parterre box

105 comments

• brian says:

  why would a diva who has sung sonnambula all over the world say “scandale, but what do I know about Sonnambula!”

  one would think she’d know a lot about sonnambula.

  on March 3, 2009 at 3:04 PM
• Drammy says:

  brian, she was making a joke ;-]

  on March 3, 2009 at 3:06 PM
• Not Peter Gelb says:

  Yes, let’s take a closer look at the voices from the past. That Pav guy. Nice voice, the top frayed significantly after the early 1980s, but the man couldn’t read music. Not musical at all. No respect for the source material — everything sounded like he wrote it. Domingo has kept his voice longer, although the top was always a strain for him. The Met has transposed nearly eveything for him for the last 20 years. Sutherland? So fat and ugly and her voice could go seriously off the rails at any time. Callas? What a harsh voice, like steel being sawed. And she missed more glory notes than she hit.

  That said, they’re the best 4 of my lifetime. You can nitpick anyone.

  on March 3, 2009 at 4:14 PM
• Aliprando says:

  I’d really love to be enlightened about the comment at 30 complaining that Florez doesn’t have that Tagliavini-Valletti “smile and sweetness”. Just how many “smiles” does Elvino have in his role? None in Act 2, except perhaps a couple of bars at the end (but a transport of joy is more than a smile). No smiles at all in Act 1 Scene 2. Perhaps Act 1 Scene 1 then ? The mood of “Prendi l’anel” is rather solemn and that of “Son geloso” is jealous-repentant. Sure there may be a few smiles in the associated duets. For me, based on the text and music, Elvino is not a “smiley” role . And how “sweet” is the singer supposed to be when for much of the role he’s jealous, angry, despondent, betrayed etc. I guess the comment is a generalised one, made to damn a fine singer of today by comparison with someone’s dead idols.

  Maybe Florez isn’t the equal of some voice from the tombs, but those of us who actually want to see and hear a LIVE Sonnambula are sure not going to be hearing any of these mythical heroes (some of whom, like the excellent Kraus, were criticised in their day). I’ve heard Florez as Elvino live in London, on the decca set with Bartoli and various “live” recordings. He sings accurately (can we really take that for granted?) and with elegance, style and taste. I’d say he’s as good and persuasive an Elvino as you’re likely to hear today.

  But then I’m with Constantine A. Papas who on a recentish thread (Mme Cedolins’ dress) kind of deplored those who never say anything positive “looking always at the past and living in the past”. Oh, is that the same Mr Papas who came out with the “same old, same old” above ?

  on March 3, 2009 at 4:17 PM
• Jay says:

  Sanford did a great job of hosting the live chat, at least the first act, because I bailed out after that; couldn’t take any more of vinegary Dessay. The homophobia I witnessed was distressing. Not sure what happened in the second act. Sonnambula can work even in a big barn like the Met if you have the right singers and the right production and the right conductor.
  As for Mary Zimmerman, I saw her Argonautika in D.C. in Jan 08; it was tedious and in many ways infantile. Renee, put your foot down and say you don’t want Zimmerman directing you in Armida.
  Finally, JDF is something an acquired taste. He can be very good, but he can also be bleaty. Larry Brownlee is coming on strong and to my mind has a more listenable voice.

  on March 3, 2009 at 4:43 PM
• mrmyster says:

  Whew! Where is the truth???!!! Well, as usual I’ll have to attend the HD theatre transmission or listen on Sirius to subsequent broadcasts to find out. Ironically THE NEW YORKER
  that came yesterday contains a long interview with Dessay that addresses many topics here considered. Not to miss, folks. As for #29 Almav, if Mary Z. said Sonam cannot be staged in 2009, she may be right; my question is, why stage it in the early 19th C. when it was written. Well, there IS one answer — the music. The silly little opera is beyond help, but the gorgeous memorable melodic music is the essence of bel canto and should be treated with respect and not trashed up with an irrelevant production.
  Zimmerman is deplorable, everything about her is, especially that she is English and brought over from London is contemptible. Boo hiss Gelb & Co.
  Buy American, you dorks! God, I hate that English screwing around with ‘concept’ productions. This too shall pass, and if and when we get some more good bel canto singers, opera will improve.
  B.T.W. NEW YORKER says essay is age 43. She seems to be getting younger. Anyone have an idea of the true number?

  on March 3, 2009 at 5:07 PM
• Drammy says:

  Mrmyster, wikipedia says Dessay was born in 1965 -> she is 43. I’m inclined to believe it. She is one of those pauvres who occasionally looks older than she actually is.

  on March 3, 2009 at 5:19 PM
• Drammy says:

  Argh Mrmyster I am too cheap to buy that juicy-looking New Yorker article. “Briefly describes disagreements between Dessay and Zimmerman during a production of “Lucia,” at the Met, which Peter Gelb helped to smooth over.”

  I want the scoop! Disagreements, really? Did Zimmy give in to Dessay’s wunderbar ideas?

  on March 3, 2009 at 5:23 PM
• Inquest O'Redger says:

  Jay, Renee won’t care who’s directing, as long as the frocks are by Lacroix/Dior/LL Bean, or whatever.

  on March 3, 2009 at 5:28 PM
• La Cieca says:

  Mrmyster: Mary Zimmerman is American, a graduate of Northwestern University and her career is based in Chicago and Seattle.

  on March 3, 2009 at 5:29 PM