I also saw her January 2008 at Covent Garden, and she was devastating.

Now there’s an interesting career trajectory.

If one remembers back, she learned and honed this annoying affectation habit during her over expressive ‘a la Rossini’ concert presentation mannerisms ‘to please audiences’. That expression of so much over the top animated physical effort to achieve the vocal results. The transient flocking Kulture Vultures ‘dipping their passing toes – into a little baroque’ are now mighty impressed. Cannot blame them really, they also would not have been familiar with this type of wave marketing : ‘Go Pop… with Celicia’s Selection of Period Drearys’ – before, either.

That ridiculous ‘hot publicity shot’ of A.G makes her look like she is ‘resting’ between ‘exercising her tonsils engagements’, waiting for the doorbell or the phone to ring…. Sure she is not pretending to morph the role of Lulu, ‘a woman of the World’ as she browses a mag called La Monde? No folks , it is just another put-on like everything else about her, is fake,fake, fake manufactured tripe P.R.. Can anyone name just one opera where they would prefer to listen to this A.G than someone else’s version of it???!!! She is as exciting, as one, being asked to consume prickled herrings , left out of the fridge with the lid off for weeks! I cannot believe people actually take her seriously. Opera is certainly in a lot of trouble if they do.

It finalluy came to me thanks to @5 Drammy’s Drooling! A big shoutout of Grazie to him.

Seriously, after reading Corriere della Sera interview (@26 Manou) — it all sounds a little darker and more serious — Roberto sounding like a tipico testardo siciliano.

All I know is this: when I saw them sing Boheme together, about five years ago, he cracked. Not once, nor even twice, but THREE bloody times on their unison High C @ Act I’s conclusion

. I mean, WTF do you talk about @ breakfast?

When I look at Poplavskaya, she just looks, well…skanky. I wouldn’t do her, especially looking like that.

Whatever objections people may have to the Decker production, it doesn’t destroy the music or Piave’s libretto, and with Trebs and Villazon, it was dramatically exciting and compelling, if not always musically perfect. Because it’s so sparse, it takes performers who are really committed actors in order to make it work. That Salzburg 2005 Traviata, for all its faults, was quite magical and electric.

And I don’t think people will be scandalized by it the way they were by Bondy’s Tosca, simply because anyone who has been paying attention to goings on in opera in the last five years will be aware if it, if only for Anna.

http://www.corriere.it/spettacoli/09_novembre_01/alagna-gheorghiu-star-lirica_e655fd64-c6c4-11de-b8db-00144f02aabc.shtml

i know i know.. evil and not nice. fuck off

I dunno…does this look like a scene from ‘Belle de Jour’ or Kitten with a whip’, or ‘Gorgeous Hussy’, or WHAT?