Opera Chic

Daniela Dessi's B-Side Love

Fifty-four year old goddess of Italian opera Daniela Dessi' spoke to Io Donna and revealed a love for beluga and foie gras (yes!). Excellent taste in food, she also finds the best aspects in men. When asked what she liked the most about men, she said, "eyes and hands, but I'm intrigued by their B-side". Now we can't stop thinking about Dani's long-time partner, Fabio Armilliato, and his B-side. ~Fabio~ lol.

Seville Turandot With a Solid Cast

Tomorrow night, Teatro De La Maestranza presents Puccini's Turandot, sung by Maria Guleghina (above) and Janice Baird, Fabio Armiliato (below) splits Calaf duties with Marco Berti, and Daniela Dessi shares Liu with Norah Amsellem. 

Crossover Blues: Daniela Dessì To Appear @ Festival di Sanremo

The yearly rendez vous with Sanremo Festival, a depressingly cheesy pop music extravaganza that ranks high among Italy's most embarrassing TV broadcasts -- like Eurovision, only worse -- begins next week and will feature a pretty scary duet: soprano Daniela Dessì, wonderful Puccini and Cilea interpreter of many vocal wonders, will appear in Sanremo for a duet with Italian pop singer Francesco Renga.

Videos after the jump!

Daniela Dessì Turns it Out: Conquering La Scala With Style

Daniela Dessì showed up earlier this week for a Teatro alla Scala recital, and by reading the program -- Fauré, Debussy, Puccini's arie giovanili and romanze da salotto (Puccini material that, to Opera Chic's ears, is not so stellar -- in that genre Tosti could do better than poor Giacomo, whose great genius lay elsewhere)  -- you would not think that this was a night for the best Puccini soprano out there -- the Tosca of our time (the first encore since 1956 -- after Tebaldi --  at Teatro Comunale di Firenze), a splendid Butterfly, a saucy Minnie (and her peerless Adriana makes her a Cilea singer of Olivero stature -- and Opera Chic does not take la signora Magda's name in vain).

A strange program, but then, Dessì began her career as a Rossini and Mozart soprano (her Scala debut, in 1989, was as Susanna) -- her repertoire got increasingly heavier in time. So Opera Chic had high hopes for the evening -- an evening that ended, as we'll see, triumphantly, because Dessì left the audience reeling and on their feet in standing ovation.

The recital started as coolly as her gown, la Dessì taking the stage in a sea foam green, frothy, floor-length dress with a tight bodice that, frankly, contained with extreme difficulty la Dessì's virtually unstoppable bewbs. The soprano was beguiling as ever, working her matching silk wrap and nodding every so often to pianist Marco Boemi (who OC wasn't particularly impressed with...inelegant pedal work and codas held way too long that sometimes distracted from la Dessì's inflections and tones). She started out coyly, perfect control and intonation as always, and it wasn't until the third Fauré piece, "Rêve d'amour", that Dessì started to really shine, continuing at a steady pace towards the climax of the first half. By the time she arrived at the Claude Debussy pieces, the audience was enthusiastically clamoring between sets, while unstoppable clapping clashed with simultaneous shushing. The Debussy works all stood out equally, from a queit, adequately nocturnal with "Nuit d'étoiles" to the final recitativo and aria from "Lia" (from "L’enfant prodigue") -- where for the first time in the recital she let it rip, unleashed that voice, and her pourquoi tu m’as quitté echoed as a heartbreaking plea for love worthy of, well, her Butterfly.

After intermission, Dessì turned up the heat, and waltzed onto the stage in a red-hawt, floor-length ball gown with a sweetheart bodice, looking stellar, the gigantosaurus bewbage that makes us love her even more held miracolously under control.

As much as the French repertoire was lovely, an interesting interpretation of a most elegant repertoire, the second half boasted seven Puccini works, more suited to la Dessì's evolving fach. Now it was time to ~Release the Kracken~! Dessì sailed through Mentìa l'avviso, Sole e amore, Sogno d’or, Terra e mare, Storiella d'amore, Morire? and Canto d'anime cranking up the heat exponentially, walking us through young Puccini's experiment, his toying with phrases that would emerge later in his most famous operas -- again, not material that seriously interfered with Opera Chic's panties the way Puccini operas do -- the vastly inferior Tosti did that kind of material better -- but Dessì's musicality and intelligence made it a worthwile musical journey.

It was all good, a nice night untile she treated the clamoring audience to five encores. And here, after a touching Mozart hommage to the Daniela of yesteryear, Dessì's unleashed her vocal Ferrari on Puccini and Cilea opera arias, throwing red meat in la Scala's hungry crawr the way few sopranos nowadays can do. Towards the last two encore, the audience couldn't even contain themselves, and just screamed random compliments and requests at the humble artist.

Let's see. First, she mentioned how, twenty years ago, she debuted at la Scala as Susanna, and she wanted to give us "Porgi amor" from Le Nozze, in memory of that very special night; Dessì's voice has grown since then, got larger, darker, stronger, and still she wore Mozart's melody like a glove, giving us a tender, melancholy, stately distinction, her final "or at least let me die" full of heartbreak and hard-earned wisdom. In Corriere della Sera's wise words, her "Porgi amor" was "immaculate" (the Milanese paper of record headlined the review with "Daniela Dessì Conquers La Scala", clocking in the ovations at 15 minutes, probably a record -- or close -- for voice recital).

She followed with Cilèa's "Poveri fiori" from Adriana Lecouvreur, wonderfully raising the stakes in one of her strongest roles; Puccini's "O mio babbino caro" from Gianni Schicchi, at breakneck speed and without the usual silly schmaltz -- and a virtuoso, delicate-as-a-cobweb hushed finale that should be have been recorded and studied from now on by young sopranos willing to tackle Lauretta; a ballsy "Tu che di gel sei cinta" from Turandot, all withheld aggression flaunting some insane pianissimi; and then, in front of a sweaty, throbbing audience almost entirely on their feet, Dessì sang "Vissi d'arte". Her trademark, soulful, emotionally hammering "Vissi d'arte". We didn't record it then and there, but this is how she does it:

That's Dessì alright. How do you deny her a triumph.

Under the Statue of Puccini, Daniela Dessì & Fabio Armiliato Are Too Sweet for Words

Daniela Dessì and Fabio Armiliato, opera's double-deuce coperaulate, were featured in this month's "Chi" magazine. Posing in front of Puccini's birth house in Lucca (and the famous statue from 1994 by Vito Tongiani), the two artists honor the Italian composer's 150th birth year anniversary.

Both singers have links to the great maestro of Italian opera. Fabio's mother was born in Lucca with her house in proximity to the Puccini museum. And you can't mention modern interpretations of Puccini without mentioning Daniela Dessì -- especially her Floria Tosca, which she recently sang to open the opera season in Trieste (with Armiliato as Cavaradossi).

Fans in NYC can catch them on December 22, 2008 for a special concert in homage to Puccini's anniversary. Hosted by Renata Scotto, the concert lists appearances by Francisco Casanova, Aprile Millo, Francesca Patané (and others T.B.A.), singing with the Opera Orchestra of New York.

Here in Milan, we're looking forward to Dessì's Scala January 19, 2009 recital, where she breaks the news that she'll be singing works by Puccini -- but not his opera arias! Whut whut?! We are holding onto our Stephen Jones hats in anticipation...

Below, Fabio plays Puccini's old piano for Daniela.

