic work, Verdi’s compositional skills have become formidable, as this 1859 opera, has premiered, a few years after three of his wildly celebrated, mature, equally dramatic and absolutely stunning masterpieces, (1851) “Rigoletto”, (1853) “La Traviata” and (1853) “Il Trovatore”.
Yay! And wow!
So welcome to Verdi’s stunning, tragic, 1859, mostly dark, “Un Ballo in Maschera” (A Masked Ball), with a wonderfully poetic libretto, from Antonio Somma (1809-1864), a lawyer, a playwrite, and in addition, a theater manager.
Wow.
A gorgeous opera, “Un Ballo in Maschera”, based loosely, on authentic 18th century history (Sweden’s King Gustav III, was, believe it or not, murdered during a masked ball in Stockholm in 1792, for mysterious reasons. A murder, believe it or not as well, that was foretold at the time, by a fortune teller, who alerted the king of the plot on his life), and an opera, “Un Ballo in Maschera”, which is also based on a previous 1833 French opera, “Gustave III”, from Daniel Francois Esprit Auber (1782-1871), who added a few sentimental “twists”, to this already tragic story: basically, Auber with his successful librettist, Eugène Scribe (1791-1861), added a classic “love triangle,” and made the two competing men for the love of a wonderful woman, wait for it, best friends.
Wow.
And Verdi like many, also probably believed that truly compelling “love triangles”, often make for great opera drama, so included that additional dramatic “twist” as well, in his own “Un Ballo in Maschera” opera, which could, in addition, easily explain the murder plan towards King Gustav III.
Wow.
Who knows?
And what better idea to create a compelling and truly timeless love triangle, than to imagine a “mash up”, of the jealousy, betrayal found in the myth involving King Arthur, Lancelot, and Queen Guenevere, “partenered” with the rage found in Shakespeare plays, in particular in Othello, his rage (Othello’s) towards his (wrongly accused) wife, Desdemona.
Wow.
So what is “Un Ballo in Maschera”‘s plot about?
In a nutshell, it is a dark tale, about a king, (Gustavo III) who is in love with his best friend’s (Count Anckarström) wife (Amelia), even though, nothing has actually “physically” happened between them, and who will eventually, be murdered by his best friend (Count Anckarström), who suspects them to be lovers, although they are not, when they all find themselves entangled in a compromising situation.
Oh boy.
And specifically, Count Anckarström’s all consuming anger, will be such, that (Anckarström) will eventually kill the king (Gustavo III), at an upcoming masked ball.
Oh no.
The dying king (Gustavo III), in his final hour, forgives his murderer (Anckarström), who is also, let me remind you, his (the king’s) very best friend, yet admits to the Count Anckarström, that he (the king) does indeed love Amelia, and yet, assures Count Anckarström, that his wife Amelia, has not been unfaithful, and before dying, sends the count and Amelia away, to Finland.
Oh boy.
The king’s court praises the king’s goodness and generosity, as the king dies.
So sad, and yet, one should have probably reminded the king, that as a king, as a man, and as a human being as well, the greater good, the right conduct, and duty, should always “trump” personal inclinations, especially if his personal feelings involve possible betrayal of his BFF (Best Friend Forever), the count.
Just saying.
Let’s now, listen to a short wonderful MET opera trailer from a few years ago, yet performed with the same production, to hear some of Verdi’s music, and get a first look, at the wonderfully intriguing, black and white, minimalist, dark and yet awesomely attractive, David Alden set.
Just stunning.
So what are the nuts and bolts of this three acts story?
Let me tell you, in as few words as possible:
Act I introduces us to a group of “courtiers”, awaiting in Stockholm, Sweden, an audience with King Gustavo III, including “allies” and some “conspirators”.
Oh boy.
The king (Gustavo III) arrives, and looks at a list of guests for an upcoming masked ball, and notices the name of his best friend (Count Anckarström)’s wife (Amelia), and thinks of his love for her.
Oh boy.
Let’s now, listen to a short rehearsal excerpt, of King Gustavo III, thinking only of his love for Amelia, and listen to the beautiful dark chorus of “conspirators”.
Oh boy.
As the courtiers leave, Count Anckarström warns the king (Gustavo III) of a conspiracy against him, but Gustavo III ignores the threat.
Oh boy.
Let’s now, listen to a short rehearsal excerpt of Count Anckarström warning the king of the threat, and marvel at their wonderful friendship.
Just stunning.
