parterre box

14 comments

• wenarto says:

  La Cieca, after watching this, I realized that the DGG lucia duett with Netrebko and Villazon was made using robot opera computer to correct their pitch.

  If I can make this Rossini Cat Duett with my own voice (both cats sung by me), DGG can do anything to make Netrobko and Villazon look good

  http://www.youtube.com/watch?v=5DHxO6qGos0

  on January 31, 2009 at 10:47 AM
• JAG says:

  Looks just like Terfel!

  on January 31, 2009 at 10:52 AM
• Indiana Loiterer III says:

  I have a feeling I’ve seen a Regie production that looked just like this clip…

  on January 31, 2009 at 11:01 AM
• Aida Lottapasta says:

  How many singers have wanted to do that to a conductor… or vice versa!

  on January 31, 2009 at 11:30 AM
• Constantine A. Papas says:

  This guy looks like Andy Richter, the ex side kick of Conan O’Brien.
  This blog has the cream of the crop of opera critics some of which are also trained opera singers. Many have come hard on Netrebko and Villazon, and justfiably so. On the other hand, a reminder is in order.
  The human voice is the most delicate, rarest, miraculous, unpredictable and the most difficult instrument to play.
  Instrumental players have something to hold on: sting players have a bow; pianists have keys; brass and woodwind
  players have valves; and drummers drumsticks. In other words, they all have tools. Singers have nothing perceptable to the outside world except for two folds of tissue they rely on: the vocal cords.
  If you look at the larynx of millions, the vocal cords look alike with the exception of minuscule differences in length and thickness. How these two folds of tissue can produce sound of Caruso, Gigli, Bjorling and Callas, to name a few, it will remain a mystery, a rarity and a miracle. Cracks and pitch slidings will always occur and are parts that show the fragility of the miracle instrument we call human voice. And nerves will always haunt opera singers.
  Well, do we give them-opera singers that is- a free pass? No, but we have to undrestand the limitation and temperament of their instrument. When a violinist perform a concert with an orchestra, like Celveland or NY Philarmonic, and breaks a sring of his or her Stradivarius or Guarneri Del Gesu, nothing happens. The violinist, within a second or two, grabs the violin from the concertmaster and performance continues. So you, guys and dolls, opera heavyweights show a liitle mercy!

  on January 31, 2009 at 12:34 PM
• WindyCityOperaman says:

  But it IS Andy Richter! And he does look like an opera singer!

  on January 31, 2009 at 12:47 PM
• WeillFan says:

  At first glance, I thought they had employed Anthony Dean Griffey (but it is really just Andy Richter in what is probably a Conan O’Brien NBC-TV sketch).

  on January 31, 2009 at 2:00 PM
• dorion says:

  Incidentally, is there a dumber hostess than Margaret Junkwait? She sounds very uneducated in opera in general. During the first intermission today, she said that she had googled Filianoti and found out that he has recorded some unusual material, which just turned out to be less known works by Rossini and Donizetti, hardly what you call unusual.

  She also agreed with Ira Siff on the subject of extreme high notes, when it was obvious that she didn’t know what he was talking about. Lame dame.

  By the way, Filianoti sounds TERRIBLE in the beginning of act 2. Get him off stage. GOD! Where does the MET find these tenors, Duane Reade?

  on January 31, 2009 at 2:41 PM
• Operacat says:

  Two years ago. .. even last year. .. Filianoti sounded like the next great tenor. I was looking forward to hearing from him again this year. It is sad what happens to voices in such short times. and the Met has to sign contract 4 – 5 years ahead. I sure would have signed him based on last year even.

  on January 31, 2009 at 2:47 PM
• Constantine A. Papas says:

  Today, Filianoti is a sad story, even in the last act. Let’s leave it at that.

  on January 31, 2009 at 3:42 PM