Lamento

I am a fanatic more sinn'd against than sinning.

Injury the First. Opera Australia — light of my life, apple of my eye, immortal beloved, etc. — has gone and raised its prices on me. Only C-reserve is left untouched, a luxury I indulge in when I think I need to see the whole stage once (Alcina was the only such occasion last season). Premium reserve is up by $12, A-reserve by $7 and B-reserve by $5. That seems to me not such a big deal, because they were already seriously expensive, and if you're willing and able to pay that much then another $12 probably doesn't make too much difference. But the staple of my existence, the best and cheapest food for my addiction, D-reserve, has been raised from $54 to $65. And I know it's only $11, and that that's not exactly a fortune but just the same, it does make a difference. $54 ain't cheap, but it seemed sort of close to it. $65 somehow is a more sizeable investment. Besides, let's face it, the seats were possibly a bit overpriced at $54. They're great for people like me, who want to obsess over the sounds of an Alcina or a Dandini, but objectively speaking, even the best D-reserve seats are not good seats. No surtitles and you won't see the whole stage. Sometimes not a big deal; sometimes quite inconvenient — the first time I saw Suor Angelica, I didn't realise the Virgin Mary had actually appeared on stage, and all the elaborate mirror tricks for Alcina were utterly lost on us in the cheap seats.

Now don't misunderstand me. I know opera is massively expensive and that it has to fund itself. I support to the death its right to do that. But ... I feel a little hurt and mistreated just the same. I love and adore that company, would be happy to spend several (or seven!) nights a week there, and yet their pricing structure makes absolutely zero provision for me to do so. Even the cheapest-of-the-cheap seats, standing room and E-reserve, are $40 and besides which, are out of the question for anybody with a job — you have to be there, in person, at 9am on the morning of the performance. Not going to happen. 

Other organisations offer $30 tickets for under-30s. Whether that's viable or desirable for Opera Australia, I've no idea. I suppose not, or they'd be doing it. All I can say is that if that programme, or something similar, were in place, they would probably end up getting more money per month from me than they do. Meanwhile I may have to start spending less. Oh, who am I kidding. She's a cruel and demanding mistress but I'm hers, and I'll pay her upkeep no matter what. Still, I wish we could find a compromise.

Injury the Second. ABC Classics clearly had a meeting and took the decision to torment me. They've put a CD out called Puccini Romance. Certain aspects of this release are beyond excellent — a disc of pretty Puccini, featuring the drop dead gorgeous Antoinette Halloran. The cover also is beautiful. The selection is, yes, pretty predictable, but I'd listen to Antoinette sing anything. However all is not sunshine, lollipops and rainbows. Antoinette is not alone. She is partnered by one Rosario La Spina. I would pay money not to own a CD by Rosario La Spina. His recent moderate success as Don José notwithstanding, I find him as a rule painfully unlistenable, and never more so than in Puccini. Presumably Antoinette holds him in far higher regard than I do, which is her absolute right. Personally, I think she deserves a far worthier partner. Had she been paired with Aldo di Toro, this CD would already be mine. As it is, I'm not sure I can fork out the cash for a whole CD when all I want is half; fingers crossed for an iTunes release.

Injury the Third. I intended to see my third and final Cenerentola tonight. I bought a ticket for it two weeks ago, from my box office nemesis. Yes, I have one. She has served me several times. Apparently the very act of booking tickets for somebody puts her right on edge, which would suggest she made an odd career choice; and when faced with a person like me, who sometimes has detailed and slightly odd requests, she's downright frantic. Doesn't listen to me, talks over me, points out the wrong seats as being free then speaks to me like I'm an idiot when I ask to reserve those very same seats. So I should have known better than to trust her with the basics of ticket booking, and I should have checked the ticket she'd given me. I didn't. Until this morning, when I discovered it was for January 31st. Great. Rang the box office a few times, nobody answered the phone, but frankly I doubted they'd be willing to do anything for me — who's to say I'm not lying? So no Cenerentola for me. No more of Joshua Bloom's Dandini. It may return, years from now; but by then he will, I suspect and hope, be far too starry and important to return with it.

Balm for the Beleaguered. Mine is a tale of woe. Thankfully, though, I know just the way to heal my wounds. Putting aside my hurt feelings over the price hike, and learning once again to trust the box office, I will take myself to hear beautiful Antoinette — from tomorrow, she takes over as Mimi in Opera Australia's La bohème. Where she leads, I shall follow, and once more be happy and carefree.

Comments

[Charlotte]

Hello Sarah,

This is in response to: http://primalamusica.typepad.com/primalamusica/2008/02/lamento.html

I have read some of your blogs and general information about certain operas and must say I’m am absolutely shocked and appalled at your ‘opinion’ of one of the best tenor’s I’ve heard in the past 10 years. I am talking about Rosario La Spina, whom I have had the pleasure in hearing quote a few times now in both Opera’s and concerts. I bought a copy of “Puccini Romance” and find his recordings of these masterful pieces, driven, emotional and dramatic, something most other tenors are not capable of, the “hair standing on the back of the neck” feeling.

Since you feel he is ‘unlistenable’, then I would have to assume that you find Pavarotti “unlistenable” given that Mr La Spina’s voice is charged with a similar passion and excitement which audiences want to hear. He is an Australian talent to be proud of. Which leads me to the ever important question…what are your professional credentials? I noticed in your “about me” section, that this is best described as “liking opera” and “true and besotted fanatic”. As I have studied singing my entire life with accolades on my walls and now teach singers of all styles, I believe my comments carry further weight than someone who merely loves opera. I love tennis, however, I don’t believe I’d be giving Roger Federer any pointers.

Therefore, I believe your poor comments to be unfounded and I felt the need to write and say so.

Regards,

Operateach

[the judge]

if i see you in an opera audience,be sure to run and hide,leave the building...we already know you have blashemed against the prophet and your judement awaits you.Infidel dog that you are,prepare to be punished

alah ahk bah.

[Sarah]

Charlotte -
My "qualifications" are probably exactly as you describe. But since this is a blog - a place for personal expression which anyone can choose to read or to ignore - I don't think I need further qualifications. Especially since I don't claim to hold any. As my About page makes pretty obvious, I'm open about my reasons for blogging - I love opera, and enjoy sharing my excitement by writing about it. Response to this blog over the last four years or so suggests that that's something some people enjoy reading, too. I know the post above is all a bit negative, but it's meant lovingly and is a bit tongue-in-cheek; mostly this is a very positive blog.
I write what I feel and anybody can, for any reason, decide that I'm wrong or unfair - just as you have. You clearly are more qualified than me, and that - plus the fact that we're different people, of course - is naturally going to mean that you hear things I don't or can't.
The response to any particular voice is always going to be a highly subjective (and emotive) matter - that's a part of the thrill that opera provides, I think. It's not something I can consciously alter, no matter how hideously in error I might seem to be. Logic and love never have had much to do with one another.
And for the record, I find Pavarotti meltingly listenable.