parterre box

88 comments

• 81
  Chanterelle says:

  December 11, 2009 at 1:38 PM

  #40 rogwood: seems like Sveriges Radio P2 changed its programming and is currently broadcasting an orchestra concert. I really wanted to hear Dalayman essay this, though I can’t imagine her being demented enough. But Emma Vetter is the one to watch, er, hear, apparently.
• 82
  Cassandra says:

  December 11, 2009 at 1:46 PM

  I’ve answered some of my own questions. Someone I know studied with Sandra’s mother at Virginia Commonwealth University. She apparently moved around some as a regional singer in Germany and then decided to teach.

  As for Sandra’s husband, many people have found the relationship bizarre and it’s been commented on frequently in the press. To take me to task for a question anyone would ask is… strange, to say the least.
• 83
  sharky says:

  December 11, 2009 at 3:07 PM

  Hmmm . . . in the house, Bullock sounded terrific – never overparted, I didn’t strain to hear a single note. The Recognition Scene was stunning – absolutely beautifully sung – and played from the orchestra. I was in tears through the entire scene – from the moment Orest fell to his knees – followed by Elektra crumpling to the floor. Powerful stuff. The highest notes are a big problem – more willed than sung and once touched (barely) let go of. Didn’t bother me in the least. Voigt sounded better than she has in 5 or 6 years. Palmer was stunning. Nikitin was a major disappointment (but decent actor) . . . this brief role has gotta SOUND good though (Held, Dieskau, Grundheber, Krause, Ramey, Weikl, Hynninen . . . ) it did not. Wolfgang Schmidt may win the award for the very worst Aegisth in history . . . in a long line of bad ones he was godawful. Luisi needs to change some pacing – but was splendid otherwise. Bullock looked great onstage and all the interactions worked just fine for me. Wonderful night at the opera!
• 84
  Chanterelle says:

  December 11, 2009 at 3:15 PM

  My bad — didn’t look at your posting date. Webcast is tomorrow, Saturday.
• 85
  schweigundtanze says:

  December 11, 2009 at 5:27 PM

  I’m not quite sure what to say about this. I was most interested in the production for about the first 5 seconds, then it became clear it was a bunch of chicks in prom dresses and some goth bitch standing in front of a wall. That’s a shame, because the opening part with Elektra in the opening with the lights was visually intriguing (a la the Met Tristan). I think it also has to be the slowest, most subdued excerpts I’ve ever heard from the score. Dalayman sounds nice, but where’s the fire and the energy?
• 86
  Camille says:

  December 12, 2009 at 12:30 AM

  Chere La Cieca,
  You may backhand me if you feel I am impertinent but I have felt concern, of late, as to what those blue ‘dos do to wash out your lovely, pristine complexion. The Elektra ‘do, although very stark in colour, suits you much better and is rejuvenating and becoming to you.
  Just came from hair salon so I’ve got ‘dos in mind.

  Love Camille Beauchamps

  P.S. Probably still @ your peak of perfection as a Champagne blonde, however.
• 87
  ilpenedelmiocor says:

  December 12, 2009 at 2:55 AM

  My God, Dame Gwyneth slides into those notes like a trombone; pitch by gradual approximation.
• 88
  Byrnham Woode says:

  December 12, 2009 at 6:26 PM

  Susan Neves, who is doing the ELEKTRA Overseer is probably covering something at the MET right now. She has done this part there before, however, and debuted at the MET back in 1993 as Third Norn and Helmwige. As short, dramatic roles go, these are some of the toughest.

  She was 2nd cover for NABUCCO its second season, and when neither Guleghina nor Gruber was up to the broadcast, Susan had a sensation. She’s done well in regional houses and in Europe, but I don’t know why her status at the MET hasn’t grown.