Let it chat, let it chat, let it chat!
Here’s the place to stay warm and to discuss this afternoon’s broadcast of Les Contes d’Hoffmann, starting at 1:00 pm.
Following this performance with a score is going to be difficult, as the Met uses a mix-and-match edition, but if you’re interested, bad old Choudens can be found here.
All in all, this performance was the Met’s best HD telecast this year. Did anybody notice Netrebko’s tear on her right cheek before she died?
I was very impressed with Netrebko today. She seemed to stray off note a couple of times near the end, but overall, I thought she had a much better telecast than in last Lucia. I also loved the way her voice soared out of the huge chorus at the end, remaining string and completely identifiable as Netrebko (in a good way).
Did anyone else notice what appeared to be a baby bump on La N?
Yes, the tear was noticeable. And yes, in the final chorus of the epilogue she rang out beautifully. I just thought she was muddy in the beginning of the second act, the turtledove song.
I wasn’t focused on her abdomen (though the abdomens of the women in black panties in the Giulietta act did get my attention — you do realize you have some straight readers, don’t you, La Cieca).
BTW, sexy lingerie replaced pasties, so there wasn’t any need for tricky camera work today.
Constantine, That tear got me all choked up for sure!!
Yes, we noticed that!
Just got back from the HD transmission. (We went out to dinner afterwards).
I thought Kate Lindsey was the star of the show. Kathleen Kim was a close second–so enchanting! Didn’t really enjoy Calleja; his voice seemed to go beyond mere vibrato to a kind of flutter in all the sustained lines (which of course might have been an artifact of the transmission and sounded very different in the house).
Pyramus, I think others have identified this vibrato as a characteristic of Calleja’s voice. There’s even a special word for it (meaning fast, flutter vibrato) but I’m afraid I don’t remember it at the moment.
I wondered how Lindsey and Kim rested before today because I was expecting underwhelming performances from them, based on previous comments here. But they were on fire today. Lindsey, in particular, never seemed to break character, all the more impressive to me because she spends a lot of time on stage not singing or being the focus of the action. She had such focus today, and was quite fetching (and my taste usually runs more toward the Calleja/Kwieczen type).
I like that type of vibrato, which I would call vibrato stretto, but those who dislike it would call it caprino.
“caprino” is the word I couldn’t remember. Calleja’s vibrato didn’t bother me, so I guess I heard his “stretto.”
Caprino, is it? I read that term a little while ago on Parterre Box–probably in relation to Calleja’s voice–and couldn’t find anything on a web search (Wikipedia said it’s a kind of cheese).
Perhaps if I got used to the sound I would appreciate it more, but it’s the first time I ever heard it and it sounded wrong to me, as if his voice were under stress.
Still, learn something new every day.
pyramus, I did a Google search on “caprino opera” and found this description from an Opera-L posting: “her voice is afflicted with a
twittering, fast vibrato, which the Italians term as a ‘caprino.’ (little goat)” (posted by one “Micaele Sparacino”)
“Caprino” was used to describe Corelli (!!!!) in his Italian days when he was commuting between Rome (where his in laws kept watch, armed) and La Scala (where Madame Callas and il duca Visconti kept watch on him and each other about him). Some Italians of that era say they loved his voice then, live, and were disappointed when they visited USA and heard him live chez met and Philly. He worked to suppress that strong vibrato specifically for America where he was told it wouldn’t be appreciated (also in Italy, Del Monaco persuaded some reviewers to attack Corelli for sounding like a goat. When he and Bastianini have finished what sounds to me a pretty spectacular Solenne in the Naples Forza you can hear some people yell ‘caprino’ as turnips are thrown on stage).
I love an even vibrato (in string instruments too — Maud Powell, Guilia Bustabo — fabulous, young Kreisler anyone? Uneven – ala the great but not always reliable tenor Anselmi and the fabulous but somewhat hectic sounding Mafalda Favero — means pitch issues. However much as I respect Renee’s courage and intelligence in the Zaza ENTIRE final scene on the as far as I’m concerned must have Verismo CD, Mafalda’s reading, in abysmal sound ends with her and the entire audience sobbing). A vibrato always works better live, for it gives a voice a special glow and sensuality — the greatest Pilar Lorengar was an example of this, a quality not really caught on a lot of her records, though some of them are desert island (the two Decca recitals on LP are to die for — I think they were combined on CD with omissions needed, alas).
