the art of the euphemism
La Cieca never knows quite how far to go in repeating what she “is told,” but since some of it seems to be leaking out anyway, well, she’ll try to be tactful. Apparently sometimes opera companies choose to use terminology like “laryngitis” and “knee injury” in order to avoid having to say “exhibited bizarre behavior at rehearsals” or “arrived obviously unprepared.”
Thanks, mme. I didn’t want to be the first one to break this, but I heard the same thing from inside the Met. CB couldn;t get through any of Walkuere, and is not terribly well-liked. DOn’t be looking for too many future CB perfs in the future.
I wonder if we should consider diverting the discussion, quickly, to musical annotation, say, before mrmyster notices and begins reprimanding. I suppose Flagstad and Traubel can rest in peace.
I had also heard that she was, shall we say, a little behind in the learning curve. Pity. An amazing opportunity lost.
Huh…that doesn’t like Brewer-I’ve sung with her (albeit as a chorister,) unprepared doesn’t sound like her. She is, however, a big girl-are we sure she’s not just suffering from a knee injury?
Simply because I love CB, I’ve been hoping it was a knee injury – one tat would force her to lose some weight. PLEASE don’t let it be lack of preparation! Major houses will put up with a lot of things – arriving ill-prepared is not one of them.
one would have to have been dreadfully behind the learning curve for the met to dimiss someone so crucial as Brunnhilde at the eleventh hour… prompters and coaching sessions can do wonders for that kind of “knee injury”.
Brandon, you are a nasty snark; be quiet.
On Brewer, I am reliably told it was/is a knee injury. Details not yet available; however, sometimes when off book she can have memory problems. It’s a puzzle so far, as I know she really worked hard with special coaching in London and LA on the Ring; so lack of preparation seems unlikely. Time will tell. “Not liked at the Met?” I wonder why? We’ll see in a year or two if she sings Turandot at the Met, which was offered last year. Too bad they aren’t doing Frau.
I think this rumor is untrue…personal sources have confirmed the knee injury to be real and, indeed, quite serious
I have heard she wasn’t too popular with colleagues and I think she as we in the south say “got a little bit big for her britches”. I remeber reading an article where she said “I have no interest in singing any Puccini or Verdi” and thats her choice alright, but seems she is having trouble with the German so what’s left. Britten?
May Rita Hunter rest in peace.
anonymous: Yeah, “Personal sources have confirmed the knee injury to be real” just like personal sources have confirmed Villazon’s laryngitis to be real.
Ahem, does this mean that my dear RV, announced yesterday to be suffering from laryngitis, exhibited bizarre behavior at rehearsals?!?! I’ve been following all the gossip about him for months, but hadn’t heard anything quite like that! Can anyone tell more?
I had heard that RV had recently exhibited bizarre behavior at Wether rehersals in Paris. I don’t know if that’s the case here again in Elixir. I wouldn’t be surpised. He is a pazzo!!
spelling correction: Werther =)
Villazon exhibits bizarre behavior on stage that seems a little “enhanced”. Sniff, sniff.
Dear CelticGoddess,
If only what you say was unequivocally true, but the sad, sad truth is that even major houses seem to be all too forgiving of ill-preparedness depending on who in question is ill-prepared.
Might I take the liberty to recall that Miss Netrebko was completely unfamiliar with the score of “I puritani” when she walked into rehearsals at the Met, having only learned the “Qui la voce.” She was, as well we all know, not dismissed.
I also pointed out just recently that Mr. Alagna was still struggling to grasp his memory around Turridu a mere 7 days prior to the opening night—information provided to me by individuals directly involved in the production who were there day in and day out.
I know of another young singer who has been receiving quite a large amount of publicity, hailed as the new young dramatic soprano of her generation, who is currently in a production of a rather obscure opera and who also arrived not knowing a note of the score and was dependent on the theater’s (a very major international house, mind you) coaching staff to teach her the role during her first week of rehearsals, requiring several hours a day of coaching.
Sadly, in this business, the rules no longer apply as they once did—or shall we say, the rules apply quite like the manner in Animal Farm: “All pigs are equal, but some pigs are more equal than others.” I surmise it would be just to present the ancient adage: “It’s WHO you know and do, not WHAT you know and do.”
Regardless, it’s a shame that Miss Brewer, who is a very wonderful artist, will not be making an appearance, regardless of the reason. I hope that, in the event that it is only a knee problem and nothing more professionally scarring that she finds herself quickly recovered.
Chevalier, is Janice Baird having *that* much trouble learning Fanciulla?
So many of these guys and dolls handed the charge of a lead don’t learn early-on they need to know their music *before* arrival. All us queens in the chorus of a Traviata production last year in a weensy house had to sing along when our “diva” showed up only knowing one aria. She then threw a hissy, had to be talked down from the ledge, and is now rewarded with a role at the Met next year. Interessink.
Baird is not young, nor dramatic, and fanciulla is not an obscure opera.
In my day we arived prepared. I replaced Zinka at my debut without a moment of fear because Miss Miller has left me *prepared*. Dr. Walter said as Leonore I looked like Peter Pan but sang with the heart and soul of the elderly gypsy Czipra.
Gladys Miller?
Okay, let’s not take this too far. Remember that Brewer was having memory problems with her Isolde in the Tristan Project well along in the game. She may not have been lazy since we were told she has been working on the Brunnhildes for almost a year – perhaps the roles simply weren’t staying in her head.
Rolando Villazon will den Rummel um Ihn nicht so wichtig nehmen.
“Man darf nichts zu viel Bedeutung geben. Was zählt, ist letztendlich Gesundheit und Menschen, die man liebt. Und dass man sich auf seine sogenannte Berühmtheit besser nichts einbildet”, sagt der 37-Jährige der Illustrierten “Bunte”.
“Prominenz ist fragil wie ein Kartenhaus. Man muss auch ohne sie leben können” meinte der Sänger, der nun bald eine neue Herausforderung annehmen will: “Ich möchte als Regisseur arbeiten”
so you see maybe he has plans already…
In defense of singers, sometimes they prepare something or they THNK they have – but then when you get in the rehearsal setting, suddenly you realize you have not learned it nearly well enough.
Sometimes it is hard to gauge and even a well intentioned singer can make a midjugdement.
CB is not reputed as ill prepared and arrogant so if indeed she was not thoroughly enough prepared, I am willing to give her the benefit of doubt.
I am also open to the idea that the Met simply preferred a much more slender singer and also if her injury is real, a more mobile one, in the part and use a bunch of different excuses instead of that.
Totally separately rumor but I had heard that the Met demanded AG to get caps and some facework done before they agreed to give her hd broadcasts. Looks to me like she went for it but I never could get anyone to second the rumor!
“Ich möchte als Regisseur arbeitenâ€
Aha. So, Villazon wants to work as a producer. The speculation ends, then.
Villazon would make an excellent stage director / producer for opera.
!7 Shagmuratova? Our Own Emma Bell? Dasch?
Dasch was horrible as Donna Anna in Salzburg. She is very overrated IMO. I heard the Pamina which was only ok but the Anna really was bad. She cannot sing coloratura at all and the top was forced. Maybe Figaro will be a better role for her. But she isn’t anything really special.
Brewer is just plain, shall we say, not too bright. I did Grimes with her and every night the church scene was a big musical mess. But I found her to be pleasant to work with
To add grist to this rumor mill, I have heard that the MET has gone so far as to “recommend” and pay for people’s gastric bypass surgeries (young artists). I am not comfortable with this. Scary Hollywood tactics, and not improving the state of opera today as far as I can tell. If a singer wants to do that on their own, that’s another matter. But where are people who understand VOICE, and place it above all other considerations? Screw the HD’s, if they are going to take opera over the cliff. I think they are a very nice way of bringing the MET to the rest of the country, and the world, but if this stuff is part and parcel of what is wrong with opera right now, then it’s not worth it.
