say it loud and there’s music playing
In honor of tomorrow night’s role debut at the Met.
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Balls of Christ!
Who sang Almaviva next to that? Vladimir Atlantov?
Had she eschewed her two attempts at interpolated D? or E flat? (I assume she is singing it in F) it is sort of okay. The high notes sure do work a lot better for her then than they do now. She is also (sort of) pretty.
And people think casting at the MET is strange!
OMG! Ghoul as Rosina? She really kind of makes me appreciate Trebs.
This must have been a LONG time ago. How old was she when she did this?
back when she had a middle and bottom, sort of. Domingo didn’t sing the dress? Why? She is no adriana, and I fear he ain’t a Maurizio.
that brings back bad memories of Pique Dame from Novermber.
I think I prefer the wild “Sempre libera” that La Cieca posted a while back.
jatm: I believe her Almaviva was Vickers.
DAMN…those Russian girls just go for those high notes whether they have them or not (..and they don’t).
The voice is way too heavy for the role, yet surprisingly there are parts that aren’t so bad. She has been pushing the sound for a while now, but I think this clip shows that she was meant to sing the big roles from the outset of her career. I’m going tomorrow night and wishing her the best as always.
She looks a bit like a plumper version of Lisa Edelstein (Cuddy) in this excerpt.
Well, her Pique Dame was quite good and strong in my opinion. And although I’m used to the trademark versions of Olivero, Tebaldi and even Millo, I’m quite sure I won’t be disappointed with her Adriana tomorrow night. Domingo was surpised me with his never ending energy in Iphigenie last season, I’m crossing fingers for him as well. He always gives a singing lesson, at least in “legato.”
I don’t doubt in these days that think Netty is a coloratura, that Fleming has any taste left at all, and that Villazon and Kaufman are viable tenors, the loud train wreck will be acceptable. She is a hack.
The only soprano to ever ASK for Adriana and have it given her with no struggle because Gelb knows nothing and needs to thank her for using his wife, Ponselle left the Met when not given this, and Tebaldi had to BEG for it. And she, who will not know at all what to do, was given it gladly.
Shaking head, that house is in trouble. and without Domingo no one would have to gone to see this.
Such a cow. At this point, no high notes in Macbeth, NONE in Tabarro and NO ONE KNEW. This is a role for soprano’s who have no high notes right? She and Lamos probably think she is an actress. I will go as well, and laugh my ass off at the Russian version of what they think is verismo.
In the light of the response to this clip, and the posts of the last week or so, I suggest that this site now needs a strapline.
‘parterre.com- the website where the posters really, really hate opera singers’
Look at the number of Turandots she is taking on over the next year or so. The end is nigh…
amerjaquino, i agree with you. actually i sense a tremendous amount of anti-russian mysogyny here. why such nasty and personal commentary against netrebko and guleghina? sure, call them bad singers or whatever, but to call them whores, cows, pachyderms, etc. is ridiculous. and all that attention paid to their appearance, which is funn, since they are both quite attractive ladies.
stranger things have happened in opera. i was browsing at a store once, and there was an eva marton CD, in which she sang things like “mi chiamamo mimi”. marton! of all people. bumbry recorded “depuis le jour,” which was — shall we say — not so successful. dimitrova sang quite lyrical roles early in her career, like trovatore leonora and amelia boccanegra. those would have been interesting.
I knew there was no way they would entrust Villazon with a worldwide HD Transmission. Tonight’s tenor (what’s his name?) will sing Edgardo.
Lucky Pierre- I find that it’s a useful rule of thumb, with Netrebko in particular, to discount anyone who calls her a whore. There are plenty of things which can be said, and should be said, about her rep choices- but I tend to discount any post which is gratuitously offensive. What seems to have been revealed by her Lucia is that this is not a part for this singer, at this time. There is an ongoing discussion to be had about what she does next- and I agree that her antipathy towards Tatiana may be something she needs to rethink, to give just one example. But to call her a second cast amateur, or a lazy artist who can’t be bothered to prepare properly, or worse, is absurd.
I’m slightly bored as well, to be honest, with the constant comparisons with dead or retired singers. Callas is dead. Sills is dead. Caballe and Sutherland are retired. We can declare the end of history, or we can look for the singers who will make history in their own right. Netrebko- or Fleming, or any of the ailing tenors- may not be as glorious as the golden age singers, but constantly to slag off current singers as compared with older ones is barren and sterile. And, I would suggest, unfair.
Go amerjacquino, you are so right!!!
well, when this Rosina says “don’t fuck with me or else” you actually believe it.
