Ópera Oberta consiste en la transmisión en directo (y alguna en diferido) de las principales representaciones operísticas que tienen lugar en España, en concreto en el Gran Teatro del Liceo de Barcelona (con cinco representaciones) y el Teatro Real de Madrid (un título) Antes de las trasmisiones se hace una presentación de 15 minutos. También se realizan videoconferencias en los días anteriores a las transmisiones para introducir las obras que se van a ver.

El Taller de Ópera es una novedad este año. Según el díptico que me entregaron al realizar la matrícula, esta actividad pretende dar a conocer en detalle el proceso de montaje y representación de una obra a través de conferencias y la asistencia en el palacio de festivales a los preparativos y ensayo general de la obra madama butterfly de Giacomo Puccini. También tiene una segunda parte en la que se van a realizar (sic) "Diseño y elaboración de proyectos creativos sobre los títulos de ópera contenidos en el curso mediante trabajo cooperativo en equipo (reparto de roles, búsqueda de documentación, tareas, etc.) y exposiciones orales de los mismos".

Esta es la breve presentación de las actividades que hacen en la web:

Iniciamos la sexta edición del curso de extensión universitaria Ópera Oberta. Este año tendremos la posibilidad de asistir a la retransmisión vía Internet de cinco títulos de la temporada del Gran Teatro del Liceo de Barcelona, y un título de la temporada del Teatro Real de Madrid. Cada retransmisión irá precedida de una presentación previa de unos 15 minutos de duración. El programa se completa con videoconferencias en los días anteriores a la emisión de cada una de las óperas y con un portal en Internet con informaciones complementarias sobre la ópera que se transmite. Además, este año se realizará por primera vez en la Universidad de Cantabria un taller de ópera donde el alumnado tendrá la posibilidad de ver una producción, desde sus inicios hasta su representación, así como trabajar creativa y cooperativamente.

Joel Prieto (1st prize), a Spanish-born lyric tenor, raised in Puerto Rico, who studied at the Manhattan School of Music in New York City.

He is Spanish but looks Brazilian ....

Files Audio and Video of Joel Prieto

****

Thiago Arancam, 26 years old, Brazilian, winner of the 2008 Operalia (2nd Prize), seems to know what "bel canto" means and controls the color and the power of his voice with elegance and intelligence. In June 2007 he finished his studies at "Accademia Teatro alla Scala". He is Brazialian but looks Spanish ...

Thiago Arabcam news from the web

« Torna ai felici di », Giacomo Puccini, Le Villi, Québec, 24 sept. 2008

« No puede ser», Pablo Sorozábal, La tabernera del puerto, Québec, 24 sept. 2008

Their voice is still pure, their eyes full of enthusiasm...

The complete list of winners at the Operalia context 2008, Quebec - Canada, is available:

Official site Operalia, The World Opera Competition

Even Woody was inclined to question what he was getting himself into.

"I have no idea what I'm doing," Allen said in a statement to the press, "but incompetence has never prevented me from plunging in with enthusiasm."

The quirky filmmaker - known for his cerebral film style and for being a consummate New Yorker - signed on to direct - "Gianni Schicchi" - which was unveiled this past week.

At the Dorothy Chandler Pavilion, the production stars Lauren McNeese, Brian Leerhuber, Jill Grove, Saimir Pirgu, Rebekah Camm, Greg Fedderly, Steven Condy and Andrea Silvestrelli.

The morning after Woody's star turn in the Theatre, a blog reader by the name of "Black Tulip" was quick to post her comments about the production which she found disappointing.

"I saw it last night. It was badly done. Please see the NY Times article. The staging was a disgrace to Puccini and Florence. The ending was changed. The singing and the orchestra were excellent, though."

Before I had the opportunity to check the NY Times review, a second blogger posted an anonymous comment which conflicted with Tulip's!

"Just saw the article," he stated matter-of-fact.