As an actor, I’m familiar with the problem of “going on” when ill, or when there are problems either in life, or with the production, or indeed with colleagues. All of these things happen.
But I think far too many fans jump to the worst possible interpretation/supposition regarding operatic cancellations. Ms. Brewer, not unlike other large performers, apparently has issues with her knees. An unsurprising and predictable condition, when one recollects the troubles the sainted Pavarotti went through, or the thank-god-she’s-still with us Jackie Horne.
The replacement soprani are not particularly svelte themselves, so I doubt if Brewer has been banished because of appearance. Unprepared? I will not give credence to anonymous reports from folks who claim to know someone who has been at a rehearsal. That’s what rehearsals are for – learning.
Until she starts indulging a pattern of cancellation, as the benighted Villaizon has apparently done, I say Brewer is sick, and I’m sorry to lose her. Maseltov to Theorin, Dalayman and Watson for stepping to the plate.
And Messrs. Gelb and Levine better start thinking about their proposed casting for the new cycle, and how to reward the several essential alternates that they’d better have on hand.
Shut your flaps Michael. The quote said “rather obscure” which implies relativity. You don’t see Fanciulla around like Traviata.
If “arrived obviously unprepared” were a problem warranting dismissal, how is it that Netrebko and Gheorghiu manage to make a career?
Let’s think back. What was proposed? Christine Brewer was going to go BANG! ‘Where she had ambitiously decided to introduce a whole complete series of Brunnhildes in the three operas for the first time………and at the Met, no less.’ oh yes, we heard she was ‘learning the parts over a year or two’ That was nice and reassuring I don’t think!
Talk about the planning clowns, asking for trouble. It was screaming that there would be a ‘big unforeseen hitch, later’ the moment it was announced.
I am sure that other singers that have essayed the Brunnhilde roles, on hearing this ………’politely and knowingly…smiled’. Knowing innardly the personal struggles, the pitfalls, the planned conservation of voice through the performances that are needed. Knowledge: that only comes from gathered experience over a period of time, playing the roles. Not headlining it ‘as a Met debut’.
Who convinced Christine Brewer to even agree to consider such a hair brained notion. Falter ever so slightly, and then she would ‘get torn to bits’ both here (especially) and elsewhere.
Better to fall on your face before the event ever happens,and gracefully depart with an excuse; than in the glare of the spotlights.
Alex Degracia. Who cares about one person or another’s view of ‘relative obscurity’ .A confession. I prefer personally to listen to various versions of Fanciulla Del West than the consumptive silly ‘affecting’ Violetta any day mooching for “Alfredo!’ When I was young I could grab my chest for fake support and mock being Violetta, screaming the tits off off Joanie loving opera queens. The Minnie role has some big traps for the soprano, including a hideously exposed unsupported attack at one point in Act 1, that tests any soprano.
Whoever said CB was not well liked doesn’t really know here or the situation. Christine is one of the most liked people in the business by those who work with her—she is a “down home” delightful woman with a huge sense of humor. She is very supportive of others and a real sweetheart.
I am shocked, SHOCKED!, to learn that PR utterings from opera houses cannot be taken at face value. Politicians, bankers, celebrities and now opera houses – is nobody (apart from my dog) telling me the truth anymore?
I am very disappointed that Ms. Brewer had pulled out of the Ring. I seriously doubt that she was in fact ill-prepared, since she most certainly signed the contract years ago, and had ample time to learn the roles. Also, she could have gotten as much coaching from the Met musical staff as she wanted over the last few months.
I would think that at some point she will publicly comment on the situtaion.
Granted, it was probably not the smartest thing to agree to debut the three operas at the Met, at least not so close together.
But CB certainly knew what she was getting into.
Until we hear otherwise, I think we should give her the benefit of the doubt that she is out because of the knee injury.
At least the Met had to good sense to bring in Theorin, an experienced Brunnhilde.
I am not thrilled by having Dalayman or Watson as Brunnhilde, since they are not up to the task vocally.
I hope maybe Jennifer Wilson has some free time around now…..
Harry, you won’t get an argument out of me on that point, agreed.
Pavarotti was known for arriving unprepared for rehearsals and sometimes failed to actually learn the role, e.g., Forza.
The idea of performing the three Brunhildes in sequence for the first time anywhere must be daunting, if not totally foolish. Supposedly Behrens did it. Well, good for her, but not an example to be imitated.
Where is Jennifer Wilson, She was like the great white hope for Wagner?
#29….
sorry i don’t buy your grist. and i think it’s a complete product of your imagination.
boy, this thread and the villazon one certainly have shown that about 90% of the readers have “connections at the met” or “sources” or “they sang with so and so”
I feel so uninformed.
I’d also be interested in how many productions and different houses Brewer averages every year. If my search is right, she’s only sung at the Met 3 times! What’s her “home” house? Doesn’t sound as if she has a big international career.
“Major houses will put up with a lot of things – arriving ill-prepared is not one of them.”
Would it were this was actually true. At least half of the Met’s major artists wouldn’t be appearing each season if it were. Why do you think there is an army of “assistant conductors” (read: minor repititeurs) on staff? It’s certainly not to assist musical choices.
It certainly is ambitious for a singer to take on the three Brunnhildes at once. However, this has been on her calendar for several years. Typically, when a singer is scheduled for a foray into a new role at a major house, they schedule some out-of-town tryouts beforehand. This is harder to do for the Ring, but certainly if Ms. Brewer’s agent had notified orchestras and opera companies that she was interested doing, say, a concert performance of Act III of Siegfried or extended excerpts from Gotterdammerung or any of the Ring operas, you can bet your bippy that some company would have taken the bait. Her schedule was certainly not jam-packed. This would have given her the chance to get the necessary experience.
Renee Fleming did this for her first Met Traviata; Voigt did it for Ernani (and then the Met cancelled the Ernani because Pavarotti changed his mind).
I was actually curious enough about where Jennifer Wilson is nowadays to check operabase, and it turns out where she is is singing Brunnhilde in places like Florence and Valencia, with Gutrune upcoming in LA. Sounds like a smart plan for a young Wagnerienne not to blow it out.
Nobody’s commented on the fact that Ms.Brewer was just recently announced as the replacement for Lisa Gasteen in Cycle II. What was the deal with that, especially if she was unprepared? Also, does anyone know what the status of Rene Pape is after his cancellation at the Gala? He’s due to sing in Cycles II and III, plus his solo recital at Carnegie Hall.
funny that in a thread on unprepared singers, no one has mentioned Caballe yet – famous thruout her entire career for showing up completely unprepared, and having the coaches shove the role in her head. Her advantage was that she was/is an excellent musician and can learn the music very quickly. The words, otoh, sometimes never made it, and she’d just make it up as she went along. In the famous Aix Semiramide, she showed up at the Festival only knowing the aria and they taught her the rest, although Ramey joked that she sang their entire duet on the single word ‘traditor’.
it was joked that Caballe would bring a paper knife to her recitals to cut open the pages of her scores.
it was joked that Mme. Caballe would bring a paper knife to her recitals to cut open the pages of her scores.
Dawnfatale, a quick reminder that Studer also “did this” for her first Fidelio, for her first Senta and other roles. Some long before anyone knew who Fleming of Voigt were.
Voigt did it for Ernani
I thought the opera in question was Forza. Pavarotti already knew Ernani at a time when he could have sung it with Voight.
Which one is correct? What’s the story behind this?
Unfortunately I did not do it for Freischutz with Mehta. He canned my ass, but good, remember that one?! Now, here’s some kool-aid I prepared for you, honey. Just for you. Drink as much as you want!
