We are opera fans and this trip was planned, in part, as an opera tour. The 19th Century houses were quite small by the standards of the big venues we've visited in the U.S., like New York, Chicago, Seattle, San Francisco and Los Angeles, or European houses like the London Coliseum, Paris' Opera Bastille or the Netherlands Opera in Amsterdam. There were hits and misses at each of the three cities we visited.
Prague: we heard Shostakovitch's lurid, violent Lady Macbeth of Mtensk. I love the music and the cast was flawless. We had what we thought were the best seats in the house, first balcony, first row, center. There was about enough legroom for a modern eight year old, and it was painful for 6 ft. 3 inch / 196 cm me. The show wasn't sold out so we found some seats at intermission a few rows back that worked out.
Vienna: this was like a visit to the temple for me, the Wiener Staatsoper where Gustav Mahler was conductor for 10 years. You might tell from the photo that we were in a second-tier box. Never been in a box in all the opera houses we've visited. We were in the second of three rows. My advice: NEVER buy tickets in a box unless you can get first row. There was a was a quite large person in front of me who blocked my view of a third of the stage. The production of Carmen was a disappointment, with particularly minimalist staging and not that great principals.
Budapest: I thought this would be the highlight, a 100th anniversary of Zoltan Kodaly's Hungarian singspeil Hary Janos. It may have had much cultural significance but the very long musical introduction was not that interesting. There were long stretches of dialog, with English surtitles so small and quickly moving that we couldn't follow them. And then again the seats were fit for a eight year old. We left at intermission.
But then we'll be hearing Tosca at the Metropolitan Opera in January, and at least we know what we're in for.