Could you imagine what would happen 3-4 years latter when the count dares to look at Sussana? it would have not been Porgi amor, it would have been Starke Scheite. Opera over..
Let me rephrase that. it would have been “Ecco is baccio di Rosina!” Curtain.
when they hold their own against the past singers than they are worthy to be called great. Sorry, if you sing Lucia and are sloppy with no high notes you are not worthy of comparison.
Anyone can be great today most don’t know great singing. But for those of us who do, sorry great is the word.
#22 OMG :
“..most don’t know great singing. But for those of us who do, sorry great is the word.”
OMG, please…lol…that’s so laughably self-important. If you think that your chronic nastiness comes off as someone “in the know”, then you’re delusional. “Sorry” is the word.
I agree with armerjacquino…comparing the living with the dead is futile. Butt, I can say that the final scene tonight must have looked a lot more effective than it sounded. The ovation was tremendous. I kept rehearing Dmitri and Renee.
I am not knowing what is “pachyderm”. Erwin came all over dictionary durink workout and is too sticky to be consultink.
Kashania #7: Well, if so, you woulda heard them at least.
FW #25: that made me laugh
Little Stevie: It does indeed show a big spinto voice, and the top is pretty easy for her. Florid technique is on and off, even back then.
I find it odd that she would attempt 2 traditional ornaments that don’t suit her even on her best day, rather than come up with something different on her own that would have worked better for her voice.
But when I consider a moment longer, I realize that is what she’s done all along…
Does everyone remember on the most recent Tucker gala, Joyce DiDonato sang this and Guleghina sang Pace, Pace mio Dio and Aida? I wonder if Guleghina said to DiDonato, “You know, I sang Rosina back in the day too.” In fact, I would be very interested to know JDD’s opinion of this performance.
The only thing sorry are the ones who don’t “know”.
In every field, you have to top the ones that came before you, or at least equal. Now a days, you poor saps, you are happy if the tenors finish with any voice, if coloratura roles are sung in white, non bel canto tones, running all over the stage with no real legato and now, no high notes or what they call virtuosi, the accomplished singer showing off their technique. They don’t exist. I am angry, but hey, each generation gets the singing they deserve. Wallow in the mediocrity, you work hard for it.
Odd that Guleghina was singing this piece, or this role, but that does rather seem to be the way in the Russian companies – young singers sing everything and anything night after night, don’t they?
Doubtless I’ll be told I know nothing about opera now – Nothing! -, but this wasn’t that bad – just a bizarre aria for such a weighty voice. One unwise top note and some fluffed coloratura aside, it was reasonably successful, and certainly an interesting curiosity.
Why is it that everybody really wants her to fail as Adrianna, when everybody, pretty much, seems to want Villazon to succeed and feels sorry for him and his difficulties?
One unwise top note and some fluffed coloratura aside, it was reasonably successful, and certainly an interesting curiosity.
oh brother. would that be acceptable criteria anywhere else.?
He did a great surgery on the brain except for that hemmorage and the bleed that claimed the man’s life, he was a good surgeon. roll eyes.
And Guleghina singing adriana? Mattila singing Manon Lescaut. The question is WHY? Guleghina barely had the notes for Tabarro, and place her supposed acting in the italian opera next to the scotto tabarro and we are confikmrd she is a rank amateur. She and Licitra didn’t have one high mote between them, but hey, who cares? It was an interesting curiosity that costs 340. a seat.
oh, and while we are at it, because the one that will not die much less retire, has had the opera lowered. The Ghoul doesn’t have a middle voice and no bottom audiable.
Why are we to root for this over the top persona on stage emoting so much she feels and we feel nothing? Not a voice for this opera plain and simple, but keep hiring Gelb’s wife and keep him indebted for that. Turandot is around the corner for that screamer, scream fast dear and than ship off.
At least I want her to be a successful Adriana, but my god, she has no expression, no good phrasing for this role, just slavic balls, and worse…she has no chest. I want my sopranos with lots of chest voice, caballe-like. Even renay puts more weight in this part of the voice. Call me tasteless, but I want it. I saw Ghoul as abigaille ans she had no low notes.
Many of the great singers you probably admire, OMG, have probably been excused for some unwise top notes and some fluffed coloratura. Things are rarely perfect, and when they are not, it doesn’t follow that ipso facto they are a worthless disaster.
Can’t help thinking of Gelb: as Ko-Ko (ther executioner)in Gibert & Sullivan’s Mikado singing new verses:
“I have a little casting black book!
So many vocal names have been added to it.
Sooner than later, you will hear my familiar sounds.
You know that delightful little ‘chop-chop-chop’.
As I get round to hacking off the voices, as a fun skit.
