“angela told chicago to go f*ck themselves,” alagna remarks
“She asked one time, they said no. She asked a second time – no. At the third time she said Vafanculo [literally, “go f*** yourselfâ€]. You know how many times you sing La Bohème without rehearsal in the world?
Roberto “Oil on Troubled Waters” Alagna continues his unique relationship with the media in an interview with Neil Fisher of the Times Online.
The Times comment “Eager to take up a challenge, [Alagna] learnt the part of Pinkerton in Madama Butterfly in two days”
is not correct – the role was already in his repertoire. Perhaps the comment was referring to learning the staging of the current MET production.
Interestingly, Mme G’s exclusive recording contract with EMI and hubby’s arrangements with DGG are causing problems for their efforts to appear together.
Starda, the Met Pinkerton was Alagna’s role debut. However, if indeed he learned it in two days, he must have procrastinated unduly because he was announced for the part in February of 2007.
Alagna’s 10-performance Met season included the role debut in Butterfly, jumping into the Romeo production, plus the single Radames with very little rehearsal. This amounts to an impressive enough feat without having to resort to mythologizing.
Angela Gheorghiu: “Coming back from New York, I caught a cold — a most unfortunate coincidence. I saw the company doctor when I returned and he prescribed antibiotics. I just wanted to get well. My colleagues knew about this and were supportive. Of course, I’m very sad that this has happened as I was very eager to sing in Chicago.” –Playbillarts.com 28 Sept. 2007
So we should blame the Lyric Opera of Chicago for engaging Mrs. Alagna because they SHOULD HAVE KNOWN her work ethic was unprofessional and that she would treat colleagues (like director Renata Scotto) with contempt by not showing up? Or that they would have to use an understudy on opening night anyway because Mrs. Alagna would be indisposed AS A RESULT of her breaking the terms of her contract?
My sympathy is not with La Draculette, but with the opera company.
Well tinhtraiviet as you feverishly dribble and rage in frustrated denial of service, we now know where your nose is seeking to be firmly placed, stuck up….busy trying to clean up the ‘left behind’ dirt of the little tacky sweethearts’ in their continuing unprofessional travelling wake. They certainly have ‘more arse than class’..granted! Some of your wet dribble you are expounding, might be handy for your self appointed process. With their antics, the tarnished gilt on bob & angie’s (names… that sounds…. so aptly lower suburban!) operatic calling cards are getting rather dog-eared with managements across the World. For those that think the little Romanian ‘princess’ is copying Callas (in some mimiced behaviour maybe!), remember the structure of Callas’ mouth was unique that allowed her to produce the sounds she did.(Whether you like or loathed Callas, that is a fact) Other singers that have tried or attempted to be, or be heralded as the next Callas have come to vocal grief. Suliotis anyone??
Ok, Alagna started as a promising French lyric tenor. Where is he now?……over in full verisimo country. Can we expect a Otello, a Calaf next? The voice is not of the standard or quality it once was.It is worn ….. At 45!!!???
While Ms A. Gigoloo the missus runs round, wanting to do her ‘self styled characterisations- one so called fit -for all shapes and sizes. The first rule of a professional opera singer ‘is to take instruction from the director, in line with, and to co-ordinate with what the director has set out for the other participants in a production. If she cannot get THAT right, time she swapped the position of tits and brain. Gigoloo and her consort must remember they are not ‘the opera company’ they sing with. They are but casually hired (albeit expensive) staff to do a job, nothing else. With the attitudes they adhere to, let’s just wait 5 years and then see the ‘changed dynamics’ regarding their employment. It will be a opera houses’ case of the good old ‘we do not need that shit behaviour, around here anymore’ scenario’. Options and decision making for opera companies can change very quickly as we all have witnessed.
As for Mark (comment#8) being belligerent with Nerva Nelli to ‘name her source’ re Chicago…. it is a ‘cheap shot’ form of argument. As others here already realise, some information given by contributors, is already ‘rather off the record’. It is up to our intelligenge to deduce, by reading more ‘between the lines’. Take the comments at face value, no more. Let’s all feel a bit privliged for that. For some to demand further, is unreasonable …possibly leaves open the risk of public exposure, legalities and betrayal. After all this is just a blog site. Fairness? The opera egos out there can look after themselves with their managers, P.R. and the rest of their insane bandwagon.
(Comment #13) tinhtraiviet bellowed: “And someone should tell Harry to shove it when it comes to catty carping about Bobby and Angela. …..! Carping and name-calling as much as he likes, Harry is not fit to lick whoever’s whatever, never mind the Alagna’s ….”
RA isn’t the first tenor to have a God complex–his apologetics make amusing reading. I care about how he takes the stage, vocally and dramatically. If he could get past his annoying penchant for singing sharp, he’d be even more impressive. I thought he was a fine Romeo, ok as Radames and Pinkerton. I wish he’d do Hoffman–the Erato recording is astonishing and I’m equally astonished that no one is staging it for him. As for Mme G., well, as long as venues continue to engage her regardless of her antics, she’ll have a career. If not, she won’t. Case closed. Their Rondine has been acclaimed and if they back out of new year’s eve, they’ll never eat foie gras in this town again.
What put on a ‘new’ Hoffmann for especcially one person, in this case, Alagna? What opera company could take the risk? A more than ‘evens chance of a back out’ given his tantrums and they would be set to lose money on the deal. After all he is being ‘constantly tutored on that front’ by his wife. A similiar risk scenario happened elsewhere not so long ago, with another opera company: doing Die Meistersinger. The famous singer was touted to do Hans Sachs as his first ‘quiet try-out’ before taking the ‘newly sung’ role around to other eager venues. He reneged for ‘whatever’ reasons, after the project was well along the production stages. The company was then forced to, and went ahead with a substitute ….. theatre attendence … generally half full houses. The financial side of the things…..losses!
Ah, Robertito. The only tenor who could make “Una Furtiva Lagrima” sound stiffer than Don Giovanni’s Commendatore.
http://youtube.com/watch?v=aJl_N-UA7S0
Mark, I am trying very hard to take what you say concerning Angela as an objective, logical opinion.
But here I am having a hard time of it. I find myself puzzled as to the reason for this.
I know I am chiming in late to this, but I just had to say to Mark
1) I seriously doubt that Mr. Kiphart told you anything about the circumstances surrounding Miss G’s firing, or about anything having to do with ticket sales.
2) Everyone knows that any Boheme anywhere in the world will sell out with a cast of seventh graders because IT’S BOHEME.
3) “the company knew full well that she wasn’t going to come to most of the rehearsals.”
This is true.
“They could have fired her at this point.”
Uh, not true. There was a contract – how could she have been fired? She was not in breach of contract at this point.
“Instead, they chose to sell out the entire run using Gheorghiu’s name. Once that was complete, they felt safe in firing her.”
That’s just stupid. The run (of ALL performances, not just hers) was sold out months before rehearsals even started. She was fired shortly before opening night of the season. If the company was using a bait-and-switch tactic it would have been much better saved for a show that was difficult to sell (come see Wozzeck! Starring . . . Renee Fleming!)
BTW I am the source of what I know – and no, I’m not going to out myself here, whether you believe that I know what I’m talking about or not.