Today was a two opera Saturday. Le comte Ory in the afternoon, Wozzeck in the evening. I think you would struggle to find two operas with less common ground. There are no nuns or jokes in Wozzeck, no blood or expressionism in Le comte Ory. It's like having lunch with Doris Day and dinner with Alanis Morissette. (Which is not to say that Alanis Morissette is as good as Berg. Although I do think Doris Day is at least as good as Rossini.)
The best thing about Le comte Ory continues to be the people singing in it. Frankly I think even the weakest opera ever could be halfway redeemed by the presence of Joyce DiDonato OR Diana Damrau. Having them both, plus Juan Diego Florez, is a masterstroke. Meanwhile the opera itself is too insubstantial even for me, and I love fairy floss. Among its faults: not enough music for Joyce. Honestly, Rossini. You're supposed to be the one who spoils his mezzos. She was wonderful anyway, of course; she can't not be, and Diana was not only in drop dead gorgeous voice but completely hilarious. It's all about the two of them for me, crazy talents of (new father - congrats!) Juan Diego notwithstanding. The staging has been tweaked a bit since I saw the dress rehearsal, mostly to its advantage, though I suspect a funnier production than this one is possible — and I'm still not really sure why it's staged as a show-within-a-show. (Or, more precisely, a dress-rehearsal-within-a-show.) But hey, there's probably only so much you can do with an opera like this. I want to see Il viaggio a Reims now though: a sort of morbid curiosity to find out if it's any funnier.
Meanwhile, both Lucy at Opera Obsession and Brian at Out West Arts were also there this afternoon (along with a Met in HD audience of trillions) and I agree with great chunks of their respective blog posts, which are far more extensive and thoughtful than what I've just written, and which you should definitely read.
A few hours at home watching Star Wars (not my choice) and then back to the theatre for Wozzeck #2. A smaller audience, alas, but the show's as strong as ever. (I also blogged at Limelight about the whole début experience.) A man behind me — despite being well and truly old enough to know better — evidently considered it appropriate behaviour to ask his wife, at full volume, questions like "Is this Act Two?" (it wasn't) and "Is this the bit where he kills her?" (it was). But I managed to ignore him enough to enjoy the show. I'm still making up my mind as to whether I'll see all four, but as it's short, I suppose I might as well.
Next on the agenda: Capriccio, on Monday. This is also the date on which the 2011 #operaplot competition begins, and takes over my brain, my life and my Twitter feed.
P.S. Brian has now also blogged about Wozzeck.
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