Generation gap
Astute Anne Midgette (glimpsed earlier this week among the faithful throngs at the Millo Tosca) wonders today in the Times whatever happened to singers like Richard Leech, Sharon Sweet, Susan Dunn, Francisco Araiza, June Anderson, Cheryl Studer, Carol Vaness, Aprile Millo and Dawn Upshaw. All these artists were mainstays of the Joseph Volpe 1990s at the Met, and yet not one of them is appearing in Uncle Joe's farewell gala on Saturday. Midgette points out that these singers are in their late 40s and early 50s now, certainly not elderly in their field. Ironically, the gala does feature a number of stuperstar singers of the previous generation, including Placido Domingo, Luciano Pavarotti, Mirella Freni, Kiri te Kanawa and Frederica von Stade.
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8:02 AM
191 Comments:
sadly some of these singers (Dunn, Anderson, Ariaza,Hadley, Vaness and Studer all crashed and burned for the most part way to early in their careers. Sweet retired, claiming she couldn't get work because of her size-I think her attitude and laziness might have had more to do with it!-and Millo went through a major vocal crisis some years ago and has only in the past five years really come back strong.what did happen to Leech, he was always a dependable singer and often very good. you could include La Battle in this list also of people who crashed and burned.Remember what a hot new star Bartoli was or Jennifer Laramore or Vladimir Chernov, yet their names do not appear very often on Met Rosters, Zajick,Dwayne Croft, Alagna and Gheorghiu seems to be the few who has thrived from that era.It seems to have been a weak era in operatic history when all is said and done.
Speculation on my part, but I think Bartoli's name doesn't appear so often in part because she had a fight with that old stick Dr. Miller and in part because she hates flying and doesn't jump the pond much. You could hardly say she hasn't thrived.
Midgette reported that Pavarotti might withdraw because of illness. Well, he is no longer on the cast list; see the Met's site.
I think the only opera house Bartoli now appears in with any regularity is Zurich, hardly the high profile career that she started out with.
For your delightful info, piggyboy, I don't know about the others but Cheryl Studer is alive and well and performing. Where have you been? Haven't you noticed the reviews I copy and paste here so often? Crash and burn may apply to, say, Sweet, Dunn and Araiza but you CANNOT (I repeat, CANNOT) include Studer or Bartoli or Larmore on that list. Not sure about Chernov. Sorry, boy. Am I not clear?
yes her delightful performances in Paraguay and outer mongolia have all been duly noted.and like many others I ignore your rantings
Vaness had some stunning reviews for her recent role debut as Santuzza so I don't think she's burned out. Never been an Anderson fan but her recent recording of Daphne isn't bad (bearing in mind my near pathological aversion to her tone - reminds me that I do need to wash the windows this weekend). Upshaw is still going strong (can't stand that voice myself but there you go). I'm feeling unusually crabby: this damned nicotine withdrawal is REALLY getting to me!
Oh,when is la diva Renee going to add a new role to her rep? I would suggest Cleopatra -Handel or Barber-, Lulu, Ermione and of course Semiramide and Salome. As for dear Cheryl, I feel so sorry for her! She wasn't so bad at the beggining. Have u heard the lp of Spohr's Jessonda with her? Not bad at all.
NOW I get it...Marshallin actually comes from the leather daddy school in his attempt at operatic opinions!!!!Do as I SAY, boy!???
I wish I could exhume Freud to handle THIS situation...
Early in her career June Anderson had a lovely voice, at least as far as I was concerned. Her recording with Sam Ramey and Alain Vanzo of Meyerbeer's "Robert le Diable" is brilliant, despite that particular version at Paris Opera suffering its usual unkind cuts.
And even though she rarely if ever performed at the Met, I'm tempted to add Elizabeth Holleque to the "whatever became of..." list from that era. In 1994 she sang Butterfly in Denver to great acclaim (even for the hinterlands) as well as a more-than credible Tosca in '95.
Frankly, as long as Studer continues to perform I don't give a rat's ass if she shows up in Outer Mongolia or all the way up piggyboy's overstretched rectum. This would surely delight the pig to no end, wouldn't it?
Comparing the non-featured singers with the featured singers mentioned, I'd say that the featured singers have much more box-office appeal.
June Anderson is still in great voice. I heard her Norma in Toronto five times (including the dress rehearsal). She was wonderfuly.
Bartoli has a very thriving career. She just has chosen not to focus on staged opera. But her concerts and recitals are always sold out.
kashina, I too love June as Norma. I own a DVD with her doing the role in Palmero. Her "Casta", however, leaves something to be desired; however, everything else is good. By the time she rounds on Polione (sp?) she had set the stage "on fire"--brava!
