Cher Public

  • sogalitno: dont know if there is a way. i think sky is via cable so would probably need account info . 1:03 PM
  • Camille: I’m so glad they changed the Wotan from Rheingold and Sarah Connolly sounds REALLY good as the Walküre Fricka! Heidi... 12:28 PM
  • Camille: Merci, Hippolyte! I had forgotten all about the August 5th concert. A chance to hear not only Loreley but the weird Nerone! Once... 12:22 PM
  • Hippolyte: Russell Thomas is appearing next month in two very interesting concerts as part of the Puccini festival at Bard. August 5... 12:09 PM
  • Camille: And as a lieder recitalist, just exemplary httpv:// m/watch?v=lETGe_4B U2E httpv:// m/watch?v=PGJhNfVg UVk... 12:06 PM
  • brackweaver: I agree with both of you about the singing of the ladies. It made me give up at intermission. 12:01 PM
  • Camille: You can love her in this, in which she shows her strong suit as Chrysothemis. Forgot to post it yesterday. I loved this set of... 11:57 AM
  • Camille: You know–as soon as I typed that I began to get this nagging feeling that it might have been the Greek Theatre, funny you... 11:37 AM

three tenors

Premiere Opera Podcast has returned after a hiatus of several months, and, as always, Ed Rosen keeps us up to date with the latest tenor activities. Recent episodes include excerpts from a duo recital (Juan Diego Flòrez and Rolando Villazòn) and a Lucia scene from Stephen Costello.


  • 41
    La Cieca says:

    Now, dear Nerva, I believe you are encroaching on Mme. Quickly’s territory here. So long as you’ve started the ball rolling, let me just add that La Cieca could sing Laura tomorrow — it’s just a matter of a nimble-fingered dresser and a big of ventriloquism in Act One.

  • 42
    La Cieca says:

    Cocky: at not-yet-20, Famous Quickly was already ageless!

  • 43
    Famous Quickly says:

    How DARE you mock me, Miss Nelli!

    You were an insignificant cover artist kept afloat professionally only by your— *relation*— to Toscanini. I am proud never to have shared the stage of the Metropolitan Opera with an artistic nullity like you.

    *Of course* I would acknowledge that there have been other fine Klytemnestras-- just not during MY time in the role.
    Mme. Elisabeth Hoengen worked very well in support of my Chrysothemis, and I was told by Mme. Rose Pauly that Mme. Kerstin Thorborg was very fine in the part.

  • 44
    Nerva Nelli says:

    Get over it, Quickly!

    I always liked Jean Madeira better, to say nothing of Hoengen ( “Dyke, ya know”) who I am given to understand sang and acted you off the stage in your one-time-only stab at Chrysothemis in 1952.

  • 45
    Harold says:

    Girls, Girls! You’re both pretty.

  • 46
    Harold says:

    RareGems195: So you can predict the future? The grapes are still on the vine and you’re already critiquing the wine. From Costello’s resume, it looks like Levine isn’t the only one who likes him, and he’s just starting out. Give him time and we’ll see what happens. You think he sounds terrible, while other people think he sounds wonderful. To each his own. However, your passionate hatred of a young singer is really ugly. Is that what this art form has done for your character? How sad. What is it about Costello that inspires such passion? I think if you really thought he were mediocre, you just wouldn’t care. Give your therapist a call.

  • 47
    ChevalierDupin says:

    If I might be so bold as to interject a thought. It is to my understanding that comparing the career progression of one generation to another is rather moot. We understand, from our analysis of operatic history and knowledge of the modern operatic industry, that the preparation of a voice is considerably diverse today from what it once was. According to a colleague of mine, a respected American vocal coach who predominantly works in Europe and has had the honor to coach alongside some of the most reknowned singers of our time, has pointed out that since the early Baroque until perhaps 25-30 years ago, lyrical singers began training at very early ages and were constantly under the observation and guidance of their teacher. Many were sent to live with their teachers along with the other students, and thus lessons (in all subjects, not least music and vocal training) would be administered. In effect, the child would be singing each and every day (including religious services) and the maestro/a would be omnipresent to guide the young singer’s voice through the early stages of development and into maturation. As a result, singers, like Famous Quickly, would have already acquired a virtually complete, secure, and fearless technique with which to apply to many roles under intense conditions that few singers today, even with several years of performing experience, would be unable to handle.
    I surmise that this is the main point of interest in this discussion. Comparing a 27 year old singer participating in the contemporary operatic scene is quite different from a 27 year old singer in 1960, 1935, or 1821; the level of technical preparation has slowed down over time.

    In this context, I believe we are better able to understand why so many teachers, coaches and conductors (as well as listeners) might share similar sentiments of adversity concerning the vocal abilities and repertoire selections of current operatic performers, regardless of age.

    {Chev. C.A. Dupin}

  • 48
    ChevalierDupin says:

    Forgive the error, as my comment was composed in haste. The line should read “…that few singers today[…]would be able to handle.”

    {Chev. C.A. Dupin}

  • 49
    elva miller says:

    Baby Astrid Varnay “was swaddeled in the lower drawer of the dressing room table of young Kirstin Flagstad.” (Wikipedia) How many of you ageless divas who remember Pauline Viardot can top that for getting Opera in your blood?