Casta D.V.Diva: Daniela Dessì Rips it up for Norma

It's druid fever up in ~casa O.C.~, as we snagged another edition of the "Passione Lirica - La Musica di Repubblica/L'espresso" series, now spinning the DVD of the Teatro Comunale di Bologna's Norma production from April 2008.

OC was lucky enough to be in the audience for the opening night 7 months ago in Bologna, not wanting to miss Daniela Dessì's first crack at Norma. Accompanied by husband Fabio Armiliato's Pollione & Kate Aldrich's Adalgisa, the entire cast did justice to the Bellini dream.

We were curious to see just how the post-production would excise the nasty sabotage of a rogue cell phone during the opening phrases of "Casta Diva", and we're happy to report that no trace of the shill mechanical ring can be heard. Bravo to the (lol) back-end team, and of course, la Dessì for her elegant grace under fire.

Next up, Fab & Dani are preparing for a NYC ^Gala Pucciniano^ with the Dicapo Opera Theatre, and soloists & members of The Opera Orchestra of New York.

Monday, December 22, 2008 will find the dy-no-mite Italian duo at Rose Theater for a Puccini 150th Anniversary Gala, celebrating the 150th birthday of the dead maestro.

Hosted by Renata Scotto, with appearances by Francisco Casanova, Aprile Millo, Francesca Patané (and others T.B.A.), the evening will boast excerpts from every single Puccini opera. Fo'realio? We humbly request that fake, self-adhesive Puccini-esque mustaches are passed out at the front door and worn by *everyone* in attendance, homage to that famous ladykiller!

Be Kind, Rewind: Daniela Dessì Gives First Encore Since 1956 At Maggio Musicale Fiorentino

Last night, at teatro Comunale di Firenze, the audience's reaction to Daniela Dessì's Tosca has been so off the hook that the soprano has been requested to give an encore of "Vissi d'Arte", and she -- together with conductor Antonio Pirolli -- obliged.

The last time an encore had been performed at glorious Teatro Comunale in Florence? 1956. When another Italian soprano, la signorina Renata Tebaldi, as Violetta, offered an encore of Amami Alfredo.    

Dessì's Tosca is part of a special Maggio Musicale Fiorentino program, "Recondita armonia", a pre-season, two-week "rassegna" of popular operas (Tosca, Boheme, Cavalleria Rusticana) that has already sold more than 30,000 tickets -- 5,000 of which to opera lovers under 26.

L.A., London, Venice, You Name It: Tosca Around The World

Almost simultaneously:

Los Angeles.

London.

And tonight (in bocca al lupo!), Venice.

Puccini's 150th birthday has spawned, among other things, a flood of Toscas all around the world -- Teatro La Fenice di Venezia joins the fray with the Robert Carsen production (that had its debut with la Dessì in Hamburg, the photo above is from that production): Daniela Dessì (and Tiziana Caruso) as Tosca, Walter Fraccaro and Daniela's hubby Fabio Armiliato taking turns as Cavaradossi, Carlo Guelfi and Giuseppe Altomare as Scarpia, Daniele Callegari conducting.

Daniela Dessì Climbs "La Opera Delle Opere", Ignores The Ghosts Of Normas Past: Norma @ Teatro Comunale di Bologna, The Full Review

ok, ok let's get it outta the way:

Giuditta Pasta, Giuseppina Ronzi De Begnis, Maria Malibran, Giulia Grisi, Antonietta Fricci, Jenny Lind, Teresa Tietjens, Maria Vilda, Euphrosyne Parepa, Maria Peri, Eugenia Burzio, Giannina Russ, Ester Mazzoleni, Bianca Scacciati, Gina Cigna, Maria Caniglia, Maria Callas, Renata Tebaldi, Joan Sutherland, & Montserrat Caballé.

[not to mention Eleanor Roosevelt, Kate Summers Stratton, Edna Garrett, Dolly Parton, Golda Meir, Paris Hilton, Angela Merkel, & ur mom.]

Whew!

Now that the list of "All The Divas In The Universe Who Have Done The Best Norma Evar" (And Remember: UR Favorite Norma Sucks) is more or less out there (feel free to add whomever you want to the list), let's keep that garlic wreath handy to exorcise the various "Ghosts Of Normas Past" and let's move on to last night's Norma at Teatro Comunale di Bologna.

Opera Chic tackled the high-drama night, Daniela Dessì's first Norma, decked out in the girl equivalent of a bulletproof vest -- a vintage Chanel black cashmere shell, Diane von Furstenberg black puff skirt (with pockets...omg how we <3 that skirt!!). With classic Valentino black Mary Janes and the trusty midollino vintage Gucci bag. A shiny black Fay windbreaker to protect us from the naughty, chilly weather (it's still mild, fall-like weather around here, no summer for Italy yet).

The big drama of the night of course is that Norma is the Mount Everest for sopranos, and it's a merciless, merciless role that offers one very thin air to breathe, if at all -- it puts your voice (and your acting skills) under a microscope and shines a huge spotlight and then examines everything, blowing-up every problem, every blemish up like 10x -- coloratura, firm tops, phrasing, agility, and of course, teh powah. All in a role that's incredibly demanding emotionally, too. We won't even get into Bellini's reckless disregard for the physical limitations of the human vocal range and his own near-sadistic score markings: "con tutta la forza"; "con tutta la passione"; "così forte che scoppia una vena nel collo" -- omg lol well, we actually invented that last one, which translates in Italian as, "So loud as to bust a vein in your neck" -- but, I swear, the rest are indeed true.

Not to mention that the part of Norma is, in fact, quite low, with incredibly tough acuti. And every difficult moment of Bellini's style is there, blown up the the extreme.

It's unsurprising that Dessì -- wisely, we think --  waited until she was fifty-years-old to tackle the monstah (she mentioned in an interview in the Italian press the need for "vocal and emotional stability" if you hope to do Norma, that she called "la opera delle opere", the "opera of operas", justice).

Dessì won the game, yes -- not without difficulty, tho'...because OC had witnessed her sing effortlessly through other roles -- singing Adriana Lecouvreur, Manon Lescaut, & Tosca, which are roles that she owns completely, much more than other sopranos with bigger brand names and fatter record contracts could even dream about-- and we she is certainly the best Cio Cio San of the last 15 years, easily, at least since Madame Kabaivanska retired Butterfly from her repertory.

But her Norma, while very good, even excellent at times, did not not achieve anything like the effortlessness of her marquee roles. We never thought we'd see la Dessì sweat under her costume, but we did. Oh my! The result -- cell-phone sabotaged "Casta Diva" included (see post below) -- was vocally convincing and emotionally very touching last night (hers is a heartbroken, betrayed Norma who behaves with quiet dignity, not exactly the unhinged diva other sopranos have attempted in a vain attempt to portray you know who, la Maria) but this is a role that may be too taxing for anybody to do so often. She didn't really push only because she has all the experience and the technique to negotiate the hairpin turns of the role.

Obviously, to speak of the recent Normas Past, we all heard the Guleghina disaster and Fleming admitted she coulnd't do it in the unforeseeable future, and the sheer thought of Netrebko (whom we otherwise really, really like) doing a Norma production sends us clutching our cans of Citrosodina; La Ceci Bartoli is a mezzo who only did "Casta Diva" in the studio as, more or less, a vanity project, and is too smart to do more than that; Mariella Devia herself, the goddess of a flawless singing technique, one of the most roundly, well-prepared sopranos of recorded history, can do choice Norma bits in concert, but the whole enchilada -- even with the traditional cuts of da capos, etc -- on stage is a wilder, untamed beast.

