Druidesses three times three
La Cieca is startled and delighted to note that there are already some very competitive entries in the “Nine Normas” quiz, including a likely prize winner. So that all you cher public may have the chance to put your vocal identification skills to the test, here’s the clip of The Nine Normas.
Feel free to make your guesses in the comments section!
Marguerite would be great for her….leonora, hm, well not now, like she said. She lacks a certain regal air as of yet which callas, price, and caballe brought to the role. As for quizzes, I agree that famous singers in unlikley roles is great.
PS: Cigna is a goddess. Let’s have a Cigna opera.
How about giving us a phrase-by-phrase Marschallin’s Monologue, and then the recit to “Dove sono”?
Yes, please, la Cieca, more quizzes. Sei er doch gut, Quinquin.
Maybe 10 different Hoyotohos?
Singers who recorded roles they never sang onstage is a good ideam too.
BTW ITDCS Cerquetti was considered quite a Norma in her day, and gave some magnificent performances of the role whenever la Divina cancelled, of which at least two complete ones are preserved. Furthermore, Decca / London planned a complete Norma with her in 1956 along with Simionato and del Monaco, but it got cancelled midway and all they have are a few excerpts, shame on them for not releasing this precious material.
Instead of “guess the singer”, how about “guess the opera”? La Cieca could give a short snippet of an aria, ensemble, or any 10 seconds of the most idiomatic music of an opera. She could use either the most famous operas of the less-well-known composers (i.e. Korngold), or snippets from the neglected operas of well-known composers (i.e. Giovanna D’Arco by Verdi).
Dear Mdme La Cieca, with great respect, in future competitions, should the rules not be spelled out beforehand e.g. if there is a time restriction for entries to qualify and also contestants should be willing to have their names published if they win – or else their entries should not be eligible – don’t ya think? It’s more fun when things are open and transparent and then there is a proper “closure” at the end and not a feeling of “anti climax” about it.
It’s great having the challenge of competitions – just a couple of suggestions. Kind regards to you et al.
How about a contest identifying
1. Klytemnestra dead screams?
2. Otellos doing only the word “Esultate!”
3. The final two notes of Lucia’s Mad Scene cadenza.
Love it.
Another choice: Giorgetta’s scream at the end of Il Tabarro.
I’m all for making the quizes challenging… but identifying screams???? Yikes!
I have always loved my Suor Angelicas based on their final ecstatic death throes or Minnies on their sighs at the end of ACT I (Tebaldi wins on both of these for me — she also wins on the Giorgetta scream in TABARRO). Any of these would be interesting. Non singing sounds can be memorable! Callas’ scream after realizing Mario is dead in her final Paris TOSCA’s haunts my dreams.