It wasn’t Magda Laszlo (the first Cressida) who was the wigmaster, it was Helen Lawson. I mean Nina Lawson.

I saw Ricciarelli as Elisabetta at CG in the late 80s and she was unforgettable in Act 5, and unmemorable in the rest of the part. Although that night was all about Baltsa, who was thrilling.

I don’t see Netrebko as Elisabetta, really. As la Cieca pointed out elsewhere, it’s not that long ago that she was a Susanna and a Zerlina. ‘Non pianger’ would be lovely but I think ‘Tu che le vanita’ and the duet would be a real push.

I’m surprised that nobody has mentioned Mattila in all this Elisabetta/Elisabeth talk. She’s magnificent in the Paris production on DVD.

Netrebko should be singing Tsar’s Bride, War & Peace, Betrothal in a Monsatery and Ruslan v Ludmila. Perhaps Snegouroutchka and Life for the Tsar. In a few years, maybe Manon Lescaut, Liu, Leonora and Desdemona.

I’ve read enough nonsense on this site the last 2 weeks not to trust it, including that character gloating that he predicted that Villazon was going to rest up the entire week so he could be in shape for the HD, and that’s why Filianoti stepped in etc etc. He even linked to his prediction.

If Kwiecien does cancel, there goes the only decent Netrebko scene, the confrontation with her brother in act 2. She has better chemistry with Kwiecien than with Villazon himself, as we’ve seen in Pasquale. The interesting incestuous touch won’t be the same with another baritone. All this drama made me decide to attend the matinee, I was going to stay home and listen to the broadcast. But there’s nowhere else to be but the house tomorrow.

Crespin was offered the role by Karajan, but felt it didn’t have enough to offer. She regretted that decision later, and so should we! I’m pretty sure I have a recording of her doing ‘Tu che …’, though unfortunately not in the original French. Must dig it out …

As for Freni, I’ve heard people describe her voice has sounding larger than before by the time of those Elisabettas but I’ve also read that she felt she was pushing the limits of her voice and didn’t sing the role again.

I think there are a number of roles (Elisabetta, Cio-Cio San) that have elements of both lyric and spinto roles in them, and it’s a matter of what part of the voice the heavy parts lie, and what the singer is willing to sacrifise to sing the part. There are probably parts of Butterly where Netrebko would feel a bit drowned out by the orchestra. To my mind, this is no reason not the sing the role at all. Just like there are Violettas who get swamped by the orchestra here and there but ultimately offer a rewarding performance.

Few roles fit singers like a glove. As long as the singer is willing to concede certain elements here and there and sing within his/her voice’s abilties (as opposed to trying to push the voice), then the role can be a success.