And last night was only Dessì's absolute debut, she'll certainly grow more into the role -- but she avoided all the horrible traps, and ended up victorious.

(above: lobby of Teatro Comunale di Bologna)

Of Dessì's Pollione, super-sweet boyfriend Fabio Armiliato, a wonderful tenor with a seriously cool repertoire, we only have good things to say -- he did push a bit too hard at times, but in tune with the romantic, heart-broken Norma, he gave the interesting portrait of a puppyish, if immature, Pollione -- someone you can easily believe falling for both women, more an indecisive romantic than a thuggish cad (Opera Chic has already admitted last night in her instant teaser review that she prefers her Pollione more thuggish, but maybe it's just her).

As Adalgisa, we rilly rilly liked American mezzo Kate Aldrich so much we're posting about her tomorrow separately, to give her the space she deserves, because this is Dessì's post -- she earned the right, in a way.

Daniela & Fabio played on their home turf, with a very loving audience, so their repeated ovations must be considered in the light of that, too, but there is no doubt that they gave us a beautiful night of singing and acting, without silly fears of the ghosts of the past, because they know that history is now, and even the biggest fan (Dessì has a huge Callas poster hung in her own living room) must know that the world, here & now, belongs to the living.

We don't know whether conductor Evelino Pidò opted for the traditional cuts of Bellini's score or this was an agreement with the singers (even a ruthless "come scritto" conductor such as Riccardo Muti opted for the cuts in his 1994 Norma at Maggio Musicale, btw, for the record -- Opera Chic, when it comes to Norma and many other things, is a Marinuzzi girl).

No, the real problem we had with Pidò's work is that he should have known that in a very small theater such as Bologna, in a Bellini score, the brass drowns out the strings incredibly quick, and even if you cannot mute the brass (the great, unsung Bruno Campanella even does away with trumpets and trombones in Capuleti), you really have to be more careful than he was -- the too-brassy moments ruined so much of his otherwise nice, stable work. And the pacing must also be controlled with incredible care -- the occasional, too-sudden increases in speed should have been handled with more care. To be blunt: if his orchestra couldn't adhere to his markings, he should have relented instead of slightly (but audibly) ruining the phrasing on so many occasions -- you go to the opera with the orchestra you have, not with the orchestra you *wish* you had.

We loved -- unlike some other spectators -- the scenery, which were paintings by the late Mario Schifano. The originals had burned down with Teatro Petruzzelli back in the 1990s (the irony, Norma sets that burn down) so these were replicas from the maestro's original sketches. But the staging by Federico Tiezzi was incredibly static, the neon tree in Act I was just lame and stingy, and some of the sets looked like they had been recycled from some other production (we did like the Romans in Napoleonic uniform and the white, 2001 Kubrickian effect of Norma's 18th Century sparse furniture...but the otherwise adorable, big-haired kids playing with a toy train, not so much).

At the end of the taxing night, racing home towards Milan, realizing that as tired as OC was from the long drive, while suffering through the unseasonably chilly air, there was no way anyone could have been half as exhausted as la Dessì...who ran like the Iron Man marathon equivalent of a soprano role. Since Norma is like the wii of the opera world, OC will be perfectly content playing with her xbox & ps3 for the next decade.

(Above: a shot of balconies in Balonies)

A Cell Phone Rings In The Sacred Wood: Norma Stares It Into Submission, Daniela Dessì Triumphs As Norma Despite Hi Tech Sabotage. OC Reports From Bologna

Opera Chic just spent a delightful night in Bologna, where at Teatro Comunale, that sweet little stylish shoebox of a opera house, Daniela Dessì made her debut as Norma.

First things first, because this is just a very late night teaser pawst -- OC is tired and after the day trip & excitement she needs her 16 hours of beauty sleep now, full review coming tomorrow -- we witnessed a case of sabotage that's so sneakily evil we hadn't really thought possible.

Bravely tackling for the first time that throat-busting role, Dessì -- who tonight gave us a sensitive, interesting, beautiful portrait of Norma, with just a few little caveats we'll tell you about in the full review tomorrow -- had to tackle an appalling case of sabotage.

Just a few bars into Casta Diva, literally moments before Dessì was about to start singing the first Norma of her life, a cell phone started ringing from a box, stage right.

The electronic replica of an old skool European telephone, a loud, echoing -- and we quote here:

RRRINGGG... RRRINGGG... RRRINGGG... RRRINGGG... RRRINGGG... RRRINGGG...

Actually, after the second ring, in a surreal atmosphere where the audience sat in shock, with some spectators grumbling their disbelief, the conductor, Evelino Pidò, we clearly saw from our position, completely ashen-faced, and suddendly looking about 40 years older, desperately eyeballed Dessì, silently asking her if she wanted him to stop the music.

Dessì -- to her eternal credit -- quickly shook her head no, barged ahead and immediately began singing.

She basically sang her first

"Casta Diva, che inargenti
Queste sacre antiche piante"

while glaring in the general direction of the offender, essentially killing the cell phone with a Bluetooth burning glare.

After six, I repeat, six ringtones (another element that makes it quite clear it was a form of sabotage, who -- in good faith -- would actually leave their cell phone on for an eternity like that), the noise -- that at that point blared through the opera house so much it felt louder than the orchestra -- finally stopped.

And Dessì finished her aria, bringing the house down in a monster ovation.

More tomorrow about Dessì, who -- heroism in the face of obvious sabotage aside -- gave an excellent performance in a nightmarishly hard role. About her boytoy Fabio Armiliato, a very good Pollione (he sang with great precision and drive, even if his acting was, for our taste, a bit too sweet, even puppylike at times -- OC likes her Pollione to be a bit more thuggish). And about the revelation of the night, young American mezzo Kate Aldrich, a sensitive Adalgisa with beautiful colors, really enviable Italian diction (without overcompensating her "R"s with chainsaw-like gusto the way so many singers whose native language is English regularly do when singing in Italian) and pitch-perfect acting skills.

We'll also write moah about the not-so-great parts of our night at the Bologna opera -- Evelino Pidò's problems with shaping those sneakily difficult Bellini melodic lines, the very static staging (not saved by the late Mario Schifano's big trees frequently looming over the action) and Rafael Siwek's Oroveso, blessed with huge volume but at present it actually amplifies his shaky technique, at least in this role. 

All of this, amd moah, tomorrow.

OC spaketh. Now sing along with her,

I Can't Stand It I Know You Planned It
But I'm Gonna Set It Straight, This Watergate
I Can't Stand Rocking When I'm In Here
Because Your Crystal Ball Ain't So Crystal Clear
So While You Sit Back and Wonder Why
I Got This Fu*#ing Thorn In My Side
Oh My, It's A Mirage
I'm Tellin' Y'all It's a Sabotage

Daniela Dessì & Fabio Armiliato @ Auditorium: Concerto Straordinario

Now that the mighty have fallen -- Netrebko & Schrott [née Villazón] are sooo not viable for soooo many reasons, while the Alagnas have quietly backpedaled into Backpedalville, the other opera couples don't really get us hard (Borodina & Abdrazakov), while all the old valentines are long gone (Callas & di Stefano, Freni & Pavarotti, Corelli & Nilsson) -- we're looking for another pair to take the crown & sceptre. This past Wednesday night at Milan's Auditorium, opera powah couple Fabio Fabulous Armiliato and Daniela Delicious Dessì brought a fresh aria to an eager audience.

