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Those of you who are enjoying La Cieca’s video clips, as presented on Google Video and YouTube now can have a copy of your very own. A new web-based service called KeepVid lets you download any video on these sites to your hard drive. (Note that many of these videos are in the .flv format, which means you’ll need to install an FLV player in order to play them. Enjoy! Share! Information (see below) wants to be free!
Maybe after Cheryl Studer follows your suggestions, Marsh, should anyone else be obliged to.
OOops! – and I thought Marschellin had caught bird flu and rotted!
- but she’s still here after all. I’ll keep taking the antidote.
Marshie, I’m no prude, but what EXACTLY is “double-cum?”
That’s the most ridiculous and laughably stupid comment you’ve ever posted. At least now we can all discount everything you post as filthy pablum.
The legendary Cheryl Studer sings Elisabeth’s “Dich, teure Halle” in this VIDEO clip from Beijing, November 2001.
http://www.operainchina.com/timeline/timeline_bj_2001.htm#wagner_200111_bj
Plus a review from her Liederabend in Spain, March 2006.
http://www.diariodeleon.es/hemeroteca/noticia.jsp?CAT=114&TEXTO=4592703&txtDia=12&txtMes=3&txtAnho=2006
Cheryl Studer, una leyenda en León
Miguel Ãngel Nepomuceno
“Aunque hubo que esperar algunos meses hasta su restablecimiento, mereció la pena. La impagable voz de la soprano norteamericana Cheryl Studer llenó anoche la sala sinfónica del Auditorio con algunas de las arias que la han convertido en leyenda viva del canto y una de las sopranos más cotizadas en los grandes coliseos wagnerianos desde Bayreuth al Metropilotian, de Munich a la Scalla. En todos ellos y durante más de treinta años la Elsa por antonomosia de Lohengrin, la Elisabeth de Tanhaüsser, o la Pamina de la Flauta Mágica, ha dejado su huella de eximia cantante y excelente actriz. Ante un público poco versado en el canto del autor de Parsifal, de Strauss o Barber y acompañada con excelencia por el pianista Johathan Adler, la soprano norteamericana bordó los Wesendonck lieder de Wagner y derrochó lirismo y hondura en Allerseelen, y Seidem dein Aug und Befreit de Strauss,donde demostró una vez más que junto con Waltraute Meier es una de las mejores liederistas del momento. Grandioso recital el ofrecido anoche.”
So, this Renee Fleming “drunkard” business is exceedingly bothersome to me. According to Renaaay herself, the drunk “Sempre Libera” in Houston was the director’s idea (not that it’s the most terrible of concepts–something about a dancing cow Traviata tickles my memory). So, if she had pulled a Gheorghiu (or whoever) and really protested, she probably could have arranged for a change. But she thought of it as a valid interpretation and went along with it. And now people are calling it her idea and her interpretation. Not how it works.
Here we go. From this very site: Behold the dancing cow. So, it’s not Violetta, but my point stands.
brett wrote: “So, this Renee Fleming “drunkard” business is exceedingly bothersome to me.”
And to us too, dear. Also, “drunkard” was used not only in reference to Houston but in reference TO HOW SHE SINGS AND SOUNDS ALL THE TIME, damn it. It matters not a fig if it’s Violetta or Phoebe Snow or Richard Strauss. The evidence indicates that Renaaay does not need a director for drunken interpretive ideas, after all.