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This engine is not bigger than the size of a Volkswagen bug, which means it's not the most powerful. The 6. Owners of this car also had to make costly repairs due to the constant oil leakage from the main seal. Yet, this diesel truck couldn't compete with other similar engines. This is another of the chevy diesel trucks that had a lot of mechanical issues.
The most common issue was the pump-mounted driver. Without this unit, the power supply cannot fuel the solenoid. The result is a truck that stalls or doesn't start, period. Ford Super Duty 6. In fact, this modern diesel engine was one of the worst ones.
There was, in fact, a lawsuit between Navistar and Ford over this engine. The suit cited issues with the head gasket and fuel system repairs. Any repairs made to this issues required the cab to be removed. Just imagine how expensive this repair is. This truck, however, wasn't much better than the 6. This was particularly the case during the off-stage bands, those eccentric, even malevolent, distractions. But off-stage trumpets were magnificent and as sharp as knives in their accuracy.
The soprano Camilla Tilling did not start her first entry well, sounding both underpowered and very uncertain as to whether her voice would stretch to its required range. The first entry of the chorus - on such a diminished pianissimo - was ravishing, audible enough, but one almost had to strain to hear them. If Johnston had the power to rise above the orchestra, Tilling still struggled somewhat, not always helped by a variable vibrato which strained rather than helped her voice. And the chorus were magnificent, even cataclysmic, the clarity of the diction almost irrelevant given the sheer scale of its climax.
This had been a superlative Mahler Resurrection, a gripping performance in an age where it is rare to experience Mahler of this quality. So, it behooves audiences to pay particularly close attention to the Surtitles during the opening scene when the rivalry for Leonora between Manrico and the Count di Luna is explained, the introduction to the trials of the gypsy woman Azucena is laid out, along with the suggestion of a terrible secret.
Dalton has staged a non-fussy, straightforward account that was admirable for its clarity and control. Stage pictures were clean and varied, although they only occasionally suffered from a bit of stasis. If the characters were longer on potent vocal delivery than they were on richly detailed interaction, that is not entirely the responsibility of the director.
He even provided some compelling novel touches like having an emboldened Leonora pair with her Manrico at the close of Act I by brandishing a broadsword as if to the mission born. The association is not misplaced, since power playing is what drives the plot. In epic fashion, the ubiquitous sword is passed and paraded ceremoniously from scene to scene, and what a satisfying scene design it is.
Within this basic look, Mr. Kemp moves about stylish steps, anvils, ramps, anvils, and well-selected set pieces that are backed by a distressed backdrop that sports a jagged rounded hole, like the outline of an oozing planet, up left. Michael Palumbo has lit the proceedings with aplomb and colorful imagination, capitalizing on many different variations of the exclusively nighttime action of the piece.
Curiously, the glow of the oncoming dawn in Act II receded to shadows for the powerful Azucena-Manrico exchange, murkily effective, but not exactly how dawn works. I might have wished for a more eccentric, troubled, gypsy look for Azucena, but I respect the committed decisions the team made. It is called The Troubador after all, and Mackenizie Gotcher was simply tremendous in the titular assignment.
Gotcher is perfectly equipped to excel in the challenging role of Manrico, with his strapping good looks, ringing heavy lyric tenor, and consummate musicality. The road ahead seems bright indeed for this polished, poised performer. His star turn alone is worth the price of admission. Happily, he is in good company. Mezzo Daryl Freedman is on her way to becoming a force of nature in the Zajik mold with her powerful, knowing interpretation of the willful Azucena.
I hope that future outings will find this gifted interpreter delving even deeper into the dramatic subtext. Ferrando Nathan Stark ordering his men to keep watch. Eugene Brancoveanu is a mellifluous, malevolent Count di Luna. His baritone is a marvel of tonal beauty, buzzing with virility, and eminently flexible. Brancoveanu invests the many repetitive confrontational declamations with admirable delineation, and he avoids the trap of barking the accented scale and arpeggiated passages.