The two swooped into town, between performances, to gift the sadly struggling laVerdi orchestra a concerto straordinario. The Orchestra Sinfonica di Milano Giuseppe Verdi holds a special place in our <3s, as it is comprised of the kids that still hold the reverberations of Maestro Giulini's loving retirement lessons, and we're always keen to support them. As the orchestra began with Verdi's overture from I Vespri Siciliani, the night was off to a nice start.

Time for the first aria, and Armiliato came out on the stage singing from Verdi's Otello, "Dio mi potevi scagliar", looking slick in a black suit and a black button-up shirt, with super shiny patent leather shoes. His acting was pensive and concentrated. Armiliato made a fine Otello, (and one that most fans were eager to sample) with a forceful demeanor, luscious voice, and memorable drama. 

Second aria was from Verdi's Il Trovatore, “Tacea la notte placida” sung by Daniela. She came on stage wearing a gorgeous gown, a classic Vera Wang wedding style in pale pink. The bustier was tight, with an adorable corseted back, and a thick pink silk ribbon wound through. The full skirt was gathered with layers and layers of heavy fabric. Only inches from her b3wbs rested a gorgeous diamond necklace, tiered with pendants, and matching bling on her wrist. Her voice bloomed and flourished from the warm wood of the gorgeous auditorium. Then the orchestra played again, with Verdi's La forza del destino sinfonia. Then the two came out together to sing from Verdi's Otello, “Già nella notte densa”.

Last October 2007 was the last time we saw the two sing together, when we had traveled to Vienna for the dynamic duo in Puccini's Manon Lescaut at the Wiener Staatsoper, which was only disappointing via Robert Carsen's faulty vision. Of course, there are perks to singing with your significant other -- the comfort, the chemistry, the trust, and synchronicity -- and these two know the drill. As the orchestra warmed the opening measures, Daniela caressed Fabio's face tenderly, which he reciprocated by taking her hand and kissing it. Playful Daniela picked at Fabio's jacket, tugging at a black cloth handkerchief that needed straightening. They sang locked in an embrace, holding hands, and fitted against each other like cutlery. At the end of the aria, they lovingly exchanged a quick, supportive kiss on the lips, Fabio planted one on her forehead, and they bathed in their deserved applause. They sang tenderly, with technique at full throttle.

We broke for 20 minutes so the singers could rest a bit, and then the fresh faces of la Verdi played their version of the Intermezzo from Puccini's Manon Lescaut to start the second half.

Then out came Armiliato ready to tear into his next aria, which hit with the force of a lightning bolt. He launched into the Improvviso from Giordano's Andrea Chénier and stunned the audience with his skills, which exited to the most thunderous applause and bravi. His voice filled the auditorium with ease, washing the hall without breaking a sweat.

Next was Daniela's turn, who had drastically changed her former pink froth into a smart black number. She showed-off a slimmer silhouette than what we've seen in recent years, firmer arms and slender waist (must have been working out but the out-of-control b3wbs are still there in all their impressive glory, good for her). Her dress was a straight long skirt to the floor, made from rows and rows of thin lace, while a black satin bow demarcated the bodice from the skirt. The top formed a deep v-neck with meaty straps, showcasing the same diamond necklace from the first half. She looked stunning, and showed off her secksy black stilettos while walking astride to (the not-always-flawless) conductor Marco Boemi.

She set it off with Verdi's La forza del destino "Pace mio Dio" and gave us a lesson in perfection, her voice growing more beautiful with every passage. She was a storm of bottled emotion with dramatic sweeps of her hands. After lots of cheers the orchestra enjoyed themselves with Ponchielli's Gioconda, Danza delle ore, with such energy that at one point, Boemi was pop-locking on the podium. Best moment of the night.

Then the couple came out for their last listed duet, which was Giordano's Andrea Chénier “Vicino a te s'acqueta". Again, the chemistry and tenderness between the two singers was impossible to deflect, and so genuine. As they finished their last aria, their voices already filling the auditorium for the past two hours, the audience exploded.

In the end, they gave three bis. The first they gave together in duet, the Brindisi from Verdi's La Traviata...a playful, sweet round with the orchestra filling in for the missing chorus. Corny, kinda cheesy, yeah, but hay...

Then came out Fabio for his solo bis, which he chose as Nessun Dorma from Puccini's Turandot. Great, but it proved to be the fertile breeding ground for the only abberation of the evening, as Armiliato broke the last note of the aria's last "Vincerò" and dropped it like it was hawt. No matter, as the audience bolstered his over-extension and eagerly applauded before the end of the piece, like devoted sports fans at an injured player taken off field.

Daniela ended the evening on a glorious note and Callasized "Poveri fiori" from Cilèa's Adriana Lecouvreur. Her pronunciation was superb ("soave e forte bacio di morte") showing us her many years of following the old skool by not eating your words when you sing.

After the performance, as it was already 11pm, Fabio and Daniela went into overtime by signing autographs in the downstairs lobby of Auditorium for their adoring fans and selling their duet disc. OC, although certainly an adoring fan, had to rush out at the last note of Poveri Fiori, and was unable to meet teh superstars. But it's all good. OC had a Dirty Dancing dream that night. Armiliato was Johnny Castle, Daniela was Penny Johnson, and OC was Baby (of course)...and we all danced the drrrrty mambo and ate watermelon. I HAD TEH TIME OF MY LIFE! [warning: youtube link].

Fabio Armiliato & Daniela Dessì Tonight @ Auditorium di Milano

Powah couple, Fabio Armiliato & Daniela Dessì [warning: sound file plays upon loading], will be appearing live tonight at Auditorium di Milano @ 8:30 pm, singing Italian duets and arias. We'll hear selections from Verdi's Otello, Il Trovatore, and La Forza del destino, with more arias from Manon Lescaut, Andrea Chénier, and la Gioconda. Stay tuned for a full report this evening.

 

Carsen's Manon Lescaut with Wondertwins Fabiela Dessabio at the Wiener

Showing to a perplexingly lukewarm Viennese audience at the Wiener Staatsoper last tonight, Puccini's Manon Lescaut was a pure delight stemming from the warm, rich, practiced voices of leads Fabio Armiliato (Renato Des Grieux) and Daniela Dessi (Manon Lescaut). In all honesty, OC passed half the performance with her eyes half-closed, bathing in the fabio-lus duets of Fabiela Dessabio, and relegating Carsen's chaotic direction as an abstract turkey leftover to the overstuffed, graying audience. We do love Carsen, a man-child filled with such polished, retro, big-spender ideas, but when he's bad, he gets it all wrong. And this Carsen production is all sorts of wrong. He steam-rolled over the libretto and infused the direction in his own lofty, updated, modern visions, while leaving the poetic corset to flounder hopelessly on stage. The most glaring detraction was setting the majority of action not in a public square, but instead in a half covered luxury mall, gleaming windows displaying retro ladies evening wear.

By Act IV, when Manon is supposedly dying in the desert, it just doesn't make any sense as she begs Des Grieux to find water sprawled on the faux marble floor in front of the opulent window displays. I mean, break into Applebees or CVS or something...or better yet, drag your dying a$$ over to Starbucks and get a frap. whatevs. it was too difficult to suspend belief, and it just didn't work. Carsen was so far from the libretto and mainstream conceptions that I almost thought again he had liberally altered the libretto himself to suit the new action as he did with Lenny's Candide at La Scala earlier this year.

