parterre box

60 comments

• Bill says:

  It is unlikely that Isokoski would ever attempt Salome even in the studio. Her voice is very refined and about the heaviest roles she sings are Elsa and Agathe. But we must remember that Richard Strauss himself tried to encourage Elisabeth Schumann to sing Salome and was a great admirerer of Maria Cebatori’s rendition she being one of the finest Salomes of her day though essentially a lyric soprano. Still, Cebotari was certainly a very viable alternate to Welitsch during the 1940s.

  on November 1, 2008 at 11:03 PM
• NYCOQ says:

  Ms. Isokoski first came to my attention during her run in La Juive at the Met. She was a REVELATION. The vocal drama & glamour was all there. I have been a fan of hers ever since. Her Strauss album (and of course her rendering of the FLS) is right up there with the best of the best (and yes I am including divas of eons past). I will admit that part of her low profile is that she does not possess the glamour quotient (read: she is not classically pretty) and she is an intellectual singer.
  Alas she has not sang often at the Met. I caught her next foray as the Countess and went back 3 more times to hear her. The last time I heard her sing the Countess; I went with a temperature of 101 degrees and stayed until her Dove Sono and went home to lie in bed for 3 days. That’s how much I LOVE her voice.

  Her Mozart album is scrumptious, her Sibelius and Finnish albums are a exqusite and her latest cd Scene d’amore may change the minds of those who thinks that she has too “cool” a voice. IMHO she is one of the greatest Mozart/Strauss sopranos singing in the world today (p.s. her French ain’t bad either).

  on November 2, 2008 at 11:34 AM
• Gaia Fioraia says:

  Isokisky has a lovely voice, reminiscent of Schwarzkopf, and a nice manner, but boy is she boring! Her Mozart arias CD is one of the most boring CDs ever. She might be singing the vaccaj’s songs for that matter. Shame, I agree on the voice and technique quality.

  on November 2, 2008 at 1:11 PM
• Sanford says:

  I have 3 words in rebuttal for those who think Fleming was or is a great Mozart singer – Ameling, Mathis, and Stich-Randall. Not to mention Moffo (listen to her Laudamus Te or Et Incarnatus Est, for example.

  And today while in line for Damnation of Faust tickets, I was subjected to Hildegard Behrens as Electra in Idomeneo. Ouch!

  on November 2, 2008 at 11:10 PM
• pavel says:

  Sanford, do explain. Where were you waiting in line? Was someone playing a video of Idomeneo? Or did Hildegard herself show up to serenade the crowd in person?

  on November 3, 2008 at 12:49 AM
• tamerlano says:

  I have to agree on Soile Isokoski. The voice is really beautiful, and it blooms magnificently in the upper register. She is not a glamorous woman though, and it isn’t likely she would be much loved by Americans like Fleming is. Still, her singing is gorgeous and, in the right repertoire, deeply felt. Her singing of “Befreit” breaks my heart every time…that great vocal climax when the organ comes in…great stuff.

  on November 3, 2008 at 1:42 AM
• tamerlano says:

  Oh, Sanford, Moffo’s Mozart IS wonderful…her “L’amero sare constante” is absolutely ravishing singing. She could be naughty singer sometimes, but Mozart seemed to bring out the best in her. Clean line, fabulous intonation, and a glamorous voice are all in evidence.

  on November 3, 2008 at 2:02 AM
• kashania says:

  I have Steber’s ’59 Donna Anna from the Met, opposite London’s Giovanni. It’s true that the voice was a bit past its prime. There’s some shrillness at the top. But she rips into the role with a balanced combination of artistery and passion. Her “Non mi dir” is wonderful.

  on November 3, 2008 at 5:15 PM
• mrmyster says:

  #58 Mme Kashania: Ref Steber’s Donna Anna broadcasts, do try to hear/obtain the 1957 one — light years better than the ’59; I agree with you, she was worn and a bit shrill by ’59 — of course the passion was always there.

  on November 3, 2008 at 7:22 PM
• kashania says:

  mrmyster: As a gay man, I’ll respond to “madam”.

  Is the 1957 performance also from the Met? I’d love to hear it. Big Steber fan here!

  on November 3, 2008 at 8:10 PM