"The NY Times is very enthusiastic about Allen's Opera."

"Did we read the same newspaper," he quizzed.

How was it that two individuals came away from the review with distinctly different impressions about the criticisms - and subsequently - the quality of the show?

I proceeded to surf over to the NY Times web site to take a gander at the review written by Opera Critic, Anthony Tommasini.

The caption for the review read:

"Puccini With a Sprinkling of Woody Allen Whimsy"

Not a bad start, eh?

Tommasini proceeded to engage in a little idle chit-chat about recent conversations with Allen in which the celebrated artist allegedly sought to lower his expectations with regard to his directorial debut in Opera by noting on occasion he was clueless about the work at hand.

Then, with little ado, Tommasini launched into his review.

"Far from being incompetent, his "Gianni Schicchi" is a cleverly updated and inventive staging of the popular comedy, marred only by a regrettable directorial liberty at the end."

"With sets and costumes by Mr. Allen’s longtime collaborator, Santo Loquasto, the production has the look and style of some old black-and-white film. Not one of those black-and-white Woody Allen films. Think "Big Deal on Madonna Street".

"With comic pacing and dialogue already determined by Puccini, Mr. Allen may have felt there was not enough for him to do. So he fills the show with sight gags and busyness, perhaps too much so. Still, the comic maneuvers of the cast are deftly choreographed, and he elicits feisty portrayals from the singers."

"But the only real miscue comes with Mr. Allen’s altered ending. After bamboozling the family of Donati, Puccini’s Schicchi points to the happy Lauretta and Rinuccio, who now have the money to marry, and asks the audience’s indulgence, since his scam has fostered young love. But Mr. Allen has the indomitable Zita (Jill Grove), Donati’s avenging cousin, burst in and stab Schicchi, who poses his question to the audience and then drops dead."

"You can understand why Mr. Allen could not resist giving an Italian vendetta twist to Puccini’s happy ending. But isn’t it more comically, cynically, triumphantly right for Schicchi to get away with everything?"

There it is, in a nutshell.

By the way - it should be noted that in an advertisement for the production in the Los Angeles Times this morning - critics hailed Woody's Gianni Schicchi as a "riot" and underscored that everyone in the production "is a hoot".

All in all, fairly positive reviews!

So, how is it that Black Tulip came to the conclusion, that the production was basically a dismal failure?

Granted, she acknowledged that the singers and the orchestra were excellent, but - in sum - was inclined to refer to Woody Allen's star turn in the Theatre as "badly done".

Just maybe, it was all the "busyness" (and the sight gags) - that Tommasini asserted may have been incorporated into the mix to give Allen more "to do" - that negatively impacted her aesthetic experience?

But - why the strident dismissal of Woody's "Gianni Schicchi" - as a disgrace to both Pucinni and Florence?

Was the reviewer off-base in his assessment? Don't think so!

Tommasini's views on the staging of the production were intelligent, thoughtful, and well-elucidated.

Ah, it was the ending, no doubt.

Even Tommasini was inclined to refer to that oddball twist as a possible miscue.

'Ya know, some die-hard Opera fans prefer that a classic not be tampered with.

Others, on the other hand, pine for an exciting novel twist in their theatre-going experience whenever humanly possible!

It may be wise to consider a Tristan Bernard quote at this juncture.

"In the theatre the audience wants to be surprised, but by things that they expect."

 
“Il Trittico” is being performed through Sept. 26 at the Dorothy Chandler Pavilion in downtown Los Angeles at 135 North Grand Avenue.

No Teatro Municipal do Rio de Janeiro. A temporada vai de 11 a 19 deste mês com orquestra e coro do teatro mesmo, direção de Pier Francesco Maestrini e regência de Marcos Minczuke Silvio Viegas.

O preço inteiro de galeria é 25 Reais. Se tiver uma grana sobrando, por favor, assistam. A meia entrada é mais barata que uma sessão de cinema de um filme qualquer aí de repente ordinário... E é Simplesmente a beleza da cultura que Puccini criou.