Of people said to be curruntly rich & rare, but slop.
The names Of those stars’ in that little black book.
It is after all.. part of my promotional arsenal kit!”
That “Una voce” would get a “C” (or worse) in any decent conservatory. Some of us might go over the top in our criticism, but there is no excuse for sloppy singing and lack of a bottom range if you are going to sing such roles. I think the vast majority of people who love opera are just frustrated at great talents such as Netrebko showing such a lack of preparedness when getting on stage. That is not acceptable in any age. Of course you are allowed a bad night, but that is not the case with these ladies. And unconditional apologists are probably worse than some of the most vicious critics. We only want to hear what we want to hear. Some of these singers should have one or two people around who will tell them what’s what. I loove that anecdote Sills told about getting a phone call from Miss Liebling after a performance of Faust to tell her her thrills in the Jewel Song were sloppy and she had to be at the studio the next day to work on them. Now they don’t even bother to thrill (and Netrekbo can actually do it; that’s what’s irritating).
What is it with all those Slavic ladies,while we are at it.
” …Dollinks! I will be vrisch! Vrisch! he said! Vhis man . he tell me that I can make lots of money in the Vrest. All I have to do is sing in things like Lady Macbeth, Nabucco,and lots of Turandot. He tell me I get sometimes chauffeured car, very nice hotels. I will be able to buy jewels and clothes..”
How many similar scenarios of promising (but bedazzled) eastern European singers have we seen, over the years. Apparently only too ready to sign up for ‘throat chopper roles’,sing anything and have a short career.Their Slavic particular style, singing technique so often unadapted- grossly unsuited to many Italian and French roles……requiring different placement in the voice…but they ‘do them’ or shall we say ‘F>>>>>>>> up not only the roles but their voice in the process’
In the wings somewhere, we hear some voice call out: “Next!”
I think we are all being a bit bitchy about early roles. Just look at Caballe’s early roles in Germany, the woman sang just about everything, or Sills who sang IL Trittico and AIDA in her early career, many singers have to grab whatever roles they can get or are offered to them. To imagine that young Russian singers under the Soviet system had much say in their own careers is rather naive. You sang the roles that were given to you. PERIOD.do discussion was permitted. young singers are often offered roles that are not appropriate for them later on but that is part of the training process. Callas was a Wagnerian soprano when she first started out.
Harry, I heard the Mariinsky Theatre on 2 consecutive nights last weekend and was stunned at the quality of the singing across the board. All of the singers had excellent techniques, in the modern sense – no hint of the over darkening that even the young Borodina did (check YouTube), no slavic wobble, just excellently produced, full bodied flexible tone. Yes they were singing Russian repertoire, but the vocal production was characterised by an openness and freshness that would translate ideally into Italian or French roles. This has to be a credit not only to the Mariinsky Theatre itself, but also to the apparently quite large number of conservatoires in Russia, the Ukraine etc that train these singers when they are young.
Therefore, Harry, I think your rash generalisations above are uncalled for, out of date, and a little ignorant.
Perfidia, that Una Voce wouldn’t happen in a decent conservatoire. If a student pitched up with a voice like that in a decent conservatoire, she might get given Rossini to sing as an exercise to try to encourage some vocal flexibility, but they wouldn’t have her do it on stage in front of a public, or in a situation where she would get graded on it. If a Guleghina turned up in a decent conservatoire, she’d be guided towards appropriate repertoire for her voice type and age, and the panel at her final exam would, frankly, be bowled over and utterly thrilled that a voice of such possibilities was graduating from their institution.
Perfidia(comments 35#) is right.
The anecdote about Sills and her teacher’s reaction is the thing – the savior- that protect singers. A singing coach is the personal trainer guarding the vocal athleticism of a singer. The day singers disregard the advice and chastisement (if need be) of the person, proven of benefit to them….is the start of the downwards slippery slide.
There is nothing more sickening than a listener detecting hints, a singer is about to face trouble with their voice. Quickly reinforced: when one makes an extra judgment/prediction based on what the singer is contracted to do in the near future. There is no joy whatsoever in coming to this realization. Is there time in the interim to ‘fix the problems’ (should they take the teaching advice of their teacher to get rid of the acquired ‘bugs and habits’)? If the singer is heading into heavier roles, the consequences can look dire indeed. There is no need to quote examples, as we have all know many such classic examples in the past.
Sadly too many over confident singers do not wish to see the pointed – out problems. They prefer to listen to the opinions of their fans and hangers-on like managers, agents and other assorted flatterers ‘making a buck’
Like people here that say how awful some remarks are, in the face of sheer plain fact. They do the singer no service defending the indefensible, whilst showing their own musical judgments ‘are down the proverbial ‘press button’ Swanee. Soon, it can be a case of toughened vocal chords and developed physical ‘nodes’.