Her Verdian sense of line and her deeply experienced, conflicted feelings were manifest in a role traversal that was long on beautifully modulated tone and knowing generosity of utterance. Although Caruso addressed the demands for the four principals, there is a fifth requirement for a fine Trovatore, namely Ferrando, who has the unenviable job of setting up the whole unlikely scenario in his lengthy opening appearance.
Stark has a sizable, pliable bass-baritone that limns the tale of two rival brothers with tragic urgency. Moreover, he commands the stage with a winning presence and cunning command of nuance. It is not often that you will encounter this opening scene invested with such artistry and dramatic interest. Maestro Marcheso displayed full command of this almost bare bones structure of the middle Verdi canon, and he managed to invest the repetitive bass-chord-bass-chord progressions with meaningful forward motion.
He also partnered his vocalists with consummate collaborative effort, even though the soloists sometimes lagged just a bit behind the beat in more urgently rapid passages. At the end of the night, the excitable opening night audience was clearly delighted with the riveting music making and lavished the performers and creative team with a vociferous appreciation.
Come to the California theatre early and you may also get treated to a pre-show pops recital on the historic organ in the atmospheric lobby. Should we believe the children are possessed by evil spirits or tarnished by abuse? To what extent does the Governess herself want to possess the children, not just protect them? Above its covers Flora manipulates puppet versions of Miss Jessel and Peter Quint whose actions leave little to the imagination, a half-naked Miles slides between the sheets suggestively after forcibly kissing the Governess at the close of Act One, and by the same bed she and Mrs Grose have a lingering embrace just a little too long not to raise eyebrows.
Her increasing trauma is clear, but at times there could have been more dramatic presence. Nicholas Watts sets the standard vocally with a burnished account of the Prologue, the composer tellingly accompanying his chilling yearnings for Miles with bright celeste tones which simultaneously appeal and repel. Heather Shipp excels as the naive and over-burdened Mrs Grose, bringing to the role ample tones and a strong presence, her nerves calmed by a hip flask following the initial revelations about Quint.
Jennifer Clark and Tim Gasiorek are both well defined as the children, outwardly charming, but able to unsettle the most robust of Governesses. Less convincing is the absurd dance movements given to Gasiorek here replacing the usual piano practice scene. Perhaps most unnerving is the closing encounter between him and an identically dressed Quint doing battle for this soul where the sense of menace reaches well beyond the stage.
Details will sharpen up in time, but this opening night held considerable promise for forthcoming performances. And the longer gestation time allowed Verdi to experiment with ideas learned whilst he was in Paris supervising his opera Jerusalem, so Luisa Miller makes a far greater, and more sophisticated use of the orchestra including two substantial orchestrally accompanied recitatives, and has a new flexibility when it comes to form.
We can feel Verdi, almost for the first time, shaping the music to the drama rather than fitting it into pre-existing conventional forms. The opera, however, is perhaps harder to love than the three operas which came after it, Rigoletto, Il trovatore, La traviata; the characters are all in some way unsympathetic except for Luisa herself.
So, it tends to be an opera which is admired and revered rather than loved. Certainly, it has not been seen much on the London stage; there was a rather old-fashioned Filippo Sanjust production at Covent Garden in which received its final revival in , and then a modish Olivier Tambosi production there in which was never revived.
Apart from that there hasn't been much else beyond valuable concert performances from other opera groups. I was lucky enough to see the work at the Metropolitan Opera in New York in the s with Luciano Pavarotti as Rodolfo, again in a very traditional production. None of these, however, seemed to be able to make a strong case for the piece as drama.
Alexander Joel conducted. The translation was by Martin Fitzpatrick. We caught her production of Verdi's early comedyUn giorno di regno at the Heidenheim Festival in The plot is a mixture of family drama and class struggle. Miller Olafur Sigurdarson is a retired soldier who expects his young daughter Luisa Elizabeth Llewellyn to be a comfort in his old age and is opposed to her being wooed by the mysterious Carlo David Junghoon Kim.
