Headshot of La Cieca

Cher Public

  • Sempre liberal: True re. dramatic static. On the other hand, there is something indulgent in exploiting the... 9:53 PM
  • Poison Ivy: Here’s another one. Listen to that trill! httpv://www.youtub e.com/watch?v=OI0T Sa1vKRU 9:23 PM
  • arepo: I adore the Maplesons. This one gave me goosebumps because I never heard it before. Thanks My Liege. 9:01 PM
  • Poison Ivy: Both “Dalla sua pace” and “Mi tradi” weren’t in the Prague edition.... 8:58 PM
  • Sempre liberal: Ivy, another nicely written review. Re “Il mio Tesoro” and “Mi tradi”... 8:50 PM
  • Will: For me, the same problem occurs in the second act of Magic Flute, as everyone wanders around looking... 8:33 PM
  • Krunoslav: Mac Neil was in 1979 better than he was to become but i can’t say I enjoyed or admired his... 8:28 PM
  • Poison Ivy: I also think the second act makes the characters kind of intolerable. As I said, the sudden... 7:44 PM
  • MontyNostry: I’m so pleased I’m not alone in feeling that Act II of Don G goes badly off –... 7:22 PM
  • Gualtier M: Just a note about the Act II problems in “Don Giovanni” that Poison Ivy astutely... 7:16 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.”