“…poking fun at opera the concept… which is nifty to do within an opera – thumbing one’s nose at something is often a more thought-provoking tack to take than, say, just redo-ing the typical yawnfest Sonnambula.’

Indeed, what is Ariadne if not poking fun at opera? Only it takes larger-than-life singers to pull off the fun-poking.

Re: #34

Netrebko and “scupulously controlled” do not belong in the same sentence — nay, in the same universe. Netrebko and “adorned” will depend on whether she can actually do the adornment in question or not. But Netrebko and “showing no signs of study”? Fer sure.

ACTUALLY, I like her voice and overall package a little better now than then. It’s fuller now throuohout and this was apaprent when she overpowered Florez in the middle and lower registers. At the time of the referencedyoutube clip her “fach” was PERFECT for Olympia and indeed that performance is IMO an example of an aria performed to vocal and musical perfection… HOWEVER IMO her voice is actually “warmer” and fulelr now overal- just a little more “intense” and sometimes somewhat strident in the upper registers as she has lost some of her highest notes, but HELLO that’s part of aging. The great thing is that, unlike most high coloraturas who crash and burn when their voices begin to change into lower rep, Dessay has made an very admirable transition into the heavier bel canto rep. Thus she has stretched her prime to over two decades thus far. What a phenomenal career. IN YO FACES!

1. I’ve heard “legendary” simgers perform this opera worse in their primes.
2. Hell with the naysayers, Dessay was FANTASTIC. She has never had a dramatic coloratura voice yet projects very well. I’ve heard her better, but giving the awkwardness of the moment, she was great. (the blocking was VERY diffcult and one one of her highest notes they were practically THROWING her in the air!!???)
3. Diego Florez was very good however the person who discussed a nasally sound has a good ear. He DID sound a little “parked in the front” at times and did not project as well as i have heard him before, but when he did open up the high notes were tremendous.
4. Dessay knows how to really work the hall as well as any soprano I’ve heard. Sure, she may not have the size of a Callas, (but neithr are they allowing th few that might have a dramatic top into the big hall contracts either!!!) but she sings within herself AND and the edge dramrtically and musically. These days such a combination is a Godsend. Both Dessay and Florez have a phenomenal sense of musicality for coloratura. They make a suberb couple (musically!)
5. The rest of the cast was a little boring. Lisa had some itenresting toens but this wasnt the best role for her. The Rodrigo has a terrific voice but covers his vowels too darkly. It soudns mastubatory and boring.
6. Don’t know why everyone was booing. Yes there were problems with the production (to me the coninuity was fucked) but I also loved a few of the moments, like the ARIA on the blackboard and the interesting use of the platform for “Ah non” which actually captured the moment quite well!

Ideally Gelb should have been the one, but he is too busy lining up “starts” to replace the stars he is already contracted and in the process pissing off a lot of 1st line covers.

He should have the sense, but he knows marketing, not opera. He thought that so long as there was Dessay and Flores in the cast the audience would not notice what was goin on.

After all, “I gave you ND and JDF, who would pay attention to something like production values when there is DESSAY & JUAN DIEGO on the stage?”

Serves him well…

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

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 ?

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

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

I’m not sure where you are located by last night was available via a free stream from the Met. No Sirius subscription needed.

Sonnambula is a lovely opera with some gorgeous music. No one claims it to be a masterpiece. How many operas are? It is one of the few bel canto operas that have remained in the international repertoire. (Barber, Lucia, Norma, Pasquale and Elissir. Cenerentola? Italiana? Puritani? the Donizetti queens? Fille?) It is what it is. There’s no need to “improve” or “modernize” it. You may think of it as a valuable museum piece. It doesn’t have to be “relevant” to a modern audience except as an example of a bel canto opera from the first half of the XIX Century. You either appreciate it or you don’t.