rumor had it that Anderson's infrequent appearances in New York might be attributed to behavior issues over vocal issues. Also while she and Bartoli still have thriving careers, neither one of them really reached the heights that people expected. I remember when Anderson replaced Caballe at Carnegie hall in Semiramide with Horne. She was hailed as the new Joan Sutherland (there is a slight physical as well as definite vocal resemblance) and fifteen years ago Bartoli was the hottest superstar in opera. Bartoli's career definitely scaled down from its early heights and Anderson (and I like her too) never really reached the heights she could have. She has a very fine voice and was tall and quite attractive(and I know I said she resembled Joan, but more like the pretty stepsister. both tall and rather imposing looking on stage) She did a fine Semiramide at the MET and despite the horrendeous production of LUCIA she appeared in, she was good in the part. Vaness as Santuzza?, she got great reviews? but the thought of it still scares me. For me she was a fine mozart singer, but I lost interest as she pushed the voice into the heavier repertory. But one must still admit that none of the singers mentioned in the article ever achieved the star quality that Freni, Te Kanawa,Pavarotti, Domingo or von Stade achieved or the following that younger singers like Boradina, Florez and Villizon are now attracting. maybe it was a basic lack of carisma, but how many of you collect recordings by these artists (the only one I went out of my way to buy were the earlier Bartoli recordings) the way people do the previous generation? (except for one Studer fan who finds it necessary to get vulgar and nasty in his defense of her)
As much as I hate to pick fights...but who is this Marschallin person, and has anyone ever met him? After reading his rantings he succeeds as coming off as a very sad, very pathetic, very angry zealot. I can not help but cringe when I see his tag at the top of a post.
paddypig, don't forget to add a good PR person can really make a career or above all else a SCANDAL!! can really add something (a good bitch fight between Divas can really help)
Callasorphan: I think that Anderson sang a very beautiful "Casta Diva", but it didn't really transport me. And it's odd, because one would think that the aria would be where she would shine the most. For me, her greatest singing is in the second half, where she really portrays Norma's vulnerability and mixed emotions well.
I think that Bartoli has had the exact career that she has chosen to have. If she wanted to, she could be appearing in opera productions on all of the world's leading opera stages. I wish she would sing more staged opera. But, it's important to remember that eventhough she's been around for over 15 years, she's not even 40 yet. She's been careful about her choices and I'm sure it will pay off for her. I hope to see her in more opera (on this side of the Atlantic) in the next decade.
mdolb: Marshallin is a troll. I've encountered him on another forum. His only interest is to praise Studer and diss other singers. He pretends to join in the conversation but he's really only interested in endlessly repeating his Studer propganda. Personally, I think it's best to just ignore him.
kashina, you nailed it--a Casta that does not transport me is not a good Casta.
Marschallin a he? Has Studer changed gender?
Hissssssssssssssssssssssss--I love it!!
As I said in the Millo forum, I like to think of Marchallin as the Ann Coulter of the forum. Serving no purpose other than to spew venom and vitrol in order to illicit an emotional response. Like Coulter, I suggest we just ignore her and maybe she'll just GO AWAY.
Ann Coulter can spew!! Something she/he learned in drag school (shhhhhhhh, that's a secret!)
the question isn't whether Marschaillin is a he or she, it is whether Studer is a he or she?
It strikes me that this "missing generation" phenomenon is not unique to opera, and that parallels might be drawn between the Met and the big studio Hollywood movies. As Midgette points out, the "priority is finding the latest stars and getting them up in front of the public, in as many places as possible, and in as many attractive roles as possible, regardless of how well suited they happen to be to a particular role." Seems like this is what we see in mainstream Hollywood -- the casting focus and marketing push on the younger "stars", but then when the actors (especially women) get to their 40s, they disappear. They may be cast in independent films (just as many of the singers mentioned are still performing quite well in other less "august" houses than the Met). Like Pavarotti, Von Stade, Te Kanawa, etc. a few survivors may be lucky enough to reach the age where they can once again be revered and become available for the lifetime achievement awards (Paul Newman, Lauren Bacall come to mind as examples) by the Hollywood establishment, albeit in a self-serving way.
One major point most everyone seems to avoid: After all of the above mentioned people worked their asses off for years, and made a ton of money doing it, they DO NOT have to sing every other night anymore to make ends meet.
They are financially comfortable, probably pretty happy, and certainly delighted that they don't have to travel hither and yon all over the planet constantly toiling on the boards to make a buck. Now that they are all in their late 40s to mid 50s, it is normal that they would scale it back. After all, NO ONE works unless they have to. That is almost certainly the reason why you don't hear about them so much anymore.
I guarantee Cecilia doesn't need to rack up a dozen more Despinas anywhere, unless the mood strikes her.
Sharon Sweet sang roles like Turandot and Aida (that means BIG, BIG bucks), and she did it for years and years. She doesn't need to rack up a dozen more Turandots anywhere, unless the mood strikes her. FYI, she teaches now at Westminster Choir College.
Last I heard, Dunn married a conductor and is raising kids somewhere down south. There was a vocal crisis, but she could probably fix it if she wanted to. She's busy, and she doesn't need the opera stage as much as it needs her.
Araiza, Anderson, and Studer are mostly active in Europe, where their careers were always centered to begin with. They make more money there.
Vaness' career is in its Autumn, but she is certainly still active. She always sang a great deal in Europe too. I seem to recall a Tosca recently (Orlando?). She's not doing it for free or for cheap. And if the reviews are bad, I am sure she just shrugs and then laughs all the way to the bank.
