Monday, April 30, 2012

2012-4



Friday, December 28, 2012


Photography & Best Camera!: Leica M3!


 I have often been asked: Which is the best camera?

Well, without any hesitation: Leica M3



© 2012 Am Ang Zhang

A 60 year old camera or there about and it still works perfectly without worrying about leaky batteries and dusty shutters like some of the modern DSLRs?

The whole camera feels so solid no wonder journalists prefer it to any other made.

And the lens: nothing came close. It was German precision at its best.

On eBay expect to pay around $1000 for a reasonable one. 

Pictures at an Exhibition © 1998 Am Ang Zhang

Camera: Leica M3
Film: Ilford HP5
Developer: Rodinal for the grainy effect.

Sunday, December 16, 2012


Hospital Medicine & Good Hunch: Perhaps it is not important!

I have written recently that the brain is still the best computer there is and the attempts to impose too much guidelines and protocols will in the end take away what we have known for a long time in medicine as the most important tool: a good hunch.

Statistically, even politicians may fall ill sometimes and it may be too late for some of them to find that the doctor with a good hunch may no longer be around. 

A sad day for medicine.

A Reprint:

Does having a good hunch make you a good doctor or are we all so tick-box trained that we have lost that art. Why is it then that House MD is so popular when the story line is around the “hunch” of Doctor House?

Fortunately for my friend, her GP (family physician) has managed to keep that ability.

My friend was blessed with good health all her life. She seldom sees her GP so just before last Christmas she turned up because she has been having this funny headache that the usual OTC pain killers would not shift.

She would not have gone to the doctor except the extended family was going on a skiing holiday.

She managed to get to the surgery before they close. The receptionist told her that the doctor was about to leave. She was about to get an appointment for after Christmas when her doctor came out and was surprised to see my friend.

I have always told my juniors to be on the look out for situations like this. Life is strange. Such last minute situations always seem to bring in surprises. One should always be on the look out for what patient reveal to you as a “perhaps it is not important”.

Also any patient that you have not seen for a long time deserves a thorough examination.

She was seen immediately.

So no quick prescription of a stronger pain killer and no “have a nice holiday” then.

She took a careful history and did a quick examination including a thorough neurological examination.

Nothing.

Then something strange happened. Looking back now, I did wonder if she had spent sometime at a Neuroligical Unit.

She asked my friend to count backwards from 100.

My friend could not manage at 67.

She was admitted to a regional neurological unit. A scan showed that she had a left parietal glioma. She still remembered being seen by the neurosurgeon after her scan at 11 at night:

“We are taking it out in the morning!”

The skiing was cancelled but what a story.

This first appeared as: 

Thursday, December 13, 2012


NHS: Dawn?

Is it beginning to dawn on some people?

Are the government's health reforms a step forward - or a step 

towards the eventual dismantling of the NHS?



                                                   ©Am Ang Zhang 2011

Gerry Robinson:
Businessman Sir Gerry Robinson fears 'end of the NHS'

Some PCTs have already begun to close.

As the coalition government plans the biggest shake up in the 63-year history of the NHS, businessman and corporate troubleshooter Sir Gerry Robinson offers his viewpoint after spending six months taking the NHS's pulse.

Are the government's health reforms a step forward - or a step towards the eventual dismantling of the NHS?

Two sides of a story:
The changes are better for patients and better for NHS finances according to Dr Kosta Manis, a GP in Bexley. And key to that is the central reform - giving GPs substantial control over budgets instead of the current PCTs.

And that means control over how much they pay for services from the NHS and how much they buy in from the private sector.

In the past, Dr Manis referred patients with heart complaints to a local hospital where consultants usually ordered an often painful and expensive angiogram, using a catheter to probe inside the coronary arteries.

Dr Manis has found a more effective and cheaper alternative, which makes invasive angiograms unnecessary.

Patients at Dr Manis's surgery are examined on the spot to decide whether tests are needed by a top cardiologist, Dr David Brennand-Roper, brought in from a London teaching hospital.