#43 and others: Brewer sang Gotterdammerung in its entirety (in concert) at the Proms in 2007 and has sung the immolation sing in concert a couple of times since then. I’m not sure about Siegfried or Walkure, but to suggest that she wouldn’t bother to sing any part of any of the roles in concert at any point before debuting all three is rather silly.
Note that this is not to say she did or did not show up prepared, as I have no knowledge of that. This is merely to correct some incorrect assumptions people are making.
I’ve worked with Christine a few times, and will be working with her again in the next few months. I have never found her unprepared, and she is a generous and sweet colleague. I’ve only worked with her on rep she had done previously, though. I’m not a great fan of the voice but it can be impressive and beautiful in places, and she’s generally solid technically.
As far as her weight goes, I wouldn’t say she is grossly obese. Certainly not at the level of say, Jane Eaglen, who is at least twice her size and has to use a cane to get around. Don’t get me wrong, she is large, but not enormous. I have been aware of a limp when I’ve worked with her, but I haven’t personally discussed any injury with her. I do recall from other colleagues that she has mentioned it.
My experience is that she is a smart musician, and learns music easily. I would be surprised if she were unprepared musically for these Brunnhildes, as she has been dipping her toes in Wagner for quite some time now, and singing acts of things here and there with major orchestras. She concertizes all the time.
I have a feeling that the deaprture is a combination of things, including an injury, and the fact that the weight (no pun intended) of debuting all three roles was bearing down on her. I wouldn’t point at any one factor for the cancellation.
“That’s what rehearsals are for – learning.”
But not for learning the words and notes.
No, dear readers, Janice Baird is not the soprano to whom I was referring in my earlier post.
Bc in #32, to answer your question, please refer to the quotes at the end of my past post (#15) to answer your question. When a company is willing to put aside appropriate professional behavior in lieu of ticket-sales and promotional hype, then apparently anything is forgiven—but only if you are one of the singers “important” enough to be granted such indulgences, for anyone else, it’s the chopping block.
Cassandra, Assistant Conductors are not employed to teach hired singers their notes. They are available to assist in many ways, but arriving to a production without one’s notes and words learned correctly (and by learned we mean memorized) is unacceptable. It is not the responsibility of the theater’s staff to teach notes and rhythms: it is part of their responsibility to offer extra musical rehearsals to a singer who might be making a role debut and thus asks for security in their part, or to rehearse the singers with certain stylistic approaches in mind, to offer extra diction coaching, to rehearse complicated ensemble passages…but they are NOT there to teach notes and rhythms.
Jim Bodge (#30), I’m sorry to dispute but rehearsals are NOT for learning in the grander sense, they are for rehearsing. That means arriving with as much knowledge of a score in your memory as possible, knowing not only your own role but also those that interact with you, already having some idea of what you want your character to be, and having confidence in your musical preparation as to respond in kind to anything a conductor or director might throw your way. Yes, a rehearsal serves to learn the staging, to learn the dramatic prowess of your colleagues…there is still ‘learning’ involved, but there is nothing more frustrating than to be in a rehearsal with another singer who doesn’t know their part: it slows down the entire process and completely interrupts the creative flow of energy between artists. We are not talking about the occasional mind-lapse in secco recitativo, or someone accidentally forgetting a cut they aren’t used to…yes, rehearsals are the time to work out and smooth over those kinds of kinks…but one dos not “learn a role” in rehearsal. Perhaps in a student production somewhere, but not in the professional world.
“Rehearse.” “Re-hear.” The opportunity for the director to evaluate the work the performer has been doing between rehearsals.
#53 Cassandra, your posting on the Met/Brewer situation is accurate and fair, in my view. I have known Christine for thirty years (30!). She is a solid musician, a lovely and considerate human being and I know personally that she has been working very hard on her Ring roles. I hope she gets to sing them – somewhere! I would rather hear her as Elsa, Elisabeth and Sieglinde than Brunnhilde, because her voice is at its best in a more lyric approach to singing. However, only last year she brought the rafters down in Chicago and Paris with the Dyer’s Wife in Die Frau, and showed a brilliant and commanding top register, and a mastery of text and score. That success with the big Strauss role left no doubt she can sing Wagner.
I believe Cassandra is correct that a combination of factors sank her Ring debut at the Met, but go take a closer look at their press release. The specific reason given for her withdrawal is the knee injury (which is real), and her inability to move around the stage. I think we should accept that.
I hope Christine and her husband Ross are NOT reading these rumor-esque postings on Parterre or elsewhere. She has got to be miserable over all this, and the local snark is just something she does not need to know about. Right, Madame Herva Nelli/Nerva Helli, or whatever it is!
Could someone please define “Bizarre behavior?”
“Assistant Conductors are not employed to teach hired singers their notes. They are available to assist in many ways, but arriving to a production without one’s notes and words learned correctly (and by learned we mean memorized) is unacceptable. It is not the responsibility of the theater’s staff to teach notes and rhythms: it is part of their responsibility to offer extra musical rehearsals to a singer who might be making a role debut and thus asks for security in their part, or to rehearse the singers with certain stylistic approaches in mind, to offer extra diction coaching, to rehearse complicated ensemble passages…but they are NOT there to teach notes and rhythms.”
Am I well aware of what they ARE there for, I’m just telling you that they are frequently employed otherwise, and its happens at the Met constantly with star singers. Now, someone who is NOT a star and shows up unlearned will be summarily fired. I’ve seen it happen. My point was, assistant conductors are often required to assist more as repetiteurs then coaches when star singers show up with music unlearned.
#53: you are completely blind if you think Christine Brewer is not grossly obese. I saw her recently in St. Louis for the Verdi Requiem and she could barely get up out of her chair to sing. She is at least as big as Eaglen if not bigger. For Eaglen to be “twice her size” she’d have to swallow both Levine and Voigt to do so.
Brewer is a fine artist but she has been “grossly obese” for most, if not all, of her career. It’s sad. I can understand “knee problems” carrying around 300 plus pounds on them day in and day out.
The last time I worked with her she was not even close to 300 pounds. If she has gained weight in the past year, then that might be so. I haven’t seen her.
60, >…you are completely blind if you think Christine Brewer is not grossly obese…..She is at least as big as Eaglen if not bigger. For Eaglen to be “twice her size†she’d have to swallow both Levine and Voigt to do so.<
My, my, I was nearly raked in the coals for just making a little silly, campy joke about Thanksgiving, and now this????
From a St Louis news-website, today…
http://www.stltoday.com/blogzone/culture-club/cu%20lture-club/2009/03/christine-brewer-damages-knee-withdraws-from-met-ring/
..end of “speculation”–I hope..?
I agree with Chevalier at 55 — I worked for a major opera company. Singers who showed up unprepared musically (i.e. not knowing their score) were dismissed. Rehearsals are for learning staging and fine-tuning the role musically, not for being taught it from scratch. That said, the singers who were outright dismissed were not superstars. A few of that category did arrive unprepared, much to the exasperation of the music staff who had to schedule additional rehearsals with them.
Regarding Rene Pape — has he resurfaced after cancelling the gala? Having worked with him a few years ago, I feared then that he could go the way of Lawrence Tibbett’s later years.
Why is everyone focusing on Brewer as the reason for this chat? I am not connected to the music industry and have heard rumors of RV being high on more than life. Rumors . . . granted. But I heard those in more than one place, as opposed to the rumor that the MET has already cancelled the new RING due to monetary restrictions but is waiting a while to make that announcement, given the brouhaha over this being the last time for the Schenk. Only heard that once. . . .in Standing Room.
As I recall, Voigt learned both Ernani and Forza for the Met because of planned revivals for Pavarotti. The Ernani changed into something else before the season for which it was planned was even announced. The Forza was a much higher profile scheduling change because it happened after the season was announced.
i agree, cassandra. the MET has too much on the line to fire someone for the honorable and lofty reason of their being unprepared. They would teach her the role if she was in physical shape to sing. If she is having vocal problems and blaming them on the knee, that would be understandable, but I seriously doubt the Met would fire her for being unprepared.