Oh! do we hear the sounds of ‘cracks’ and ‘breaks’? Press agent goes on the job and works feverishly to keep putting out the line “………is suffering form a severe cold or flu” / or a ‘respiratory infection’ Heard it all before, have’nt we!
Cocky Kurwenal : Yes………and some of the ‘now out of date’ Slavic technique singers and their (in some cases – quite recent) examples of French and Italian roles is best forgotten too.
At the moment in some quarters it is considered ‘very chic and very high Art’ praised to the high heavens, anything to do with Russian singers and theaters etc. Dazzling with the ‘exotica’, since so many Westernites have never seen a production of some particular work of theirs. At the same time, these people are only too willing to recognize a fair collection of ‘pig’ productions and performances that have been laid down on CD or DVD unfortunately for posterity.
It is bit like the old attitudes surrounding tours: ‘OH! OH! The Bolshoi Ballet is coming to town…they do it best, you know!’ Forget the numerous examples that exist on video of ‘withering cold dead sides of meat trying to entwine’ and get amorous with each other. They are hilarious screaming campy documents.
Villazon and Kaufmann certainly ARE viable tenors, but possibly not in Domingo/Vickers/McCracken repertory at the Met. Villazon should have been fine for Lucia but he has been heaving out his roles in very large theatres, including several – Des Grieux for instance – which need a bigger voice than usual in theatres such as Dorothy Chandler in LA and the Teatro Liceu Barcelona. After his Don Carlos in Amsterdam – which was a push – he should have thought twice about singing the longer version at Covent Garden. Kaufmann’s voice is darker and his technique sounds more secure. There was no sense of strain in his Don José’s or Cavaradossis at Covent Garden, even if the voice sounds a bit Germanic. Reports of his Des Grieux in Chicago were unimously positive. I’m sorry, but I think we are lucky to have both of these singers and it is little short of a tragedy that Rolando has been persuaded by siren voices that he is “the new Domingo”. He should really think hard about his repertoire and where he should sing what. I hear he is scheduled to sing Idomeneo in Paris and he’s thinking of Bajazet in Tamerlano. He should probably stick to the lyric-romantic rep only in theatres the size of the Staatsoper in Berlin or Glyndebourne. But maybe he is too famous for those theatres now.
Reply to Harry’s comment #36 & #40:
And you, dear sir think that you know it all and with your way of insulting you can “improve” the “poor” “dumb” Slavic singers that are only after chauffeured cars and money?
do you think western singers don’t have bad advisers? you don’t think some western artists are after chauffeured cars and money?
well….. no true (opera) singer is! singers (those that last) are interested in singing, singing as much as possible.
a singer like Guleghina who has been singing for over 22 years is a star who knows her voice, she surely does not sing for the money anymore.
Why is her Rosina “considered” bad? she was in her early twenties, and even though she has (successfully) been singing for over 20 years you think she is singing the wrong repertoire.
but of course you know better! why don’t you then just write a letter to all the singers that you think might need your priceless opinion/judgement – of course NOT anonymously, not hiding behind a nick, but as a human being to another human being. change (your)world! make it a better place!
re 18 amerjaquino –
“But to call her a second cast amateur, or a lazy artist who can’t be bothered to prepare properly, or worse, is absurd”
Um no, it’s not, it’s fact, which I know from both friends working at the Met, and from the dubious product she (Netrebka) has put on the Met stage – she shows up having not studied the roles properly (they had to shove whole sections of Puritani in her head that she didn’t know), and then proceeds to work out what she will and won’t do during performance – ‘let’s see, I’ll try the Ebs in the opener – oh, I don’t have them anymore? Then I’ll change that for the rest of the run. It was the same in the Romeo – you never knew if the D’s were going to show or not. She’s a musical hack not because we say so (although that would be enough), but because of the disgracefully shoddy product she throws out on the Met stage.
Oh, and she’s probably not a whore anymore – I mean, she pretty fat at this point to be trying to sell it, right?
Sounds like she is chewing her tongue.
44: Yep, that’s exactly the kind of post I was talking about. Thanks for proving my point.
what a classy opera forum this is…. dear Balabanov! thank you for your interesting insight on the life at the MET, may be you are one of these people you are referring to. How did Anna upset you? are you an ex agent or an ex-lover and ex-friend?
lately i have the feeling parterre box became something like a Revenge platform of the dumped.
each subject is filled with negative comments, as if this is the only way to digest all bad emotions.
i assume you are either an opera singer who had bad luck (lets focus on bad luck, not anything else) and was not able to succeed and therefore trying to put everyone else down who might be a “threat”. Or you are just an “ex-agent”.
