The Phenomenon of Rolando Villazón

Some time ago the fellow blogger Mostly Opera launched the poll entitled "Best Tenor of the Moment". To the surprise of many, Rolando Villazón was closely first with 37% (293 votes). I have stated my attitude towards charts of any sort in art, and this is one of the reasons why I think they're pointless - even though I voted for Flórez :-)

The so-called "connoisseurs" almost uniformly scorn Mr.Villazón. The fact that his technique is not perfect has been proven by the necessity of undergoing a surgery. He could have chosen his repertoire more wisely. However, what these critics forget is, Art is not just technique.

Mostly Opera's ironic tone in the title "The readers have spoken", announcing the results of the aforementioned poll, and especially some comments from people hidden behind the veil of the Internet anonymity ("There's no way Mr overacting clown is a better tenor than...", to quote but one), and their astonishment at the results, only show their lack of understanding of what is behind. Opera public is not a herd of sheep, praising the one who is presented to them as a big name. They mostly don't care whether somebody's technique is perfect, they care whether his or her voice is beautiful - which is often connected. However, voice is the instrument, the artist is the interpret.

Mr.Villazón has always put at least 100% of himself in a performance. His sincerity, humility and inner beauty are what makes him a favourite to many. Maybe he's put in it too much and has given himself away - that would be a reason to grieve, not to scorn. People as sensitive as some singers being exposed to ironical and sarcastic statements, and often even insulted, is not a normal state, it is something we all must aspire to improve.

It never ceases to amaze me -- and sadden me -- that people call him "a clown" and mean it as an insult. It is a great gift, to be able to bring smile to people's faces, no matter if with a beautiful voice in a beautiful opera, or with a red nose. I wasn't present at his comeback performance, and a Czech blogger, Villazón's fan, was not positively surprised (automatic translation) - in fact, is afraid that this might be the beginning of the end of his operatic career. Let us hope that she's wrong. However, end or no end, Villazón or another singer or musician, please let's not forget that life's too short to be cool and serious all the time, that sometimes it's good to be swept off your feet, forgetting what you know about the "correct way", and always remember to be a clown! :-)

Good luck to you, Mr.Villazón! You are a great artist.

Leoš Janáček: The Makropulos Affair

Věc [vyets] Makropulos at the National Theatre, Prague.

While Christopher Alden's production has been praised by the critics both here in Prague and in England, I am not so positive about it.

Janáček's opera, based on Karel Čapek's play, is about the last few days of Elina Makropulos. Thanks to a magic potion, she has lived for more than 300 years. She's grown cold and cynical, but the life experience gives her an aura which, together with her appearance, drives all men crazy - about her. The relatively short opera (1:30) is written in a modern fashion, close to expressivism; after all, it was composed in the 1920's. Only in the end, when E.M.'s vulnerability and despair is relieved, the music suddenly grows into a lyrical finale, strikingly contrasting with the rest.

Čapek's play is actually a philosophical comedy. However, I believe that the story is open to various approaches, and Janáček's opera with the added death of E.M. in the end is hardly a thigh-slapper. I suppose an absurd comedy (a genre typical for the Czech country) or a realistic, deep psychological study are the possible approaches.

Mr.Alden, on the other hand, chose to set it into a noir world of shades of gray, in which people behave without much restraint. His production is an example of the general tendency in today's opera world to "coolify" everything from Baroque. Everything must be cold and erotic, beauty and sensitivity are taboo.

This wouldn't have to be a problem in an absurd dramedy, but only to a degree. Mr.Alden had many interesting ideas, obviously understands the opera, his direction is very intelligent and I find the basic concept quite valid. So much for the good news.

Restraint isn't a word to be found in modern directors' vocabularies. Where a suggestion would have been just perfect, we get everything in the face (including one taking-off of a shirt - there must be one in every prod!). Even given the hyperbole and symbolism of the production, characters lacked a concept of personality, their behaviour being quite illogical. When the philosophy behind should have been stressed, it was overshadowed by the darkening and eroticizing. Even though this is just one paragraph in this review, it's a big problem with the production. The worst in this aspect was Act II, which was simply overdone.

My impression of Alden's production is 70%. The singers were good, especially Gun-Brit Barkmin in the title role was great, and the acting was excellent, so it's definitely worth seeing.

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Toccata and Fugue in D minor in Walt Disney's Fantasia

I really can't decide which Toccata movie is better. The original, where the orchestra is conducted by Stokowski, is very much a product of its time and to my ears sounds almost like a cross with a 1940's musical, but on the other hand, the sound is warmer and it's 100% synchronized with the picture. Musically I prefer the 1982 recording, but the movie is sound AND picture, so I can't decide even for myself. Let the readers decide for themselves, and maybe comment, please.

By all means, it was the golden age of the Disney studios.

1940, original, Stokowski conducting:

1982 re-recording

Somewhere over Joyce DiDonato

Somewhere over the Rainbow sung by Joyce DiDonato. This girl really IS from Kansas!