I saw Denyce Graves (dare I get all ye magpies even started…) way way not off book in some rehearsals, and the management does what they must to assist her, because a lot is riding on it.
All other gossip is unproductive.
Thinking of it from a different and more legalistic angle, can they blame cancellations on illness when that’s not the case?
For example, what if they announced “Singer X has cancelled because she broke her knee.” and the next morning she is jogging in Central Park the MET would be in real trouble.
Of course that’s an extreme, somewhat unrealistic example but still, isn’t it LYING?
um yeah, it happens all the time. Remember when Can-cilia cancelled the broadcast of Cosi at the Met, due to illness or ailing back or something, but was quite well enough to sign autographs of her latest CD at Tower Records?
#33
I agree with Harry – better to bow out as gracefully as possible beforehand rather than fall flat on your face. What is that Marie Antoinette said? “Every morning I wash my face before the entire world”. I too, love love her, but we all know that she would have been torn to shreds had she not been the second-coming of (insert favorite Wagnerian soprano).
What I love about this and other blog sites is the how we armchair quarterback. Opera is no easy thing and singing the NE PLUS ULTRA of dramatic soprano roles is certainly no walk in the park for even a singer who has performed the role dozens of times. Hopefully she will be around for a few more years. It certainly would have more cache for her to sing the primas of the new Ring cycles. If she hasn’t learned it by then: then she just needs to stop teasing us.
Pape also cancelled the new production of Lohengrin in Berlin which opens on 4 April; he’s been replaced by Youn (the Lohengrin has been replaced as well, btw). Pape, however, remains listed for the Verdi Requiem with the forces of La Scala scheduled for the Berlin Festtage on 10 April.
Dawn Fatale at #66
Voigt did the second cast of the “Forza” production when it was new with the late Sergei Larin. They could both be preferred to Sweet and Domingo. Voigt was miles better than her recent return to the role 2 seasons ago with Licitra.
Pavarotti was to sing “Forza” in a revival of the opera at the Met a few years after the premiere with Voigt as Leonora. He never learned the part of Alvaro and the Met changed the opera to “Ballo” with Voigt. Denyce Graves was to have been Preziosilla and had to be bought out and an Oscar bought in.
Then a few years later the Met planned a revival of “Ernani” with Voigt, Vincenzo La Scola and Scandiuzzi (forget who the baritone was to be). Herbert Breslin’s office called Joe Volpe and said “Luciano really wants to sing “Aida” again and at the Met”. Volpe was kind of a Pavarotti fan so he changed “Ernani” to “Aida” with Voigt staying and La Scola and Scandiuzzi going. Olga Borodina was brought in at a high cost to sing Amneris. It was all very last minute. Anyway, Pavarotti could barely stand at that part and Levine was doing weird things with tempos to help him sustain the role of Radames vocally. There was actually a rock onstage that followed Pav from the banks of the Nile to the Judgement chamber. It came right up to his ass so that in case he needed a little respite, he had somewhere to sit. There was also a bench for Radames in the Triumphal Scene (”Ritorna Vincitor” indeed…).
Anyway that is the story on Deborah Voigt but the “Forza” and “Ernani” incidents were not related.
Woah guys, Check this out:
April 22. Elisir. Nicole Cabell and Joseph Calleja.
Can you say best performance of the season?
I THINK IT MAY BE!
Response to # 30, unless her appearance has altered from the photos on her Web site, Irene Theorin is considerably thinner than Christine Brewer, not a svelte woman per se but definitely within a normal size range and not a “woman’s size”
http://www.heidi-steinhaus.de/?pageId=103&aId=6&view=Pics
Or at least so it strikes me.
Response to # 69 – I can easily imagine being able to sign CDSs for a few hours and not being able to sing an entire opera. They are two different things entirely.
It might have been an impolitic decision but not necessarily an unreasonable one.
April 22. Elisir. Nicole Cabell and Joseph Calleja.
Can you say best performance of the season?
..at least from him. Not so sure about her…judging from her recent PEARL FISHERS in LOC; coloratura isn’t really her “thing”.Nor is it Mrs. Alagna’s either.
Gaultier Malde (#72),
Superb description of Pavarotti’s AIDA several years back. I had never heard Pavarotti live before. It was my first and only time. I must say, as sad as it was to see him lumbering from rock to bench, I swear I heard some traces of the gorgeous bright resonance of his youth in a few notes. (Or I could be just deluding myself.)
My other memory of that night was that Bill and Chelsea Clinton were in the house. (It was a few weeks/months after Clinton left office.) He was greeted with applause when he entered the parterre box right before the opera. And during one of the intermissions we could hear applause coming from behind the gold curtain. Apparently, he went backstage during the intermission to greet the cast.
Joe
I don’t know what the idea of “obese” is around here but for a woman of Ms. Brewer’s height I’d say that anything over 150 lbs is fat and anything beyond 175 is obese. She weighs a helluva lot more than that. And that’s why I think that the “knee story” is plausible and probably accurate. Weight plays havoc with your knees (think Pavarotti) and it’s only surprising that it is only happening to her now.
Sadly, her two knees have not made “eye contact” in at least 25 years. She is “grossly obese” by just about any standard. If she doesn’t weigh 300 lbs I’d be shocked but I guess only because muscle weighs more than fat. She’s definitely in the Sharon Sweet, Jane Eaglen, Voigt at her worst category.
It’s a shame because it will shorten her career. Just like Eaglen. Christine was breathing like mad in St. Louis earlier this year. The voice was still there but it was so labored it was painful to hear.
This, and the Villazon situation, is very, very sad and no occasion for joy. It is, however, an occasion for truth and for being honest. Let’s not cover up.
I’m hoping that when Voigt realizes she WILL NEVER be able to sing Brunnhilde at the MET that Brewer will be recovered and ready to sing it in 2011.
77. There is a famous photo of this. Poor Voigt. She looks like a 300 lb raisin that has been left outside in the rain far too long …. either that or she looks like Diana Ross after she swallowed the other two Supremes.
Turandot, you also want Stephanie Blythe listed along with the others…
Alas, I also chunked out for a long, long time. Killed my high Fs when I went on a steady diet of laxatives and slim fast. Listen to my Mozart arias cd for a good laugh!
Brandon, sweetie…be a sweetie and peel my grapes!
“Turandot, you also want Stephanie Blythe listed along with the others…”
Blythe is MUCH larger than Brewer.
cassandra:
you need to face facts….we’re talking about christine brewer not christine schaefer.
and debbie may never sing brunnhilde but she’ll never have these kind of knee problems and that was one of the reasons she opted for gastric bypass. if it effected her voice that was the tradeoff she was willing to do.
I’ve often heard people say “Well, she might not have had the voice, but she was RIVETING,” about, for example, Martha Mödl. Brewer is rather the opposite for me. Even if she is overweight, the voice itself is so wonderfully produced that I can overlook nearly any visual shortcoming.
I was listening to the Chicago Lyric’s Frau with she and Debbie, and her act III monologue (Barak mein Mann) was unbelievable. I’m truly saddened that she’s withdrawn, regardless of the reason.
I saw Brewer rehearsing Walküre at the Met this past Monday. She sounded magnificent…I believe the cast was doing the whole scene leading up to “O hehrstes Wunder!” Believe me, there was nothing that seemed off about her understanding of the role. She knew the words, her voice was on pitch, and she understood the theatrical bits and pieces of the part. She did have a hard time scaling the terrain though, and I do believe that her injury is quite legitimate. After the rehearsal, she walked around a bit and seemed to limp on one leg. This was before someone surreptitiously leaked this information out on this blog.