Maiores informações no site do Teatro.

Boreli

On April 29, 1996, Jonathan Larson's 'RENT' opened on Broadway's Nederlander Theatre to both critical and commercial acclaim, even snatching the Pulitzer Prize for Drama that very same year. Based on Giacomo Puccini's classic opera 'La Bohéme', the musical is classified as a "rock opera" and features a diverse, young cast portraying bohemian young adults and the hard lives they struggle with while living in New York City's East Village. It sure is an unorthodox premise, but its epic, intimate story of love, life and death has resonated with thousands of people around the world in more ways than anticipated.

After twelve years of uninterrupted shows, the Broadway production closed its doors Sunday night with its final performance because of lack of ticket sales during these past years. I can't believe I'm actually sad about this, but as its producer said, "it's time". So, you may be asking "why was this piece so groundbreaking when it first played in the mid-nineties? What makes it such a transcendental theatrical experience even now?"

Well, it has cojones for once. Half of the "main" characters suffer through AIDS, some of these being homosexuals. The piece treats these topics seriously, exploring both the positive and negative sides of the situation: it gives us a glimpse as to how people with this terrible disease seek emotional support with one another, and it forces us to put ourselves in their shoes. That alone is commendable. But aside from the excellent social commentary, the raw energy or the performers and the sheer quality of the lyrics and music is nothing short of brilliant. It's certainly easy to appreciate, theatrically speaking.

Now, it's a shame the only thing some people will have exposure to relating to the original piece is the terribly flawed film adaptation (oh, Chris Colombus). If you've seen it and groaned while doing so, you know what I mean. However, it's clear the true heart of this material resides in the stage, where it was born: it is there, and in the memories, dreams and hopes of sensible souls the world over, where it'll live on for (hopefully) all time.

Any thoughts you'd like to share on this? Don't be afraid to comment below! Thanks for reading. : )

Atmosfera da fiaba, location stupenda, allestimento veramente bello e cast accettabile. Unico neo (secondo me che però non sono certo un esperto) una "presenza" troppo flebile dell'orchestra. Ho assistito a rappresentazioni della stessa  opera dove la presenza della musica è stata molto più imponente e maestosa. Va bene, mi accontenterò, non si può volere tutto dalla vita. Comunque devo dire che ho assistito a rappresentazioni ben più emozionanti di questa.

L'umanità del luogo era veramente variegata: ad una maggioranza in spolvero da gran gala si contrapponevano altri vestiti in modo sciatto e trasandato come se avessero dovuto andare in spiaggia. Non sono un fan dell'etichetta e del conformismo ma ciabatte infradito e bermuda a teatro stonano davvero!

Magari tornerò sull'argomento tra qualche giorno per descrivere meglio l'umanità che ci circondava ;-)

Apresentam-se o tenor italiano Antonino Interisano e a soprano brasileira Cláudia Riccitelli para cantar trechos das óperas de Puccini acompanhados pela Orquestra Experimental de Repertório. A regência fica a cargo do maestro Jamil Maluf, regente titular da orquestra e diretor artístico do Municipal.

ENTRADA GRATUITA. Distribuição de ingressos na bilheteria do teatro a partir das 15h. Até 02 ingressos por pessoa.

Teatro Municipal: Pça. Ramos de Azevedo. Telefone: 3397-0300.

Por Darlene Carvalho

The piece says this issue will be explored in a new movie about the composer, and I'm sure it will make diverting viewing. But Anthony Tommasini also points out something scholars have noted for many decades: That Puccini was a far more sophisticated composer than he gets credit for, though doubtless that credit gets withheld partly because of his popularity. Puccini had been a wildly successful composer since La Boheme premiered in 1896, and he died in late 1924 with an estate worth about $250 million in today's dollars, according to Tommasini.

