Ces lettres, ces lettres…
David Gockley has accepted Elina Garanca‘s withdrawal for “personal reasons” from San Francisco after discovering a “series of European concerts has been recently announced on Ms. Garanca’s website during the Werther performance schedule.” [La Cieca earlier reported this story as Gockley's giving "the boot" to Garanca, which was not accurate.]
One can practically see Gockley’s eyes flashing through the press release:
“It pains me greatly to announce that Ms. Garanca has chosen not to appear in next season’s Werther as promised. She is a glamorous young star who has created a stir in Europe and at the Metropolitan Opera, and I was looking forward to presenting her West Coast debut. However, after extensive discussions with her management and having filed a grievance through the American Guild of Musical Artists (AGMA), I am satisfied that the financial settlement we have reached disposes of the matter.”
Alice Coote, who replaces Garanca, will likely want to buy a few copies of the papers where the following paragraph appears:
“I am very pleased to welcome back to the War Memorial Opera House stage Alice Coote, a highly accomplished and extraordinary artist who has had two very big successes with us beginning with Alcina in 2002 and with Idomeneo in 2008…. Her magnificent artistry has been acclaimed around the world for her repertory ranging from Charlotte, Sesto and Octavian, to her recent triumph as Hansel at the Met. We are very honored to feature her in our new production.”
In the book Caballe (or those interviewed for the book) claim that Caballe was never informed that they would be doing the switch-off, which was a prime reason for Bumbry agreeing to sing Adalgisa again when she have “moved up” to Norma by that time. It was explained away with some sort of incorrect/alternate version learned by one or the other of the singers.
I absolutely love Caballe and you certainly get the love from the biographers, they had an excuse for pretty much every last one of her major cancellations which are mentioned in the book. They also explain her weight issue as well. I love diva fiction (and there is some in this book), but she did have quite a lot of problems of the “female nature” that did prevent her from honoring a few of her engagements.
rapt, thanks for reminding me of the episode in the porter book. can someone explain to me what that means? what i am wondering is, what does the higher keys version means? i understand the singers (both norma and ady) would be singing at a higher tessitura? and did bellini write then 2 versions of this opera?
Having seen Elina live in La Cenerentola and Carmen at MET as well as in Abu Dhabi in recital a few years ago, she has certainly approcahed stardom. Her voice, smile and great looks all contibute to the package.
Her Bel Canto CD is gorgeous, but she appears to now want more dramatic roles such as Carmen. Her role in I Capuletts and Montecchi alongside Netrebko will be remembered as a noatable classic.