Cassandra: you must have worked with Christine Brewer when she was 8 years old. She is enormous. I’ve stood next to both Brewer and Blythe. Christine could swallow her whole and she doesn’t move nearly as well as Blythe does.
We get that you like her but you damage your credibility by insisting that Brewer is a size 12.
“From a St Louis news-website, today…
http://www.stltoday.com/blogzone/culture-club/cu%20lture-club/2009/03/christine-brewer-damages-knee-withdraws-from-met-ring/
..end of “speculationâ€â€“I hope..?”
WHY ON EARTH should that end speculation? Are you one of those who believe, with touching innocence: “It has to be true. It was in the paper.” I consider La Cieca (vide supra) far more reliable than some rag (nearing bankruptcy and extinction) that knows about as much about opera as I know about cricket.
And press releases are routinely designed to deceive. To rely on them is like saying, “I’m going to drink Coke because, in the commercial, the people who drink it have lots of attractive friends.” Press releases are commercials. I know. I write ‘em.
Christine Brewer certainly has mobility problems. When she was singing Isolde in San Francisco she had great difficulty with the steep rake of the Hockney set and twisted her ankle which made moving about uncomfortable. She was notably static as the Färbersfrau in Chicago, but sang so thrillingly it hardly mattered and she acts with her voice and face. She has been notoriously careful with her career and she has probably decided that attempting her first complete Ring cycles at the Met at the age of 51 or 52 is probably not that wise if you have trouble moving around the stage. She has given several interviews in which she has emphasised that she is a lyric not a dramatic soprano and she should probably have sung Elsa, Elisabeth and Sieglinde but no-one will cast a singer of her size in these roles today. And she famously doesn’t like the long rehearsal periods demanded by opera as she has a flourishing concert career, in which she can walk on, sing her heart out and probably take away a fatter fee than she could earn singing Brünnhilde at the Met. If the knee injury is an excuse, it may be because she has decided that Brünnhilde is not for her in a stage production. Let’s face it, this was probably her last chance to sing the role in a major house, so she is unlikely to have jeapordised that by not learning it. No European house would engage her for Brünnhilde now. She has also said in interviews that she will never sing Elektra or Turandot. She’s a smart woman, and I haven’t heard any other singer say a bad word about her.
I heard from a very reliable source from the inside that she was indeed fired. Pitch problems and wobbling galore during rehearsals. I am very sad to hear it. I was hoping to finally see and hear her in person. But maybe it was the knee causing problems-I can’t imagine touching that music without being in the best physical shape.
I heard from a very reliable source from the inside that she was indeed fired. Pitch problems and wobbling galore during rehearsals.
************************8
If that is the case, then many more singers would be fired…starting with Waltraud Meier!!!!!!!!!
“Flourshing concert career?”
I’m curious where this “flourishing concert career” takes place. I’ve never seen her in recital or concert in Chicago or New York. Can’t recall her in London or Vienna. San Francisco? Berlin? Paris?
I’d love to see her in recital but she never seems to be scheduled anywhere I go …
Turandot: Rotterdam!
#58 I’m curious too as to what is exactly meant by bizarre behaviour. It isn’t a bad knee or lack of mobility, and it isn’t not knowing one’s music, and it certainly isn’t a wobble. Lots of singers manage to have careers with these problems, and even singers who are downright nasty have careers. In fact, a lot of singers exhibit bizarre behavior throughout their careers. Just what exactly was the bad behavior?
I do know that all singers who work at the Met must sign a contract that says they must be word and note perfect. It’s only enforced if there are other problems, or the lack of preparation is so severe that management is concerned about the singer’s ability to perform.
#87 On the other hand I recall that Zajick cancelled a run of Trovatores in Houston because of a serious knee injury and had to have emergency surgery. However, when she broke her shoulder she managed to perform abley at La Scala, so it could be really true that Brewer’s knee is the real problem. I know nothing about Brewer’s situation and can only speculate.
Turandot #91: (from Brewer’s website)
re: “flourishing concert career?”
Highlights for Ms. Brewer’s 2007-8 season are numerous and include the season opening recital for London’s Wigmore Hall with pianist Roger Vignoles; her company and role debut at the Lyric Opera of Chicago as Dyer’s Wife in Strauss’s Die Frau ohne Schatten, a role she will repeat in her debut at the Paris Opera; and performances of Mahler’s Symphony No. 8 with the Philadelphia Orchestra and Christoph Eschenbach in Philadelphia and on tour to Carnegie Hall. Other concert performances include Wagner excerpts with Sir Charles Mackerras and the Gewandhaus Leipzig; Wesendonk Lieder with Yannick Nezet-Seguin and the Dresden Staatskapelle; Four Last Songs with the Toulouse Orchestra; Verdi’s Requiem in Florence with James Conlon and with Jaap van Sweden and the Dallas Symphony Orchestra; and Gorecki’s Symphony No. 3 with Donald Runnicles and the Atlanta Symphony Orchestra.
Next year, she’s singing Beethoven’s Missa Solemnis with the NY Phil (I think Stephanie Blythe is also singing.)
Have informed sources confirmed that a raked stage is being used for this production? Raked more than usual, I mean. I think someone mentioned it on this thread. If the incline is pronounced enough, it would be very painful for Ms. Brewer. Singers with back troubles go through hell when a set is too raked. RV’s explanations aside, this may be an honest medical excuse. People don’t seem to want their opera singers to be human. Strange.
#96 the MET Ring as I recall it is strewn with boulders, steps and rakes. Seeing Jane Eaglen making her first entrance in Walkure was like seeing a London bus negotiating a rocky mountain trail.
Ironically Brewer’s new Chandos recital ends with “Climb every mountain” about the best thing on the CD.
Having seen her Proms Gotterdammerung I am sure she has it in her do a whole Ring, if and when she is fit and prepared. I wish her well.
“Cassandra: you must have worked with Christine Brewer when she was 8 years old. She is enormous. I’ve stood next to both Brewer and Blythe. Christine could swallow her whole and she doesn’t move nearly as well as Blythe does.
We get that you like her but you damage your credibility by insisting that Brewer is a size 12.”
Okay, first of all, I never said she was a size 12. Don’t over-exaggerate to make your point. You damage your own credibility, dear.
Also, I like her no more or less than any other colleague I’ve worked with. My personal experience, having worked with both her AND Blythe, is that Blythe is much, much larger. Much wider. The last time I worked with Brewer was over a year ago, so that may have changed. I haven’t had the opportunity to do a side by side comparison, nor do I really care to. Ugh.
My original POINT about all this was to quell rumors of her departure because she didn’t know her music. I find that hard to believe considering her musical skills.
Frankly, I don’t think it’s any better, and is FAR MORE publicly embarrassing, that one would have to quit a production because one is physically incapacitated by one’s weight. That situation gave Debbie such a public nightmare that she changed her entire life, and not necessarily for the better.
“I’m curious where this “flourishing concert career†takes place. I’ve never seen her in recital or concert in Chicago or New York. Can’t recall her in London or Vienna. San Francisco? Berlin? Paris?”
As far as this statement is concerned, you are so off as to beggar disbelief. She has sung at every major orchestra in the country and beyond. A few of her minor engagements with orchestras this season include Philly, San Francisco, and NY Phil Mahler 8, mmkay? Please do a little investigation before spouting off nonsense about things which you know nothing. It’s called Google. It takes approximately two seconds.
If you have some personal problem with her, that’s fine, but don’t take your attacks out on me, and then expect me to take you seriously concerning a subject which you clearly know nothing about.
#87:
“Why on earth should that end speculation”..?
