Headshot of La Cieca

Cher Public

  • Dabrowski: Do they get the fee for rehearsal time, or just performances? Are there reimbursements or per... 9:32 AM
  • La Cieca: Whoever the item is about, my understanding is that the current top fee at the Met for singers is... 9:26 AM
  • messa di voce: How many gigs at the Met did she cancel? Wasn’t she supposed to come back for some... 9:25 AM
  • Dabrowski: So if it is Netrebko, what IS her fee? I assume it’s the highest of anybody around. I... 9:10 AM
  • La Cieca: The horns are the only natural thing about that performance. 9:07 AM
  • Jungfer Marianne Leitmetzerin: Sweetie darling: have you ever BEEN on a baseball field? There is a reason why... 8:54 AM
  • Krunoslav: ‘MontyNostry says: Ciccia — her Alcina in London was uncomfortably on the sharp side... 8:53 AM
  • arepo: Yep. This one was a no-brainer … er … no-seer. Her Nebs for sure. 8:44 AM
  • messa di voce: Blind items this season = Iolanta 8:40 AM
  • La marquise de Merteuil: AN? 8:33 AM

Guardians of the flame

lurch_thumbRenée Fleming and Dmitri Hvorostovsky offer an object lesson in the traditional old school performance practice of “lurch and flail” operatic acting.

39 comments

  • callasorphan says:

    In my humble opinion, I think they sounded damn wonderful with both looking splendid! (by the way, I’m not a huge fan of Renee; however, I’ve liked Dmitri since his early days)

  • RDaggle says:

    There certainly is some strange physicality in this clip. I’ve never seen anything like it from these two before.

    On the other hand, I’ve also never seen them try to sing grand opera tragedy sandwiched into a
    four-foot-deep corridor between orchestra and audience.

    Is this the St. Petersburg Concert Hall and Dinner Theater? Maybe between selections the singers have to refill drinks and bread baskets.

  • Earl Koenig says:

    I agree with those that have speculated on Madame Fleming’s potential in this particular role. I’ve always thought that (this) Leonora would suit her voice magnificently. I was infatuated with Fleming before the mannerisms started saturating her performances, and I think her high pianissimi are exquisite (if a bit overly indulgent at times) -- a requisite for this Verdi role in particular. If she could work with a top-notch conductor who could rein her affectations in, I think she has the essential vocal goods to own this role.

  • Sanford says:

    Come to think of it, I think there are some other Verdi roles I’d like to hear her in. I’m not sure about the opening coloratura of Luisa Miller, but I think she’d nail T’amo d’amor and Tu Puniscimi. I’d also like to hear the Giovanna D’Arco aria.

  • La Marchesa Attavanti says:

    I think they both sound quite good. No surprise from him since I’ve seen him in the role (and his very Scarpia-like take on de Luna in this act) but she sounds like only she can sound when she’s geared up. I think this would be a good role for her and I think it would keep her vocally occupied enough so as not to leave room for the vocal “playing with her food” that drives us all nuts.

  • javier says:

  • callasorphan says:

    If I had my way, it would be Aprile Millo up there with Dmitri singing full throttle (the exposure of bosoms being optional). Nevertheless, I enjoyed Renee for the first time in a very long time!