If Dr Manis's patients require further tests, they are sent to a private Harley Street clinic equipped with a high-tech CT scan. They showed a healthy looking lady having the procedure.

This is an example where NHS money is being spent on a private provider - simply because they have got better kit.

I agree with saving the money where possible, but I really do wonder why we cannot have similar facilities to that Harley Street clinic within the NHS - especially if it presents cost savings.

Surprise! Surprise!

But wait: from the Mayo website
If blockages are found with a traditional coronary angiogram, the doctor can perform a procedure called angioplasty to open the blockages straight away.

However, because no catheter is used with the CT angiogram, if a blockage in one’s heart's arteries is found, a separate procedure (a traditional coronary angiogram) is needed.

So it may not be as straight forward as it first appeared.

Oh and the young healthy looking Angela has a normal CT angiogram! But the decision was made by a top cardiologist. The PCT had to pay for that “normal” CT angiogram. Panorama did not raise any question there.

Dr Manis was also concerned that angiograms were often routinely ordered at the local hospital because they were a source of income for the NHS hospital, not because they were absolutely necessary. Wow!


Remember Mayo again?
Virtually all Mayo employees are salaried with no incentive payments, separating the number of patients seen or procedures performed from personal gain. One surgeon refers to this tradition as a ‘‘disincentive system that works.’’ Adds another surgeon: “By not having our economics tied to our cases, we are free to do what comes naturally, and that is to help one another out. .  .. Our system removes a set of perverse incentives and permits us to make all clinical decisions on the basis of what is best for the patient.”

That was how it used to be in our NHS!!!


It may be simpler to do away with Internal Market and incentive system.

I quoted Prof Waxman in an earlier post:

The internal market’s billing system is not only costly and bureaucratic, the theory that underpins it is absurd. Why should a bill for the treatment of a patient go out to Oldham or Oxford, when it is not Oldham or Oxford that pays the bill — there is only one person that picks up the tab: the taxpayer, you and me.

……..Moving patients from one place to another does not save the nation’s money, though it might save a local hospital some dosh. So the internal market has failed because it does not consider the health of the nation as a whole, merely the finances of a single hospital department, a local hospital or GP practice.
Panorama again:

Andrew Lansley Knew:
The former health secretary agreed that the current system can encourage waste.

"It happens because of the way the payment system in the NHS works at the moment - because it pays for activity. So of course if you incentivise somebody just to do more work, they will do more work," Mr Lansley said.

This naturally provides great potential for waste if hospitals are not vigorous in weeding out unnecessary procedures.

I also have concerns that GP reforms would affect other elements of the NHS, possibly even leading to hospital closures if hospital incomes are significantly reduced as money is spent instead on private health care.


Gerry Robinson again:

Still, I am left with serious doubts about key elements of the plans as they stand.

I think the stakes here are huge. Who is going to be managing that big picture?

Unless somebody really does grab this thing at the centre and has the courage to make unpopular but right decisions then I fear this could spell the end of the NHS.

You can catch Margaret McCartney on the show!

Jobbing Doctor: This is important

Tuesday, December 11, 2012


Money! Money! Money!: HSBC, KPMG & Others!


Autumn is looking good for some:
©2012 Am Ang Zhang
  

New York Times:
DECEMBER 11, 2012
Federal and state authorities announced on Tuesday that they had secured a record $1.92 billion payment from HSBC to settle charges that the British banking giant transferred billions of dollars for sanctioned nations, facilitated Mexican drug cartels to launder tainted money and worked with Saudi Arabian banks with ties to terrorist organizations.

The case, a major victory for the government, represents the conclusion of a multi-agency investigation. It convened the Justice Department, the Manhattan district attorney’s office, bank regulators and the Treasury Department.

