baby love
La Cieca has just learned that Anna Netrebko, who is currently awaiting the September arrival of her first child, has withdrawn from her scheduled Met performances as Mimì on December 29, 2008 and January 3 matinee, 6, and 10, 2009.
According to a press release from the met, the soprano “has decided that she will need a few more weeks than originally planned to be ready for her return to the stage” following the birth of the Schrott Tot. Maija Kovalevska will replace Netrebko for the Bohème performances. Netrebko promises a return to the company on January 26 in Lucia di Lammermoor.
Sarah Brightman clearly had a talent for keeping Andrew Lloyd Webber happy in some way. And with that overbite of hers, it must have been a little painful for him. She certainly always sings as though she has something rammed against
her soft palate.
kashnia Sills might’ve been a star in Brooklyn in the 60s, but what made her really well known internationally was her Times cover as Elisabetta in the 70s. Case closed.
Anyway, I made my point about Callas’ debut in Puritani, Sutherland’s debut as Lucia, Caballé’s debut as Lucrezia, and Pabarotti’s success in Fille du Regiment. Bel canto is what made these singers finally HAPPEN.
coward, and you had the words a plenty in your own mouth.
Dork indeed. Hack you are always trying to make the peace.
Whatever, you are dull at best. At worst, you are yourself.
kashnia Sills might’ve been a star in Brooklyn in the 60s, but what made her really well known internationally was her Times cover as Elisabetta in the 70s. Case closed.
Hardly. The whole Three Queens bel canto revival might not have even happened had Giulio Cesare not made Sills a known quantity. Kashania is right; it all follows from her Cleopatra.
i have Beverly Sill’s autograph, from a recital at Florida State University. My friend Terry gave it to me.
I’m aware that learning about Opera from Ed Sullivan might not be the deepest way to learn what it was(Roberta Peters fitted in between Jack E. Leonard and the plate spinner) but far in my past that was all we had access to. And there is a historical background to the music of the era–the opera began(in the 1830s and 40s) and sometime during the show the singers let go with a Sound the Trumpet aria and the crowd cleared the opera house and went out to the barricades and overthrew the Hapsburgs or Bourbons. Like listening to to Euro pop singers in the 1930s–under the music is a nervousness about When the War is going to start again.
…”music of the era” The post-Napoleon Congress of Vienna Restoration era. What I associate with being the ‘bel canto” era.
While I take the specific points about the career making roles for Sills, Sutherland and Caballe, it isn’t a necessity – Te Kanawa, the Countess, Freni ran everywhere with Mimi, delos Angeles also used that a a key debut role, Flagstad I suppose the Seiglinde/ Brunnhilde double at the Met (or am I making that up?). The key seems to be that a role that fits makes the splash.
only mildly shocked :
“Yawn.”
Carefull of those yawns OMS ( wouldn’t PMS be more
appopriate? just asking ), you might wind up with
that foot in your mouth again.
I am among the most renowned and revered opera stars of the 20th century and– though I showcased my optimal flexibility as Lady Macbeth and Eboli– I never went NEAR a bel canto role. Case TRULY closed.