Act I opened with the chorus mercilessly pruned of any members over 30, dressed as rejects from those GAP commercials that ran a few years ago and loitering about the half-covered mall area. A homeless man loitered in the back on his makeshift cardboard bed, and trash littered the marbled pavement. Des Grieux swaggered out in a black leather coat and a hoodie underneath. ick. Armiliato's supreme skillz thankfully made the costume melt beneath his creamy voice, and his wardrobe thankfully wasn't a gigantic detraction. "Donna non vidi mai" was exceptional, a clear and powerful delivery.

 

Manon entered in a blue trench, a platinum blond wig in a tight braid down her back. Dessi slammed the role, as always pumping out the exact notes in perfect control and poise, sweet color and effortless grace. And btw, although her natural brown hair suits her just fine, she looked smoking in platinum gold. I was all like damn.  daayyum! When Des Grieux and Manon absconded, they did so in a Benz that was literally backed onto the stage.  As two students (bearing the likeness of Manon and Des Grieux) reinacted the scene before Lescaut and Geronte, piles of money were emptied from a suitcase onto the body of a writhing Manon, swiftly changing the narrative of Manon from heroine to gold-digging slut. Carsen, like Puccini had been accused, cannot help pervade a tinge of mysogony that is unappealing and overt. Carsen falls into, once again, an underlying objectification of women, and the narrative turns from that of a courageous woman to one dependant on her man and his wealth.

Act II called for a costume and set change, and Manon appeared in a black silk chemise, surrounded by attendees and hang-ons, Mistress Barbie in full effect. Instead of window displays, they were in a luxury, minimalist penthouse apartment overlooking a not-Paris city center, with the only furniture appearing as large, flat couches dropped in the middle of the stage and a pile of cushions in the corner.  Dessi's "L'ora, o Tirsi, è vaga e bella" was gorgeous and touching, but the overstuffed audience was all like yea ok MOAR.

When Geronte showed-off the hawtness of Manon to his friends, Carsen decided on staging a photoshoot, with four identical flappers in magenta bobbed wigs dancing behind her, awash in a sea of magenta light. um, what? And again, the whole rapz0rs scene at the end of the act was super lame. As Geronte's Matrix-Stormtroopers emptied Manon's packed suitcases, they spilled the booty of jewels and money all over the ground, which remained on stage throughout the rest of the evening.

Act III spun further out of control, arias sung while fondling jewels and a chorus dressed in evening ewar, culminating with a parade of Manon with a dozen other incarcerated prisons participating in an evening-wear fashion show, flash bulbs popping throughout the whole moronic scene in a seizure-inducing pattern. ok, Carsen, we get it. Capitalism, his favorite pet flogging boy, is again beaten like a dead horse. WE GET IT OK? The entire event distracted insanely from the excellent singing (and original libretto), and was embarrassingly ridiculous. The only thing that saved it was the meaty duets among Dessi and Armiliato, leaving OC almost breathless at the absolute harmony between teh two onstage-offstage lovers. Their chemistry was under perfect control and gauge, scope and credibility.

Act IV was the most ridiculous of all, the desert represented as the same covered mall from Act I (and II & III). How Dessi was able to act herself through that direction was a miracle, and props to her for putting on such a professional face.  Her acting was so pristine, that it was almost too much for Carsen's perplexing direction, and came off as incongruent to the coldness of his sets. "Sola, perduta, abbandonata" from Dessi was off the hook, but again, she suffused so much emotion into the aria, while the scenery and direction was so careless and jibing.

The audience last night was cooly detacted and blase, barely breaking into applause after the most stellar duets and arias by Dessi. OC was somewhat incredulous, and thought back to the thunderous Adriana Lecouvreur that she saw last April at La Scala, where the loggioni flipped out -- and rightfully so -- after the supa-powa duo wonder twins Dessi & Armiliato rocked the Piermarini casbah. Last night, Armiliato and Dessi sang their big hearts away, and intertwined their techniques so flawlessly, but barely any shouts of brava peppered the audience. In fact, one of the only applauses inserted spontaneously into the opera last night was after the Act III intermezzo. HA!  Also: Jeff Koons. His monstrosity of a curtain "Geisha" -- a cross between Basquiat & Murakami -- hanging over the stage comes from a larger body of work called "Hulk Elvis" (the big green monstah is in teh haus in all his horrorsome fearfulness). Enough for now...more on his curtain later.

Other thoughts? The Wiener Staatsoper is a gigantic arena, feeling more vacuous than The Metropolitan Opera house, and decorated less than a high school auditorium.  wtf? Filled to the brim with grey old ladies and tourists (Americans in Vienna is at like saturation point this week, thanks to Columbus Day which must have insured enough vacation days for international travel), everyone was stuffed with too much knoedel and sacher torte to lift a hand for applause. The ghost of Puccini himself could have been conjured on the stage tonight, and the audience would have still sat back and farted. Applause was pitiful and not on the level that was deserved. At all. Yeah, the La Scala loggionisti are annoying and sometimes super lame and they may not always be in good faith, but I am thankful that they are a reliable barometer of talent, and was awakened to the mystique of Fabiela Dessabio, who are revered as sacred in their thorny hands.

Carsen's Manon Lescaut: Like a GAP Ad, Without The Swing, And With Even Lamer Clothes

Before Opera Chic decyphers her notes (hastily written in the back of a seriously chocolate-stained napkin from Demel), just a quick roundup – the review is coming later – on tonight’s production of Manon Lescaut at Vienna’s Staatsoper. We’ll write extensively tomorrow about the awesomeness of Fabio Armiliato’s and Daniela Dessì’s voices, but tonight we want to explain how, well, impressively not good the ideas Robert Carsen had for this staging, his second Manon Lescaut already, were.

We consider Carsen – together with David McVicar, Graham Vick, Nigel Lowery and a very few brilliant others who are mercifully under 70-years-old – the great hope for opera fans who hope to watch – and not just to listen – to some great shows in the future decades – Carsen is one of the kids whose responsibility it is  to allow us not to go to the opera house wearing sleep masks to block out the sheer stupidity of the staging.

But, tonight we really wished we had kept one of those sweet green Alitalia sleep masks we wore last week coming back from the US (and not only because Alitalia’s imminent going out of business will turn them into cool retro memorabilia pretty soon).

Because Carsen is like one of those TV cops with a bad attitude and a lot of street smarts: all instincts and chutzpah, and when they get it right they crack the case before the next commercials appear; when they’re wrong, they’re like totally sending an innocent man to the chair because they’ve made themselves certain that he’s guilty, even when he’s clearly not.

Because when Carsen gets it the kicks major a$$ the way he did with his ethereal Dialogues des Carmelites and his otherworldly Iphigenie, to name just two, that are among the best productions we have ever seen; when he gets it wrong he either hammers already delicate material like Bernstein’s Candide into submission turning into something else and really damaging the piece in the process, or he simply ruins a perfectly good opera the way he did tonight with Manon Lescaut.