In a filing in Federal District Court in Brooklyn, federal prosecutors said the bank had agreed to enter into a deferred prosecution agreement and to forfeit $1.26 billion. The four-count criminal information filed in the court charged HSBC with failure to maintain an effective anti-money laundering program, failure to conduct due diligence on its foreign correspondent affiliates and violating sanctions and the Trading With the Enemy Act.

 “HSBC is being held accountable for stunning failures of oversight – and worse – that led the bank to permit narcotics traffickers and others to launder hundreds of millions of dollars through HSBC subsidiaries, and to facilitate hundreds of millions more in transactions with sanctioned countries, ” Lanny A. Breuer, the head of the Justice Department’s criminal division, said in a statement

At the upper echelons of the organization, the Senate report found, some bank executives had ignored warning signs and permitted the illegal behavior to continue unabated from 2001 to 2010.

Something strange here:
Lord Green, was HSBC's chairman from 2006 to 2010, after serving as its chief executive between 2003 and 2006. He is the current UK trade minister.
More:

The original problems began when agents with Immigration and Customs Enforcement spotted questionable trails of money between HSBC’s Mexican and United States operations.

Despite a chorus of warnings from federal banking regulators about the vulnerability of HSBC’s operations throughout the world, the bank didn’t fortify its controls, the Senate report found.

One of HSBC’s branches in the Cayman Islands, the Senate report said, had virtually no oversight despite holding roughly 50,000 client accounts.

Other banks:
Standard Chartered: fined $340m (£203m) to settle federal charges that it laundered money on behalf of four countries, including Iran, that were subject to US economic sanctions.
That deal covered currency transactions made at the bank's New York branch for Iranian, Sudanese, Libyan and Burmese entities from 2001 to 2007.

ING Bank NV, agreed to pay $619m (£384.8m) to settle allegations that it violated sanctions against countries including Cuba and Iran.

Not just banks:

KPMG to Pay $456 Million for Criminal Violations

IR-2005-83, Updated: 14-Aug-2012

WASHINGTON — KPMG LLP (KPMG) has admitted to criminal wrongdoing and agreed to pay $456 million in fines, restitution and penalties as part of an agreement to defer prosecution of the firm, the Justice Department and the Internal Revenue Service announced today.

In the largest criminal tax case ever filed, KPMG has admitted that it engaged in a fraud that generated at least $11 billion dollars in phony tax losses which, according to court papers, cost the United States at least $2.5 billion dollars in evaded taxes. In addition to KPMG’s former deputy chairman, the individuals indicted today include two former heads of KPMG’s tax practice and a former tax partner in the New YorkNY office of a prominent national law firm.


By David Glovin - April 2, 2009 00:01 EDT

April 2 (Bloomberg) -- Former KPMG LLP senior manager John Larson was sentenced to 10 years in prison and former partner Robert Pfaff got eight years for selling illegal shelters that helped wealthy clients evade more than $100 million in taxes.

Larson was also fined $6 million yesterday in Manhattan federal court, Pfaff was fined $3 million and both were immediately jailed. Lawyer Raymond Ruble, a former partner at Brown & Wood LLP, was given a 6 1/2-year sentence. The three were convicted on Dec. 17 of tax fraud and other charges.

“All three defendants were central” to the tax shelter scheme, U.S. District Judge Lewis Kaplansaid in court. “They were instrumental in moving it through the KPMG bureaucracy.”

HSBC:
Independent
FRIDAY 20 JULY 2012

Lord Green urged to explain how much he knew about shamed bank's money laundering.

Profile: The banker who balances God and Mammon
Lord Green is not your everyday banker. He couldn't be further from the profession's image of immoral, bonus-fuelled money-grubbers.

Unfailingly courteous, cerebral and deeply religious, the tall and bone-thin peer sometimes seemed like one of the better sorts of civil servant when he was running the world's local bank. Which is what he was for a number of years (at the Ministry of Overseas Development) having first spent a year working in a hostel for alcoholics where he met his wife, Joy. From there, he joined McKinsey, the management consultancy, where he spent five years and earned a passport into the fast track of finance. He joined HSBC in 1982 and was on the board within 16 years with responsibility for investment banking. He became chief executive in 2003, and, three years later, executive chairman.