Kathleen Battle crashed and burned over temperament, not voice. She's almost 60 years old now (58 I believe) so her voice is bound to be more or less moribund anyway. She also made plenty of bucks and doesn't need the money.
Hadley is the only one mentioned who really seems to have screwed up his voice through carelessness and a wild life, if recent gossip is to be believed. His drinking was well documented at cast parties a decade ago.
So no, you won't hear from them so often. They are living their lives. Singers come, singers go. Some last longer than others. The reasons are infinite and complicated.
I doubt that any of them have much in the way of regrets.
SPEAK IT!! jatm2063. You have certainly made some very valid points! I know at mid-age (whatever the hell that is) I sure would not want to be standing before a large crowd singing my lungs out. I'd much rathet be sitting in front of a fire with the one I love and sipping on some good wine. AHHHHHHHHHHHHHHHHH!
For those of you who don't already know, I just found a video of Fleming and Giordani on YouTube! A 1991 concert, posted by our dear Cieca. They sing a long duet from I Puritani, of all things. It looks like Julius Rudel conducting. Get a load of her outfit and her hair! It's horrible!
Thank you Cieca, for continuing to provide us with top notch entertainment.
That is a great video and they do sound great. Man Giordani was a H-U-N-K!
And...um, WHAT THE HELL IS SHE WEARING...oy vey. Having money and a stylist (or at least a gay friend) really helps,eh?
It looks like a costume from some sort of movie, rather than a concert gown. Or maybe a Robert Wilson production of a baroque opera. Definitely a case of the dress wearing her, rather than her wearing a dress. And that silly, silly bow on the front of it that looks like something taken off a Christmas present. Even for 1991 it's bad.
What does everyone else think it looks like?
Giordani was quite cute. Remember it's 15 years ago, she was 29 (I think) and he was probably the same. I wonder if they ever dated.....
I remember a picture of Giordani many years ago in the Pearl Fishers--topless. Indeed what a hunk!He could have (and still can) sung to me anytime!
The 1991 Gala with Rudel also features Cheryl Studer singing a Lucia duet with Pavarotti, plus an Aida segment (I think) with Zajick. Dear Cieca, can you please upload these? By the by, what America's Sweetwhore wears in that gala (and the horrible hairstyle) is as ghastly as her singing is these days and as ghastly as anything you will ever see on anyone. Well, on a par with Millo at Carnegie a couple of years past (was it as Gioconda?). I don't recall ever seeing anyone (male, female, sheep, dog or transvestite) look so frumpy and dowdy as these two women on those occassions.
Dear Cheryl Studer,
I'm writing this letter to you because the person who presents himself as Your Biggest Fan recently expressed the opinion that the rectum of a poster on an opera forum would be an appropriate venue for you to perform.
Should you wish to negotiate terms for appearing in the rectum of this poster, he can be reached in care of la cieca, parterre.com. You have my deepest sympathies.
-michael farris
ps: I hope you are enjoying your tour of Outer Mongolia, Ulan Bator is said to be lovely this time of year.
BWWAAAAHAHAHAHAHAA! ROTFLMAO!
BRAVO - Michael Farris!
I would recommend u guys not have the MET as reference of OPERA. if some singers do not perform very often, or are not included in the latest rosters, it doesn't mean they are artistically dead. There are many stars that triumph in europe, and never go to the Met because they can't or they just don;t want to. The world is bigger than just The Lincoln Center...
That frumpy outfit that Millo wore at Carnegie a couple of years past, wasn't it in Chenier rather than Gioconda? For what it's worth.
Jeez it was as Adriana Lecouvreur. These verismo roles, they are a blur. Oh well.
I think there were several people who wouldn't sing at the MET in the 70s and 80s because of the taxes (I read that the IRS kept Freni away for years), and also because it's hard to hopscotch around among engagements when one is 'stuck' in New York. Exchange rate has a lot to do with it also. I always wanted to hear Berganza in something, and she didn't sing there for years--not since the 60s, I think. I also think that, in the 80s, the bigger the contract Scotto got for being the "house soprano," the fewer roles there were for people like Leona Mitchell.
Like I said in the Millo forum - CHERYL STUDER R O C K S!!!!!! Best thing ever. I love her to bits. The only Lucia recording that actually excites me! Have seen her live numerous times and have worked with her on a few occasions. My idea of an Opera singer - gutsy with an exciting voice the way they used to make them, before the generic flemings etc. waltzed onto the scene. Go Marschallin for standing up for the BEST!!!!
As far as La Bartoli is concerned re: fight with Dr. Miller. I have it on reliable authority that it did nothing to hurt her relationship with the Met. Volpe was brought in to intervene, he sided with Bartoli, and by the latest accounts Dr. Miller has never set foot in the Met again. Some say he was even banned from all the revivals of the production...
As far as Anderson, she has been again quite active again of late. Bassarids in Paris last year, a very good Viaggio in Monte Carlo (with a top notch cast, really quite stunning). Before that, she also did a production of Lucia in Paris in the mid-nineties, which she despised, but in which she sang magnificently.
Elizabeth Holleque is one of the very few sopranos I have on my list of singers I will NEVER hear again. I heard her sing a Tosca with Pavarotti at the Met in 2000, and it was AWFUL. Even if she were having a bad night that particular evening, she was inexcusably bad.