A first act where the students are dressed up in contemporary, GAP-style lam4r clothes and dance just like in one of those old GAP ads, only not as well, in a clap-ur-hands-say-yea fashion; where the action takes place in a mall where the women’s fashion is from the 1950s and the big props are shopping bags from Chanel and Gucci (big Puccini message: shopping bad, clapping hands like a moron good); Manon is decked out in a man’s shirt and navy trench coat just like those big stars from the DDR realist films from the 1950s (a sin especially unforgivable when the soprano is as milfatuation-worthy as Daniela Dessì, who’d really deserve better from her director and costume designer). Des Grieux instead wears an appalling black fake-leather coat over a sleeveless greenish hoodie (and good luck with that when the tenor isn’t as tall and slender and young-looking as Fabio Armiliato).

In the second act all hell breaks loose – it starts with Manon dressed out badly even as a rich woman, in a shapeless long black nightie that’s supposed to be a dress, we fear, underneath a  premaman-like loose flowing purple jacket – evidently all the shopping didn’t help much since she’s made to look like a tree trunk, a good idea when the soprano weighs more than 200 pounds, a major sin when you have a soprano as attractive as Dessì. Impromptu photo shoots (with horribly stereotypical gay makeup artists prancing in various teapot stances and stealing Manon’s makeup in ways that make those black porters and maids from 1930s Hollywood movies look like models of sensitivity) follow; Manon and her chambermaids end the act gang-raped by Geronte and a bunch of soldiers dressed as the bad guys in the Matrix.

The third act’s best idea is a perp-walk of models that turns into a fashion show’s catwalk, with Paris Hilton-style celebrity justice and paparazzi shooting their flashlights like crazy, over and over, as the singers try to go on with the opera Puccini went to the trouble of writing.

In the final act, well, the desert is that same mall, with used-up shopping bags everywhere, and tons of money thrown everywhere (all the money in the world won’t buy you water, get it? Get it?? Get IT????).

In all this chaos, Dessi’s and Armiliato's singing was the usual wonder, as always, as if their voices come out of their throats already filtered and equalized and corrected by a sound engineer – they sound better live than most opera singers in studio recordings.

When in doubt, if they’re up on stage and the director is losing his pewp the way Carsen did tonight, just close your eyes. Or purchase score desk, partial view seats. (They’ll certainly beat our 70-dollars a pop seats at the Staatsoper – the least you see, the better in this case. Just listen, and dream.

Fabio Armiliato Does His Thang; aka, Italy Strikes Back

Since Luciano Pavarotti died, Opera Chic has been receiving a fair amount of email asking basically the same question: why is it that Pavarotti was the last of the great Italian tenors, and now Italian opera is all about Peruvian, or Mexican, or Argentinian tenors? Why is it, they ask, that the Italians are getting pwnZrd at their own game? Whare r the great Italian tenors, they ask?

OC's verdict is, ahem, no qway Kosay. Because maybe it is true that, as Juan Diego Florez usually says, there must be something in the Peruvian tap water that works some strange magic for tenors -- and that magic water does seem to have gotten scarce in Italy's aqueducts.   

But dissing the Italian singers doesn't really cut it -- because even if it is true that, for example, recently, Italy's biggest hope circa 2000-2003 -- Salvatore Licitra -- has turned out to be not as awesome as we all thought/hoped he'd become, and we all know about Roberto Alagna's troubles in recent years -- RA comes from a family of Italian immigrants to France, and he's more Franco-Italian, technically, and his best repertoire is French opera, even if his youthful Alfredo at la Scala under Muti is still a joy to listen to -- but despite Licitra's and Alagna's problems Opera Chic thinks that hope is on the way.

Because not only there are excellent singers who are becoming better known -- such as Giuseppe Filianoti, 32, who has a brilliant future ahead if he carries himself better than other less professional contemporaries -- and, we have to say, we're impressed by Vittorio Grigolo, whose talent is definitely there but who risks to follow the dangerous sirens of crossover big buck$ toward the abyss of crapstatic artistic achievement. If Filianoti keeps studying and takes good care of his voice, and if Grigolo tones down the Orlando Bloom-ish photo shoots and the "popera" stuff -- how barfogenic are his side projects, fo' reals -- the glory is just there, gleaming in the distance.

And Filianoti studied with Carlo Bergonzi, Grigolo with Pavarotti: they certainly had the best teachers, it's up to them now -- the future can be theirs.

But history is now, and Italy already has a tenor with a gigantisaurous voice, a beautiful timbre, impeccable professional credentials and intense acting skillz.

You may not hear his name a lot because by all accounts -- OC has never had the pleasure to meet him -- he is a shy, private man who'd rather spend his work hours rehearsing and studying, and his free time with family (and we hear that -- he's a native Genoan -- he cooks a mean linguine al pesto); averse to the pimptastic media system that often builds hype where there is very little voice to support such hype, he nevertheless sings the Italian repertorio with talent, passion, and class in many of the most important opera houses around the world (Vienna Staatsoper, Scala, Liceu, Met, Covent Garden, San Carlo di Napoli, Regio di Parma).

But then, he can afford to avoid the pitfalls of the hype machine.

Because Fabio Armiliato, heir to the greatest lineage of Italian opera tenors, has this voice *

No wonder he gets this kind of reaction from audiences as musical as the Liceu's (where he is appearing next week, by the way, in Andrea Chenier).

* and we ride in a LOLs Royce every time we see this video's ending, because Gergiev as always loses his peWp and goes full blasts drowning poor Armiliato, Val just can't avoid it, the baton is like a sledgehammer for him sometimes, but the Baden-Baden Festspielhaus's audience drowns Gergiev back, with a thunder of applause, all for Fabio.

Dessì+Armiliato: Ernani with (.) (.)

(photo danieladessi.com)

The excitement in Turin is palpable (heh) for the premiere at Teatro Regio of Ernani (the official site is here, Creative Commons free-for-dload version of an old recording here), where Opera Chic heroine Daniela Dessì will unleash her beautiful voice (and her ginormous bewbs) in the role of Elvira; her tall dark handsum boytoy Fabio Armiliato will be the heart-stealing bandit, and our dear Bruno Campanella, very clearly the best Rossini conductor in the world right now and a he-ll of a solid Verdi conductor, will conduct the operations. The staging is by the always interesting Pier'Alli.

An interview with Campanella (who considers Ernani part of the belcanto repertorio and warns against the dangers of conducting the opera in too muscular a fashion, and he explains that the pianissimi are the key to the score) is here and one with Pier'Alli is here.

And La Stampa carries today a very cool interview in stereo with the singing loving couple.

Let's see.

Your favorite opera?

Dessì: "Tosca, because I see her in myself: Tosca c'est moi".

Armiliato: "Andrea Chènier, because it was my first opera with Daniela" (aaaaaaawwww that's sweet).

Your least favorite opera?

Dessì: "La Rondine. I've been asked to many times, but it just doesn't interest me"

Armiliato: "L'Elisir d'Amore, because nobody has ever asked me to be in it"

The most important asset for a singer?

Dessì: "Three qualities: patience, calm, serenity. If you're nervous, you sing badly"

Armiliato: "Brains. Many people do not think this is the case, but you mostly sing with your brain".

The favorite singer from the past?

Dessì: "Too easy, Maria Callas"

Armiliato: "Beniamino Gigli. I grew up listening to his records all the time. I still listen to them, one can only learn from him".

The favorite singer from today?

Dessì: "Mariella Devia. Extraordinary technique"

Armiliato: "Juan Diego Florez, the most reliable"

What do you do when you're not working?

Dessì: "First, I'm a mom"

Armiliato: "First, I'm a dad. And I am the webmaster of Daniela's official website, and my own website. I'm a soccer fan, I love Sampdoria. And I hope they won't trade Quagliarella, please stay!"

