Eighty years ago! This film was a part of the first “Vitaphone” presentation in New York in August 1926. Soprano Marion Talley was 19 years old and in the first season of her three-year Met career when this scene was filmed.
“Opera that depicts Bush, Blair dancing in underwear is canceled.”
From the Associated Press.
And while we’re on the subject, the scene in question (from Robert Carsen‘s production of Candide, which will not be seen at La Scala in 2007.)
Five newspaper reviews are in for Anna Netrebko‘s Met Puritani, and the score stands at four postive, one mixed:
“With the smoky colorings and throbbing richness of her sumptuous voice, Ms. Netrebko was an unusually vulnerable Elvira. Bel Canto purists may find fault with her sometimes imprecise execution of coloratura runs and roulades. But I admired her way of treating florid passagework as organic extensions of an arching vocal line, not as a series of fast notes to be nailed with cool accuracy.” Anthony Tommasini, New York Times
“She has that bel canto gift of singing like a windswept lark on a bright day, and an acting style combining the natural with the daring.” Clive Barnes, New York Post
“Elvira should be beautiful; Netrebko is. Elvira should be so delicate of brain that the shock of being abandoned on her wedding day unhinges her completely. Netrebko raved gorgeously, but she also expertly controlled the whipping spray of notes and the rainbow colors of her voice. She proved herself a master of extreme opera, that volatile mixture of emotional distress and consummate technique. That’s what we need divas for.” Justin Davidson, Newsday
“And how about the mad scene, one of the greatest stretches in all bel canto opera? From Ms. Netrebko, it was an unshowy tour de force. What I mean is this: It was a tour de force, all right —but it had complete musical and theatrical poise. Ms. Netrebko displayed phenomenal control. And she was pathetic in the original sense — evoking great pity, sadness, and even wonder. This is simply a smart singer.” Jay Nordlinger, New York Sun
“She didn’t sing a false note, but she struck one. It was as if this charismatic performer, whose stage instincts are usually flawless, was overcompensating for the fact that she simply couldn’t conquer all the vocal challenges of one of the most demanding bel canto roles in the repertory.” Mike Silverman, Associated Press
Our publisher JJ hears the production on Saturday night; look for his review in Gay City News next week.
La Cieca thought that now that Puritani has opened at the Met, it’s as good a time as any to review the company’s (rumored) bel canto plans for the next five years or so. Remember, everything in this life is uncertain, so please regard these “predictions” as the gossip they are. Anyway, La Cieca hopes you’ll find plenty of fodder for discussion in the following grafs. Next season (as you all know) opening night will be a new production of Lucia di Lammermoor starring Natalie Dessay. Sharing the role of Edgardo will be a trio of toothsome tenors: Marcello Giordani, [...]
Everyone’s favorite non-operatic diva Faye Dunaway reacts to the news of her “firing” by Andrew Lloyd Webber. (The show, of course, was Sunset Blvd., and the year was 1994. Miss Faye sued Lloyd Webber and eventually settled out of court for a reported $2 million.)
This is the biggest limb La Cieca has ever gone out on: Expect James Levine to make his official Met farewell at the end of the 2011-2012 season. (First hedge on this prediction: Levine will make occasional “guest” appearances with the Met after 2012.) Remember, you heard it here first.
UPDATE: Gregory Kunde is now listed on the Met’s site for the prima of Puritani. La Cieca hears that Eric Cutler did not sing the dress rehearsal of Puritani (anyone there to confirm/deny?) and, though his name’s still on the Met’s site, he won’t go on for the prima Wednesday. Thoughts? And the tittle-tattle about (of all things) the 2012 Met season continues to filter in. The latest: the Donizetti “Tudor cycle” shared amongst Angela Gheorghiu (Anna Bolena), Anna Netrebko (Maria Stuarda) and Renee Fleming (Roberto Devereux [??!!]). All that, plus new productions of Guilliame Tell and Rienzi. Or, on [...]
The miraculous properties of the Gelb-era Met begin to rival those of the legendary aerosol product Shimmer. In the future, it seems, the Met will be both a floor wax and a dessert topping. For example, it has been rumored that a new production of Il trovatore would star (depending on who was telling the tale) Sondra Radvanovksy or Renee Fleming. Ha, ha, you’re both right! If the information La Cieca hears is accurate (and when is it not?), Radvanovsky will sing the prima of the new production; then Fleming will star in the first major revival, perhaps with a [...]
Cher Public