Pyramis, we seem to be peas in a pod. I also thought that Lindsey stole the show. I couldn’t take my eyes off of her and she sounded great, too. I found Trebs dull as I usually do. In fact, when she was singing, and Lindsey off to the side observing, Lindsey’s intense focus only served to show just how slap-shod Netrebko is (i.e., beautiful, but only half engaged). Kathleen Kim also hit a home run. Calleja was delicious, too.
Pyramus, we seem to be peas in a pod. I also thought that Lindsey stole the show. I couldn’t take my eyes off of her and she sounded great, too. I found Trebs dull as I usually do. In fact, when she was singing, and Lindsey off to the side observing, Lindsey’s intense focus only served to show just how slipshod Netrebko is (i.e., beautiful, but only half engaged). Kathleen Kim also hit a home run. Calleja was delicious, too.
I loved Kate Lindsay — she has a solid technical, rounded voice though it seems small. The problem with her was that she had too many poses and not enough action. Her role espcially didn’t seem fully conceptualized.
I went to the HD broadcast, and received a program that told me I was seeing “Les Contes d’Hoffmann”… by Giuseppe Verdi. Oops.
The only role Caleja should sing in that opera is Pitichinaccio. His Hoffmann was really painful. Lindsey is truly a revelation. for sure a great Cherubino, Dorabella or Prince charming in Cendrillon. I wonder if it is too early for Rosenkavalier or Romeo.
I wish I could have seen her as Zerlina but she reportedly injured herself and withdrew from the final productions of Don Giovanni at Santa Fe. I think she would be great in the Mozart operas.
Kate Lindsey has been engaged to create the title role in Seattle Opera’s new “Amelia”, about which I know nothing, but I was quite interested in her during this broadcast. I am happy to hear that she made such a good impression in the HD and in the house.
reedroom, are you in Seattle? If so, I hope you’ll give us a review of “Amelia” during its premiere run.
I am actually a member of the Seattle Symphony and Opera orchestra, though sadly I am not assigned to play in “Amelia”. I’ll try to stay in the loop–and definitely attend the Final Dress and go to one of the performances. Stay tuned…
Lindsey seemed like a pleasant, small-voiced generic lyric mezzo to me …
Oui, oui, oui Sig. Monty Nostry — “pleasant, small-voiced generic lyric mezzo’ is EXACTLY what Miss
Lindsey is. Her Zerlina last summer hovered between inaudible, vulgar and boring; I don’t know why she withdrew, but it was a good idea. I don’t think it was an injury. I am totally amazed by the praise lavished on her here today and the fact the Met is pushing her so. I don’t find her memorable or special in any way. I hope she has a nice husband and lots and lots of children.
Having seen the woman who replaced her, I would disagree that it was a good idea. She was an apprentice singer masquerading as a mezzosoprano whose voice (at least that night)was not worthy of applause.
I’m new here and have to warn you that I just love all of it.And I have a soft spot for Hoffman..it was my first opera at the Met- barely out of diapers (not) with Sutherland as all the women and John Alexander as Hoffman. I agree with so many of the above comments- L’il Kim nailed Olympia and she is so teensy ! I laughed when Calleja just picked her up in the dance and her feet were a good 4 feet off the floor – she will be an amazing Zerbinetta later this year. Liked Kate Lindsey a LOT, liked the George Sand look and her voice,but felt she was more accomplice to the villain than muse to Hoffman (let’s kill off the women so he can write). Also liked Netrebko clutching her throat and being all twitchy and then shrugging it all off yakking with Debbie afterwards. Marius Kweicien almost stole the afternoon and he wasn’t even singing, he was charming and likeable and dear. Debbie had a tough job- thought they switched to QVC when she said her shawl and her necklace of real Swarovski(sp?) crystals from the Met chandelier came from the Met giftshop (call now for free shipping !)I liked Calleja and his voice. My quibble is that they should TURN UP THE LIGHTS. I want to see what’s going on ! I enjoyed myself immensely. Thanks
Twice now Nebs has said, once in an interview on Sirius with Mags Junk and tonight with Debbie Voight, that the coat she wears in Hoff is a real Chinchilla made coat.