I heard from my “friends at the opera” that there are some opera agents that go on these forums and write raving “reviews” about their artists and destroying “reviews” about the former artists.
Now this is not only to you dear Balabanov,
Do you (amateur-pseudo-critics) really think that real singers read this? do you really think you can “improve them by writing bad about them? do you really think you can make them go out of business? wow, then some of you really need some therapy!
Balabanov, your argument is at best circular, and your “proof” that Netrebko does not study roles properly is a single (admittely high profile) occurrence. I have not heard any suggestion that Netrebko did not show up at the Met unrepared musically for Lucia. True, it may be that the part was not quite back into her voice (assuming it will ever be completely back in her voice) or that she is fighting a cold, or for the first performance she had PMS or jet lag, or it may even be that the part never was a good fit for her voice. But none of these reasons mean that she was unprepared musically.
Further, none of these reasons are intended as special pleading for her, any more than they can be used as a blanket excuse for other big artists who occasionally perform at something less than the expected (or demanded) level. Pavarotti and Caballe notoriously showed up unprepared musically: Pavarotti’s laziness was so bad that the Met had to cancel both performances and a recording of Forza because he never got around to learning the notes.
Any number of artists sing when they are in less that great from, whether they “announce” or not, and sometimes what they are able to do falls short of perfection. So if you’re going to lash out at Netrebko for singing when her voice was a little muzzy, then you have to slam Hampson, Fleming, Gheorghiu and everyone else who sang sick this season.
I believe elsewhere the commenter Padre has started a list that only begins to scratch the surface of first-class artists who at one point or another chose to sing at the Met roles that were wrong in their voices. So if you’re going to call Netrebko egotistical or self-serving or whatever you want to call her for taking on Lucia, then you’re going to have to apply the same adjectives to (for example) Marilyn Horne for having the “arrogance” to attempt Amneris.
The cadenzas with the high Ds in Romeo both have lower options that many artists have sung. The difference with Netrebko is that she didn’t set in stone either with or without high D, she went with what felt right on that night. Since both these passages are solo bits in which the inclusion or excision of a high D does not affect either the rhythm or the harmony, what the fuck skin is it off the asses of your friends at the Met whether she touches a couple of high notes on a given night or not?
Phrases like “disgracefully shoddy” reflect a lot more on you than they do on Netrebko; or, not to put too fine a point on it, they make you sound like a pissy queen who spends his life looking for stuff to hate. And, let us not forget, women to call “whores.” Why in the world would you want to present yourself to the world as a caricature of a bitter homosexual?
Brava La Cieca! That last paragraph can serve as an automatic response to many posts on this site.
Harry at #41, that is no kind of answer whatsoever. You’re implying I was enthusiastic about the Mariinsky because it would be a la mode to praise them. This is nonsense. I went to those operas with preconceived ideas about the style of singing I would encounter, only to have them shot out of the water. I would go so far as to say that the high quality of the artists in the casts on both nights had a consistency across the board that I have not seen equalled at the Met or Covent Garden. I have seen individual better singers at these latter 2 houses, but I have never seen a whole ensemble perform at such a high level.
balabanov,
i bet anna would still get more money than your sorry bitter troll ass ever would, if she wanted to.
Regardless for the miscasting, she did sing so much better back then – and she sounded Russian – not that trainwreck that she sounds like now.
Netrebko and Hvorostovsky also used to sing much better as well.
Hvorostovsky sings better than ever at the moment, based on a recital I went to late last year. His voice seems to have grown and got darker, which makes it generally more useful for the sorts of roles he seems to want to do.
VerdiLover, I listend to Hvorostovsky live 2 years ago, and comparing with what I recently heard by him, he certainly is singing much better.
Also, Netrebko probably did coloratura roles better a couple of times ago when her voice was lighter, but the fact is that she’s now blooming to a full lyric and keeps insisting on singing lyric coloratura. Her russian album shows her at her absolute lyric best. Also her recording of Mimi show jsut how great she can be in lyric repertoire.
Netrebko and Hvorostovsky are both great artists and i have the feeling that they are improving throughout their career.
I was just impressed by that recording of Guleghina as Rosina. She did have the agility and still has it (now better obviously then before) and the high notes! It says on youtube the recording is before the international career kicked off, this would make her around 23-24 when singing Rosina.
Anyhow, she has obviously been in this business for over 20 years singing how she is singing (apparently starting as a coloratura) and it is incredible for a dramatic soprano to have the high notes (E flat in Nabucco , also on youtube). So all the discussions about the wrong singing technique and that she will soon lose her voice or is already losing it are just silly speculations of some people captivated by the green-eyed monster.