The king’s young page, Oscar (sang interestingly, by a soprano, a “trouser” role), tells the king Gustavo III, of a renowned “medium”/fortune teller, Madame Ulrica Arvidsson, accused of witchcraft, who is to be soon, banished. The king decides to pay her (the fortune teller), an “incognito” visit to get his palm “read”.
Oh boy.
We then, discover the “fortune teller” (Madame Ulrica Arvidsson), by the harbor, in a room, invoking prophetic spirits among a crowd of sailors and fishermen.
Oh boy.
The “fortuneteller” then, reads” a sailor’s palm, and predicts that he will soon become wealthy and receive a promotion.
Oh boy.
The king, disguised among the crowd, as a fisherman, slips then (for good measure), money into the sailor’s pockets, and when the sailor discovers the “bills”, everyone praises the fortune teller (Madame Ulrica Arvidsson)’s abilities.
Oh boy.
The king hides in the room, as the fortune teller sends the crowd of sailors and fishermen away, and welcomes Amelia in, who is tortured by her love for the king, and wants to get “rid” of it.
Oh boy.
The fortune teller instructs Amelia to gather a magical “herb” after dark. As Amelia leaves, the king decides to follow Amelia later on, in the evening.
Oh boy.
Oscar, the king’s “page” and members of the court, including “conspirators” then, enter the room, and the king reappears from his hiding place, and asks the fortune teller, Madame Ulrica Arvidsson to predict his future, by “reading” his palm.
Oh boy.
She (the fortune teller), informs the king that he will die by the hand of a friend. The king laughs at this prophecy, and demands to know the name of his murderer. Madame Ulrica Arvidsson replies that it will be the first person that shakes his (the king’s) hand.
Oh boy.
At that instant, the king’s best friend, Count Anckarström arrives, and slips his hand into the king’s to greet him, to which the king immediately announces that the “oracle” has been disproved, since the Count Anckarström is his BFF (Best Friend Forever). Recognizing the king, the crowd cheers the king on, as the “conspirators” in the crowd, express (in petto) their unhappiness.
Oh boy.
In Act II, we discover in an abandoned warehouse, at night, Amelia who is trying to find the “magical” herb which should “free” her from her love for the king.
Oh boy.
The king appears, and the “love birds” declare their love for each other.
Oh boy.
Yet, suddenly, Count Anckarström appears out of the blue, sees from afar that the king is “seemingly”, on a “love” date, and yet, fast approaches the king, to tell him that his “assassins” (the group of initial “conspirators” seen at the beginning of the opera) are near by.
Oh boy.
Amelia has just the time to veil her face, so the Count Anckarström cannot identify her.
Oh boy.
The count can only “witness” that the king is on a “love date” with an unknown/mystery “lady”.
Oh boy.
The king without hesitation, then asks the count, his BFF (Best Friend Forever), as a personal favor, to escort back the unknown/mystery “lady” to the city, without asking asking her, her identity, which the count promptly agrees to, and the king then, swiftly escapes.
Oh boy.
The group of “assassins” / “conspirators” suddenly make snide comments about the count’s veiled mystery lady, and Amelia realizes that her husband would rather fight, to ensure that her (the mystery lady’s) identity, is protected, than disrespect his king and best friend’s personal ask.
Oh boy.
Yet, afraid for her husband’s life, she (Amelia) decides to unveil herself, to save him (the count), from the dangerous “assassins”. The group of “assassins”, then go on “mocking” the count for the embarrassing situation he (the count), finds himself entangled into.
Oh boy.
Of course, Count Anckarström’s shock and hurt at the king’s unforeseen betrayal, from “his” king, who also, happens to be his very best friend, added to the shock and additional hurt at his wife’s seeming infidelity, makes him explode with anger.
No kidding.
By Act III, the count, back home, is besides himself with anger, and threatens to kill Amelia.
Oh no.
Amelia asks to see her son before dying.
Let’s now, listen to this heart wrenching aria, my favorite from this opera, one of the saddest ever sang, from a mother of course, and sang below, by another great “Amelia” performer (which I must say sings it with incredible pathos), the great Sondra Radvanovsky, from a few years ago at the MET, in the same production.
Enjoy:
So incredibly sad.
Amelia then leaves the room, and the count realizes that it is with the king, and not towards his wife, that he (the count), should seek vengeance.
Oh boy.
“Conspirators” suddenly arrive at his home, and the count then, decides to join them, to kill the king.
Oh boy.
The count then asks his wife, to choose from the slip of papers with names of “conspirators”, to find out who is chosen to kill the king, and when his own name (Count Anckarström), is chosen from all possible “conspirators”, the count is overjoyed.
Oh boy.
