If you double click on an embedded YouTube video it’ll take you to the original site, where there’s often info about the clip.

If you want some credibility Dorion you might want to get your facts in order. Or perhaps this is just another “OH I meant Adriana not Gioconda” flub on your part?

Netrebko is also Russian, from Krasnodar which is an area of Russia which borders on both the Ukraine as well as Georgia. Ukraine and Georgia are no longer part of “Russia” since the dissolution of the USSR but for many years residents of both countries were referred to as “Russian”. Many Russians now distance themselves from what they call the commonwealth countries and actually relations between Russia and both the Ukraine and Georgia are none too cordial these days.

The ghoul is basically trading in horseshit to call herself Russian, she is actually part Armenian which accounts for her dark coloration. But she likes to claim she has “Russian soul”. Yeah she has “soul” like a garbage truck has “soul” and they sound similar.

i saw guleghina fuck up abigaille a few years ago. she wouldn’t sing the notes as written during that opening scene, the crazy coloratura that precedes that 2-octave drop during the phrase that ends (something something my revenge is suspended over your head) “blah blah blah sospeso e gia.” it was bizarre. i wondered, what did jimmy think while conducting this thing that his soprano wouldn’t sing the music as the score. after that, during the chorus scene that ends the act, she stood against the backwall, with arms crossed and joining in the chorus. it was weird.

to be fair, i do have a live nabucco from barthelona from the 90s, in which she does fine.

From Grove Music: “Only three operas were produced by the scapigliati: Faccio’s I profughi fiamminghi (1863) to a libretto by Praga, Amleto (1865) by Faccio and Boito, and Boito’s emblematic Mefistofele (1868).”

I hope she does the HD, we can use the disc @ Halloween parties to entertain guests. A monstrosity. And the Ghoul never sang Gioconda? Thank heavens, I’m sure Ponchielli is resting more peacefully in his grave.

Parterre posters specialize in severely criticizing imaginary performances by singers doing roles that are not in their repertoire.

In all fairness, I witnessed one good performance as Santuzza and another as Abigaille by her. But that was years ago.

If Guleghina is Ukrainian, she needs to stop labeling herself as Russian. The same goes for Netrebko and Hvorostovsky, two Ukrainians.

There is not a single example of possible Chinoiserie unrepresented by Franco. At one point, as the multitudes assembled for one scene, I wondered who had been left out. Well, there are no horses or elephants, but they are not missed. The multitudes are enough, and they happen to be the chorus, which performed at its current high level. Energy and invention never flag in the stage movements. The costumes are consistently detailed and beautiful, and effective in the mise-en-scene and movement. If I were Gil Wechsler, I would check back in with the lighting people, because either they don’t like Maria G or they were not paying attention in general, because they spoiled two of her entrances by leaving her in the dark. In this production that is a glaring event, as it is so dependent on these technical skills. The use of the stage machinery is consistently dramatic.

And by the way, there are prostitutes in the third act, so those who were disturbed by the prostitutes ministering to Scarpia in the new TOSCA should avoid this production if they have not seen it, and if they have seen it and have not complained, they should shut up about the TOSCA.

Maria Guleghina was the news in that she did sing. What will not be news to her fans and her detractors is that her performance was what you would have expected. She did some awesomely loud and effective singing where she should have, and in the music where the volume should not be forte or mezzo-forte she crafted with too visible artifice a reasonable approximation of the part. Her plastique also was reasonable for this archetype fairy tale.

Marcello Giordano had no surprises for us either. He has no low notes, which we already knew, but he doesn’t force to compensate, which is considerate, and he doesn’t obsess about it either, and just proceeds to his comfort zone whenever he is offered the opportunity, which is often in this part. He has charming Italianate habits, and is yet possessed of a really significant yell where it is required, which again happens often in this part. Altogether, his impersonation of Prince Calaf is a thoroughly enjoyable escapade if you are the type to just enjoy this folderol. As I obviously am, since I was there.

Marina Poplavskaya has a more complicated voice than is require for the part of Liu, but I do not believe that this should be held against her. She struggles to provide a Liu with more substance than the part provides, and understandably fails: but she does give the music as it is, and is in the end affecting.

I read some days ago comments about Charles Anthony and Samuel Ramey, both senior and seasoned artists at the MET, and both responsible for consistent and memorable performances in the past, and for a consistent wobble in this one. But they are playing old men, and as neither has any sustained phrases which would be distorted by a wobble, their performances proved effective.

Ping (Joshua Hopkins), Pang (Tony Stevenson), and Pong (Eduardo Valdes) were a sonorous and engaging trio. Keith Miller showed a voice and presence worthy of more elaborate roles than the mandarin herald. The Executioner (Antonio Demarco) never opened his mouth, but his gym fetish certainly augmented the drama. Surprisingly he was not mentioned in the Times review.

The orchestra played up to it’s considerable standard, largely unassisted but also unimpeded by the conductor, who settled for directing traffic, and at one point narrowly skirted a train wreck. It was a thrilling moment as the behemoth first tottered and then righted itself.

By the way, the audience grew impatient with the length of one of the intermissions, and engaged in a minute or more of rhythmical applause to signal its exasperation.

“Casting Turandot as been as much of a challenge as casting Isolde in recent years, and WNO seems to have found a winner. Maria Ghuleghina has always been a divisive artist. Her instrument is not traditionally attractive, and her technique is questionable. She often loses breath support when trying to sing soft lines, which lends an acid tone to the straight tone this produces. However, Turandot’s music mostly calls for fierce, exulted and loud vocal lines. These are three qualities at which Ms. Ghuleghina excels. Her entrance aria and the riddles scene were absolutely thrilling. She never lost steam, remaining a vocal powerhouse until the very end end of the final duet. Her voice is enormous, she displayed a command of the long legato required, and blew the audience to the back wall by the sheer force of her voice. She also acted the role gracefully, shading it with many different emotions – she was not just a vengeful princess. She explored the fear, the doubt, and most importantly the love, that in turn haunt the title role.”

I was very hopeful that she would prove everyone wrong this year too with her run of Turandot at the Met. Don;t get me wrong, I am nof fan, but it is always wonderful to see a singer surprise the audience with how great they are. It appears this will not happen. What has occurred between Spring and now that made her incapable of singing this role as well as she did in April? Or is she just still sick, needs the paycheck and refuses to have Lindstrom steal her thunder?

Maria Guleghina is Ukrainian and Armenian and calling her “Russian” would be akin to calling Oscar Wilde “English.”

I was sitting in Grand Tier and could hear Russian spoken everywhere. I wonder if the Russian mafia isn’t threatening Gelb’s life or family in order to keep the monstrosity at the MET. What she did to Norma, Macbeth, Gioconda and now Turandot is revolting. There are a few great singers out there who can do justice to the music, as we witnessed with Ms. Lindstrom last Wed., why not not give them a chance? And what about justice to the people paying up to $350 to hear this crap? It’s not like the woman had an off night, the management knew she hasn’t been well for the entire rehearsal process.