Three tenors
La Cieca must be brief as she is on jury duty (can you imagine, La Cieca being asked to pass judgment?) Anyway. Highlight of the Tucker Gala was definitely Marcello Giordani, who was in absolutely ideal voice for the "Improvviso," and only slightly nervous for the "Vicino a te." (He sharped on the very final note, noticeable of course since Aprile Millo's high B was so solid and gleaming.) Biggest surprise was Joseph Calleja, who sounds like a different singer in person: the voice is quite large and the fast "Schipa" vibrato, so intrusive on his Sirius broadcast, resolves into an energetic throb in the vast spaces of Avery Fisher Hall. La Cieca is still not 100% convinced of this singer's insistence on pulling a diminuendo on every other high note, but he is a born artist, with geniunely aristocratic phrasing in the "Ah leve-toi soleil."
And then there's Jose Cura, beefy of voice and physique, and obviously of the opinion that he is always the life of the party. Honestly, Verdi is serious music and does not need all that showing off. His Desdemona was Pat Racette, who also sang "L'altra notte." The voice is big enough for this rep but La Cieca thinks utterly wrong in color: it all sounds like Baby Doe. Racette wore the least flattering dress of the evening, a matronly beige and gold thing that clung to every bulge. And her hair was very flat. Best dress of the night: a tie between Elizabeth Futral's filmy black strapless and Sondra Radvanovsky's classic off-the shoulder aubergine silk.
Uncharacteristically, La Cieca was most interested in the low voices, especially Rene Pape, glamorous in Boris, and Sam Ramey, shedding a couple of decades for "Ecco il mondo." Even James Morris was in good voice, particularly for a gorgeous aria from Rachmaniov's Aleko.
The Roberto Benigni-style podium antics of Asher Fisch were not to La Cieca's liking, but she couldn't argue with the results: rich, vibrant playing from the orchestra and chorus, and sympathetic collaboration with the singers. For the first time in years, the Tucker concert really amounted to a gala; this was an evening worthy of the event's namesake!
And then there's Jose Cura, beefy of voice and physique, and obviously of the opinion that he is always the life of the party. Honestly, Verdi is serious music and does not need all that showing off. His Desdemona was Pat Racette, who also sang "L'altra notte." The voice is big enough for this rep but La Cieca thinks utterly wrong in color: it all sounds like Baby Doe. Racette wore the least flattering dress of the evening, a matronly beige and gold thing that clung to every bulge. And her hair was very flat. Best dress of the night: a tie between Elizabeth Futral's filmy black strapless and Sondra Radvanovsky's classic off-the shoulder aubergine silk.
Uncharacteristically, La Cieca was most interested in the low voices, especially Rene Pape, glamorous in Boris, and Sam Ramey, shedding a couple of decades for "Ecco il mondo." Even James Morris was in good voice, particularly for a gorgeous aria from Rachmaniov's Aleko.
The Roberto Benigni-style podium antics of Asher Fisch were not to La Cieca's liking, but she couldn't argue with the results: rich, vibrant playing from the orchestra and chorus, and sympathetic collaboration with the singers. For the first time in years, the Tucker concert really amounted to a gala; this was an evening worthy of the event's namesake!











90 Comments:
But what did Futral and Radvanovsky SING?
I loved Cura's performance. It was nice to see that kind of confidence and stage energy.Agree Calleja sounded wonderful, did not really like Giordani in the Andrea Chenier,he seemed cautious but the men definitely outshined the women that night. and Millo definitely seems to be making every effort to channel Milanov. (the outfit was great though) .I hope we get Cura's Otello at the MET.
Radanovsky did a respectable if unexciting Ernani Involomi and Futral did a poor take on Viennese Operetta and was respectable in the Traviata Act 3 finale. Mariambo did Ecco l'orido campo from Ballo (sp?).
La Cieca would not call what Radvanovsky did "respectable," but she agrees that the Giuditta selection did not show Futral at her best.
If his recent Tosca's are an indication, the last thing Cura should be singing at the Met is Otello - it would kill him, and anyone forced to listen. His voice this season, at least at the Met, sounds underpowered, covered, and much too baritonal. And his Milnes-hook on his high notes is not working for him. He does, however, remain a total hottie.
Do not wish Cura's Otello on yourself. The most indulgent, vocally ill disciplined performance I've encountered. The best I can say of it was thatit was better, in parts, than his Manrico
La Cieca heard Cura's Otello about five years ago at Washington Opera, and he (Cura, not La Cieca) cried the whole time.
Cieca-sure, I could see that but I was at the Gala and the bottom part of the voice is glorious but the top has no ping. What was really strange is that on a few notes in the Otello, the ping was there or itching to get out. I believe he was the victim of some bad vocal technique training a la Margaret Harshaw: She was wonderful and got the sound out of singers but her tenors always caved becuse of her technique. Michael Sylvester immediately comes to mind.
Racette-I am with you on the dress.
How about Millo trying to figure out the sleeves of hers? (even in the curtain call) I don't care as I love her. As soon as Giordani started singing she went into her 'routine' and I loved it!!!!
She was the Millo I remember from ten years ago.
Ramey-right with you on that as well.
Nay sayers on James Morris would have been surprised!
Why didn't Racette just go for the Rosie O'Donnell look?
That's uncalled for.
Anyway, I rather like Racette's Desdamona. I find that the metal in her voice makes the role a little more interesting.
And which Boris monolouge did Mr. Pape sing?
Desdemona is not supposed to "have metal in her voice." It should be a creamy, delicious sound. That's something Racette doesn't have. She also obviously needs more gay friends -- men, that is -- because she dresses like Diane Keaton on a bad day.
Heard Cura's Cavaradossi via Sirius last week - I thought he was awful! I think it is hunkiness that gets him gigs. Ah - to remember the days of Franco Corelli - he had it all!
Saw a film version of Traviata on TV the other night, with Cura as Alfredo (and a seventy-some year old Rolando Panerai as Germont!!). Though his voice is wrong for the part, I was surprised by the lyricism that Cura was able to bring to the role and he even scaled his voice back for a few sections. However, the reports that I've read of his recent performances have not been good. It's a shame too, not only because he's a hottie, but because he has a dramatic tenor voice, and really, how many of those do we have?
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