Cher Public

  • Camille: Well; I would certainly agree with that ‘Emeritus 217;idea but it is already a bit overdue isn’t it? It is a... 4:04 PM
  • Gualtier M: I suggested “La Vestale” to Will Crutchfield as a possible Bel Canto at Caramoor presentation. It hasn’t... 3:48 PM
  • steveac10: I can see an emeritus scenario brewing on the horizon. That his involvement is being quietly would down, as his influence over... 3:43 PM
  • Camille: Right. They were well publicized in the L.A. Times. I would weep big pearly tears…so near and yet so far. Just once I made... 3:33 PM
  • Camille: That’s exactly why I put very little faith in this site—-wishin g for Mr dependable Bradley Wilber back again. A year... 3:20 PM
  • Camille: “And NEXT—I shall introduce my Isolde, alongside my Norma!!!!!!” Shades of Mardew…̷ 0; 3:18 PM
  • Camille: In the style of Jenny Lind: httpv:// m/watch?v=s3RMFGk7 ndE As well, in the nineteen twenties or thereabouts, the great... 3:15 PM
  • Krunoslav: Right, and then she’ll move on to TABARRO, FANCIULLA and ISABEAU. “An *Amelina*, not an Amelia.” 3:13 PM

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.


  • 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!