Julian Budden's 2002 study of Puccini for Oxford's Master Musicians series, which offers a good deal of musical analysis of each of the composer's operas, also points out that he was beloved by the musical community of his time. "No composer received more affectionate posthumous tributes than he," Budden wrote. "Affable, well-mannered, gifted with a broad sense of fun (reflected in his doggerel verses and Tuscan love of word-play), he rarely failed to charm all who met him."

(Here's a recording of his voice, made in 1907 when he was in New York; it can be found on the Puccini Institute site.)

There are a couple moments that stand out for me as evidence in particular of Puccini's great skill; I concur with Tommasini about the Ping, Pang and Pong trio in Turandot, but one that really grabbed me once I actually heard what was going on was the finale of Act I of Tosca, the so-called Te Deum scene featuring the evil Baron Scarpia in one of the great bass-baritone set pieces in opera.

After the beginning of the scene -- Tre sbirri, una carozza -- Puccini combines ringing of church bells, a congregation saying Mass, the Scarpia's machinations (Va, Tosca!), cannon fire, and then a chorus singing the Te Deum, all over a back-and-forth motion in the orchestra that slowly grows to a titanic conclusion.

Listening to it one day, it suddenly dawned on me that the climax of this act was nothing more or less than a unison sung line, supported only by horns and trombones. And yet it sounds gigantic.

Now, that's the work of a skilled writer. He's bringing everything he's got to this massive ending, and then at the high point, the very peak, when Scarpia realizes that Tosca has made him forget God, almost every orchestral instrument drops out, leaving only the singers, all intoning the same notes. I'm sure a less imaginative composer would have kept the orchestral guns blazing right through it.

There are a number of performances available for viewing on YouTube, and the one from 1976 with Sherill Milnes is the most impressive vocally; it's an unbelievably big and powerful sound.

But I like this performance just as much, maybe because the tempo's a little bit more to my liking (Zubin Mehta is a very good Puccini conductor). This features Ruggero Raimondi in fine voice in a compelling TV (?) production from 1992:

Un bel dì, vedremo
levarsi un fil di fumo
sull'estremo confin del mare.
E poi la nave appare.
Poi la nave bianca
entra nel porto,
romba il suo saluto.

Vedi ? È venuto !
Io non gli scendo incontro. Io no.
Mi metto là sul ciglio del colle e aspetto,
e aspetto gran tempo
e non mi pesa,
la lunga attesa.

E uscito dalla folla cittadina,
un uomo, un picciol punto
s'avvia per la collina.
Chi sarà ? chi sarà ?
E come sarà giunto
che dirà ? che dirà ?
Chiamerà Butterfly dalla lontana.
Io senza dar risposta
me ne starò nascosta
un po' per celia
e un po' per non morire
al primo incontro;
ed egli alquanto in pena
chiamerà, chiamerà:
"Piccina mogliettina,
olezzo di verbena"
i nomi che mi dava al suo venire.
Tutto questo avverrà,
te lo prometto.
Tienti la tua paura,
io con sicura fede l'aspetto.

Giacomo Puccini (compositeur), Giuseppe Giacosa et Luigi Illica (librettistes) - Madama Butterfly

Tu pleures ? pourquoi ?
Pourquoi ?... c'est la foi
Qui te manque !... Écoute ! Sur la mer calmée,
Un jour, une fumée
Montera comme un blanc panache !
Et c'est un beau navire, qui, faisant relâche,
Entre dans la rade !
Entends sa canonnade !
Écoute et regarde !
Moi, d'accourir, je n'ose ! Non, non ! je reste là, guettant
Sur la route ! J'écoute ! Pourtant
Qu'il men tarde,
Presque joyeuse, l'heure s'écoule !
... Voici qu'on peut distinguer, dans la foule,
Un homme qui chemine,
Et gravit la colline !
Qui est-il ? qui est-il ?... Jusqu'au seuil il arrive.
Que dit-il ? que dit-il ?
Je l'entends "Butterfly" sans qu'il me voie !
Moi, je me tais cachant mon émotion trop vive,
Par badinage... et pour ne pas mourir de joie.
Et lui, le cœur en peine,
M'appelant, redira : "Petite femme aimée,
Au parfum de verveine !"
Doux noms auxquels je suis accoutumée !
Tout cela
Adviendra,
Je te l'assure ! Sois désormais sans crainte ! Moi,
Du profond de l'âme, j'ai foi.