Yet the contradictions presented by his faith – he is an ordained minister – and his career never left him. He found the time to pen two books – Serving God, Serving Mammon, reconciling his career with this faith, and Good Value: Choosing a Better Life in Business. Perhaps some of his colleagues should have read them, then the bank's issues may not have arisen.

He is the current UK trade minister.

KPMG:
The Government has appointed KPMG UK chairman John Griffith-Jones as the first chair designate of the Financial Conduct Authority.

Griffith-Jones will join the FSA board on September 1, 2012 as a non-executive director and deputy chair.

Sunday, December 9, 2012


MRSA & Antibiotics: Farmers or Doctors!


Do we continue to blame the doctors when animals are given antibiotic to help them grow?


©2010 Am Ang Zhang



It's no secret that factory farms use unconscionable amounts of antibiotics when fattening up animals for market. In Germany, however, veterinarians play a crucial role in the abuse. Many are getting rich in the process, but the risks to both human and animals are many.

They had sold huge quantities of drugs, some of which were not approved, and dispensed dozers of liters of medications to animals to which they should never have been administered. Investigators with the public prosecutor's office in the western city of Wiesbaden called the operation a "pharmacy on wheels." Antibiotics were allegedly stored on pallets. A former employee told investigators at the time that the veterinary clinic was essentially a mail-order operation for drugs, and that the pharmaceutical industry had expressed its gratitude by giving the clinic huge discounts.

"Some veterinarians' profit margins are bigger than those of cocaine dealers," says Nicki Schirm, who has been a veterinarian in the state of Hesse for more than 25 years. When a veterinarian finds a sick chick among 20,000 other chicks, he treats the discovery as justification to preventively treat the entire flock with antibiotics, says Rupert Ebner, a veterinarian from the Bavarian city of Ingolstadt. "Nowadays, flock or herd health monitoring is the code name for the generous administration of drugs," says Ebner. In many cases, he adds, fake diagnoses are used to provide a justification for the use of antibiotics.

In large veterinary practices, profits from the sale of drugs can account for up to 80 percent of revenues. This is mainly due to the volume discounts offered by the pharmaceutical industry and the sweet privilege known as the right to dispense -- a special provision for the pharmaceutical monopoly. For more than 150 years, veterinarians have been allowed to both prescribe and sell medications -- with almost no supervision whatsoever.

Test:

But this could change. Veterinarians have come into the political firing line after testing of animal populations in the western states of Lower Saxony and North Rhine-Westphalia revealed the large-scale presence of antibiotics. In North Rhine-Westphalia, Green Party Environment Minister Johannes Remmel ordered the testing of 182 flocks on commercial chicken farms. More than 90 percent of the animals had been treated with antibiotics, many multiple times, so that they were essentially being fed a constant diet of drugs. Others were given the medications for only one or two days, which isn't long enough and is in violation of the conditions for licensing the drugs. Such results raise suspicions that the drugs were being used to guarantee the success of the poultry fattening operation rather than to fight disease.

Both farmers and veterinarians are now under suspicion, prompting Agriculture Minister Ilse Aigner to push for a tightening of Germany's Pharmaceutical Products Act and a "careful review" of veterinarians' right to dispense drugs.

Scale:
Some 900 tons of antibiotics were fed to animals in Germany in 2010. This is 116 tons more than in 2005, and more than three times as much as the entire German population takes annually. Pharmaceutical producers were required to report their 2011 sales of veterinary drugs by the end of March. A number of companies did not comply, prompting the Federal Office of Consumer Protection and Food Safety to request the information in writing.

