Signatures, Lack Thereof - Excitement

Program with Furlanetto's signature with ticket
I went back to the Wiener Staatsoper last night to see if I could see the stars and get signatures from them or pictures of them. I hung around various places and watched from a coffee shop across the way until about 9:45 when Simon Boccanegra ended and then went to stand at the correct stage door, this time. It was a long wait, almost an hour, for them to come out (which I understand, but I think they came out earlier for the Saturday performance, because at the wrong stage door people were telling me they were long gone, by then). I did enjoy meeting people and talking to them about opera, in the meantime, however.

Close up of Furlanetto's signature
When the stars finally did come out, the first was Ferruccio Furlanetto. He was nice enough and signed my program (right in the center part, mind). I don't mind, though. He may not be as famous as Plácido Domingo, but he is a pillar of the opera business, and a great bass and actor. After this, Barbara Frittoli came out trailed by people carrying flowers. She seemed to be a bit dazed, but cordially signed my program and when I thanked her, she thanked me in return. Furlanetto barely spoke at all, Frittoli spoke a reasonable amount. The conductor also passed by, but I let him go as he seemed to be moving with purpose.

Frittoli's signature

Plácido Domingo then came out, preceded by a man saying that he would not be signing anything that night. I think he probably didn't Tuesday night, but maybe I'm just telling myself that so I feel better about being at the wrong door... In any case, he then did come out and some people were begging him, of course. He got a little agitated at this point, and said something like, "No, I really can't. I have to leave for rehearsals for Tosca in Washington (D.C.)," and then he pointed out, "I had said I wasn't even going to come out."

Some people might've been upset about this, and it was disappointing, of course. That said, you have to respect someone's need for rest, especially someone like Domingo who takes on so much (conducting, artistic direction, singing two different voice types (perhaps it is too much, but nonetheless, impressive)). He did however, pass right by me since I was standing in the threshold of the doorway, so I was touching him. He then kind of got pushed back onto me by the throng, before making his way through, getting in his car, and leaving. After people got the message that he really wouldn't be signing or posing or anything, he warmed up and was very gracious. All in all a fun experience. Next up is a review of the Staatsoper's production of Richard Strauss' Ariadne auf Naxos, and hopefully his Arabella after that.


Popular posts from this blog

Wiener Staatsoper, The Insanity of All: Richard Strauss' "Salome"