First reports from British tenor Freddie de Tommaso’s Metropolitan Opera debut last night speak of standing Os and whoops of approval.
Lise Davidsen, who was singing her first Met Tosca, was applauded before she even opened her larynx.
‘One happy and relieved Tosca,’ she says.
Watch her Vissi d’arte:
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Everyone and Everything is Everyday nowadays a recipient of an automatic Standing O at the Metropolitan and Everywhere. “All Shall Win Prizes”.
At the Met I’ve experienced many standing up before the curtain has even closed – “We have to get to the carpark…”
Yes. Where did this mania for standing ovations come from? I have wondered if it got legs from these television talent shows where the producers love shots of a whole audience rising to its feet as one, etc. A person standing to clap is very inconsiderate of the people behind, who are being denied the sight of the performers taking their bows unless they stand, too. And perhaps they are disabled and can’t. I am always tempted, but have not so far been brave enough, to tap the standing person in front on the shoulder and say, “May I please see the performers, not your bottom, as I sit in my seat?”
I’ve always been wondering why it is ok to clap at the end of arias, drown out the orchestra and interrupt the music. This is not specific to the MET.
Tradition, basically. Opera audiences have been doing that since well before we all were born.
NOT in England!
The most convincing explanation I’ve read for this phenomenon, to be found in theatres as well as concert-halls, is that these days patrons have to shell out so much money for seats (the cost-of-living crisis also affects the middle classes) that they have to convince themselves what they’ve just witnessed is absolutely sensational. Just staggeringly wonderful, amazingly breathtaking and unquestionably sublime. BBC presenters led the way in telling audiences on radio and TV that they had all just been party to the most unique experience ever. Is it any surprise that audiences carry that with them wherever they go?
Yes, partly. Partly too watching talent shows where the mediocre and moderately good are evidently the best things ever. It’s spread to West End musicals too – every top note, every key change, every long climax receives whistles, whoops and applause. I can’t bear it – it ruins the theatre experience and I’ve stopped going – saving myself a small fortune.
It’s always been standing Os in the regions. Omaha, Kansas City- always an ovation. And if local is part of the cast, its crazy. I saw a Schaunard get the biggest reception of the night. And he wasnt anything special. Sounded like the cheerleaders from his school were in attendence But the Met?Wasn’t long ago when an ovation there was a very rare and huge deal. 1st one I.ever saw was for Matilla’s Salome ( and deserved). They seem to be happening more. It’s not a good thing, but a step up from boos, which are now very rare.
Oh, but Schaunard, easily the nicest and best intentioned guy in the whole opera. Yes, I’ll stand for him, too.
Heard them both in Tosca in Berlin two months ago. She’s all right – her voice size will obviously be much better suited to the 3800-seater of the Met than the 1300 of the Staatsoper, though with a weaker middle register. Not a great actress – vocally and physically – but plenty of power where needed, and surprisingly tender soft passages. Vissi d’arte was outstanding.
As for him, he’s very good at playing Pavarotti. He acts the part of the great Italian tenor (“let’s hold “Vittoria” for another 10 seconds to show off, even though the high note is somehow quieter than the rest of his singing), though without the vocal means to do so. Some ringing notes, some obvious technical flaws, covered passages, etc, and none of the phrasing and interpretation a Kaufmann, for example, used to do in the same role.
Overall a decent pairing, well at its place in a major house, but certainly not one for the history books. And if I have to choose one of the two, Davidsen by a country mile.
I am going Friday. Haven’t heard FDT before so I am excited. Tetelman impressed me in Butterfly last season with a ringing squillo. Corelli used to elongate Vittorias for ages. It’s tremendous fun even if it isn’t what Puccini wrote. Its what we pay for!
That was Corelli and his top was as brilliant if not more than the rest of God’s gift!
Loved your writing. This is one of the wittier comments I’ve read on SD. Keep writing. “He is very good at playing Pavarotti”…..Good for you Emil
If Kauffman is the example of the RIGHT way, than I dont think I will like Tomasso. Kauffman is fine, and seems to be a great guy. He just have an Italian sound. Very little squillo. It’s so far back. But not the sound we all crave in Tosca.
I believe the last great tenor singing in a role after Pavarotti was Hymel in “Troyen”. That was exciting, even a very good tenor like Beczala didn’t bring that quality where I’ve got to see that!
The Met is dead…nothing new to see here…move along.
I much prefer the young Gheorghiu in “Vissi d’arte”. Now that’s operatic acting with the voice!
Heard Freddie in Santa Monica last month, a bit loud and crude, no wonder they love him at the Big Met.
Great mics at the Met.
The reviews said there was no full dress rehearsal and yesterday’s gala was in a way that dress rehearsal. How sad. The only Tosca cast I was considering listening to was the November one, but it seems not even fully rehearsed. The reviews are not great especially for the title role. There is nothing else at the Met this season I want to attend. I love opera, but the singing and staging at the Met make it a no go. I really wish the Met got fresh good new voices.