Cher Public

La Cieca’s not so patient either

Your doyenne didn’t even make it through the first paragraph of this opera-related article:

“I’m not a patient person,” Anna Chatterton confesses over a quinoa brownie at a Toronto coffee shop…

A female version of Don Giovanni by a veganess composer? It just doesn’t sound, well, promising, now does it?

  • il_guarany

    It’s a dreadful article, sadly typical of our newspapers up here -- and you think Tommasini is bad (well, he is).

    “It’s so funny to me that every single person I’ve ever talked to about the fact that I’m writing for opera assumes the score comes before the libretto,” Chatterton says. It’s the other way around.

  • orestes

    Indeed, it sounds no more promising than a “quinoa brownie”. Bleccch.

  • Sanford

    I think quinoa must be code for hash.

  • Atomic Wings

    Sounds perfectly dreadful.

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  • mrsjohnclaggar1

    Studer gave the greatest performances of the Empress I have ever seen. Leonie was amazing in the way Leonie was and Bjoner was thrilling, but Cheryl really nailed the part (if only the live performances had been as complete as the record, where she is magnificent). I have seldom heard such a shining, soaring tone, deployed with elegance, certainty of intonation, sweetness and where needed, some genuine clout. It was an outstanding physical impersonation too. I saw three.

    She was also a spectacular Elisabeth at Bayreuth — I saw the dress and two performances. Again she did not have (no one had) Leonie dementia especially when going off to die alone in the last act but the rest of it was ‘golden age’. Her Elettra at the Met (six times) was amazing — so was Rolfe Johnson’s Idomineo, he sang the original ‘fuor del mar’. But Cheryl had that nailed.

    She was a terrific Marshallin at her Met return, a high phrase or two to one side, far more idiomatic than Renee with a better idea of the part and I much preferred her to Kiri, unaccountably over praised. The Chrysotemis in Vienna was thrilling, however the night belonged to Fassbender mostly because she bowed like a Storm Trooper and glared the audience into an ovation.

    Her recorded Sieglinde may be the best — Regine was fabulous beyond words (a number of times in the 60’s) but I think the Solti record and the Karajan pirate (als Met) are slightly less good with less bloom than she had live. Lehmann is sui generis but let’s be frank (I’ll be Mary) Lott’chen doesn’t really count (as in counting the music).

    Studer is also a great Eva on record, and she was as good a Donna Anna as any after Joan and maybe the one Steber performance where she was on fire (the other Steber performance she was wearing her own red shoes, which she showed those of us who went back stage, and her entire performance was about lifting the dress and showing the shoes).

    Flagstad was an interesting case. She hated Wagner, she walked out of the only Tristan she attended before she sang Isolde! Her long run up to fame included tons of operettas and even musical comedies (I think she did some Victor Herbert in Norwegian!!) as well as Musetta and Minnie in Fanciulla!!! It was her ill-fated second husband who loved Wagner, and who I believe paid for her Bayreuth contract as Sieglinde and Gutrune. It was there that Kipnis heard her and was so impressed he notified Gatti of the Met, and when Leider pulled out of her season, Gatti auditioned Flagstad in a heavily curtained room and thought she might do. He sent her to Prague to learn the ENTIRE Wagner rep with George Szell. It was at the dress for Walkeure in NY, when she first sang out that Bodansky the conductor put down his baton and RAN (despite his heart condition) to Gatti’s office to drag him into the rehearsal. They suddenly realized they had a miracle on their hands. Odd though that no one realized that before, except Kipnis. Flagstad was so popular that all her performances sold out and she was an enormous help in the Depression.