Left in the dust
A new production of Verdi’s Macbeth?
At the Wiener Staatsoper?
At a 192 Euro top?
And this is what you get?
La Cieca thinks there needs to be a word for singing that’s thoroughly crummy but doesn’t rise to the grandeur of filth. “Dust bunny,” perhaps?
Caballe only recorded the 2 main arias. The Letter scene is edgy and strained. The Sleepwalking scene is stunning, but it should be because the scene requires everything that Caballe could do well.
She was offered the part but stayed away from it and for good reason.
Zagick announced she was learning the role something like 12-14 years ago and then decided not to sing it (or at least that is my understanding) from around that time, here is what it could’ve been:
I remember that she said she had an F in alt at this point and thought she could be a good Lady, maybe she would’ve been back then, but I am not so sure now.
As for fantastic lady Macbeths, how about this no-namer?
How about Violeta Urmana? What do you guys think?
Really? She sounds MUCH better?
I hear exactly the same tragically flawed sound that is able to hide in Strauss’ eager over-orchestration of Salome.
This is not a voice even worthy of discussion.
She WAS fabulous.
In about 1983 she sang a concert in Pasadena in which she sang the Sleepwalking Scene and had the houselights dimmed. Considered eccentric at the time but in retrospect, rather endearingly ballsy of a young singer. There should be a Bernheimer review on file somewhere; that’s wherein I read of her concert.
Yes, it would be nice, but I would have rather had her do Gioconda last year or the Minnie, coming up next year. I am told the Minnie second act was very good indeed (with OONY).
Let’s hope she does make a comeback of some sort, along with OONY itself, because the lady does really have a fine instrument and many fine singing qualities. Let us hope for the joint Medea between she and OONY.
This gurl thinks we should listen very carefully to her Odabella this spring and see how she handles the fioriture. Not a bad idea…beats the tar outta Nadia Michael.
I cannot recall now how she handled the Veil Song in Don Carlo…does anyone, because that would give a clue.
Verrett created a great scandale at the Teatro all’Opera di Roma on opening night of MacBeth in 1986 when, ill, she proceeded to recite the aria after reciting the letter.
The irate romani were scandalised and starting shouting “Give us back our money!!” — well, apparently the performance ended. Forever after sorry I missed it. Dimitrova came in to save the day — could not get in there, curses. Finally I was able to see the estimable Elizabeth Connell, who took over the run, along with Renato Bruson. An excellent Macbetto.
One of my all-time favorite memories of soirees avec l’opera is on one of those nights. When the tutti came in at Act One’s finale, all the little old men in the galleria in front of me began to sway, wholly unconsciously, to the driving propulsive Verdian rhythm. It was at that moment I truly understood how it was that Verdi was able to rally a nation back in the 1840’s and 50’s. For a straniera,it was a beautiful and deeply moving thing to witness.
Alas, I have a twofold talent with opera attendance: I’ve always managed to miss the big boo-fests and have only seen Salomes that should have been crushed to death in the first 90 seconds, rather than 90 minutes on.
My favorite (in person) Lady Macbeth was Rysanek at the time of her debut.
Her coloratura work at times was a little muddy, but her intensity and size of the voice were overwhelming and exciting. Her weird timbre was also a plus.
I saw Verrett’s in the 70’s in DC and liked it, but the highlight of her performance for me for me was her Vieni t’affretta and Or tutti sorgete.
Irene Dalis was pretty good in the role as well.
Ghoulagina’s Lady is a gross disaster! And, btw, Ghoula’s “coloratura” made Rysanek’s sound like Callas’.
Who is this lady?
Ghena Dimitrova – double click on the video and you are taken to YouTube with more details.
I was doing some work with La Scala when it visited the Kennedy Center in 1976 and was lucky enough to see all of the performances. Verrett was terrific – and I mean TERRIFIC – at the dress rehearsal of Macbeth. She was almost – but not quite – as good on opening night. (The final d flat clipped a bit short.) She was unhappy with herself during the second performance. Very tense backstage. She cracked on the d flat after which she sat in a corner with her head down apparently dealing with some internal demons. During the third and final performance we were expecting her to cancel at any time. She got through it on sheer determination.
Looking back that seems to have been a turning point in her career. Earlier in the year she was in top form for Adalgisa at the Met. Then she did Norma on tour and was very happy with herself. After the Macbeths she opened the Met season as Azucena, again in top form. Later that that season she was a disappointing Mme Lidoine at the Met. The Favoritas the following season were not particularly good. Nor were the Fidelios and Lady Macbeths in future seasons at the Met.
Hard not to think that the soprano / mezzo see-saw did not hurt her voice. A pity. When she was good, she sure was GOOD.
Thanks. That was my guess. Wish she had done it at the Met. (Or anywhere else where I could have seen her.)