Cher Public

  • Camille: We got hooked by this and are currently in the last part of Act III and yes, you sure do learn a lot, Buster, you are so right!... 10:07 PM
  • Camille: Only referring to either/or of these ladies as the prototypical soprano lirico fotogenico of each other’s respective time... 10:04 PM
  • Krunoslav: ‘ Vogt and Kaufmann were on opposite ends of the spectrum vocally.’ Really? Have you tried Lauritz Melchior, Paul... 9:48 PM
  • mercadante: Not really, Farrar could take an interval cleanly. 9:30 PM
  • kashania: I was referring to her second act hat but both are fabulous, really. 9:07 PM
  • Porgy Amor: No, that is Act One. For the Act Two processional, there is a hat that had never been alive (presumably) that is just as... 9:00 PM
  • rapt: Is this the chapeau in question? http://www.mvdaily .com/articles/2007 /03/lohengrin1.jpg 8:25 PM
  • Camille: She’s the elder Renée Fleming 8:08 PM

Perfection

Ken Howard/Metropolitan OperaOur JJ writes his rave of raves:

“If such a thing as perfection in opera is possible, in this House of the Dead, the Met achieves it.” [NY Post]

19 comments

  • The Vicar of John Wakefield says:

    Why on earth isn’t this show being sung in good, clean English?

    As one OPERA reviewer observed recently, Cheryl Barker is now the recorded Kat’a of choice in old Norman Tucker’s splendid rendering:

    Act I Scene 2: Ah, but you, what can you know of this?
    Act II Scene 2: Far away my love is gone across the water
    Act III Scene 2: Ah, Glasha! It’s awful to think of it

    And of course without another Aussie (Sir Charles) no one would be performing Janacek today! He should be counted as an English composer.

    • Harry says:

      Give me Elizabeth Soderstrom any day in Kata Kabanova, Makropoulos Case or Jenufa in the original language.! Some people fail to realise that she was not ‘just cast’ by Decca /Mackerras in those operas but due to her expertise , knowledge and singing ability of them. I know she had at one stage had sung the role of Emilia M. in four different languages for various productions. Let;s see the ‘roll call’ for other singers adapting to the same feats. She is just another of the singers that tend to be always overlooked, thinking back of the greats, here.

      • richard says:

        Harry, Soderstrom had an amazing command of languages. I heard her in five different roles, in FIVE different languages! English, German, Italian,
        Russian, and Czech. I also heard her in recital where she included Swedish and French.

  • Harry says:

    Richard I heard her in a long interview once, Boy! Soderstrom came across not only as warm, friendly and engaging; but with a sharp analytical brain and plenty of intelligence to boot.
    Made me think : pity a lot of other opera singers did not have the same resources to interpret a role.

    • Orlando Furioso says:

      She was also hysterically funny when she wanted to be. I recall seeing her receive an award after intermission of a (Swedish Chamber Orchestra?) concert. She started off with “I don’t have a BIG voice…. [perfect pause] but it’s ugly.”