Trebs, her hot baby-daddy, the hot Marius Kwiecien, sweet-voiced Matthew Polenzani - how could this go wrong? (it didn't). This is my first Trebs this season apart from opening night; although I have repeatedly seen her in the audience. I just love that she goes to the opera for fun - she was at Turandot, the new Rigoletto, and something-I'm-not-remembering - but, as always, seeing her in person always dressed fabulously reminds us just how hot she actually is in real life. And I bet she's real fun in person too!
So for this performance, which was to be JAX's mom's first opera (but wasn't because of stupid snowmageddon), I had gotten really nice orchestra seats (not because I'm nice or rich, but because they were the only ones left shy of $200). For the first time ever, I was in excellent seats and kind of wished I wasn't. Why is that? See, the thing that is so thrilling about some singers, Trebs especially included, is that they have these enormous voices that soar magnificently above all other sound. So Saturday, sitting almost dead-center in Orchestra just to the left of the left aisle, the magic of Trebs v. Orchestra / costars just never quite happened. Sure, she was loud, and totally on fire in this final performance of this opera this year, but in those moments where on opening night her colossal sound threatened to rip the chandeliers from the ceiling well, they just weren't so loud. I guess it has less to do with her than it did the fact that everyone else, puny mortals and teeny instruments, project actually quite well to orchestra, so everybody and everything was totally audible all the time. I would much prefer to hear the thunderously screamed "ASCOLTA!" tear out across the audience. So, at the end, I left feeling very pleased with my usual cheap seats in the balcony box. That being said, it was kind of nice to actually be able to see facial expressions, etc.
It was clear that everybody was having lots of fun today, probably because it was the last performance. Trebs did even more spinning, dancing, and jumping while singing than before, amazing! Maybe she took lessons from Natalie Dessay? (who always managed to be picked up and thrown in the air in every production here).
Cast-wise the only difference here was that yummy Erwin Shrott was now playing Dulcamara. He started out playing the part as a sleazy used-car salesman chanelling drunk Johnny Depp, but he was very physical and it ended up being quite funny. He had excellent chemistry with Trebs, especially in their big Act II scene, but that's hardly surprising since they are together. And is he ever handsome! Their kid is going to turn out something fierce if he inherits even just a fraction of either parent's hotness.
Also, let me point out, that despite paying hundreds of dollars for a seat (crazy!), orchestra people just aren't as serious as balcony boxers - too much whispering, candy unwrapping, etc. It was nice to actually look straight forward and not have to lean and twist my head crazily all night, but I've gotten used to that.
While I had previously dissed the inexplicable top hat worn by Trebs in almost the entire opera, I now think it kind of makes sense. She's a wealthy landowner in a small town, she reads, and here, she's almost made out to be something equivalent to the mayor of the town. And so to set herself out from the others, she wears her silly hat. Worked for me.
And, was it because Erwin was around maybe?, but why didn't she kiss the excellent Polenzani? Their faces didn't even get close. I remember on opening night it was ridiculous face sucking and the audience cheered - this time, they gave each other a very awkward hug. Also, may I point out, that Polenzani totally had a goatie thing going on and it worked surprisingly well. They have to fix the poor man's pants though - they did no flattery to his mostly-in-shape body.
So, sadly, this could be the end of Trebs and bell canto comedy, as she has announced the end of her "ina" roles. While her voice may be hella dark and kind of heavy in this stuff now, she still has the personality for it and brings so much comedic energy to the stage and everyone else around her. Kind of sad to see it go. At the same time, move over and get ready for the bitch-on-wheels that will be her Lady Macbeth. Looking forward to that for sure!
Next-up, on Wednesday: Carmen with the tenor (Nikolai Schukoff) who apparently loves to be naked on stage (google him!). He might really be able to steam this one up with the super hot Anita Rachvelishvili - although I doubt he can rival Kauffman for sexiest Don Jose.
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