Walter and Rodolfo are at odds, and Walter has a guilty secret, his murder of his cousin enabled Walter to inherit the estate. Central to this is Walter's steward Wurm Soloman Howard who lusts after Luisa himself, and a complicating factor is that the young Rodolfo witnessed the murder.
Of course, it ends badly. David Junghoon Kim. Photo credit: Tristram Kenton. Her chosen language was that of European regie-theater, a style which we do not see regularly in the UK. It is also worth bearing in mind a comment by Bernard Haitink. He conducted the Richard Jones production of Wagner's Ring Cycle at Covent Garden; though Haitink famously had doubts about the production, he conducted it because Jones drew such superb performances from the singers and said that it was impossible to dissociate the production from the musical values.
Whilst I have no particular enthusiasm for this style of production, I have no objection to it either. But this emphasis on the psychological paid dividends in the performances which were outstanding, and for the first time I experienced Luisa Miller as riveting drama. Eva-Maria Van Acker's costumes, whilst being of mixed eras and styles including the chorus in vaguely clown-like Day of the Dead style , gave us a clear distinction of the class layers in this work.
Class is important in many 19th century operas, and too many opera directors tend to play this factor down. And those white walls, whilst writing on white walls is a bit of a tired trope I did love the way that black dribbled down them in the second half, giving us a visual metaphor for the way the Darkness encroached.
Though the cleaning and laundry bill each night must be huge! Olafur Sigurdarson, Elizabeth Llewellyn. Technically there are three leading roles Miller, Luisa, Rodolfo and three smaller ones Walter, Wurm, Federica , but the smaller ones received such strong performances here that we had little sense of this hierarchy, instead there was a superb ensemble feel supporting strong individual performances.
Elizabeth Llewellyn was outstanding as Luisa, a young woman who has to grow up quickly and face the real world. She had the flexibility to sing Luisa's often elaborate vocal writing whilst being able to draw out a strong, shapely vocal line. She also conveyed Luisa's psychological journey with great intensity, Llewellyn is a singer who is able to convey much with face and with eyes, this was an intense and gripping experience.
She was well partnered by David Junghoon Kim as Rodolfo. Kim was vivid and tireless in the role, and whilst he did not have the ideal open-throated Italianate sound, he sang with a wonderful intensity whilst giving us a gorgeous mezza-voce for his cavatina at the beginning of Act Three. The men in the opera are all various types of shit.
Whilst Rodolfo happily dupes Luisa, he immediately jumps to conclusions when things go wrong for her. Her father, by contrast is simply a selfish old git, he pretends to be concerned for her welfare, but he really wants her as a comfort for his old age.
Olafur Sigurdarson managed to make the character human, if not entirely sympathetic, and in Act Three when released from prison both he and Llewellyn captured the sense of trauma that the characters have gone through. Sigurdarson's singing was admirably strong and focused, with a great feeling for Verdi's line though there were moments when I worried that he was trying a bit too hard.
Wurm is traditionally portrayed as ugly in some way so that his exterior matches his evil interior, but Soloman Howard's Wurm was anything but. Tall, handsome, physically fit we got a good view of his upper body muscles and sexy, Howard was completely mesmerising and disturbing. On stage for a good bit of the time, Howard's presence as Wurm radiated his sense of control and contributed considerably to the character's omnipresence in the plot.
Howard sang with a fine, dark line making Wurm as vocally seductive as he was physically, this was an amoral character whom it would be difficult to resist. Christine Rice. James Creswell had a different, but equally strong presence as Count Walter; Creswell was the embodiment of entitlement as well as a certain amorality, but also an underlying weakness which was his downfall.
Christine Rice was a complete delight as Federica, and we wished Verdi had got his way and made more of the character. Nadine Benjamin, in fine voice, seized her moments as Luisa's friend Laura. Adam Sullivan a member of the ENO Chorus gave sterling support as a citizen in the original, a peasant.
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