Version française de Paul Ferrier présentée à l’Opéra-Comique le 28 décembre 1906 - Madame Butterfly

Paul Potts mit Nessun dorma (Auszug) aus Turandot von Puccini

Hayley Westenra singt das Wiegenlied "Schlafe, mein Prinzchen, schlaf ein"

One Chance (zur Zeit auf Verkaufsrang Nr. 1 bei Amazon.de)

Paul Potts "One Chance-Christmas Edition" (Doppel-CD)

Hayley Westenra - Live from New Zealand

Pure - Hayley Westenra

Odyssey (German Edition) von Hayley Westenra

This year, the many celebrations marking the 150th anniversary of Puccini's birth are set to include the unveiling of a new al fresco opera house on the shores of the lake where many of his masterpieces were composed. Giacomo Puccini was the most commercially successful opera composer there has ever been. At his death in 1924 he was worth well over £130m by today's standards. 

Much of this wealth came from the wonder years (1895-1904) when the Tuscan maestro turned out in rapid succession three of the most widely performed operas in the world, La Bohème, Tosca and Madama Butterfly, while living in idyllic surroundings in Torre del Lago on the shores of Lake Massaciuccoli. Then he seemed to run out of steam, not finishing his next work, La Fanciulla del West, until 1910. While accomplished, La Fanciulla isn't in the same league as Bohème, Tosca and Butterfly. So what went wrong?

For years it was assumed that the suicide of a maid working in the Puccini household may have had a lot to do with it. The story is well-documented. On 23 January 1909, Doria Manfredi committed suicide by taking three tablets of corrosive sublimate. It took three days for her to die from what today we would call mercury poisoning. Elvira Bonturi, the composer's 39-year-old wife, was blamed for her death, for she had hounded Doria and publicly accused her of having an affair with Puccini. When the local court ordered an autopsy, it was found that Doria was a virgin and Elvira was sued for slander. She was sentenced to five months and five days and only escaped prison when the composer offered 12,000 lire compensation to the Manfredi family. Subsequently the couple were estranged for some months, but this tragedy hardly accounts for the seven years it took Puccini to complete La Fanciulla. Besides, Elvira's persecution of Doria only began in the October of 1908. The dates simply do not match up.

Recently, fresh light has been shed on what went on in Villa Puccini 100 years ago. Giacomo Puccini had made his home in a fishing village called Torre del Lago. Here, surrounded by his common-law wife, his stepdaughter and son, he wrote music, went out in fast cars, or took his speedboat out on the lake. Or as he himself put it: "I am a mighty hunter of wild fowl, operatic librettos and attractive women." ... more>>

En ple Capvespre dels Deus de les discogràfiques i del model fins ara utilitzat per divulgar i comprar els discs, ens arriba ja per les botigues virtuals (DG) de la xarxa, la nova proposta operística, que no és altre que l'enèssima Bohème.

La DG, potser perquè en el seu catàleg no hi figura una Bohème amb cara i ulls, per compatir amb els referents de la DECCA o la EMI, ha reunit un cop més a la parella dels ous d'or, els fantàstics Anna Netrebko i Rolando Villazón.