Vaness, as far as I am concerned, sang the ULTIMATE performance of Donna Elvira in Pris about three years back. Truly the most exhilarating performance of the role I have seen.
I wish I could Studer these days. I never have seen her in a live performances, and I am sure she has quite the personality onstage.
What I do not understand about this big Gala is why they are not using more of the good voices that have come out of the Met program. Kwiczen (sp?) as the Don, or pretty much any nice lyric baritone, Deshorties ripping it up with "D'Oreste, D'Aiace" which she performed fantastically in Houston last year, and with which she brought the house down in the lat Met Broadcast of Idomeneo. Jossie Perez singing... something... Charles Castronovo, Eric Cutler.. They are a ridiculously talented bunch and it would be nice for the Met to feature them next to the old timers.
OK, OK: Much like ITDCS, I have been lurking in the shadows without posting for many weeks because of a terribly hectic performing schedule and *WAY* too much travel. It's almost embarrassing when the check-in counter attendants for both Air France and Continental know me by first-name at Newark.
Nevertheless, I'm almost sorry to do this, but SOMEone needs to take the Marshy to task on this Studer thing. In deference to the Marshy, I went back and listened to MANY recordings with Studer, and I have several comments to make. But frankly, this did not start because I wanted to contradict the Marshy; rather, I have several upcoming engagements singing Edgardo in Lucia, and I went through and listened to *every one* of my recordings of that opera. I've sung the role and I'm quite comfortable with it, but it never hurts to become reacquainted with the GREAT singers of the past (and present) who have sung these roles SO incredibly well.
(But parenthetically, I note with dismay that not ONE of the recordings I have offers an Edgardo who actually sings the WRITTEN high E-flat in the first-act duet. Pussies.)
So back to taking the Marshy to task:
As I listened to her recording (score in hand, natch) with Maestro Marin, I couldn't BELIEVE how bad it was. Sorry, miei amici. Let's be specific, though. THe recitative before "Regnava" is actually pretty good -- but then the aria starts, and the voice itself stalls out. There is just no air moving through on that opening d-minor melody -- no support. OK, one might argue that Studer is trying to sound "sepulchral and scared" or something -- but, if SO, then shouldn't she drop the affect for "Quando rapito in estasi"??? Well, she doesn't.
And getting even WORSE, listen to that attempted (but quasi aborted) high D-natural to conclude the cabaletta! It's not just *bad*, it's a disaster. The phonation itself is not aerodynamic -- it's all muscular adduction, obviously -- and the screachy, patchy color is just NOT "right" or "acceptable" or even understandable for a major studio release.
Now remember, my friends, that was THE BEST of the takes in the studio -- so imagine what the "bad" takes were like! And NO, Studer did NOT require that all arias be laid down in one take, refusing to buff-up and patch in a botched high note here or there. Such attitude is understandable in some circles, with singers claiming "But I want the aria to sound like it it all of one mood, with no emotional breaks caused by starting and stopping the recording reels."
OK, OK, that's fair enough -- if you're brave enough. But that was NOT the case with Studer. I have been singing in houses when Studer was recording and, believe me, she held NO such attitude.
But moving on: there is some occasional, emotive singing in the first-act duet with Edgardo, but listen to that final B-flat: it's ugly as homemade soap. But then we get into the REAL travesties:
Listen to the climactic high notes of the duets in Act II -- particularly another attempt at a high D-natural, with horrifying results. Why on EARTH did Deutsche-Grammophone ALLOW that shit to be issued?!?! But then it gets even worse:
No high E-flat to conclude the Madd Scene (and no high E-flat in the cadenza, either). Talk about a let-down! Now, purists can blather all they want to about "It's not in the score," blah blah blah. But the dirty little secret is this: We ALL want it, we all EXPECT it, but Studer didn't have it.
And YES, it matters. Just like size matters (well, width, anyway) -- but sometimes we don't like to admit it for fear of offending someone. And is Studer was taking the "come scritto" approach, then why did she attempt all the earlier bullshit on this recording -- particularly with such galling results?
The point here is that a major studio release SHOULD, at a bare minimum, contain accurate singing and reasonably sound performance practice. Listening to the whole thing, one can ONLY say: SHE CANNOT SING THE ROLE.
Now let's move on -- how about that Gilda she recorded?? Just give 60 seconds of your time to the first Rig-Gilda duet (with the staccato high C's toward the end). Horrible. Out of tune. Ugly. Waste of recording tape. How can ANYONE -- who is truly a lover of singing -- actually DEFEND those sounds?? And they apparently weren't healthy for her either, as it turned out.
ANd how about that Traviata?? That "Sempre Libera" is a huge mess, and a child can hear that. For instance, just LISTEN to those high D-flats, and then ask yourself: "Does this woman REALLY represent singing at its best? OR even "artistry" at its best?" No way. Sure, there is more to a role than merely singing it well. But frankly, SINGING IT WELL is just the FIRST criterion!!! That is a THRESHOLD matter, not an OPTIONAL matter!!!!!