Besides your partner, you'd like to sing with...?

Dessì: "Johnny Depp!"

Armiliato: "Really? OK, Monica Bellucci for me..."

No, seriously??

Dessì: "Maybe Domingo, he always moves me"

Armiliato: "Dolora Zajic, a mezzo. She brings luck to my life, she was singing with me for my Metropolitan debut and for my San Francisco debut"

Which is more damaging for a singer, a bad director or a bad conductor?

Dessì: "A bad conductor. You can find a compromise with a director"

Armiliato: "I agree with Daniela, a bad director can make you look silly, a bad conductor will ruin your show"

Your pet project?

Dessì: "My first Norma next year in Bologna"

Armiliato: "My first Otello, next year in Malaga"

You're a couple in real life, does it help you in your work?

Dessì: "Yes, I think about Fabio and my anxiety vanishes" (ed: aaaaawwwwwwwww)

Armiliato: "Yes, of course, you enjoy your work more, the way the great showbusiness families of the past did"

Your partner's greatest quality?

Dessì: "His honesty"

Armiliato: "Her sweetness"

Your partner's not-so-great quality?

Dessì: "Can I say this? He snores a lot"

Armiliato: "I don't snore, I practice in my sleep".

The thing Italian opera houses need the most?

Dessì: "One-year-contracts for all..."

Armiliato: "Yes, with yearly auditions. Meritocracy is a guarantee of artistic quality".

***update*** Since Dessì mentions her Tosca, possibly her best role and certainly the one she's most famous for, here it is courtesy of YouTube. Consider that her interpretation is even more impressive than her plunging neckline here, and with that push-up costume that's saying quite a lot:

And since Fabio deserves his share of YouTube blav as well, here's his -- frankly, standing-ovation-worthy, dang! -- "Nessun Dorma". Also check out the YouTube comments for a funny digression on Fabio's famously abundant "knödel".

Adriana Lecouvreur: Like Leftovers in the 'Fridge

*~*ciao adriana: ascolta mi dispiace dirtelo ma opera chic mi ha detto che non vuole restare con te ma rimanete cmq amici*~*

Ew. Just ew...to last night's secondary production of Adriana Lecouvreur at Teatro alla Scala. I actually went last night only to see if La Scala had implemented my request to place little tippy miniature toy dogs in little ruffled collars to run frantically throughout the scenes. But my demands were not met, and imho the artistic integrity of this production is suffering gr8ly. gr8ly.

OC left after Act III's spendid ballet scene, an outted junkie for ephemeral moments of elegance and grace. And I knew that if I *really* needed a fix, at the OC Headquarters awaited the Adriana Decca Tebaldi/Del Monaco/Simionato Santa Cecilia recording. (Will the real Adriana Lecouvreur please stand up?) heh

I strolled down to La Scala casual -- as most of the La Scala Milan boujie contingent is still off cavorting and skiing in the mountains -- in dark rinse str8 leg Lucien Pellat Finet jeans, topped with a black/white gingham Chloe blouse, Tod's black ballerina mocs, and a vintage Pringle black cashmere cardigan to combat chills. yay.

Irene Cerboncini appeared in Act I in a completely different dress than our lady of the bewbs Daniela Dessì had donned for la prima. Whereas Dessì looked like a hot mess, Cerboncini (having a few inches on her), was in a more conservative gown (with a much higher neckline), sans golden knickers. Aria “Io son l'umile ancella” was another hot mess, and Cerboncini could have benefited from more warm-up time. The audience responded with lukewarm applause and not a single brava was hurled from the loggione (although I don’t think any of the loggione regulars would have been caught dead there last night). But Cerboncini's acting was engaging, and she worked it with a less fierce bent than Dessì. The chemistry between Mario Malagnini's Maurizio and Cerboncini was superficial, and they did those lame, obscured neck-kisses circa Hollywood 1940.

Act II's "Acerba voluttà…O vagabonda stella" from Principessa di Bouillon's secondary Anna Smirnova was, well, it was. Act III's ballet greeted me again with that awesome puffy cloud machine, that I would totally buy and put in the house and ride like every day, but it probably uses-up too much electricity, which is as precious as saffron or kopi luwak ‘round these parts.

Act IV had the fragrant Milan air slapping me in the face. cya! peace in the middle east! From here I promise myself no more sloppy seconds. Play or get played…

Groundhog Day Moment: Adriana Lecouvreur, Again

Just like poor Bill Murray in Groundhog Day, Opera Chic has just lived a massive deja vu moment tonight: she has come back to la Scala, 48 hours after witnessing Daniela Dessì, her boobs and her boyfriend burn down teh house with a smashing Adriana Lecouvreur.

Tonight, for the second performance, it was the replacement cast turn: Irene "Be Adequite" Cerboncini (not Dessì) was Adriana, Mario "Who?" Malagnini (not Fabio "Hunkybones" Armiliato) was Maurizio (O.K., there wasn't anything good on television, and bad TV looks even worse on Opera Chic's monster plasma, so one might as well go to the opera, again).

More tomorrow: suffice to say, for tonight, that Cerboncini was quite adequate -- smaller voice (and smaller bra size) than the almost inhuman Dessì, but she has a presence and, frankly, better acting skillz than the "it's all about the voice, silly" Dessì diva.

Recap: Adriana Lecouvreur at Teatro alla Scala

Last night being la prima of Adriana Lecouvreur at Teatro alla Scala, Opera Chic had to be there. As Milan is entering warmer temperatures since the return from the Dolomites (with temperatures in the 70s -- *Fahrenheit obvs), yesterday evening called for lighter dress. I slung on a Junko Koshino little black dress that I scored from a friend, paired with Boule De Neige black stilettos, topped with a cream vintage Moroccan silk shawl and a black Yves Saint Laurent Muse bag; an ultra-chunky 1970s Rolex Submariner men's watch, and some 80s vintage Barneys blinging gold chains.

It seemed like none of the swanky Milanese regulars were out to represent last night, still on vacation in Switzerland (teh lamez0rs) or Toscana (meh), and La Scala was at half capacity, filled with mostly tourists and out-of-towners. Instead of the usually-crammed six-seat palchi, last night favored a more comfortable two. By the beginning of Act IV after the second intermission, only three-quarters of the platea (orchestra floor) was filled, and many palchi vacant. sigh. We can irresponsibly shift blame of the absence and apparent unpopularity on the fact that Easter holiday in Milan provides a giant break from work and school, allowing flight to the mountains for holiday. However, the truth is much more irritating and depressing.

As Opera Chic has already mentioned here, few snobs are more dangerous (or more misguided) than the anti-Cilea snobs. Because around here, apparently Francesco Cilea has been totally blacklisted by the kewl kids for, like, decades. He was considered like Catalani, a horribly lowbrow one-hit wonder who only ever wrote one good aria, in his case, “Io son l'umile ancella”, OC’s like most favorite, resonating aria evar (which you can hear Dessì sing on her website via real media here).

For that reason, when they asked Carlos Kleiber which opera he'd like to conduct next and he answered to the adoring Milanese snobs, "Adriana Lecouvreur, of course, a most elegant opera", and the room fell immediately silent -- only Mascagni, our beloved genius, has been more widely dissed by the alleged opera-experts here. So Cilea doesn't really get the love he deserves.

