Cher Public

  • antikitschychick: Evening Everyone, First of all I apologize for taking so long to report back about my recent quadruple dose of operas... 12:34 AM
  • DerLeiermann: I fear Miss Netrebko might not be as photogenic as I first thought. On camera she can look a bit plump and,ocasionally, too... 11:47 PM
  • DeepSouthSenior: I’ve said here several times that I’m not a big fan of opera in audio only (except for Baroque). Opera is... 11:31 PM
  • DerLeiermann: Thank you for this info , Donna Anna. I’ll see if my theater has the encores. I suppose I should also consider... 11:26 PM
  • DerLeiermann: Wow, this is pure TRASH. I can’t believe it won 4Tonys. (Though know that I know against they were won to it makes... 11:18 PM
  • Batty Masetto: Surprising to read here about the production being dark in HD – it looked very good in our theater, no problems with... 11:11 PM
  • Krunoslav: When I see those COCO clips, I have always wanted to throw things. Everyone knew she could neither sing nor dance, but to me... 10:48 PM
  • Camille: Uebermächte, dammit! Now goodnite, mother! 10:47 PM

Another point of view

Simple, if not always grand.


  • Clita del Toro says:

    PS I should have added that Callas is my favorite singer--I am just being realistic about her vocal decline.
    And believe me, Tebaldi did not sound the same in the early sixties and she did earlier. Her Aida and Desdemona (1955) at the Met were magnificent in every way.

  • Harry says:

    ‘One Fine Day’: every aspiring soprano’s ambitious dream aria, to be a diva, sung from everywhere upwards from every amateur contest/ auditions / or to actual performance.
    How many times have we heard it attempted? All of us could sing the abused thing ‘in our sleep’ mentally.

    This performance has the ‘big tell -tale’ of being sung, carefully bar by bar. There is no all encompassing inner sense about it. A case of “I’ll just sing, what I think , is there” . A passable ‘fake’ interpretation to please the non discerning. W’ell most audiences clap …don’t they?’ She is definitely rather nervous as shit in the 1st minute, followed quickly by detectable ‘audible pulsing vibrato’ sensations on our ears. 3 or 4 minutes was more than enough, -for my taste or endurance. This voice was never meant to see it. Keep performing this material Netrebko, and the voice will be shot in a short space of time. Is it just

    Netrebko’s Slavic technique training: gets in the way of good old fashioned true Italian style? I think as far as repertoire choices are concerned , at the moment, she is apparently at ‘sixes & sevens’. She needs to make careful choices / very careful choices in fact. She is no Callas, no Sutherland, no Caballe, no Popp, no Price (either of the two!), no de Los Angeles, no Freni….etc etc.
    So what gets me , WHY all the great fuss about her, in the first place? She is a good soprano undoubtedly, but a remarkable world beater????!!!! Stop making fools of yourselves. Chatterboxes are just using her as a pathetic alternative, to try and browbeat Fleming.
    I would rather the distinctive Fleming any time. That is the first thing a real diva has….even if you like or loath them, a certain individuality -- ‘a trademark’ Netrebko just carefully and blandly reads the ‘News headlines’ …and it shows.

  • Harry says:

    The old Fairbanks/Pickford type of -’perfect performing romance role coupling’ hype used to promote Netrebko and Villazon is gone. She’s now out…on her own! Wanted : ‘One tenor to cushion her career from gong backwards.’

  • Alexythymia says:

    Harry, I hope I’m not speaking simply out of irritation when I say this: the sad thing is that Fleming USED to be distinctive.


  • Lindoro Almaviva says:

    to clean our ears:

    Oh yes, the years have not passed in vain. The Bb’s are now A Bb and there are problems here and there. But nobody can match that semplicita that Cieca carissima alluded to in
    another post

  • tinney says:

    LIndoro--Thank you.

    yes yes yes there will NEVER be another Tebaldi. That voice is beautiful without trying and THAT is what I love about it.

  • Gianni B says:

    Tinney Having Heard both Freni and Moffo countless times at La Scala, Teatro dell’Opera in Roma, The old and new MET, Philadelphia’s Academy of Music and several other venues I can assure you that Netrebko’s voice at this juncture is no smaller yet much larger than these women at a comparable age.. The recording you have directed me to is a recording of Freni when she was 40 and to my ear Netrebko has yet to turn 40 and has more power, resonance and cut to the voice as well as darkness. And yes I do put Rita Shane and Anna Moffo in the same category as I heard them both when they were quite young. Shane had the bigger voice of the two but a stunning squillo. Moffo pushed and pulled and destroyed the fabric of the voice and by the time she was Netrebko’s age the voice was coming undone. The size of the voice has little bearing to me what does matter is the fabric, weight, and character. And I do not see the same character or weight of voice in Netrebko and a soubrette. Again I have only heard her live in Romeo and Juliette. It is simply my opinion.

  • Arianna a Nasso says:

    Thanks Lindoro for 35! Just listening to “e come sara giunto” (2:21), for example, explains everything our doyenne has been talking about. Interesting too how bright Tebaldi’s voice remains in that register considering the size of the voice and relatively late recording.

  • louannd says:

    #29 You have it exactly right, LAZY, dark -- Elena Garanca is the same. It’s as if someone said you must learn to cover your voice but we will you whip you every day until you can sing coloratura without so much as a blink. Then they escaped the eastern bloc vocal prisons and never wanted to practice or polish anything ever again.

    Soubrette roles are usually sung by light lyric coloratura…I think Kathleen Battle perfect example. Here is a nice clip.\

  • Lindoro Almaviva says:


    The singing is fantastic, but again: What the hell is going on? I know that the Marquis has committed a serious faux-pas but one of the beauties of Adele is that she turns the joke on him with grace and a bit of good humor and an elbow to the rib.

    This Adele looks like the Marquis in question was the Marquis de Sade. Or at least someone who just exposed himself to her (I would say not even that, because in that case she would still laugh and say something like am I supposed to be impressed with your other outie belly button?