parterre box

47 comments

• manou says:

  If they are Guelfis, I am a Ghibellini.

  on October 8, 2009 at 2:13 PM
• Gualtier M says:

  Where is Piero Guelfi with Erasmo Ghiglia????

  on October 8, 2009 at 2:32 PM
• Lindoro Almaviva says:

  What a difference…

  on October 8, 2009 at 2:51 PM
• Macbeth_s_Honor says:

  I saw Aida last Friday and I can honestly say that, even though he has a large voice, Guelfi couldn’t be able to give a better performance with any other conductor. The problem is himself, not the conductor, even Gatti. The conducting was sure unbalanced, but Guelfi was in very poor shape since the first note. In the meantime, no acting skills whatsoever. There was not one moment when he acted a bit. He was completely out of character.

  on October 8, 2009 at 3:11 PM
• kashania says:

  I disagree about the acting. I thought Guelfi was quite solid in that department. It was the voice that was lacking.

  on October 8, 2009 at 3:45 PM
• mrmyster says:

  The Marschallin is generally not right for a lyric soprano voice, and Fleming is a lyric — the more lyric her role the better! However, she has learned to project the middle voice very well, and as long as you don’t mind a “pretty” lyric sound in the Marschallin, fine! I remember Steber (another lyric), at the Met — after many performances in the role, she still could not project the necessary strength in the mid-voice. Fleming has unusually good German diction for an American singer, and that helps her in this almost-sprechstimme role, almost, I said. I too am much looking forward to her Met performances – and I continue to be in a state of amazement at how well and effective her voice sounds for her age. It is truly remarkable. My preference in sopranos for the role, however, are along the line of Jurinac or Crespin, or even a high mezzo; I keep hearing talk of Susan Graham soon to try that role. I know Helen Vanni (a high mezzo), had quite a success in the role at San Francisco (Helen grew up in a German family in Iowa!), and the right kind of German-speaking high mezzo should do well in the part. The Ariadne Composer is another R. Strauss role that in the right hands, can thrive as mezzo or soprano. The best voice for the Marschallin is of soprano color but with some weight, and in that regard Sena Jurinac was unmatched in the role in my experience. Other really good ones: Arlene Saunders, later Rysanek, Mariquita Moll had the right voice if not the brain; command of the German language is so important in the role. I think that is one of the principal reasons, plus her German, that Lotte Lehmann was so successful in the role — that plus her strong command of sentiment.
  jim/sfe

  on October 8, 2009 at 3:54 PM
• Cocky Kurwenal says:

  There is rather a long an illustrious tradition of pure lyric Marschallins though, is there not? It’s fine to express a preference, but to state that the role is not right for a lyric voice seems a bit silly when so many have had great successes with the role.

  Personally, I find it’s one of those roles that can be taken by pretty much any kind of voice, and assuming she’s a good artist with good collaborators, you’ll get something worth hearing at the end. I enjoy the Marschallins of Gwyneth Jones, Kiri Te Kanawa, Renee Fleming, Christa Ludwig, Astrid Varnay and Maria Reining, one way or another.

  on October 8, 2009 at 4:18 PM
• rommie says:

  wrong thread gents

  on October 8, 2009 at 4:28 PM
• miss kitty litter says:

  I was perplexed about that, too, rommie. These days, it’s easy for me to be convinced of anything…..so thanks for helping me feel a tad saner for a bit longer.

  on October 8, 2009 at 5:37 PM
• Quanto Painy Fakor says:

  on October 8, 2009 at 7:32 PM