Because..when an Artist , him or herself says”I can not sing due to an injury”, as Ms Brewer did in the link posted..who the fuck is anyone to dispute/deny/wonder/etc..if such is the case..?–no it’s naivite on my part–but respect for what the Artist has said……
ok…(as I asked the other day) what’s brewer’s opera career been? 3 performances at the Met? This Frau I keep hearing about? Has she done a 12 performance run of somethting in Berlin or Vienna? What full length operas has she sung at ROH, or La Scala? just lots of one off concerts. look at other singers her age and check their resumes. just look at renee.
And if you’d seen Blythe in either Rodelinda, Orfeo or Rusalaka at the met, you realize that Stephanie moves around the stage with ease. in fact, in Rodelinds she must have gone up and down that staircase 1/2 dozen times.
brewer is a concert artist that the met should never have engaged. singer mahlers 8th with dozens of other soloists is not an opeatic career.
#100 Brewer sang the Nozze Countess nearly 20 years ago at Covent Garden, and Ariadne some 10 years ago at ENO. She is more often seen in concert opera performances here e.g. Fidelio with the LSO. She is almost a permanent fixture on the London concert scene appearing regularly with the BBC SO and the LSO.
She opened last year’s Proms with the VLL.
ok…so she’s never had an opearatic career. thanks for clearing that up for me.
Oh Brian, Please. (100). Most of us were very excited to hear that Brewer was being given a chance at The Met — the company that plucked Rosa Ponselle out of VAUDEVILLE, for Me’s sake. There was ecstacy to hear that she would be replacing Voigt in one of the cycles.
There was always the chance — just the chance, as with anyone else coming into the house — that this could be something big. (Forgive me, there, no aspersion intended and I’d appreciate your not taking it as such.) It didn’t work, more’s the pity but I can’t see any fault in the planning.There was the chance … management gambled and lost.
well wotan….i’m sorry you’re so disappointed.
myself, i’m, just sitting back and ejoying rheingold.
Joe: ok, so two seasons ago she sang exactly 2 recitals and 3 concerts. That’s a “flourishing concert career?”
Gosh, I’d hate to know what a “sparse concert career” is.
Cassandra: take a deep breath. There are 365 days in a year and a “flourishing concert career” doesn’t take place on only 14 of those days. She rarely gives recitals and she makes an occasional appearance with an orchestra for a few weeks a year. It’s not a very grueling schedule.
I have no doubt that the “knee injury” is real. That was my point. If you choose to think that Blythe is bigger and wider and all of that nonsense go right ahead. But it was you who said she wasn’t “obese” and that’s pure fantasy. She’s only not “obese” if you also think that Moby Dick is a small fish.
I have no personal problem with Brewer. I think she’s a wonderful artist and will be sorely missed in this Ring but your comments about how small she was were just absolutely ridiculous. As was the content of most of the rest of your posts ….
You can breathe again now. And take some more cymbalta while you’re at it.
the one who needs to breath is Turandot. God forbid people see Moby DICK as a small fish. What would that do for your history?
Your highnesses…please, stop this nonsense already. Whether Brewer is larger than Blythe is not important. As is that woohah surrounding her knee injury. As is Moby Dick and all. If you were a Titan, Moby Dick would be small fish.
I saw Brewer in the rehearsal room the other day, and she seemed to be fine vocally and textually. I WAS THERE. She did have trouble negotiating the stage, but then again we should remind ourselves that she’s no Hildegard Behrens or Gwyneth Jones. Her knee injury may be legitimate, or it may be not. I was talking to one of the stage directors at the Met and was informed that she didn’t know the words too well. So yes, she may have been fired, or she may have just as well left, but whatever the reasons are, let’s put those to rest, shall we? It’s just tiring to gossip about an artist left and right about something this embarrassing especially if she can’t even defend herself.
gosh, the people who work at the Met must be the most indiscreet group in the world!! remind me, next time i’m there, not to even say good evening to an usher. if i want an orangina at intermission, i’ll just pass the bartender a note!
you’ll never know where angela or visconti will be lurking!
Pres. Obama says he does not govern from anger. Brian were you aware of that? I recommend, with all due respect of course, that you dwell on that point and not post from anger/snark/pure bitchyness/ignorance/an excess of gay bile — or whatever your problem is. If you have new information or a constructive idea – then, say it! Otherwise, just shut up, be nice and vote Democratic. [And listen to your very wise president.]
Thank you.
gosh, i thought my post was funny and very harmless and quite topical. i guess i hit a nerve.
whoa, talk about an excess of bile….gay or otherwise.
Brian: Another thought for your week-end musings:
MAN (to Pres. Truman), “Give ‘em Hell, Harry”!
TRUMAN: “I don’t give ‘em Hell, I just tell the truth on ‘em and they think it’s Hell.”
did you overhear that at the met?
I was hoping with all the shuffling around that they would consider Deborah Polaski for the ring. No luck. Hers may not have been a true Brunnhilde voice but I find her so most moving and so filled with humanity. Even though the top is shrill and undependable, the middle voice was, at least in her prime, perhaps the most beautiful Wagnerian voice around.
My 2 cents!
What is a true Brünnhilde voice anyways? Frida Leider? Germaine Lubin? Hildegard Behrens? Birgit Nilsson? Astrid Varnay? Deborah Polaski? Martha Mödl? Gwyneth Jones? Nina Stemme?
“Most of us were very excited to hear that Brewer was being given a chance at The Met ”
Brewer has already sung at the Met, two Ariadnes in 2003. She was excellent at her debut, but it was part of ted company;s and Tommassini’s mythology at that time that Voigt was the world’s greatest Strauss soprano, so they gave it very little publicity.
The question is why she didn’t come back for more sooner…
brian: La Cieca would not say that the people who work at the Met are any more or less indiscreet than people who work anyplace else. One truth about gossip that I was surprised to learn is that people in general tend to spill information as a way of feeling they are more in control of a situation in which they feel somewhat powerless. And, since organizations in general tend toward secrecy instead of transparency, the sharing of inside information can be seen as a way of speaking truth to power. I don’t necessarily agree that gossip can be seen as so altruistic an act, but I do believe that since the public is in a sense a partner in the process of opera production, they deserve to have as much information as may be available. I also believe that in general people can tell the difference between gossip identified as such and reported fact and act accordingly.
108
Brian sure is one opiniated ignoramus…
Brewer has done numerous roles in multiple runs at Santa Fe and Saint Louis- I saw a wonderful Ellen Orford in Santa Fe in 2005, and other roles include Donna Anna, Danae and Lady Billows.
How is she a “concert artist”, again?
re: 117 ” . . . I do believe that since the public is in a sense a partner in the process of opera production, they deserve to have as much information as may be available.”
I’m not sure I agree. Is my appreciation of a performance of Elisir enhanced knowing that the soprano allegedly did not show up for rehearsals? Or does that cause me to enter the performance with a certain bias against said soprano? Obviously, I wouldn’t be here if I didn’t enjoy me some gossip, but perhaps too much peripheral knowledge can negatively affect one’s reaction to a performance, and ultimately, it’s the performance in itself that should matter to us average joes in the audience, no?
117, 119 et al.
Of the performance I agree 100%; the audience is most integral. Of the production? Well, that’s like saying the grandparents have to observe the actual insemination before they can truly enjoy the grandbaby.
There has been quite a bit of speculation about Christine Brewer’s performing credits, or in some views, the lack of them. Here is a list of her concert and opera performance schedule (from the archives of her website) for the past 2 years. To the best of my knowledge the only dates on this list she canceled were the two Handel concerts on December 19 and 21, 2008. This cancellation was due to a family tragedy. All of these appearances were in major venues with world class orchestras/opera companies in the United States and Europe. You don’t have to like her or her talent, but one simply cannot deny that she has a major career on two continents.
Some of you bitchy queens really need to take a LONG vacation.