Looking forward to tonights performance on Sirius, will catch the live show on the 10th.
In boca a lupo Mme. Guleghina. I wish you much success tonight.
Everyone has a favourite and dams all others -wouldn’t it be great for once to listen to a ” singer” -not opera star , nor lyric this or that just listen to good singing -forget the bel canto nonsense -there are a million versions on that high e orc , whatever.
The last “singer ” I heard was “Podles:’ in recital
and she did more there than all the Donizetti operas rolled into one.
When you hit the opera world it is a circus ,if not a lunatic
wold of ego. Cieca ,your met crowd goes to Lucia for the high e and nothing else, don’t kid yourself.And if there is perchance beautiful singing
they can’t wait to get over with it to start the fireworks. I
believe that in the latest Lucia the fire works were not forthcoming neither was the rest “good” singing so the
crowd gets cheated on both levels. a decent singer should if they know vocal trouble is afoot ,withdraw gracefully from the performance -not have some hack mgr.
come before curtain and ask for our indulgance -they are
professionals for heavens sake , but when this happens often you begin to wonder if you are not being taken in by hacks . The last two were poor and vulgar singers. not above taking our hard earned money for the purchase of tickets and we are too embarrassed to throw our shoes at them .
yeah little stevie: ie her agent.
She doesn’t have any highnotes left and the bottom is non existent. Maybe the radio will help fool some cumbaya’s in here. Little art will survive that stage tonight with the old man and the russian who thinks she can. go ahead little train….you can do it. and we pay to see you try!
OMG (#58)
Your comment seems to place you as the Rush Limbaugh (”I hope they fail…”) of the Opera-blogging set…
Why don’t we wait and see and HEAR what actually occurs tonight,before throwing brick-bats?…I know it ain’t as much “fun” for you to do so…but perhaps a little more …responsible?
ladivina74; Obviously I offend you and it is a safe bet, my comments accurately hit ‘a few inflated targets’: bursting someone’s pretty little balloon in the process.
As for your challenge for me to write personally to singers I do not like, what in any case would be the use?
I am quite confident they are ‘doing nicely’ f…….ing up their own voices without any help or advice from me. One must leave it so they can say ” it is all my own work”. Their egos: apparently bigger than their talent,training or judgment. It is the simple Law of natural attrition at work. I did not put them up on soapboxes, expecting to be paid for bellowing and hollowing. They did it of their own driven free will! Part of the deal is to expect detractors as a consequence. If they cannot stand that…..too bloody bad!!! I will just sit and watch their predicted decline. They are plenty of singers and casting frauds around, to punt on.
I remember a friend who was alarmed at a young lyric soprano doing things like Maddalena in ‘Chenier’. I do not remember the number of performances of it we watched with this singer in one season, but they were quite a few. When it got to ‘La Mamma Morte’ each of us (on cue) in the darkness made gestures to each other of ’strap on the seat belts’. The friend later happened to be at a opera function not knowing he was sitting back to back to this singer.While openingly remarking on the state of her voice to another opera singer, his listener was pointedly frantically about who he (the speaker) had behind him’. He did not blink but said loudly “Well if no one else to going to say something ..I am!” It caused a talking commotion around the very well known Opera Company. Next season, the same singer was into the same big heavy roles. The following year…….Oh! Permanantly retired…never heard of again, since…. voice completely GONE!. This was a young singer with great promise. Instead of heavy verisimo, something like Agathe in Der Freischutz would have been perfect. That’s life!
I only hope that with the performances of ‘Lucia’ at the Met, backstage people are not being unkind by acting out the typical joke associated with it like…..’who left on …..the whistling boiling kettle?’
Cocky Kurwenal I was not trying to imply that you did not see two wonderful performances at the Mariinsky. It is just that ‘Slavic tones’ I detect in some singers, singing traditionally French, Italian or German opera tends to grate on my ears.
Please NO! To any suggestion that A.N should do the works of Richard Strauss. If they must, give her starring role in Electra! That should do ‘the trick’!
Harry – when are you going to see a doctor about “those voices” ?
you can not divide singers by the race! Russian singers are not neccessarily great or horrible singers, not all of them got the same vocal training.
when talking about the high-class singers, there is no such thing as bad singer or good singer! all depends on the taste of the particular listener.
some might say a Fleming is a great singer, some say she sounds like a cat, some say Guleghina is a blast (both ways), some say Netrebko is the first sexy opera star and others call her (i do not want to repeat it). that is the good thing about democracy, everyone can express his/her opinion, but one should not forget that opinion is not = the 10 laws!