Even though there are fewer than 5 million pigs in the UK, and over 33 million sheep, it is worth noting that according official figures pig farming accounts for approximately 60% of all UK farm antibiotic use, and sheepfarming for less than 0.3% This means that use per animal is about 1,500  times higher in pig farming than it is in sheep farming. Although sheep and pigs are not directly comparable these statistics help to illustrate the factthat even though the use of some antibiotics on farms has now been banned many producers have simply switched to others and overall antibiotic use remains very high.

Although the use of antibiotics for growth promotion has now been banned in all EU countries, many of the antibiotics still used as growth promoters in pigs in the US (such as tetracycline, penicillin and tylosin) remain available as feed additives for prophylactic use in the UK at growth promoting rates, as long as a veterinary prescription is obtained.

Related: New York Times

Thursday, April 5, 2012

Norma 11/30/2007

Hasmik Papian (Norma) and Franco Farina (Pollione) [Photo: Beatriz Schiller]
19 Nov 2007

Norma returns to the Met

The bel canto era, insofar as the contemporary public considers it at all, is usually thought of as the golden age of vocal beauty for its own sake.
Vincenzo Bellini: Norma
Metropolitan Opera, 12 and 16 November 2007
Hasmik Papian (Norma), Dolora Zajick (Adalgisa), Franco Farina (Pollione), Vitalij Kowaljow (Oroveso). Conducted by Maurizio Benini. Production by John Copley

Above: Hasmik Papian (Norma) and Franco Farina (Pollione)
All photos by Beatriz Schiller courtesy of Metropolitan Opera
 