08 March 2007
Alban Berg – Seven Early Songs
23 March 2007
Beethoven’s Opera “Fidelio”
25 March 2007
Beethoven’s Opera “Fidelio”
27 March 2007
Beethoven’s Opera “Fidelio”
12 April 2007
Richard Wagner Tristan und Isolde (Tristan Project) Act I
13 April 2007
Richard Wagner Tristan und Isolde (Tristan Project) Act II
14 April 2007
Richard Wagner Tristan und Isolde (Tristan Project) Act III
18 April 2007
Richard Wagner Tristan und Isolde (Complete)
24 April 2007
Richard Wagner Tristan und Isolde (Complete)
02 May 2007
The Tristan Project
05 May 2007
The Tristan Project
11 May 2007
Britten – War Requiem
12 May 2007
Britten – War Requiem
13 May 2007
Britten – War Requiem
19 June 2007
Tribute Concert Honoring Colin Graham, O.B.E.
07 July 2007
Zemlinsky: Lyric Symphony, Op.18
11 July 2007
Zemlinsky: A Florentine Tragedy
20 July 2007
All-Beethoven Program, Tanglewood
21 July 2007
All-Beethoven Program (Open Rehearsal) Tanglewood
21 July 2007
All-Beethoven Program, Tanglewood
12 August 2007
Wagner Gotterdammerung (Brunnhilde)
17 August 2007
An Evening at the Opera
18 August 2007
An Evening at the Opera
28 August 2007
Bank of Scotland Queen’s Hall Series Recital
01 September 2007
A Celebration of Francis Poulenc
16 November 2007
Die Frau ohne Schatten
20 November 2007
Die Frau ohne Schatten
26 November 2007
Die Frau ohne Schatten
30 November 2007
Die Frau ohne Schatten
04 December 2007
Die Frau ohne Schatten
08 December 2007
Die Frau ohne Schatten
12 December 2007
Die Frau ohne Schatten
16 December 2007
Die Frau ohne Schatten
20 December 2007
Die Frau ohne Schatten
21 January 2008
Die Frau ohne Schatten (Première)
24 January 2008
Die Frau ohne Schatten
28 January 2008
Die Frau ohne Schatten
31 January 2008
Die Frau ohne Schatten
03 February 2008
Die Frau ohne Schatten
07 February 2008
Die Frau ohne Schatten
10 February 2008
Die Frau ohne Schatten
14 February 2008
Wagner Concert
15 February 2008
Wagner Concert
24 February 2008
Richard Wagner – Wesendonck Lieder
25 February 2008
Richard Wagner – Wesendonck Lieder
26 February 2008
Richard Wagner – Wesendonck Lieder
14 March 2008
Richard Strauss – Vier Letzte Lieder
20 March 2008
Verdi – Requiem Mass
21 March 2008
Verdi – Requiem Mass
25 March 2008
Cellofest 2008
28 March 2008
BEETHOVEN Fidelio (in concert, no dialogue)
30 March 2008
BEETHOVEN Fidelio (in concert, no dialogue)
03 April 2008
BEETHOVEN Fidelio (in concert, no dialogue)
05 April 2008
BEETHOVEN Fidelio (in concert, no dialogue)
24 April 2008
Verdi Requiem
25 April 2008
Verdi Requiem
26 April 2008
Verdi Requiem
01 May 2008
Mahler Symphony No. 8 (Sop. 1)
02 May 2008
Mahler Symphony No. 8 (Sop. 1)
03 May 2008
Mahler Symphony No. 8 (Sop. 1)
06 May 2008
Mahler – Symphony No. 8 (Philadelphia Orchestra)
08 May 2008
HENRYK GORECKI: Symphony No. 3
09 May 2008
HENRYK GORECKI: Symphony No. 3
17 June 2008
Four Last Songs & Summer of 1915
18 June 2008
Four Last Songs & Summer of 1915 @ McKendree U.
04 July 2008
Community Concert – Patriotic Favorites
26 July 2008
Mahler’s Symphony of a Thousand
09 September 2008
Mahler’s 8th Symphony (Sop. I)
11 September 2008
Mahler’s 8th Symphony (Sop. I)
03 October 2008
Beethoven Missa Solemnis
18 October 2008
WAGNER Götterdämmerung: Brünnhilde’s Immolation
19 October 2008
WAGNER Götterdämmerung: Brünnhilde’s Immolation
25 October 2008
Benjamin Britten, War Requiem
26 October 2008
Benjamin Britten, War Requiem
01 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
02 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
03 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
04 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
05 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
06 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
07 November 2008
BBC Symphony Orchestra TOUR – Wagner Wesendonck Lieder
09 November 2008
Britten War Requiem
28 November 2008
Strauss, Vier Letzte Lieder
29 November 2008
Strauss, Vier Letzte Lieder
30 November 2008
Strauss, Vier Letzte Lieder
07 December 2008
Poulenc, Gloria & Christmas Favorites
19 December 2008
Handel, “Die ihr aus dunkeln Gruftenâ€
21 December 2008
Handel, “Die ihr aus dunkeln Gruftenâ€
11 January 2009
Verdi Requiem
14 January 2009
Verdi Requiem
22 January 2009
Strauss, Vier Letzte Lieder
25 January 2009
Strauss, Vier Letzte Lieder
05 February 2009
Strauss Opera Excerpts from Die Frau, Elecktra, and Salome
07 February 2009
Strauss Opera Excerpts from Die Frau, Elecktra, and Salome
13 February 2009
Verdi’s Requiem
14 February 2009
Verdi’s Requiem
Brewwer admirer….BRAVO!!!!
Brewer Admirer
Well done
Think you may have also missed the First Night of the Proms last year when she stepped in at 2 days notice to replace Mattila in the 4 Last Songs (televised live and probably on YouTube).
Among other opera credits (in concert) Rezia in Oberon and the Strauss version of Idomeneo
The Ariadne at ENO was absolutely spellbinding.
Wish her a speedy recovery.
Brewer also stepped in some years ago in London to replace Mattila in the 4 Last Songs at the Barbican, and I felt quite the opposite of short-changed. There is an essential honesty and integrity about her singing that makes it very moving, with the expression coming out of the music and the text rather than through applique emoting and special effects. There is a core of calm to her art: in that respect she reminds me of two other fine American singers, Lorraine Hunt Lieberson and Arleen Auger.
By the way, talking of singers who know what they’re going, there’s an interesting interview with Margaret Price here
http://www.classicaltv.com/videos/20
Strange that Solti didn’t like her at the beginning of her career. Do you think it might have been because she didn’t succumb to his attentions? She was a very pretty little thing in the early 60s… (Still pretty too — just not so little!)
Inquest O’Redger ,there was talk that at least one stage of Margaret Price’s career she could throw a ‘pretty’ temper as well. I heard of at least one conductor – and it was not Solti- that let her carry on wildly. Then quietly threatened her if she did not stop he would make sure she would not have any further career. By the way, it is also noted Solti would not stand for ’shit’ either, out of performers. Others that know more, may wish to contribute on the subject.
my impression is that some people who “spill” on this board (la cieca excepted and a few others) are trying to give the impression that they are more connected than they really are. i think 3-4 people have reported that they are brewer’s best friend
and every other post has been from someone who has sung with her. (hyperbole)
one person who claims to know brewer is probably still insisting that christine is svelte.