OMG: I make no secret of the fact that I like Guleghina as an artist. I like her VERY MUCH. So much in fact that I already have tickets to 3 performances of Adriana. I will also see every Turandot next season. Her voice is not perfect – but to me she is an exciting singer. I agree the bottom of her voice is weak and/or non-existent, but I don’t think you’re correct in saying she has no high notes. In the house her voice sounds very good, and what she does on stage is often exciting. Pique Dame was excellent this year. I am very psyched about tonight!
I recognise Ghuleghina’s flaws yet she somehow grabs me. I respond to her performances. I responded to her Lady M. The voice is past its prime but she still has the high notes. She might as well as sing Turandot.
I just wish she had some chest voice.
Well, you are a fanatic for her, so have fun, but when you get home and go to the shrine of the hack, put a tape on of the Tabarro. NO HIGH note is reached. Maybe one yelled high note. ONE. I love Magda and verismo so tonight, enjoy your verismo by way of gorky park. snort.
Re: La Cieca’s post about singers showing up at the Met not being prepared, so true. Caballe in Ariadne and Aida. A real mess. And I believe Caballe mentions in her autobiography that Corelli barely made it through the Don Carlo, the last opera performed in NYC by the Met during the Bing era.
If folks are bashing Netrebko because she allegedly was prepared for Lucia, imagine the vitrol they would have hurled at some of these other artists.
We should stick with facts rather than hurling invective at singers, based on innuendo, etc.
What a HACK that Armiliato is in the pit.
Damn!!!so vile
How many TRANSPOSTIONS are we going to get??and the WOBBLES???Soounds like Ma & Pa Kettle on a DRUNK!!!
Hey Brooklyn, was I wrong.? No.
OMG:
Well…
Borodina sounds good…no?
I think she sounds very well. Little low for her as well, but a real plummy middle gorgeous voice. Placido honorable, the audience easy to please at those prices, and again, a title character without the title character.
borodina I mean and only for Brooklyn punk, who actually does know something.
OMG:
All I can pray for is…that it sounds SOMEWHAT better(it couldn’t sound much worse…) IN THE HOUSE?
I missed the first 60-70 minutes. But I did rather enjoy the Borodina/Ghuleghina duet.
this ruttenberg, is a clown. He sounds like Marty Short’s Glick.
A fat fu(( doesn’t even know about Refice who wrote the “songs” he talks about. This role is associated with Tebaldi, yes, but more with Olivero. Idiot.
it all has to sound better in house. the sirius people who are not serious about making sure the singers sound good.
Clown, Ruttenberg, on his way out. Bye you ass.
passes a handkerchief to OMG
Here you go dear; you’re foaming at the mouth.
passing on to the fop on the radio.
LOL
“cieco” e “muto”
Guleghina needs to listen to the Millo performance and imitate it to the letter. She’ll still be wobbly, but at least she’ll have style.
WHAT is she reading?
Wobbly? Millo? Listen to the tape with the sound up you idiot.
Millo was superb in this. BUY the tape and listen, there are NO wobbles.
Millo studied with Olivero. Olivero said on Radio Tre that she loves what Millo did. This was a russian housewife angry the cable went out.
best pals……little russian sisters, one whohas it, one who doesn’t.
margaret plays in her head all the time…..so much room
I didn’t mean that Millo was wobbly, you idiot. I said Guleghina would at least get the style from Millo, even though her (Guleghina’s) voice would remain as it is, i.e. wobbly.
sorry….I am furious what they are doing to this wonderful opera. sorry…..fanning furiously……
I am angry too. Sorry Padre…..
Mattila does splits for Onegin too.
boy that was bad. poor thing.
The transposition is awful
and even that is difficult — just tuning in. This is sad
The thing that irks me most about Ghuleghina’s voice is the fact she seems to be unable to sing piano. She appears to equate a piano marking with coming completely off her voice. And that is where it turns very ugly.
Well, glad this is over. I need some scotch.
well that had some good some bad. I was happy and surprised about Placido. Too low a lot of the opera but he is better than some modern voices for legato. Borodina was ok, not enough. Guleghina was a cypher until the Phedra. Some unnecessary petulence. But ok. The Poveri fiori suffered badly from pitch and it is too low essentially. Domingo warts and all was the star tonight.
She was BORRRING!!! A few could spoken moments..but the tone was ugly….Where is MAGDA???????????
A litle plug to remind you that I am second to La Cieca in presenting some good stuff:
http://video.google.com/videosearch?q=Handelmania&hl=en&emb=0&aq=f#
My 84 Videos on Google..Lots of fun!! CH
but millo’s pitch isn’t any better than guleghinas.
and YES, Millo wobbles like HELL
who is covering guleghina anyway?