It was certainly an era when the artist’s use of the voice to create character and drama were of the highest value, but the operas that survive (very few half a century ago, quite a few now), though the melodies are ravishing, call for singers who can bring them to life emotionally — they are never just vocal exercises for songbirds.
In the midst of that era, in 1831, Bellini’s Normawas created — by Giuditta Pasta, one of the most renowned singing actresses of her time, who had created Donizetti’s raging Anna Bolena and Bellini’s pathetic Sonnambula in the two years before Norma. And Norma is a curiosity in its era (more apparently now than at the time, when classical tragedies were often being turned into operas), calling as it does on the outsize character and emotional spectrum of a classical heroine: a Medea not just angry but deeply in love, a Phaedra who must also be a hypocritical politician and an edgy friend, a Clytemnestra wracked by jealousy and maternal misgiving.
Sopranos used to have a hearty respect for Norma — they didn’t take it on unless they were sure. Canny divas like Flagstad, Tebaldi and Price turned it down when management offered. Fewer ladies sang the role in eighty years at the Old Met than have attempted it in a mere forty at the New Met — the reason being that Callas made it sound supremely worth trying (it was her favorite role), while Sutherland and Caballe made it sound easy to sing; so that all kinds of singers took it on who had no business doing so. It’s a killer, demanding not only effortless floating tones and stunning coloratura on her first appearance (plus the ability to blend with the other soprano’s coloratura later on), but the dramatic capacity to hold an audience through the solo scene of attempted infanticide, the power to lead the war chorus, the concentrated fury of the duet with Pollione, and the authority to carry the superb finale.
The Met revives it nowadays, one gets the feeling, because audiences know the many Callas recordings (or Sutherland’s, or Caballe’s spectacular video from Orange), not because they have a real exemplar of the role to sing it. And without a Norma, you have pretty tunes but you haven’t really got aNorma.
The current revival began with Hasmik Papian in the role and is slated to continue with Maria Guleghina. After her Lady Macbeth — exciting and loud and flamboyantly acted, but with the ornaments fudged or flubbed — I have my doubts that Guleghina can handle this. Still, she will certainly play it; it will be a necessary event for all opera lovers sorry they weren’t in Lakehurst the night the Hindenburg landed. The casting of Papian, who has sung Norma to some acclaim in Washington and Toronto and whose Met Aidawas impressive, spinning controlled pianissimi better than any Met Aida has in twenty years, gave one hope for her Norma, in spite of deficiencies those performances revealed in her dramatic imagination.
Such deficiencies necessarily undermine any well-sung Norma, but if the director is aware of them, appreciates a singer’s talents and weaknesses, they need not kill it. Papian is a handsome woman with a good figure; she can move on stage; and her tendency to fall back on the sort of antique dramatic gestures one sees in nineteenth-century engravings (Giuditta Pasta would recognize all of them, probably invented some of them) is not necessarily wrong for this role. Sutherland had little stage instinct, heaven knows, but she was a distinct diva presence in the part: no one wanted to tangle with this woman, and the vocalism was sublime enough to pull it off. Papian needs someone to walk her through the role, someone who really gets both Papian and Norma — she gives sympathetic performances on well-directed DVDs — but left to her own devices, she does not know how to join these attitudes into a woman torn by the requirements of priestess, lover, mother, friend, patriot, heroine: Papian only portrays a singer in search of a good spot on the stage.
Her vocalism, at least on the first two nights, did not justify her choice for this role either. Bereft of brilliant high notes, she took the lower choices — which are valid if one makes something of them — and she made pleasing use of grace notes in the “Vieni a me ritorna,” without, however, ornamenting the repeat. (What’s the point of repeating a cabaletta if you don’t vary it, make it individual?) She grew steadily more in command as the evening progressed, but she showed no sign of becoming Norma, the person Bellini invented, until the final furious duet with Pollione when gleaming metal furled from her throat, displaying a high register and a command that had no precedent all evening. Norma is not an opera for a diva who takes an act and a half to warm up to it, and if Papian ever truly was one, that time seems to have passed. (The only soprano of this generation whose Norma — she has never sung it — would arouse my real interest based on her evident abilities would be Krassimira Stoyanova: a fine actress and, based on her Anna Bolena, one able to sing brilliant coloratura expressing genuine rage.)
The Adalgisa of the evening was Dolora Zajick, who would make an interesting Norma. She, too, would sing it low, but she would sing it with the style and personality the part calls for — she would eat her Adalgisa alive, which no Norma would ever manage with Zajick’s Adalgisa. Well known and well loved for her powerhouse mezzo, a fiery Amneris who sadly has not been able to persuade the Met to trust her with such operas as Tchaikovsky’s Maid of Orleans (which she has sung in many venues, always triumphantly) or Donizetti’s La Favorite (which she could easily bring off, with the right tenor), Zajick scales her big voice down for the demands of bel canto style. Indeed, her grasp of that style, of the evenness and delicacy required, were lessons Papian could study with profit. (Zajick had similarly shown up a caterwauling Jane Eaglen when the production was new.)
Scene_with_Papian_as_Norma_.pngScene with Hasmik Papian as Norma
Pollione was Franco Farina, a handsome burly figure but an uneven singer. In fact, he gave more pleasure in this role than he has in others — either Bellini suits him or he’s growing up. There were honeyed phrases in his first aria, and when a line lay too high for him (this varied from night to night, apparently as he gauged his chances of reaching a C), he interpolated an attractive variation on Bellini’s melody instead — a practice the bel canto era would certainly have regarded with approval. He matched Papian’s passion in their final duet and looked genuinely thunderstruck when she proclaimed her guilt to her people. If the money notes come more easily and he continues to focus on flowing line, he could be a real asset in roles like Radames and Riccardo; he has power, and he doesn’t bark.
Vitalij Kowaljow made gorgeous sounds in the thankless part of Oroveso; one day, when he is the house’s reigning King Philip, we will remember his long apprenticeship. The tension I always feel at any performance of Norma — am I going to want to murder the children before she gets around to it? — kept me on pins till the final scene, when the already annoying tots appeared quite gratuitously. Dammi il ferro. (I don’t advise them to stick around when Guleghina arrives.)
Maurizio Benini led a swift-paced, bang-up account of the score. There were places that might have been more sensitive to emotional movement, and balances in the orchestra that favored the oom-pah-pah bass line over melodic flavor, but there was little chance of anyone going to sleep. John Conklin’s sets, with their profusion of coffee tables and an opening scene set in what appeared to be a glossy-floored Druidic art gallery displaying a show of overfed Giacomettis, generally managed to stay out of everyone’s way. Now if only a Pasta or Callas or Ponselle had cared to grab the center stage.