La Cieca: do you believe that the Met offered Polaski $35,000 per performance to jump in as Brunnhilde, as one “insider” reported.
and, at most professions today, security is paramount. so indiscretion is strictly to be avoided.
i know i angered people because i suggested that brewer did not have a full-fledged opera career. although, i certainly wasn’t the only one who held that opinion (note spelling nerva).
between mrmyster, wotan, visconti and nerva nelli i’ve been subjected to a heap of abuse. i’ve never referred to anyone on this board as an “ignoramus”. i guess the homophobic tone of the Sonnambula chat should have alerted me to where this board was going.
well, the last thing i want to do is to get into something with anyone (especially the moderator) on this board. remember, this is the place where people were making jokes about sanford being hiv+ and the word “queens” was flying all over the place yesterday.
la cieca:
since you took the time to respond to my tongue in cheek post, i was wondering when you were going to respond to mrmyster’s post:
“Pres. Obama says he does not govern from anger. Brian were you aware of that? I recommend, with all due respect of course, that you dwell on that point and not post from anger/snark/pure bitchyness/ignorance/an excess of gay bile — or whatever your problem is. If you have new information or a constructive idea – then, say it! Otherwise, just shut up, be nice and vote Democratic. [And listen to your very wise president.]
Thank you” or this one “Brian sure is one opiniated ignoramus” from something called nerva nelli.
Kisses to Brian.
I’m listening to the Margaret Price interview now and it’s fascinating. I think she makes a good point about Wagnerian conductors and the problems singers have trying to sing over the wall of sound
LEARNING vs. KNOWING NEW ROLES
Great discussion on the in’s and out’s of coming prepared to rehearsals. The greatest role model has not been mentioned, MC. If every principal singer in today’s hurly-burly, jet-setting opera world had the foresight to follow in her footsteps in striving to be an ARTIST first instead of allowing opera management push and pull them; we might all be better off. The exceptional gift and ability to learn roles quickly has only been granted to person that we all love and admire, PD. (122 and still counting)
I’d also like to add, that, with a few exceptions, I find that those truly “in the know” often don’t say anything, out of respect for the artists or organization. For instance Met archivist Robert Tuggle (great guy) works in a charmingly messy office right beneath the Met rehearsal rooms. I’ve been there, and you really can here everything. So he would probably be a gold mine for gossip, including any and all rehearsal fights, diva tantrums, who is sounding great, who is sounding awful, etc. But he doesn’t do that sort of thing.
PoisonIvy, we need to give Mr Tuggle a series on ‘unnatural acts’!
I apologize for calling Brian an “opiniated ignoramus”.
I meant, of course, an “opinionated ignoramus”.
Fanciulla:
MC was well-known, at least in the first part of her career when she was singing frequently, for going blank on the text while singing.
Some of her greatest triumphs (Puritani, Armida) were drilled into her brain in a matter of days, up to and including opening night.
Wouldn’t it depend on the director? If (s)he has set an “open rehearsal” policy, then anything goes. But often a “closed rehearsal” is declared; that means “what happens here STAYS here!”, in which case leaks would be cause for dismissal.
brian: I could believe that the net cost of engaging Polaski to jump into three performances could esaily top $100,000. First there would probably be some premium or bonus built into Polaski’s fee, then presumably the Met have to cover at least some of the costs of finding a replacement Kostelicka for Munich’s Jenufa, the production Polaski would have to abandon to go into the Met’s Ring.
I would guess, though, that the speculation is moot, because it’s a new production in Munich, to be repeated in that company’s summer festival, a very high-profile assignment for Polaski. Plus, world-class Kostelkickas don’t exactly grow on bushes. Surely, too, Polaski understands that her Brunnhilde days are mostly behind her, and that whatever future she has as a singer will be in roles like the Kostelnicka.
gosh, nerva it took you long enough to get the spelling right.
Brian, it’s taken me a while, but I’ve got to say you delight me. You’ve got a “chips-fall-where-they-may” attitude which is both abrading and exhilarating, like those Finnish saunas.
But that doesn’t mean you can call on me to pick up your broken bleeding body out of some alley.
caballe also could show up unprepared. her ariadne at the MET was famous for having the score pasted all over the set. she did not remember the role at all.
Ahaha–I was at a concert recital of Caballe’ in 1988 [9? 90?]–she gave “O Mio Babbino”–as an encore, I think–and sang “GRAN DIO, VORREI MORIR.” Awesome, right? I could not have made that up XD
136
“Dyke, ya know.”
Considering her size and her indeed considerably flourishing concert career, Brewer has a more than creditable record in opera: Donna Anna, Haydn’s Armida, Ariadne, Ellen Orford, the title role in Gloriana in St Louis, where she has continued to sing because it’s near her home. Both Donna Anna – which she recorded with Sir Charles Mackerras around concert performances at the Edinburgh Festival – and Countess Almaviva at Covent Garden (who stopped using her because of the size issue). Ariadne at ENO, the Met, and, I think, Santa Fe. Ellen Orford at Santa Fe. Fidelio, Isolde in San Francisco, Färbersfrau at Lyric Opera and the Opéra de Paris. In London – which I realise is a village compared to New York – she is regarded as a much greater singer than Renée Fleming. Every orchestra wants her, all the leading British conductors ask for her and she is an annual fixture at the Proms, Wigmore Hall and Barbican Hall, often making several appearances per season. Singers can actually have major careers outside the Met. Brewer is one of them. Of course, the big record companies won’t use her because they can’t get her pictures into the glossy magazines. It’s easier to sell Danielle De Niese. Brewer is a wonderful singer. If you consider that she is now 52 or 53, her voice is in amazing shape. She should lose weight, however, and I think Cassandra is wrong saying she is smaller than Blythe. She’s been pretty obese for at least 15 years and it may be that now the chickens are coming home to roost. It’s a great shame.
# 142 I highly recommend Brewers new English language recital on Chandos. Maybe the voice is just too opulent for Mozart, but the emroidery aria from Grimes and Magda’s big scene from “The Consul” especially had me cheering. That would be a great role for her on stage.
Ugh…I really wish people would learn to de-fang themselves before speaking or writing. I know Christine and she is a consummate professional. You can ask the artistic department of the Met for the test results from the Dr. that Miss Brewer was sent to here in NY (by the suggestion of the artistic dept.). If you only knew how upset she was about not being able to perform in this cycle. There was lots of crying and a lot done to try to have her sing any portion of the cycle, but as she is not allowed to walk for a week, must swim to exercise and then walk with a walker per the Dr’s orders, I doubt that this is a “rumor” as some have called it. Christine has been preparing for this cycle for the better part of 3 years and is devastated to say the least. Let’s not add to her misery and disappointment by spreading untruths.
#144 – Anon. Thank you for your posting on Christine; I really felt better seeing that on here after all the inuendo and snark, some even from La Cieca, who does not usually adopt that style. “Six weeks recovery at home,” is what one opera official told me. I would say six months recovery at home, during which she loses 75 lbs (just as a beginning), and that would reassure her and insure another good five years of a big-earning career. Otherwise, I have my worries. Once the knees start to go for big girls there is rarely any turning back. She is as you know, and I say this affectionately, ‘German as all get out,’ and that includes stubborn. So, this terrible Met episode may help her, finally, make up her very strong mind to do something wise concerning weight. Have you seen a photo of her at age 30? She had a fabulous figure and was beautiful. She did not have a reliable top voice until about ten years ago when the whole thing fell into place and took on that very rich tonal lustre; now if she’d take off just #100, all would be very very well and the Met could let Miss V. go out to her well-earned pasture. Hold the fort, Anon, and keep bringing some decency to this, um, er … Palace of Operatic Discussion. How do you say that in German?
Ein Palast der Opernhafte Diskussion.
Although that implies that the discussion itself in operatic in its scope, but not necesarily about Opera. To make it clear that the palace is for the discussion of opera, one would need to say: Ein Palast wo es alles um Oper geht.
Thank you, Lad; I shall use that at my next opera cocktail party.
(care to attend?)
To Miss Brewer: God speed and good luck with your healing process, and will you please come back to us in the following Ring Cycles to show everybody what you are, i.e., a SUPERB vocal talent!
From that first Ariadne, I felt you held the potential to be the greatest Brunnhilde of this era, and it is my fervent hope that you will have that opportunity, if not at the Met, then in another important cycle.