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.

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’.

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.

I cannot recall now how she handled the Veil Song in Don Carlo…does anyone, because that would give a clue.

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.

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.

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?

She was offered the part but stayed away from it and for good reason.

You are probably correct about Zajick, as well, it would be nice if the Met gave her prima rather than the seconda donna role, for a change. It is rather late in the game for this to happen and I am sure The House of The GELB would prefer a Netrebko or another fresher, more charismatic singer. Just pray to all that is holy it is not N. Michael because she makes Guleghina sound good. At least Guleghina did sing it okay in the early ’00′s with OONY or Collegiate Chorale, can’t remember which.
Pieta!

As for a Lady M, I am at a loss. Good question, indeed.

I love Caballe in the role. But my two favorites on record are Fiorenza Cossotto (with Milnes and Muti), and Sylvia Sass. Sass’ La luce langue is amazing, and her sleepwalking scene is terrific.

What happened? Why she cancelled, of course. June Anderson, still very young, filled in and was very good.

In her 40s she could have tossed off Lady M, but it would have sounded like a vocalise, without the fierce edge she could produce but not sustain. Similarly she never sang Elizabeth in Roberto Devereux, and on stage never risked Turandot. Her Leonora (Trovatore) on stage was unfortunate. Those who never saw her Norma on stage have no idea what presence she could project, or what effect that music makes when flawlessly sung, passionately loud.

A real pity because if the Met had the production then Caballe could also have offered her Semiramide to the NY audience.

That really is her meat – Turandot is a trick role for certain kinds of top heavy big lyric voices. That doesn’t mean that they can make that voice work in roles like Abigaille, Lady Macbeth and Gioconda. Lise Lindstrom I hope you are reading this and take note.