Wednesday, April 4, 2012

La Traviata 10/29/2003


Review: ‘La Traviata’



The phrase "E strano..." recurs at key moments in "La Traviata," and the striking achievement of the Metropolitan Opera's season-opening revival of Verdi's opera was to make this familiar tale seem strano -- strange -- again, even amid the stuffy, overupholstered trappings of Franco Zeffirelli's much-maligned 1998 production.



The phrase “E strano…” recurs at key moments in “La Traviata,” and the striking achievement of the Metropolitan Opera’s season-opening revival of Verdi’s opera was to make this familiar tale seem strano – strange — again, even amid the stuffy, overupholstered trappings of Franco Zeffirelli’s much-maligned 1998 production.
The saga of the courtesan with a bad cough has been recycled endlessly in the century and a half since Alexandre Dumas fils gave immortal life to her in his novel “La Dame aux Camelias.” She has long since ceased to resemble a plausible human being — if ever she did — and entered the pantheon of theatrical cliches. She’s most often seen these days on opera stages, in the form of Violetta Valery. So it was strange, moving, even unsettling to witness Renee Fleming breathing unforgettable humanity into the character, in a performance of great psychological fluency and emotional clarity. Had she not been spinning out one gorgeous phrase after another, you might almost have forgotten that she was singing.
The story of Fleming’s withdrawal from the production’s premiere back in ’98 has entered opera lore. At the time she seemed to get better notices for withdrawing than her replacement did for singing. Some critics felt that this celebrated Mozart and Strauss singer would risk damaging her voice by undertaking this famously challenging role, which requires not just the kind of smooth legato singing that Fleming was renowned for but also dazzling coloratura.
Whether Fleming would have received back then the rapturous notices for her singing that greeted her last week is obviously impossible to say. But she surely couldn’t have delivered the theatrical performance she is giving now: In its delicacy and intricacy, it was clearly the work of a woman who had lived with the role in her heart, if not in her voice, for many years.
That daunting first act, for instance, is often just a showcase for exciting vocalizing, but Fleming swiftly brought the audience into the conflicted soul of Violetta, revealing moment by moment the shifting sensations behind the singing. Amused but eventually unsettled by the slightly gauche ardency of Ramon Vargas’ Alfredo (sung with bright, pure tone), the sensitive, yearning Violetta gradually emerged from behind the flashing eyes and flirting gestures. The coloratura runs of “Sempre libera,” in which Violetta vows to resist the allure of romance and dedicate herself to a life of sensual pleasure, were not just a display of giddy bravado but the desperation-tinged effusions of a woman trying to convince herself of something she knows to be a lie. Violetta’s fear of being drawn into emotional engagement with life, which she knows to be slipping out of her grasp, was made touchingly clear.
The second act, in which Alfredo’s father Giorgio, played by the redoubtable Russian baritone Dmitri Hvorostovksy, impores Violetta to leave Alfredo to save the family from disgrace, was still more affecting. Fleming and Hvorostovksy may well possess the two most purely beautiful voices in opera today, and they blended together gorgeously in the aching, long-lined duet in which Violetta promises to give up Alfredo and gently implores Germont to let her sacrifice be known to the more fortunate girl, Alfredo’s sister, for whom she is making it. The conducting of Valery Gergiev, perhaps too propulsive at times in the first act, was attentive to his singers in this musically rich scene, and for the remainder of the evening.
The price Violetta has paid for her selflessness was signaled with eerie simplicity at the top of the final act, when she lies dying in her musty boudoir. (Musty but bi-level, in the most outlandishly unnecessary touch of Zeffirelli’s production.) Fleming scaled back the plushness of her voice, adding a hollow inflection that made clear how much energy disease and disappointment had drained out of Violetta. Tonal richness slowly returned as Violetta bid farewell to life in an exquisitely sung “Addio del passato,” but with haunting gasps sometimes punctuating the pianissimo phrases as the character seemed to close in on herself permanently.
Most piteous of all was Violetta’s last, delusional lunge toward life, as the voice surged upward with sudden vibrancy again and she hurried excitedly between Alfredo and Giorgio. Here was yet another Violetta, one we’d never seen before: a hopeful, eager, uncalculating young girl. Her subsequent collapse seemed all the more shocking. It brought home with painful force the sad inevitability — thestrange inevitability — of life ceasing to exist, of the song of experience being suddenly stilled.

