Blind leading the blind item
The place: the Metropolitan Opera.
The time: October 2008.
The event: a cult diva’s return to the Met after a 24-season absence.
The hint: what’s my name again?
Cher Public
- Buster: This Kusej sink is pure poetry: httpv://www.youtub e.com/watch?v=RJdD BKiIURQ 2:58 PM
- La Valkyrietta: …and I should have added, Joan in Harriet Craig :). 2:17 PM
- DurfortDM: Ah, yes, I had forgotten about this aspect of DB’s multihatedness. Aside from that the Doyenne... 2:15 PM
- oedipe: Great title, La Cieca! 2:13 PM
- La Valkyrietta: All great fun and utterly amusing, but in real life, Ava in Mogambo, Leonie in Dutchman.... 2:12 PM
- oedipe: That’s often the case, unfortunately. It’s part of the opera package, no? 2:11 PM
- PushedUpMezzo: Gotta be Oxana Dyka as the tough athlete 2:08 PM
- m. croche: Storm Riders, eh? httpv://www.youtub e.com/watch?v=xFsZ zgunzsQ&featur e=related 2:08 PM
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64 comments
Today's Events
- Opera Manhattan Opera Festival
8:00 PM
LA VOIX HUMAINE, THE MEDIUM, and SUOR ANGELICA, at Theatre at St. Clement’s, 423 West 46th Street - Legendary Collaborations II: Gluck & Calzabigi
8:00 PM
One World Symphony presents selections from ALCESTE, PARIDE ED ELENA and ORFEO ED EURIDICE at Holy Apostles Church, Manhattan
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- May 19 at 1:00 PM: I Capuleti e i Montecchi (webcast from Bavarian State Opera)
La Casa della Cieca →
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I really DON’T care how convoluted Il Travotore’s story is. It remains my very favorite opera! To me when it is sung well it truly is what opera is all about—wonderful arias, with ferocious cabalettas, militaristic choruses sing your lungs out ensembles and MOST OF ALL a crazed mezzo soprano (I’m really your mama so DO kill the baritone for me!) To me, Verdi, in this opera, wrapped up bell canto operas and the way was paved for more Verismo and eventually, for Herr Wagner!! I really can’t hear Travotore too many times.
I love it when Giocanda finally remembers her blind mama—opps my poor blind Mama WHERE the hell can the little blind darling be?? (Of course at the bottom of some river or canal)
Papag…Machado has a fine voice but alas he is extremely short and squat of build, making him a visually risible romantic hero. Urmana and Borodina will be a good six inches taller than their Enzo (I saw him as Rodolfo on a DVD of LUISA MILLER).
And speaking of short & squat, whatever happened to Francisco Casanova?
Ah the short and squat tenor. I’m afraid that it is rather common. For all the voice Del Monaco had, I believe it was housed in a rather small body. (have any of you seen the Dallas pictures of he and Rita Gorr in Samson and Ms D? She towered over him!!) It’s rather humorous when the supposed “damsel in distress” towers way over her rescuing knight—such are some of the idiosyncrasies of opera. I’ve seen some productions where my “dream boat” Jose Carreras had such high heels on he could hardly walk!
I’m thrilled that Podles is finally returning to the Met. However, I do think it’s odd that the Met is staging La Gioconda next season and then again a couple of years later, especially when it’s been out of their repertoire for so long.
Anyway, while they’re at it, they should hire Ewa (she’s not getting any younger you know) to sing Erda and Ulrica as well. I’m tired of hearing mezzos in those roles.
KASHINA, I totally agree! Sincs Podles will be all packed she might as well stay awhile!
Although it’s a small role and probably hardly worthy of her talent or fee- I would love to hear her as La Principessa in Suor Angelica next season. I think it would be scary!!!
It’s stupid of them not to use her more. Even if they used her in some of those demanding Russian operas if they want to be cast typing (yes, I know she’s Polish, but she’s got some of the slavic sound). Queen of Spades for example. She’s doing La donna del lago this upcoming season here in MN. Something worth seeing, if only for her…
Thanx for rehashing the plot of Gio. for us. I had forgot most of what I saw in the PBS broadcast, but I remember the burning boat. And I am a very big Trovatore fan. Supposedly only the 4 best singers in the world can do it right. But what about Ferrando? Who has been outstanding in going out on stage and doing that big narrative aria?
Giorgio Tozzi is the only Ferrando I’ve heard on disk that is anywhere near accurate. And he is quite accurate. And of course he had a nice sound and is always dramatically appropriate.