I also gave a VERY serious ear to Studer's Constanze in Abduction. And I would dare the Marshy to even TRY defending the sounds Studer makes in "Ach, ich liebte" and "Matern aller arten." And yes, I know from which I speak. All of the operas I have mentioned so far (Lucia, Traviata, Rigoletto, Abduction...) I have sung MANY times in the tenor roles of Edgardo, Alfredo, the Duke, Belmonte...and those of you who figured out my "ID" can look that up pretty quickly. So let me say this:
The singing that Studer put onto disc of these roles I listed would NOT pass muster in ANY international opera house of decent standards. If I showed up for a major engagement sounding like Studer sounds on these recordings, I would be dismissed before the Sitz Probe -- and rightly so.
Of course, the Marshy is now likely to opine that she has her taste and is entitled to love Studer's singing. And CERTAINLY that is true, and I'll bet that every reader of this board is thrilled that Mme.Studer has provided the Marshy with endless hours of operatic pleasure. But what the Marshy CANNOT claim is that Studer's renditions (in such vocal estate) of these recordings is IN ANY WAY the equal of recordings by (for example) Fleming, Sutherland, Te Kanawa, etc. who have sung this repertoire for years.
First, La Fleming.
Most of you know that I have said only positive things about Ms. Fleming on this board -- though I am NOT a Fleming apologist. Rather, I do work with her, we are often in the same city or company, and I GREATLY respect her work. And yes, I respect her singing. (See MANY of my previous posts on that topic.)
But calling Fleming "America's SweetWhore" is just stupid and infantile. After all, the rest of us are not calling Studer a "EuroCunt with an electric heart." No, we're saying that Studer often sings like crap -- and on RECORD, at that!! By contrast, Renee Fleming's high E-flat (consider "Glitter and be gay," "Ah, non giunge," "Era desso" etc.) may not be EVERYONE's cup of tea, but: Fleming DOES, in fact, truly DELIVER a high E-flat that is (1) in tune, (2) phonated aerodynamically, (3) sustainable and repeatable, (4) exciting in its context, (5) climactic, and (6) healthfully done over a large number of years.
Studer? Nah, I don't think so.
Studer? She needs a healthy dose of GOOD LUCK just to get through the fuckin' "Vilja Lied" in Merry Widow.
Again, I am NOT saying that everyone must like Fleming, Te Kanawa, Sutherland, and all the other Stimme-divas. But I AM saying, indeed, that the Fleming/Sutherland/Te Kanawa recorded legacy has substantial merit, even if you don't *prefer* those voices. And by contrast, the Studer recorded legacy just does NOT measure up to current OBJECTIVE metrics:
Tuning? Bad.
Vocal production? Bad.
All necessary vocal ranges covered for the acuti? Abysmal.
Please realize that I am not being any harder on Studer than I would be on myself. I am freely admitting (and those of you who have been to any of my performances, feel FREE to call me out on this if I am lying) that I simply would NOT accept a gig -- and certainly not go through with it if I made a mistake -- in which I did not have the requisite RANGE to sing the fucking role, the necessary coloratura to EXECUTE the role, the vocal health to SUSTAIN the role, and the necessary technique to sing it in tune and with respect to proper performance practice. I simply WOULD NOT do it. I wonder why Studer did.
As a point of honor, I would challenge any serious singer or vocal officionado (or opera queen) to actually contradict the *specifics* of what I write above, using those very recordings as examples. Sorry, but the Marshy has the same CDs I do of Studer in these roles one would assume -- and Marshy is free to get out her pitch pipe, oscilloscope, scores, and keyboard to give La Studer a check ride.
She'll flunk.
T.I.
And who the f*ck is this Interpolator? The tone of his messages, well, strongly suggests once more that he is none other than dear beloved ITDCS. TI/ITDCS has a tunnel-vision vendetta against Studer, clearly. Could this person be Marcello Giordani in disguise? I find it appalling that this man showcases his prose around as if he were an authority, goes on to bash Studer for lack of this or that and then proceeds to lick Fleming's pussy (his word, not mine) in spite of the latter's sheer lack of taste, musicality and, yes, damn it, lack of a beautiful voice.
Marshie, I can tell you that TI is NOT ITDCS and NOT Marcello Giordani. Several of us know perfectly well who he is, and he is NOT Marcello Giordani, and I'm happy to know him (online, at least) .I can't say the same for you.
Oh, and I definetly would not call Carol Vaness Dried out
Upshaw is singing in England this week. She has found a niche for herself with contemporary music which is anathema to the Met
I heard Anderson in Norma and she was great. I also heard that the reason she wasn't asked back to the Met had to do with "that Lucia" production staged by none other than her friend in Dorothy, F. Zambello. I will leave you to ponder that.
Theinterpolator, Why this obsession with pitch-perfection and note-perfect sounds on recordings? For God's sake, opera is about the drama, and Studer sure as hell knows how to make drama with the voice. That's what you need - otherwise it's just another boring, generic, pretty CD by fleming. UGGHHGHGH!!!!!!!!!!
