Cher Public

the well-tongued thesaurus

In celebration of the recent Tony Award for Best Actor in a Musical, the New York Times puts their best man on the case, with exactly the adjective-engorged result you might predict: Out of Opera’s Cradle, Hunky Broadway Babies.

“Back then, audiences were willing to lean forward and pay attention.”

  • Sanford

    Nerva, I agree with you on this. The only difference between TT and most of us is that he gets paid for his opinions (and that is, after all, all they are) and we post ours for free. I know that many of us here are trained musicians, and all of us who post here love opera and have been listening to it for many years (some of us seemingly since it was invented in 1598 or so). What some of “us” don’t know how to do is show any respect for our fellow posters

  • Joe Blow

    PHEW! Too much estrogen in here. I’m going back to opera-l.

  • ruxton

    Oh dear how sad never mind.

  • Didnot

    the new york times is an authority? Really.?

  • mrsjohnclaggart

    Opera Hell is shit, run by morons and with posters of zero IQs. The stuff about Nilsson from that awful rag (and really who of any importance READS it?) has given rise to continuous idiocy. Some fool writing in about added high notes (that of course no one knows add dissonance and mean lower keys than the composer intended, the idea of key schemes unknown to all there) has generated a ton of profoundly stupid comments by retarded philistines. Joe Blow is far more than welcome there, he should be running it and writing every post.

  • Frances Alda dal cielo

    “that awful rag (and really who of any importance READS it?)”

    Kakie vremena! Kto tantsuet? Kto poet? Devchonki! A byvalo.. kto tantseval?.. kto pel?… kakie imena…

  • mrsjohnclaggart

    Frances Alda (probably aka Brooklyn punk) is one of the nasty trolls here. This sort of shit makes no difference. The supreme indifference with which that toilet paper is regarded by the largest community of arts aware people is well documented by their demographics, which used to bemuse a former publisher, Rue Rouch and which I gather have worsened (indicators of demographics and saturation among desirable demographics which can include well heeled older people are most distressing when they try to sell ads. Of course what matter is that the disirable demographic actually BUYS the magazine, which means they are likelier to read it). Most people get it as a result of a Guild subscription and toss it away or wrap dead fish in it. The arts aware editors I know (some heavy hitters) either never read it or think the impossibly lame Kellow a preposterous joke as an editor and ‘writer’ — it takes some doing to reduce Ethel Merman to a cypher as he also did to Eileen Farrell in his little books. A just usage of this worthless tripe would be wrapping rotten tripe. As to Frances and Brooklyn punk you know full well what I think of you and my contempt knows no bounds. But I may post your real name and let’s see what illustrious things come up about you or about the meaningless losers who write for that collection of the mentally disabled. If it’s fake or even real Russian well there is a fluent poster here — a big gel on a bike! — and an opera news contributor. Can’t win ’em all so pah, I say to you, and pah, I say it again.

  • ruxton

    Goodonya Mrs John- only a tabloid rag would publish crap like that. Where’s my shield and spear?…I’m with you!

  • Didnot

    so let me get this right Claggart. Only where you write is worth reading?

  • kashania

    Adrianne Pieczonka spent many years in Europe before returning to Canada and settling down in Toronto. Now her career is based more in North America.

    She now sings at the Canadian Opera Company every season. As well as her Sieglinde (which has sung eveywhere), we’ve recently had her Elisabeth in Don Carlos and are looking forward to her Fidelio next season.

    What I love best about her singing is the unforced sound. One always has a sense that she has power in reserve. It’s not a huge voice but she rides the orchestra with ease. So far, she has managed to retain the silvery, lyric quality of her voice. She used to have breathing issues, breaking up phrases constantly to sneak in a breath but she has really worked on that and improved (though she’s no Caballe).