parsifal's: Massimo Giordano

I left my seat and headed to the foyers of the Bayerische Staatsoper with that feeling of frustration I had when as a child, my parents present under the Christmas Tree was not what I had expected. Not that it was bad, but definitely not what I had in mind. Not the christmas present, I'm talking about the opera. I couldn't take it out of my mind.
I had a glass of chardonnay and got back to my seat.

I don't know what happened during the interval but what I know is that the second part of the performance blew my mind. Was it the wine? I don't really think so. What had started off like a mediocre uninspired performance, with Elina Garanca and Massimo Giordano looking totally bored on staged and singing like if they were having a prima-vista of the score, gradually became a powerful, shivering, explosive night to remember, with the two artists (+ Natale de Carolis as Albert) making my heart beat really loud.

The production by Jürgen Rose is beautiful. Some touch of kitschy-ness every now and then but it worked very well for me. The whole (white vast) stage covered by writings and words that you always have in mind when thinking of Werther (Réve! Extase! Bonheur! or ô souffle du printemps), at the background a big tree, and at the center of the stage a big rock with a desk on it...The poet's island. Worst part of the production: the Nativity Scene at the finale with the children singing "Noël Noël Noël" dressed as little Virgin Mary(s), Joseph(s) etc. That wasn't though enough for me to take my eyes off dying Werther and Charlotte.

The covered with writings curtain

Massimo Giordano is not a widely cherished tenor and instead has been the target of criticism by blogs and press. Sure, he's no Kraus, (there's no Kraus in our days, get over it) but he's no Marcelo Álvarez or Piotr Beczala either (my favourite Werthers for the time being, ok Rolando as well). What he is, is a great singer, with an italianate sound, that sometimes has some accuracy problems,or high notes that sound "fabbricate" and who despite his flaws, delivers a heart breaking portrayal of Werther.

*** UPDATE ***

By a friend of Massimo Giordano:

While he (Massimo Giordano) was giving autographs somebody took away and obviously stole an envelope with important documents, which he had put down for having his hands free for signing. When he wanted to take it back, it wasn’t there anymore. Mr. Giordano has reported this to the theatre and also to the police. It is incredible and very embarrassing that something like this could happen among the opera fans at the backstage door in Munich. If anybody has seen this happening or knows about it, please get in touch here. ANY INFORMATION WILL BE APPRECIATED!

Massimo Giordano

Elina Garanca

Elina Garanca was the center of everyone's attention. As I already said, in the first two acts she demonstrated what "latvian cold" means. Good singing, beauty of tone but not enough for my Charlotte. The Act 1 duet with Werther, "Il faut nous séparer", instead of being a showstopper and instead of closing Act 1 with the audience raving, was lacking sparkle and left the audience gelido, like Mimi's hand. Same thing with the Air des lettres at the beginning of Act 3. She didn't even get an applause for that. But that seemed to be her waking-up point. The dramatic "Va! Laisse couler mes larmes" that follows was exquisitely sung and from that point on, our Charlotte became a real, dramatic character and the show took off.

Natale de Carolis was a convincing Albert but we 'll just have to face the fact that this is a very "ungrateful" part, same for Sophie, sung by Elena Tsallagova.

Once again, the Orchestra of the Bayerische Staatsoper under the majestic direction of Bertrand de Billy gave a great performance (some minor problems of the wind instruments I would rather disregard).

After the show, at the Artists' Exit, there was a biiiiig crowd waiting to greet the singers. Of all 3 nights at the Artists' Exit, that was for sure the most crowded one. People holding photos of La Garanca, cd's, programs, dvd's and waiting patiently in freezing cold. Elina, Massimo and Natale (without La Frittoli) came out together to deal with the frenzied fans. I really felt pity for Elina, she was treated awfully by the fans who blocked her way out of the building obliging her to sign every photo - there were hundreds- and who were sticking cameras in front of her, flashing at her face with or without her will (nobody bothered to ask). After more than 20 minutes she finally escaped and rushed to the silver SUV that was waiting for her, but even then they wouldn't let her get into the car. I found the whole thing very disrespectful towards a young artist of her calibre and a human being. Of course I shot some pics, but without flash and from a distance. And I also found out that I should probably buy a new camera or just hold it steadier the next time...