Millo.
I have the whole performance of Millo as Adriana, spiderman, she is perfectly on pitch, unlike the ghoul last night… and there is no wobble. Does it bother you that that is so? If you need the pirate recording you should look it up online at Ed Rosen’s or amazon.com. Guleghina is a good singer, just not in this and last night.
don’t worry, i do have millo’s adriana.
i also have her recent attempts as tosca in chicago and at the met and her amelias in ny and paris. she is one of those singers where people just do not WANT to hear that the prime is past past past.
the only past past past, is your battery life on the hearing aid you use.
just one question:
Who did catch the live performance at the MET last night ? Cause I did get in last night and was overwhelmed! It was a fantastic performance, the whole cast was superb! No so called wobbles, no out of tune notes. Of course it was transposed, but this only speaks for the singers! Guleghina (and I have no problem to admit that I adore her) was singing as a mezzo and soprano – this only speaks for her range. Needless to say that Domingo was simply fantastic, not only as a singer but as actor. He and Guleghina were both very believable and had incredible chemistry between them. Borodina was also great and was singing at some parts rich contralto. The duet between Principessa and Adriana was extremely intense it was like a duel of vocal giants.
Armiliato was great as always. On the whole an incredibly beautiful performance that will surely go down in history.
I understand that to some “unhappy” people this “review” is a thorn in the eye, and honestly, I don’t care, because the truth is that the house was trembling with applause.
I too was at the Met last night and thought the performance was thrilling! A few (very young) people around me were giggling at first at Guleghina but once Domingo appeared they stopped. I have been to some performances this season when younger people have left after the first act – but not so last night. The crowd really went crazy with applause.
duel of vocal giants. well that is optomistic. I was there and no it wasn’t fabulous. The out of tune singing from everyone but Domingo was atrocious.
ladivina
You can’t be serious??? The house may have been “trembling” with applause–that, of course, proves it was a great performance–OY!
I wonder if JJ is going to review this one.
Nebs: Probably one of the worst Regnava and cabaletta I have ever heard—-and off pich twenty-five percent of the time.
I disagree. I think she was careful, especially in her choice of tempo but I think she did a nice job.
oh dear… off-pitch is the new word all the opera queens on parterre.com learned. it’s quite remarkable how many people have developed perfect ears in so short time…
but BEWARE you use it on holy cows like Millo…
spidman: yes, “off pitch” is a new word for me, never heard it before in my 55 years of opera going!
And kashania, dearest: are you serious, she was soooo bad it was frightening! Worse than before. She was better in the duet, but not much.
Anatema: I’m serious. I haven’t had my coffee yet but I really didn’t hear the pitch problems you did. It wasn’t flawless but I don’t know what you found so bad.
no one can say that about you dear spidey….. your pitch is dead on, you hack everybody the same. You are hilarious.
my goodness. Domingo takes credit for Filianoti and Rolando and Anna a part of his operalia? Man has no shame. He loves to take credit for everything. Spider, you must defend him or you won’t work again right?
Kashania: For a “major” singer of the role it was BAD.
Maybe for the Mid West Opera Theater of Sheboygan it would be okay!
Seriously, off pitch singing was only part of her problem. Dull phrasing is another.
I am not a big RAS fan, but her Lucia was much better; and of course, without the hype and ‘excitement” surrounding Nebs’ appearance.
I agree. RAS sang the role better (with a less glamorous tone) but I still don’t think Nebs is bad.
#115 no, you with your different impersonations are hilarious. I find it quite intriguing that people who have nothing to say about voice production or technique always come along with the off-pitch-number.
There is no singer who was never off-pitch. I even heared Gruberova, one of the finest coloraturas of our time sing a whole “Regnava nel silenzio” in different tune than the orchester played…
keep telling that to yourself. A pitch established by the full orchestra is the given pitch. when the singer fails that, he or she or things like you would be off pitch. your “impersonations” whatver the hell that means, don’t like anyone. Now you hide in this bullshyte “off pitch” chastisement. Conducting much these days?
Cieca:
You wrote way too much to respond to; but, one point: I’d rather have the singer do the all hard work before a performance than have to listen to them work at it during the performance. Yes, a performance should seem spontaneous and “joyful,” if you want. If you feel that Nebs gives you that, I am happy for you.
Appunto: It was quite masterful the way Domingo (God love him) managed to take all of today’s young stars in his loving embrace.
La Cieca – who has the russian lyrics in ABCs? help everyone, I want to sing this in russian