Placido: Bob Wilson broke my pipes
In an article in the LA Times focused mainly on Placido Domingo‘s renewal of his contract as general director of Los Angeles Opera, the tenor blames his current bout of tracheitis on his participation in Robert Wilson‘s production of Parsifal last fall. Domingo has already nixed his participation in a Wilson Walkuere skedded for Paris in April, but he’s planning on performing Cyrano at the Met on March 8 — barring a fresh attack of Wilsonoma, presumably.
Love the Avedon/Dovima photo!
Item 1: Through a very reliable source (a retired diva who sang many many times with Sig. Domingo) said that he does in fact have tracheitis – which is something I would never wish even upon the worst of singers. It can be very serious and I hope that Domingo is recovering quickly. Think what you may about whether or not he should be singing anymore…but one cannot deny that he is a great artist and musician and I do commend him for finding other ways of participating in and adding to contemporary musical experience.
Item 2: A close friend of mine who is known throughout the country as a well-known classical radio personality – also an individual who has had many interviews with great singers published, has appeared many times on lectures and opera quizzes during the Met broadcasts, and has very close friendships with many divas ranging from Anderson to Horne to Gruberova to Verrett – sent me a rather interesting email today. The man has never been much of a Fleming fan – he doesn’t despise her, but as he says, he just “never got on the boat.” Well, my friend felt compelled to send us this email because he found himself climbing aboard after hearing a rehearsal where Renee was singing Strauss’ 4 Last Songs. I would include some quotes from his email, but as I do not have his permission to publish them, I will refrain from doing so. Should he give me the okay to include some of his (extremely witty and hysterical) comments regarding Fleming’s singing in one of my future postings, I will do so at the respective time. At any rate, he did describe her singing and phrasing with much positive energy and was rather surprised that she was as musical, as vocally stable, and as interesting as she was.
Incidentally – to those of you who are Rysanek fans – this friend of mine gave me a copy of a Tosca that he recorded in the wings of the Met with Rysanek and Corelli and (I think) MacNeil. As he put it, concerning Leonie’s singing, “It’s ‘Pick a note, any note,’ but it’s still damn good!!” I took it out to listen to it again the other day – she really is quite dreadful in certain places in ways that only Leonie Rysanek could be – and yet, despite them, one can’t help but adore her – and it’s just a fanastic battle of ‘Who-can-sing-louder’ in Act II!!
So, who wins that battle? My money is on Legs Corelli.
It’s nice that the Los Angeles Opera is doing OK financially. Now if they’d only take a few more chances on the operas they do.
A propos de rien…
I bumped into this little queen on the audition circuit.
I thought you might want to take a look.
http://www.youtube.com/?v=fBXf9rdyJKM
Let’s face it, the only way a currently performing opera singer can endure himself or herself to everyone is to either stop singing or to DIE. The best career move any singer can do is to DIE!!
Sweet green Jesus!
If I had not seen that video of the Queen of the Night in lederhosen I would not have believed it. I wonder though if his parents are financially prepared for the years of figure skating and flute lessons he will be asking for next.
Oh my God – that video reminds me of myself in High School – back when I still had the extended falsetto in my voice I performed “Glitter and be gay,” the “Sempre libera,” “Una voce poco fa” with the Callas vbariations and this same Queen of the Night aria – except I had to sing that a half step down as I never had a High F. I was 15 when I sang all of that – just without the liederhosen! Then, the following year, all those notes went bye-bye and now I just have lots of high notes as a tenor – still I miss the thrill of sitting on an altissimo D or Eb and the way it resonated in one’s head!
You know, this kid could be the return of the Castrato! Get the scissors, quick!!
Thanks for the Mozart video tip. Preparing the hot tub now.
Saw the Chicago Lyric rehearsal of ORFEO ED EURIDICE yesterday. It was set in Greek (?) desert landscape with everyone dressed in black even Amor. David Daniels was wonderful as Orfeo.
Interesting. I also thought about ITDCS when watching that clip. We’ve chatted before about high tenors singing soprano arias. Well there’s one for him to try.. ooopps, he’s already done it.
I couldn’t avoid wondering what impact that singing could have on his vocal chords. What kind of voice will he have as an adult.
ITDCS, you were singing that high at 15, eh? Amazing. Most kids have changed voice by that time, haven’t they? Were you that cute too?
A basic tenet of the Rysanek Circle:
“Leonie was NEVER off-pitch! The orchestra had simply mis-tuned again!”