mish-measha
People often come up to me and say, La Cieca, “Who do you think will be the next Renée Fleming?” Well, all, right, that doesn’t actually happen often, or even rarely. In fact, it doesn’t happen at all. But be that as it may, La Cieca has found “the next Renée Fleming,” or at least someone who will be able to take up the slack in pop crossover when Fleming finally figures out how awful she sounds in this stuff. Again, it’s not like that’s going to happen, but, anyway, ladies and gentlemen, I give you Measha Brueggergosman. To which I can only add, “Oh, honey!”
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rcfgodoy, I’m still trying to figure out how Measha is the next Renee Fleming?
Hans, re OONY Linda, Esposito sang Linda. She was a replacement for Organosova who may have been a replacement for someone else. I didn’t like Esposito much, but I did think Sabbatini
had some things going for him in this.
I agree with most of the comments on Linda, it’s not exactly a barn-burner. It’s sort of in that pleasant peasant kind of genre that La sonnambula is a prime example of, hard to relate to today. And Linda doesn’t have much of the memorable music that Sonnambula has.
It should be a good fit for a soprano like Gutierez who has more going for her than just a coloratura soprano; agree with Javier that she is more like a bel canto specialist. But she has too many unresolved issues to be really successful.
are you queens kidding? comparing a nobody with bad, thick, manufactured technique like Gutierez to Sills? Does anyone here know anything about vocal technique anymore?!
javier: You find Roberto Devereux boring?!?! It’s one of my two or three favourite Donizettis.
I can’t believe anybody is taking this performance seriously. It seems to me horrible in every single aspect.
“Oh honey” is indeed le mot just.
Measha – I’ve now heard her *many* times over about a 7-8 year period. Several memorable recitals, including one in her just-post university days in which she sang a moving Nuits d’ete. She has managed to attract a huge amount of media attention here in Canada, especially in Toronto, hosting television shows, writing blogs, appearing in the life/fashion sections of newspapers all the time; many print interviews etc. I do feel she has a beautiful tone, and is very expressive. I also agree that in a big hall, her sound can kind of disappear a bit. Her most recent big-venue recital in Toronto a year or so ago revealed a curiously small sound – not so much small, but as someone else has mentioned, under projected. Wonderful though as Elettra and I can only hope she’ll start appearing in opera more often as she is a creature of the stage, for sure.
Stop, already with all this Measha-gas.
Or should that be Measha-gush?
@56, this reminds me that I have been wondering why Brueggergosman seems to get more exposure in international terms than Julie Nesrallah, who still seems to be a darn good singer, compared to how I remember her as a student. Can’t speak to within Canada, since I haven’t lived there in forever, but … perhaps this is my roundabout way of saying that I don’t quite get the Brueggergosman phenomenon.
I’ve heard her in Carnegie Hall singing Wesendonck lieder. It was terrible. Small and not adapted voice for Wesendonck. Terrible…