According to the Met's subscription (06-07 season) info, Millo is in Chenier, Gioconda and Tosca.
i saw june anderson as norma here in chicago. must of been 6 or 7 years ago. she was terrific. her casta diva nearly sent me to the moon. the duets were dazzling, with june using her own variations on the repeats. i had goosebumps, tingling all over, all night long, to the point where i thought it might be possible to have an aural orgasm. what i remember most was her seemingly effortless clear tone, exquisitely floated pianissimos and her striking stage presence. i never saw sutherland live but june seemed to be the closest thing to her. i also saw june here as traviata. i thought she was superb. she was bubbly and secure in the first act. the duet was heartbreaking in the second act. and the last act brought tears to my eyes. somehow i don't thimk we'll see her again here in chicago. i sure will miss her.
I am so excited about Millo.
I couldn't agree with you more Thirdboy....why this need for perfect singing? If I want to hear perfect singing I buy a CD that has been edited 100 times. I want to be caught up in the drama, the acting, the imperfections. In my opinion, I like imperfections because that is what separates one great artist from another. Can any of you say that any one artist is stunningly beautiful or handsome, articulate, a superior actor/actress, a cunning linguist(ha), all the while possessing the voice of the century? Highly doubtful. In one or more areas your favorite artist is considered to be imperfect, and thank God for it. I, for one, am bored to death with these go nowhere, sustained, dull voices. I want to hear exciting. And.....please Marshie we know Cheryl Studer has all of these qualities.....don't feel the need to elaborate please. No offense.
One more thing....please bring June back to the states.
Hoorah to The Interpolar! I'm rather bored with having to read the drivel the Marschallin curns out everyday and it was such a pleasure to read a post where someone actually knows what they are talking about.
No disrespect to ITDCS, but any idiot could tell that he and IT are not the same person because their writing styles and understanding of vocal technique are different and besides, most of us know the identity IT anyway! Keep up the good work in every sense, IT.
Marshie kind of apologizes for suggesting that TI/ITDCS could be M Giordani. I am now convinced it couldn't be him for Giordani, I'm sure, would never author such fag-induced drivel. How can a creature like TI/ITDCS boast about pitch-sense and at the same time praise the excecrably pitch-impaired Fleming and Sutherland, for example? Go figure. Maybe his head is up his. It has to be because the so called 'beautiful' Fleming voice is nothing but a big pitch blur. And let us not get started on her damn mannerisms and overall vulgarity.
I'm not sure, but Upshaw seems to be doing some interesting stuff at Bard, as well. Again, I'm not sure how much influence she has on the Summerscape programming, but the Schumann opera and the Grand Opera programs both look really interesting to someone whose interest in opera is more scholarly/historical than perfomance-driven.
The Interpolator says: "... I simply would NOT accept a gig -- and certainly not go through with it if I made a mistake -- in which I did not have the requisite RANGE to sing the fucking role, the necessary coloratura to EXECUTE the role, the vocal health to SUSTAIN the role, and the necessary technique to sing it in tune and with respect to proper performance practice. I simply WOULD NOT do it."
That is EXACTLY the honesty I said I expected from singers in my earlier comments regarding the Pavarotti Filles years back. Accidents and illness can happen, a singer may have a bad evening, whatever, but the singer - and the house management - should not take the public's money knowing ahead of time that they could not deliver the goods.
It's called truth in advertising.
I'm ready to buy myself a T-shirt saying: I [heart] The Interpolator.
:)
I note also missing from the Volpe gala Giordani and Polenzani.
The gala is looking to me more and more like a big party - nothing wrong with that - than a showcase for vocal talent currently active at the Met.
Re TI/ITDCS' fog-induced drivel in direct reference to Cheryl Studer (see above), what makes *IT* think that the diva lacks the range, execution and sustainability of the roles she sings or has sung on stage throughout her lenghthy career? Where does TI's fantastic notions come from? I know precisely where they emanate from but I already said it.
It really bothers me to come to this blog and to read such vile and anti-gay drivel (even if is self loathing) I can go to many boards (i.e., yahoo’s news board is one example) to read fag hatred. La Cieca’s blog has always been a refuge, for me, from the cruel homophobic world that we live in. So please can we get back to dissing opera’s divas and divos NOT each other. Let's be a little kinder to each other--we "opera people" MUST stick together--for it is us against the very unkind world!
I agree with IT, and there is a huge difference between "imperfections" and "bad singing" as many explained by TI regarding Studer recordings.
I always wondered: why the hell did she changed light Wagner/Strauss roles to sings something beyond her capacities (TI forgot to mention her Kônigin der Nacht... and please we all forget she sang those arias).
About singers and the MET: as someone already posted many of the singers not singing now at the MET are really happy not having to (i.e.Cecilia Bartoli and Sumi Jo are two major stars in Europe) since the fees paid at the MET are lower than the fees paid at any major European Opera House.
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ITDG: Giordani was (is) a part of a TBD segment, but I think he just grappled with a nasty bout of bronchitis (wasn't he supposed to be Cavaradossi to Voigt's Tosca?). Polenzani is supposed to be a part of the Fidelio finale.