La gravació es va efectuar en uns concerts a Munic, el mes d'abril de 2007, per bé que s'han fet "retocs" al estudi i el cast és el següent:

Mimì ANNA NETREBKO
Musetta NICOLE CABELL
Rodolfo ROLANDO VILLAZÓN
Marcello BOAZ DANIEL
Schaunard STÉPHANE DEGOUT
Colline VITALIJ KOWALJOW
Benoît TIZIANO BRACCI
Alcindoro TIZIANO BRACCI
Parpignol KEVIN CONNORS
Sergente dei doganieri GERALD HAEUSSLER
Un doganiere TIZIANO BRACCI
Un fanciullo NICOLAS VON DER NAHMER

Chor des Bayerischen Rundfunks
direction: Udo Mehrpohl
Kinderchor des Stadttheaters am Gärtnerplatz
Chorus master: Verena Sarré
Symphonieorchester des Bayerischen Rundfunks
Bertrand de Billy

Calia tornar a gravar una Bohème?. Doncs segurament NO i SI. Amb aquesta parella protagonista tot cal, tot és pot fer i sobretot poden aportar per la seva juventud, per la seva energia i per la capacitat d'entusiasmar als auditoris, nou públic i sobretot forces euros a les malmeses arques de la DG.

Aportarà aquesta enèsima versió quelcom nou?, doncs pels fans de la parella si, és clar. Ens portarà segurament al extesi. Tots dos están com esperem que estiguin i això creieu-me que ja és una satisfacció.

Escoltar un altre cop La Bohème i emocionar-me, doncs que voleu que us digui, té el seu què, el seu valor. Em podreu dir que jo sóc una mica toia i que tinc la sensibilitat sensibilitzada, doncs podria ser, però que voleu fer-hi si La Bohème m'agrada molt i aquests dos, estan per sucar-hi pa.

A La Bohème cal aportar-hi passió, sensibilitat, joventud, entusiasme i en aquesta gravació ho he trobat.

La resta correctes sense més i suposo que algun dia tots aquells que varen fer el bretol xiulant i protestant sistemàticament a Bertrand de Billy quan el teniem al Liceu, s'adonaran de lo poca soltes i poca substància que arriven a ser.

No em cal entrar en més profonditat, m'ha agradat el que escoltat, us deixo el duo que tanca el primer acte.

[audio http://ximo.files.wordpress.com/2008/05/1-11-o-soave-fanciulla.mp3]

Las arias interpretadas por mujeres, debido a su timbre vocal superior, tienden a captar la atención de muchedumbres mediante una transmisión de sentimientos exclusivos solo a la experiencia. "O mio babbino caro" nos remonta a esta sensación única y por ello se las he colocado en esta entrada.

Versiones de las mas afamadas cantantes líricas de la historia contemporánea:

María Callas

Montserrat Caballé

Renata Tebaldi

Kiri Te Kanawa

La Bohème is one of my favorite opera's. I've got several recordings, but the one above is my favorite. It's from the Chandos sublabel Opera in English, and yes, sung in English. Makes it more easy to follow the story. The aria Che Gelida Manina is realy fantastic in translation:

All right, I am, but a poor poet.
What's my vocation? Writing!
Is that a living? Hardly!

None of this on YouTube, you'll have to do with Roberto Alagna (got a recording with him also) and the more sentimental Mario Lanza.

YouTube: Roberto Alagna, Che Gelida Manina
YouTube: Mario Lanza, Che Gelida Manina

Spot protagonizado por Roger Moore.

Música: E lucevan le stelle (Adiós a la vida) Fragmentos de Tosca (final de la ópera y dúo del primer acto) - Giacomo Puccini (1900)

La Tebaldi:

La Callas:

Cuestiones técnicas aparte, lo que es innegable es que la Callas tenía una fuerza dramática inigualable.

Y hablando de Tosca, regalito para Glen, que nos dijo que con ésto se ponía muy tontorrona:

La mejor interpretación según buena parte del gafapastismo patrio operístico del E Lucevan le Stelle, de dicha ópera: la del maño (encima maño, Glen) Miguel Fleta, grabada allá por 1924.