Luckily, Daniela Dessì is insanely popular here, getting countless ovations and herds of bouquets and wild cheers. Adriana Lecouvreur, though, is still box office poison at La Scala. Which is why OC had the most enjoyable evening, almost alone in her palco box (instead of sharing it with five other mouth-breathers).

Act I had us backstage at the Comédie Française, and the scene of the elegant and resonating aria, “Io son l'umile ancella”. Dessì was slow to warm (as well as the orchestra until they found their full sound around the end of Act I), and the aria did not captivate as it has in the past with OC’s favorite Adriana Mirella Freni (who sung the same staging of Adriana Lecouvreur at La Scala in 1989 with Gavazzeni conducting, found on this DVD). But the lackluster aria didn’t matter, as the loggionisti have a well-known, publicly-flaunted gigant0r crush on her, and they shouted at least four brava at the end of the aria. (look at me im in love with dessì ever since i started goign to opera ive been in love with her).

Costumes were sumptuous, and everyone was clothed in eighteenth century, French court pieces. Lighting was superb for the ailing Opera Chic (still struggling to readjust to the headaches that the Milan air always brings) and was very dim and soothing, leaving most scenes in tepid light.

Dessì, in costume (within a costume) was bedecked in long gold knickers, platform golden pumps, and a royal blue kimono/dutch robe with a tiara. Not lots of bewbage, tho. The play-within-a-play action consistently happens deep, deep, deep in the back of the stage, where a glass-cage pyramid traps the proceedings. The glass triangle occupies the stage throughout the four acts, so anyone with crappy seats in the side palchi is basically screwed, and will not catch the subtle, elegant nuances. teh suck 4u!!

Fabio Armiliato’s Maurizio was amazing, and begin adeptly with La dolcissima effigie. A full, lovely voice and great presence, the chemistry between him and Dessì was pretty hawt, obvs.

After the first pausa into Act II, we had Luciana D'Intino's Principessa di Bouillon interpretation of Acerba voluttà…O vagabonda stella, and it was powerful…as the orchestra had found their place, and the audience went insane with more brava than they had hurled at Dessì. Luciana D’Intino, as Dessì’s nemesis, garnered great respect and praise from the audience, rightfully so.

IMHO, this opera would be so much better if there were little tippy dogs running around the stage with little ruffled collars...like Adriana having on-leash a little toy breed like a little yorkshire terrier or little pomeranian running around at her heels pewping themselves. I know they drop pewp everywhere and fight/bark and are totally unpredictable and run underfoot, but couldn't they give them doggy valium or something?? These high court scenes are always bland, devoid of little doggies! OC demands a revision! I am not amused! Bring these doggie puppets to my sight!

Act III at the Hôtel de Bouillon is sumptuous, and the ballet even better. With Dormi, dormi, o pastorello!, the gorgeous ballet unfolds: Juno, Mercury...and Athena riding down from the heavens in a chariot of mechanized, stylized clouds (soooo marvelous...it is worth every every € of a €€€€ seat just to be hypnotized by those trippy puffy clouds), and  ending with Venus tipping from her shell. Adriana was put in a coral-orange gown, that once again, did not flaunt the bewbage. ;__;

Act IV is Adriana in bed behind the glass pyramid, where she later wakes and sings her awesome death scene. Her Poveri fiori was outstanding, and when she was done singing, it appeared as if the loggionisti wanted to have her baby, gauging by the insane reaction. The death scene was outstanding, and resonated deeply. Her insanity was so gripping, that one almost couldn’t wait for her to expire. Die already crazy lady! *shakes fist* This final scene was also the uncovering of Dessì’s cavorting bewbs, and they were off teh hook. It was like the final unveiling of her hidden super powers, her cleavage as a delicious weapon.

The final curtain call was a well-deserved ovation for Dessì, Armiliato, and D’Intino. Endless bouquets of flowers rained-down on Dessì from the upper gallerie. Milan is a fickle b*tch, but when you are praised here, the captivating emotion and laudation is almost unfathomable...OC doesn’t endorse those trite “20 things to do before you die” lists and whatnot, but watching that kind of raw admiration and approval is definitely something to be added to that list of adventures.

Hmmmm:

• Sneak aboard a NASA Shuttle to the International Space Station √
• Race with the bulls in Pamplona √
• Seduce a Venetian gondolier √
• Get wasted on mint juleps at the Kentucky Derby √
• Hear La Scala’s loggionisti go insane for one of their coveted √

okay i can die happy k tnx bi.

Adriana Lecouvreur at Teatro alla Scala

Here are some images to hold you over until tomorrow's review (with more pictures)!

Above: Daniela Dessì's curtain call of Cilea's Adriana Lecouvreur la prima, April 10, 2007 at Teatro alla Scala, Milan.

Above: Curtain call after Act II of Cilea's Adriana Lecouvreur la prima, April 10, 2007 at Teatro alla Scala, Milan.

(Above: Adriana Lecouvreur la prima, April 10, 2007 at Teatro alla Scala...yay for daylight savings time!) 

Io Sono L'Umile Ancella: Dessì's Tessitura, from F4 to 34DD

Opera Chic has just come home from a wonderful night at la Scala; coming soon, her review (with photos) of Adriana Lecouvreur, of Daniela Dessì's humongous-sized talent (and b00bs) and the awesome voice of tenor Fabio Armiliato, who is so much more than just Dessì's boytoy -- suffice to say for now that he sometimes managed to steal the show from under Daniela's gravity-defying, cantilevered décolletage.

Posting later tonight...

Daniela Dessì: Adriana Lecouvreur with Bewbs

Opera Chic will barely have the time to unpack her bags, and tomorrow night she'll be at la Scala to witness the glory of Daniela Dessì's voice and of her Gigantor b00bs: Adriana Lecouvreur.

Appearing alongisde Dessì will be her boytoy tenor, the bearded wonder that is Fabio Armiliato.

Buon San Valentino!

And, fittingly:

HAPPY BIRTHDAY RENEE!!!111

<3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3

Obligatory shoutout to opera's secksiest couple, Dessì+Armiliato

Dessì + Armiliato: Valentines, Triumph in Vienna & Bewbs (.) (.)

Valentine's Day is approaching and there's no better way to celebrate it on an Opera blog than to pay our respects to a cool opera couple -- on stage and off: the divinely bewbalicious Daniela Dessì -- an Opera Chic favorite -- and her dark boytoy Fabio Armiliato. The couple is getting the excellent reviews they deserve for their performance in Vienna: a hawt, Robert Carsen directed Manon Lescaut with big extra helpings of teh sexiness, and lots of pushup bras. Costumes by Victoria's Secret.

La Tosca di Siviglia

Lucky duckies in Seville are getting ready for the Teatro De La Maestranza premiere of Luca Ronconi's indescribably awesome staging of Tosca. Opera Chic, accidenti!, wasn't living in Milan yet, and she missed the beauty of maestro Muti's conducting for that production. And Leo Nucci's Scarpia, on DVD and cd, sounds just, well, perfect. Yes, OC managed to catch the Maazel-conducted Ronconi Tosca last year, with the b3wbalicious Daniela Dessì, much better than Guleghina: it was just not the same, without Muti (no disrespect to maestro Maazel).

Instead lucky Spaniards will enjoy the burnished, dignified voice of Renato Bruson as a very interesting Scarpia (Tosca will be Guleghina, and OC is not really a fan, but what3vs).

Here's a Nucci, because he's our favorite sing-a-long baritone, like, ev4r