To the The Interpolator, Bravo. While I hate people who just sing the notes. I also cannot accept bad singing, no matter how much they flail their arms about and try to act up a storm. Good singing should always be a given, it is the foundation on which everything else is built. (Unfortunately the singers that disappoint me are the ones that, while good singers, do little or nothing or show no real understanding of the text or style. but I have said enough about that in the past) Agree with all your comments about Studer. As those recordings got churned out in the 90s, none of my friends could understand why. especially those of us who see most of our opera here in new york where she never made a real impression in any of her live performances. The Micaela was decent but the Traviata and the Rosenkavalier were both horrendous, I did not see the Mozart performances but heard no one rave either. (Yes I know some people who live outside New York complain about this board being to Metcentric, but sorry, parterre is based in New York and many of us who are longtime readers are also based in New York and not everyone travels to specifically for opera performances. I used to plan my travel around performances in Europe but now travel to usually more exotic locales where opera usually is not performed that often eg. Africa, Asia and Central America. I also find that since most of the big names tend to make a circuit doing the same role in many houses that most singers eventually bring their roles to New York.e.g. when Baltsa and Carreras took their CARMEN show all over the world. I remember a trip to Paris in 1984 when I saw a manon with Malfitano and Vinson Cole and a Werther the next night at the Palais Garnier with Schicoff and Troyanos, the next year a Pagliacci with Richard Casilly and Malfitano! all MET regulars at the time.
And for that delightful c-nt, marshie, Studer is not welcome to perform anywhere near a certain portion of my anatomy that you seem obsessed with. Villizon or Florez yes, Studer no.
wotan thanks for mentioning Sumi Jo, always enjoyed her at the MET and do miss seeing her there. She was a lovely Gilda.
Does anyone know where Richard Leech is singing these days?
Same question regarding:
Cianella-is he still singing
Mentzer- I really miss her.
Giovanna Casolla
Florence Quivar
Armiliato
PADDY, I just heard and saw Mentzer in Aspen, CO--she sounded wonderful and looked great too. Aspen is home to her too.
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Armiliato is another exemple of a singer whose career is focused (and well focused in Europe): she is to be heard as Manon Lescaut (Berlin w. Daniela Dessi), Don Carlos (Wien w. Furlanetto, Dessi and Zajick and later in Munich with Pape, d'Intino and Moll), another Manon in Wien, Tosca in Munchen and Ernani in Torino.
Bartoli sings whatever/whenever she wants in Zurich (great venue for her since you all know her voice is round but small) and give sold-out concerts all through out Europe.
Jo, same as Bartoli, doesnt enjoy traveling long distance for long periods but performs concerts in major recital halls (2006: Carnegie Hall, Chicago, Toronto, Theatre de Chatelet last April -upcoming DVD- and back to Paris in December at Champs Elysees, Concertgebow Amsterdam). In Asia/Europe most of her CDs reached more than 500.000 copies; when she decided to sing Gilda in Korea she moved the whole production from Torino (singers included -Leo Nucci n Marcelo Alvarez-) for her Gilda debut in Seoul. In NY she will appears next month in Carnegie Hall and for some performances in Caramoor.
As everyone sees, it seems these singers dont "need" to sing at the Met to make a great career.
I am not looking to debate with Marschallin but, what is Studer doing at the moment... as far as I know she lives/teaches in Wurzburg, Bayern (not far from where I live)
wotan2006 it's always been that way. Singers like my mom had HUGH careers in other places other than the Met. I don't think M.C EVER considered the Met her home!
If any one is interested in seeing what Netrebko and Villazon can do check out Premiere Opera DVD 5434 of the TRAVIATA from Salzburg August 2005. Production is too frenetic, but very exciting musically.
Well, against my better judgement I will post a comment about this ongoing nonsense!
One of my first jobs (still in college) was in the chorus at Bayreuth. Lovely time had by all and some good singing. At a rehearsal for Tannahuser this woman walked on stage and simply blew everybody away. Yes, it was Studer and she was AMAZING. I declared myself a fan on that day an always looked out for when I could see/hear her.
Fast forward a few years - and in those years she was indeed touted as a phenonomem - and her recording of Vier Letze Lieder came along - and I was there on release day with my hot little hand holding the cash so that my hot little hand could hold the cd and then my hot little head could hear it. I was disappointed. I put it down to experience maybe she was having a bad day. Maybe I was. (Don't forget people that our ears put up with the same bad days we do and sometimes we can hear something differently becuase of the mood we are in).
Then had the chance to understudy in Aida and she was the titular lady. She struggled and it wasn't good. The tessiatura was just too high - to my ears (MY EARS MARSHY - THIS IS OPINION)so the voice didn't 'sit' right.
Later still, and again understudying, (always the bridesmade) she was Arabella. A friend asked me what it was like. I though that the use of language was fantastic, every word was weighted correctly, she acted fine (she isn't the greatest but she's fine), she looked good in the costumes an was a considered, considerate performer...and she didn't sing in tune. To my ears (again Marshy - my opinion) there was a loosening of the support muscles - possibly through keeping the placement too high.
I was saddened. One of 'my' singers seemed to have gone off the rails vocally. I didn't want to hear the voice going - my 'mental ear' has her being just perfect and I want to keep that. So I stopped listening.
