parterre box

24 comments

• Il Tenore di Coloratura Superba says:

  Something else of interest that Shicoff pulled recently – it’s a tactic that alot of singers, particularly tenors, use – by cancelling on opening night, then the singer is able to avoid the reviews and critics and then can feel comfortable singing the remainder of the performances. He did do that with Luisa Miller.

  on March 28, 2006 at 5:26 PM
• Il Tenore di Grazia says:

  The trick mentioned by ITDCS came to mind when Shicoff cancelled the opening, but then he cancelled other performances too. Villaroel also cancelled several performances. Wonder what was going on.

  Alagna was listed for future seasons – Gioconda and Rondine come to mind. Has he cancelled those? I hadn’t heard that.

  I hope both tenors are doing fine and will be back at the Met. Tenors are scarce; need every one we can get. And these two whether you like them or not, whether they are young or past their prime or whatever, both have something to offer.

  on March 28, 2006 at 6:21 PM
• Il Tenore di Coloratura Superba says:

  I will say that I know for fact that Shicoff pulled out of the opening night of Luisa for that specific reason. I shall not name my sources, however.

  on March 29, 2006 at 6:25 AM
• Just Another Tenor says:

  I also know for a fact that at this point Shicoff has sung a grand total of half a performance. My sources have not mentionned illness… However, Ms Villaroel is really sick. She was not well already the week beofre performances began but soldiered on.
  Off to see the dress of Don Pasquale now, hope it’s good!

  on March 29, 2006 at 2:30 PM
• Baritenor says:

  Well, that might rule Shicoff out. So who else are our canidates? Alagna….and who else?

  on March 29, 2006 at 4:45 PM
• paddypig says:

  could this met star be a conductor???????

  on March 29, 2006 at 6:14 PM
• TheInterpolator says:

  Il tenore di Coloratura Superba and Just Another Tenor,

  I had two items (one for each of you) that I had been meaning to ask you about, and then I realized that I just posted them WAY down at the VERY bottom of that thread with 56 entries…and I’m not sure you are reading down there anymore…

  I’ll not repeat that entire entry here (though I did dish on Cheryl Studer and posed a hard question about Joanie that I’d LOVE to hear your response to…) Nonetheless, here’s the part that pertains to you two;

  ITDCS:
  You posted once that someone you trust said your voice may be of my type, color, or repertoire. If so, are you familiar with one of Offenbach’s most DELICIOUS arias for lyric tenor called “Ah! qu’il etait doux mon beau reve” from his opera “Le pont des Soupirs”? Well, get the score and learn it — and take it to an audition or two. NO ONE really does it, and its absolutely gorgeous.

  Now, I must say that a recent recording came out by a fellow tenor (named WM, and I admire him greatly, and SOME of our repertoire overlaps). He is lighter than I am (for instance, he would not do Romeo, Lucia, or Faust), but he is wonderful in his own rep. Anyway, his recording of this gem is the ONLY thing I’ve been disappointed with…and it’s not a vocal thing, it’s a style thing. He didn’t really SING it…it was as if he spoke it on pitch, and out of rhythm

  Well, I used this as an encore to a recital I did at the Plaza Athenee in Paris…and it just brought the house down. I’ve been using it ever since. It’s meltingly gorgeous when TRULY sung — if you can manage it! — and it may be good for your repertoire as a point of interest. Let me know if you like it.

  And, Just Another Tenor…did you see what happened to my Lucia in Paris coming in the fall????????????? This was originally a famous American Soprano…and I mentioned it last year here in this site! Well, guess who dropped out?????? And look who replaces her….. And…are you coming to it, or est-ce que vous avez besoin d’un laissez-passer a mon loge un soir? Faites-moi de savoir. Je peux l’arranger.

  on March 30, 2006 at 12:06 AM
• Baritenor says:

  Interpolator- My good friend N is doing Lucia Opposite you now, right? And by the way, I was listening to a video you made (I won’t say which Opera because I don’t want to spoil the mystery of your identity) and I was very impressed at your work in a part not usually taken by such lyrical tenors such as your self: I’m more used to hearing Mimes in the making in the role, and I found your performance refreshing and very true to the composer’s intentions.

  on March 30, 2006 at 12:28 AM
• TheInterpolator says:

  Baritenor,

  Thank you for your VERY kind words. Strangely enough (as you may know, assuming you are a working singer) we really don’t hear those kinds of compliments too often. Believe me, they NEVER fall on deaf ears — at least not for me — and I am *always* interested in what others singers have to say about my singing. Frankly, I’d be an idiot not to listen to what other singers have to say about specific roles, performances, or technical considerations in my work.

  Of course, when the commentary borders on the ridiculous (such as: “He won’t have a voice left in 2 years’ time” and “His ebellishments in the repeated section of a Mozart aria prove he has no stylistic conception of 18th century music”), then I take it for what it’s worth: zero.

  It’s akin to hearing the well-meaning (but occasionally tiresome) patrons and donors with “backstage passes” — which DAMN I’d do away with if I could!! — cue up at the dressing room only to say how fabulous everything was when, in your heart, you know you turned in something slightly less than a steaming pile of shit that night.

  Of course, I completely understand the need to thank such patrons and donors, and that without them our jobs may not be possible, etc. Thus, I often look at the meet-and-greet after certain performances as another requirement of the job, just as I view the stage rehearsals, the sitz probe, whatever.

  But all this points up the fact that it’s really only other singers (and of course, one’s teacher or coach) who hear what’s really right (and wrong!) with another singer’s work in a given instance.

  So…all that to say, THANK YOU not only for the substance of your feedback (which I greatly appreciate) but also for taking the time to do it.

  BTW, did you read my rambles in that lower post (that thread with 56 some-odd posts) re: Joan Sutherland, the high E’s, Milnes’ High C party tape, etc.? You might have answers or commentary.

  T.I.

  on March 30, 2006 at 2:33 AM
• Il Tenore di Coloratura Superba says:

  Darling T.I. – so good to hear from you. When I have the time, which at present I don’t, I will investigate the Joan High E – I think you may be correct.

  As for the Offenback aria, I have not ever heard it, but I am aware of it’s existence because I saw it listed on the cd of WM. I sing virtually all of WM’s repertoire now (or at least could) though his voice is also significantly lighter than mine. I can’t say that I am a big fan of his…I find that I don’t care for his tibre and tone…but he is very good musically and I do often appreciate some of the things he has recorded.

  And you are quite right about the Studer Queen of the Night – it isn’t half bad, especially as far as she is concerned.

  Joanie doesn’t quite make the High F in the “Oh, zittre nicht” – but the rest of the aria is so fabulously stunning, it’s totally forgivable!

  Have you heard the very early live recording of her singing the “Der Holle rache?” It’s quite good…although oddly enough, she cracks on the High C’s before the High F’s and she isn’t so great with the High D’s either…but the F’s are great! I believe it was released on an Opera D’Oro label…one of those “An Evening of Joan Sutherland” type deals.

  on March 30, 2006 at 4:07 AM