Voight joked that it was a fake one, but Anna again stated that it was real.
WTF do they need to have a real coat for, what fucking artistic merit has it got in the production. Sorry Nebs I love you, but you really must be a stupid bitch if you think it great to wear this. How much did the Met pay for this? Disgusting…
Gelb be warned, if I see you in the street, I will slap you across the face with my two guinea pigs.
Apart from that I thought it was a great production and worked very well in HD. Season Greetings to all.
just another sign of what a DOLT that woman really is.
That’s going a little far, I think. Maybe Netrebko needs a refresher in Accepted American Values, but I heard her remark as meaning, “Oh, no, the Met doesn’t skimp or use cheap substitutes; they used real fur.”
She wears fur offstage, so why shouldn’t she be impressed by the use of fur onstage?
As for “why does the coat have to be real,” one possible reason is that it is either a vintage coat purchased and recut, or else a modern coat lent to the Met by a furrier in exchange for some promotional consideration. Either of these expedients might well be less expensive than creating an all-new garment from a high-quality artificial fur.
As a small furry animal, I do not personally feel like fur is an ideal material for clothing people, but let’s get real – can we really expect a beautiful rich russian woman to not be impressed by fur? Someone needs a new pet issue. (no pun intended)
Thank La Cieca. I was thinking that it was recycled as well. It seems like a smart thing for a costume department to do.
When Cincinnati did Pasquale something like 10 years ago, thye Norina showed up on stage with a real mink fur. The silver stole (fabulous in every way)was a loan from a patron. It had its own dresser and not even the Norina was allowed to touch it until it was draped on her shoulders.
I understand people’s outrage over real fur. At the same time, I see no issue with a vintage piece that is re-cut or recycled. It is cheaper, the look is right and why should it go to waste? We are the recycling generation after all, that should include old furs.
Has anyone here survived a Russian winter? Or even a Manhattan day such as today? In this light, I find it rather easy to understand Ms. Netrebko’s affinity for furs.
Surely, chinchilla is what becomes a legend better than most.
PETA Peeps protest today outside Bloomingdales.
Thank god Camlle had exited from another doorway, as she had just purchased her new FURRY* winter chapeau, and her pelts remained unpelted by PETA.
No Netrebko in sight!!
*no SQUIRRELS were used to create Camille’s chapeau.
I hope you’ll have the presence of mind to get that guinea pig slap on video.
I will let PETA know. Nebs would look hysterical wearing the contents of a can of red paint on her. I’ll request that they toss one on Voigt also just for being annoying.
and do you really think Nebby will change her mind? Chances are she will race in pursuit of the painter and shove that can so far up his (her) ass the poor person will need to have a cesarean to take the can out.
HAHAHAHA I would LOVE to see those PETA asses get that. Whatever I love fur esp. chinchilla rock on Anna. Of course she would wear real fur she’s Russian for goodness sake.
Everybody I met at the House was most interested in the Parallel Universe, not the performance. And it seems Worlds Collide next September when the humungous RING unit set arrives. Not only will the old Fosca return (big as it is when set, it mostly folds/collapses for storage), the Frigoletto will not be the ‘house’ production in use since 89/90 (Schenck/Brown for Anderson/Nucci/Pavarotti), but the version of it made up for a tour to Japan. Ironically, Blondie is engaged to do the replacement of the Schenck Frigoletto production, so he’s getting his licks in already.
Harper and Masterson made Antonia so much more noble and upstanding a figure!
What was up with the whole chinchilla thing? God I hope it was real, few things feel lovlier and raise the spirits the way real fur does… yummy! Calleja was nice, and I think levine did a nice job conducting.