Oscar, the king’s page, then arrives, with an invitation to a masked ball.
Oh boy.
Distressed Amelia, decides then, to warn the king of the assassination “plan” from the “conspirators”, led by her husband, the count, and plans then and there, to attend the ball.
Oh boy.
Meanwhile, the king alone in his study, has decided to renounce his love for Amelia, and has also decided to do so, to send her and the count to Finland.
Oh boy.
Oscar, the king’s page, then, brings in an anonymous letter to the king, warning him of a murder plot against his life. The king refuses to be intimidated and leaves for the masked ball.
Oh boy.
In the ballroom, the count tries to figure out what “costume” the king is wearing, and finally gets an answer from the king’s page.
Oh boy.
Amelia and the king meet, and Amelia repeats her warning.
Oh boy.
Refusing to be intimidated, the king declares his love one last time, and tells Amelia that he is sending her away with her husband, to Finland.
Oh boy.
As they say goodbye to each other, the count arrives, and stabs the king.
Oh no.
The dying king forgives the count, admits his love for Amelia, and assures the count, that they have not “acted” upon this love.
Oh boy.
As the king dies, the crowd praises the king’s goodness and generosity.
So sad, and as mentioned earlier, an example that the greater good, the right conduct, and duty, in life, and especially towards a best friend BFF, has to prohibit romantic love from flourishing.
Oh boy.
What to say about the production?
Only, that David Alden’s dark, often black and white, elegant, metaphysical, mysterious, poetic, gorgeous, 18th century set production, brings additional gravitas to this tragedy.
Yay!
And to me, the production values from Aden’s vision, add to the impression that one’s destiny is not always totally in our hands, and that, as Icarus, who approached too close to the sun, one can veer off a set path, if one does not respect rules of conduct (or physics), and is too stubborn, self absorbed, and self righteous in life, instead of thinking of the greater good.
Wow.
So of course, specifically in the production, I especially loved the slanted “Icarus” classical painting dangling from the ceiling, as a warning to the audience and the characters, found at the beginning and the end of the opera.
Yay!
I loved, loved, loved the spectacular costumes (not only the wonderfully chic long gowns, but the tiaras, ladies, the tiaras were so, so, so, beautiful).
Yay!
Loved also the great elegant ballet in Act I, which was wonderful, as otherwise, the masked ball only arrives super late in the story, and there is not enough dancing happening by then, as of course, drama is irrepressibly mounting, around king Gustavo III.
Wow.
What to say about the conductor and performers?
That the orchestra, and all the singers, under the expert baton of Italian conductor extraordinaire, the terrific Carlo Rizzi, were wonderful, convincing, and incredibly moving.
Wow!
And three singers, particularly stood out for me:
First, American tenor, Charles Castronovo, was awesome as king Gustavo III, a loving king to his people, a loving friend to his best friend initially, and finally an attractive, besotted “love bird” towards Amelia, torn between his heart and his duty to the crown. And what great control, subtlety and charm, in his singing and acting, for this complex and complicated role.
Bravo!
Second, American (Hawaiian) baritone, Quinn Kelsey, as Count Anckarström, the loyal BFF of king Gustavo III, and later, the “bad” guy, as a raging husband towards Amelia (and who eventually chooses instead to murder his king), was incredibly convincing, scary, and formidable, and what a spectacular voice, for this equally complex role.
Bravo!
Thirdly, Russian mezzo-soprano, Olesya Petrova, as the mysterious, beguiling and epic fortuneteller/medium/ possibly hell sent messenger, “Madame Ulrica Arvidsson”, was just terrific, charismatic, fun and intriguing.
Bravo!
Wow!
Just awesome!
So, to sum up my feelings, about Verdi’ “Un Ballo in Maschera”, admired last Friday, at the MET Opera, in great company: what a gorgeous and moving opera, based loosely on a historical facts, set to awesomely beautiful, heart stirring, and harmonious music, and what strong, superb and moving arias. And how terrific to depict the heart’s complicated choices, in the face of duty. And how spectacular especially, are three of the main characters: Castronovo, as the charming, love torn monarch, what a formidable, and spectacular sounding “Count Anckarström”, Kelsey embodies perfectly, and how riveting is Petrova, as the charismatic, mysterious and dark “Madame Ulrica Arvidsson”. And finally, what a beautiful, dark, elegant, minimalist, and yet, metaphysical, timeless, and utterly attractive, Alden production, allowing us to find ourselves sent to 18th century Stockholm, with great wonder and awe.
Bravo!
Just terrific!
And not to be missed!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies 😊