I was sad to hear that she'd suffered some ill health and I wish her well but...Marshy you don't do her any favours. Continually saying she's the best or if she sang something then she would be the best and continually rubbishing other people doen't help your cause. You sound demented and the sort of persons she'd want to avoid.
I agree with the Interpolator - you might not like everything Fleming does but she is a very good singer - very consistent. If you don't like then don't listen - it's easy! Other people can be good and there's a difference between lively debate and just being a prissy, virulent b*tch.
No, I have no connection to the Interpolator and have no idea who he is (I wonder if we've sung together? I did move on from understudying and sing around and about) but I o know from the writing style and the level of experience and knowledge that he's not ICDTS.
I await, with mil indiffernce the onslaught because I dared to not agree with someone.
No onslaught from me y-b-bari, you express yourself very well and certainly "keep you powder dry".
Sumi Jo will also bring her recital tour to the West Coast next month -- June 8 at Davies Hall in SF and June 10 at the Disney Concert Hall in LA.
Re: the ongoing Studer debate. I just stumbled upon the Cheryl Studer Society which maintains a web site at http://www.total.net/~mrgdp/ which is quite enlightening.
For all of Marshy's claims to the contrary about the current stellar activity of her beloved, the only performance mentioned on the site post-2000 is an Evening of Viennese Operetta with the Thessaloniki Municipal Symphony Orchestra this past January (Lehar and polkas, sorry I missed that). It seems to have overlooked the fabled Leon recital (and everything else I guess). And this is the official site of the CS Society (a pretty sad one indeed)!! Perhaps Marshy should channel her considerable time and energies toward them so that they more accurately reflect her idol's career and current schedule. She might also find more kindred spirits in the Society (assuming there are other members, of course), and stop wasting everyone's time here.
I was there too when Studer made her debut in Bayreuth and her early performances in Munchen and even earlier in Mannheim... she was so good, she was, in fact, great. Was also there for her Kaiserin in Salzburg and she didnt disappoint anybody.
I keep asking when did she decide to make that rep change... Did she actually think that her former technique would also allow her to sing Rossini?
Oh well, at least no one can say the lady ain't controversial. I happen to love this singer, warts and all. A very special artist indeed. Not everyone's cup of tea to be sure. But also requiring no apologies.
Brava Studer!
Richard Leech is singing. I just sang with him in Les Huguenots a while back. Wonderful voice.
Just catching up on the comments; haven't seen any follow-up regarding a chat tomorrow evening during the Gala broadcast. Still on? Are we Skyping? I have tickets to the symphony tomorrow that I may pass up for this.
LA DIVINA DUE, I'm glad to hear that about Richard--I've always liked him since I heard/saw him in Rigoletto from the New York City Opera Co. in a "Live from Lincoln Center" program in the early 80s introduced by, of course, Bubbles.
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I just came across a recording of the Bing Farewell Gala (1 CD). Just a few excerpts, i am sure. Does anyone know if the full concert was released on CD, or Video?
Marshy, Marshy, Marshy!
I'm going to tear myself away from a rehearsal (laptop in hand, of course) just long enough to address a few of your strange comments.
First, for the umpteenth time, I am NOT ITDCS, and ITDCS is NOT me. But for the record, I would love to meet him some day, swap a few stories, perhaps even work together at some point. Given his repertoire, I'll bet there are tons of Rossini opera seria we could do together requiring more than one tenor voice of our type. I enjoy his comments and analysis as much as (or more than!) anyone here, and a close look will show that we have distinctly different views on singing and singers -- even though ITDCS and I *do* share a few important traits: A true love of good singing and the work it provides for us. In fact, I'd say most posters on this board share one or both of those traits.
Yet I must say that the Marshy doesn't seem to love *singing.* Instead, she seems to love *Studer's* singing. I don't recall her posting much else.
Second, Marshy implies that I somehow throw around my posts "as if I were an authority" of some sort. Well, then I will apologize for that if I've come across that way. However, I *am* honored and blessed to be singing these roles in A-list houses around the world, so I *do* consider myself at least "knowledgable" about "how things ought to go."
By NO means am I perfect -- ever! -- but (for instance) having recently run through the Lucia score with ND in prep for performances abroad (working out cadenzi, interpolations, etc.), I have benefitted from listening up-close-and-personal with soprano experts in this rep.
Studer, for all her great Teutonic-Stimme performances in the 80's, is NOT in that class.
Oops! Call from stage mgr! Gotta run!
I couldn't agree more TI, your comments about studer in lucia were right on the mark.
i think that if studer stayed within her fach, we wouldn't be arguing about her now. she just had the wrong type of voice for repertory outside of german music. But it wasn't just that her voice was "wrong", but her tempermant too....she just doesn't have the type of dramatic instinct needed for the italian repertoire, which frankly would have had to be in ABUNDANCE to make up for the unnaturalness of her voice for italian repertoire. (Not to mention strained high notes, spotty intonation, etc.)
Anyways, I would also like to say that I would much rather be arguing about singers such as gheorghiu, fleming, giordani, voigt, etc. who actually HAVE careers, rather than going on about someone who can't even be seen on any major opera stage in the world.
Yes, enough of the Studer talk. Marshie does it enough already. Let's move on folks and discuss great singing...