Tuesday, April 3, 2012

Nabucco Met 3/17/2003

OPERA REVIEW; A Tyrant In Babylon Makes War Amid Love

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If missing the president's address on Monday evening to attend the Metropolitan Opera smacked of fiddling while Rome burned, one could take some comfort in the topicality of the story. The title figure of Verdi's ''Nabucco'' is the crazy despotic ruler of Babylon -- a city that lay not far from present-day Baghdad -- who sacks Jerusalem and tries to elevate himself to the rank of god. There is a certain contemporary resonance.
''Nabucco'' is also good political music: it offers not profound subtleties but rousing popular entertainment. This opera is basically one crowd-pleasing moment after another, from the breathtaking vocal acrobatics of Abigaille, the soprano slave girl masquerading as Nabucco's daughter, to the famous chorus of the Hebrew prisoners, ''Va, pensiero,'' which in European productions often has the whole audience singing along. (Even at the Met, where encores are usually frowned on, James Levine gave this chorus its near-obligatory repeat.)
Helping along the visceral, lowbrow thrill was the way John Napier's unwieldy revolving set thrust the singers into the proscenium, blasting a wall of sound into the auditorium. Only Mr. Levine's polish and sometimes slow tempi lent some refinement to the circus atmosphere.
He seemed to communicate that all music is beautiful music worth savoring; he never went for the cheap thrill. Even the moment when lightning strikes Nabucco unfolded with a sense of deliberation, as if God gave thoughtful consideration before punishing the blasphemer. Another high point was Andrea Gruber's impressive Abigaille. This role is a killer, calling for a big range, coloratura and a huge sound; and Ms. Gruber had it all. Her voice grabbed the ear with its presence and solidity, from a deep, rich low to a generally secure and sizable top.
At her best -- and there was a lot of best on Monday, particularly in the first act -- her voice retained that character, generating an excitement that made you want to listen more. Ms. Gruber has done Turandot and Abigaille at the Met this season, two of the hardest roles in the repertory, and pulled both off with flair; and at 37 this kind of big voice is just coming into its own. Don't miss her.
The rest of the cast also sang loudly, with varying degrees of finesse. Wendy White turned in another professional performance as Fenena, Nabucco's real daughter; as her lover, Ismaele, Francisco Casanova made a fine tenor sound that was somehow not as exciting as it could be. Samuel Ramey as Zaccaria had a big wobble to his dry voice, but he was experienced enough, and musician enough, to sing through his shortcomings. A weak link was Frederick Burchinal, a muted Nabucco with rather approximate pitch.
Nabucco's music at the end of Act I in particular exposes a trait of much bel canto and early Verdi opera: the words speak of death and mass destruction, but the music seems to say that it's all a jolly dance. Given the tone of recent political war rhetoric, this may have been the most topical element of all.
Photos: ''Va, pensiero,'' the chorus of Hebrew prisoners, received an encore after ''Nabucco'' at the Met on Monday. (Jack Vartoogian for The New York Times)(pg. E5); Andrea Gruber and Frederick Burchinal in ''Nabucco.'' (Jack Vartoogian for The New York Times)(pg. E1)