As we speak’s installment options the ultimate scene from Salome with James Levine conducting the Boston Symphony; her solely Amelia in Un Ballo in Maschera; a radiant Fidelio from Paris; and one other Strauss heroine, Ariadne auf Naxos.
Whereas I by no means had the possibility to listen to Janowitz and I caught Baker simply twice within the Eighties, I’ve been fortunate to listen to Mattila many instances starting with Donna Elvira at Lyric Opera of Chicago in 1988.
I’m sorry that the diva hasn’t appeared lately within the US the place she now lives, nor so typically on stage within the roles which may finest go well with her now. She has solely carried out Kundry in live performance a number of years in the past (a San Francisco Opera manufacturing was reportedly canceled), and this summer season’s Ortrud, her stage debut on the Savonlinna Competition, was solely her second encounter with that Wagner position.
Many marvel if she’s going to ever return to the Met? Who is aware of if the corporate nonetheless intends to current its as soon as deliberate Ivo van Hove manufacturing of Weill’s Mahogonny that Mattila premiered on the Aix-en-Provence Competition? She was additionally the primary Kostelnicka in Claus Guth’s model of Jenufa which is reportedly sure for New York.
My enthusiasm for the Finnish soprano has led me to supply many recorded examples of her thrilling artistry right here. Moderately than repeat myself, I’ll refer readers to previous parterre posts which include a wide-ranging collection of Mattila recordings, together with Janacek’s The Makropoulos Case, the first act of Wagner’s Die Walküre with Jonas Kaufmann, her solely Desdemona in Verdi’s Otello; Elvira in that all-star Don Giovanni I attended in Chicago, Schoenberg’s Erwartung, and an unforgettable Met Pique Dame with Ben Heppner, Leonie Rysanek, and Dmitri Hvorostovsky.
Nevertheless, I need to apologize prematurely for as we speak’s Fidelio. Each variations that I’ve heard of first act of the French broadcast finish with “Abscheulicher!” Although lacking the shifting conclusion of that act, I assumed the remainder of efficiency value sharing.
Strauss: Salome—Remaining Scene
Karita Mattila
Boston Symphony Orchestra
Conductor: James Levine
4 November 2004
Broadcast
Verdi: Un Ballo in Maschera
Amelia: Karita Mattila
Oscar: Camilla Tilling
Ulrica: Elisabetta Fiorillo
Riccardo: Marcelo Alvarez
Renato: Thomas Hampson
Samuel: Giovanni Battista Parodi
Tom: Matthew Rose
Conductor: Antonio Pappano
Royal Opera. Covent Backyard
25 April 2005
Broadcast
Beethoven: Fidelio
Leonore: Karita Mattila
Marcellina: Henriette Bonde-Hansen
Florestan: Ben Heppner
Jaquino: Pavol Breslik
Don Pizarro: Juha Uusitalo
Rocco: Matti Salminen
Don Fernando: François Lis
Choeur et Orchestre Philharmonique de Radio France
Conductor: Myung-Whun Chung
Théâtre du Châtelet, Paris
29 June 2006
Broadcast
Strauss: Ariadne auf Naxos
Ariadne/The Prima Donna: Karita Mattila
Zerbinetta: Jane Archibald
The Composer: Ruxandra Donose
Naiad: Sofia Fomina
Dryad: Karen Cargill
Echo: Kiandra Howarth
Bacchus/The Tenor: Roberto Saccà
Harlequin: Markus Werba
Music Grasp: Thomas Allen
Dancing Grasp: Ed Lyon
Wig Maker: Ashley Riches
Lackey: Jihoon Kim
Scaramuccio: Wynne Evans
Brighella: Paul Schweinester
Truffaldino: Jeremy White
Officer: David Butt Philip
Main Domo: Christopher Quest
Conductor: Antonio Pappano
Royal Opera, Covent Backyard
June/July 2014
Broadcast
Any Mattila efficiency hosted on parterre might be downloaded by clicking on the icon of a cloud with an arrow pointing downward on the audio participant above and the ensuing mp3 file will seem in your obtain listing.
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Photograph: Mattila’s justly well-known X account