Barbara Frittoli, Suor Angelica al MET

A partir del 6 de març i fins el 2 d'abril, el Teatro alla Scala ens proposa un Trittico dirigit per Riccardo Chailly i Luca Ronconi.

Avui us deixo un ampli tast amb la Suor Angelica de la soprano italiana Barbara Frittoli, fent honor a la italianità de la seva veu i del rol que interpreta, malgrat algunes petites dificultats en el fiato i en l’emissió de les notes més compromeses.

Us deixo tota la intervenció de la Frittoli, des de "Senza mamma, o bimbo, tu sei morto" fins el final del òpera. Allà on Puccini deixa anar tota la seva força teatral i dramàtica, tal i com la va cantar el passat 6 de març.

Escoltarem en una breu intervenció a Francesca Sassu com a Suor Genovieffa.

La producció d’aquest Trittico és coproduïda amb el Teatro Real de Madrid.

Espero sincerament que us agradi i que no ploreu[audio http://ximo.wordpress.com/files/2008/03/frittoli-suor-angelica_la-scala.mp3]

En propers dies, la resta d'aquest Trittico

• Il Tabarro
• Gianni Schicchi
  

~

Here’s further information on the book from the author’s website:

Este sábado 16 a partir de la 1:30pm. escucharemos una presentación como hay pocas. La gran Karita Mattila junto a Marcello Giordani cantarán juntos en "Manon Lescaut" de Puccini.“Manon Lescaut” narra la historia del amor entre un caballero y una niña mimada, que, gracias a su ambición y codicia, propia de su corta edad e inmadurez, la llevan al desastre. Giacomo Puccini la escribió hacia 1893, basada en la novela de André Prevost.Esta opera no se interpreta en el Met desde 1981, a pesar de ser un título frecuente en las carteleras de los teatros del mundo. La razón de resucitar la producción fue para aprovechar las dotes de Mattila, quien no sólo convenció en el rol, sino lo convirtió en un tremendo éxito.Karita Mattila es una de las mejores cantantes actrices de la ópera hoy en día, y verla es un deleite para el oído y los ojos. Sorprende con roles muy diversos, desde opereta como “La viuda Alegre”, pasando por “Jenüfa”, “Lohengrin”, “Die Walküre”, hasta “Electra” y “Salomé”. Todas con excelentes críticas y aclamadas por el público.La voz de Mattila tiene un color que es difícil de describir. Por momentos es agradablemente seco y pastoso, y por otros es tan potente y desgarrado que no puede dejar de remecernos y llamar la atención. Y así lo hizo una vez, cuando ensayaba “Salomé” en el Metropolitan. Los carpinteros que trabajaban mientras ella cantaba, detuvieron su trabajo, pues como ellos dicen, no habían escuchado una voz tan extraordinaria en muchos años.Para Mattila, “Manon” fue una chica de su época, tenia que salir de la pobreza como pudiera, así q cometió muchos errores en el camino. Para ella que la producción se base en una época específica es muy importante ya que le permite reflejar esa idea en su interpretación. Como ella misma dice, la interpretación escénica es tan importante como la calidad vocal, por ello tuvo suerte, al haber estudiado teatro e interpretación, a la par con la música.“Manon Lescaut” no solo será transmitida en directo por radio, sino que también llegará a los cines de Estados Unidos, Canadá, Europa y Japón, en alta definición.Marcello Giordani acompaña a Mattila en el Rol del amante Des Grieux. Giordani cuenta que desde que supo que iba a cantar esta ópera con ella, contaba las horas por que el momento llegara. James Levine dirige la producción de Gina Lapinski y Desmond Heeley.Aqui loes dejo con un extracto de una grabacion de youtube del 5 de febrero, que contiene fotos de la producción:"Sola, perduta, abbandonata" (acto 4)