Willis or won’t she?
It’s official: Elizabeth Futral will sing the role of Ophélie in Washington National Opera’s production of Hamlet, replacing Diana Damrau who, according to the company’s press release, “is pregnant with her first child [and] has been advised by her doctors to avoid strenuous activity and air travel, thus preventing her from being in Washington.”
I too would like to avoid bitchiness. And ordinarily I avoid making snap judgments based on poorly recorded youtube clips -- however, having listened to this Bell Song, I am not sure that the Washingtonians are in for a treat of any kind. She sounds more like a light soubrette type with agility but no decent high notes. And I have never heard anyone losing pitch quite so badly on those repeated notes…
#5 Harold-
AHA! I’m NOT the only one who caught a whiff of last week’s haddock in this whole Luisi announcement thing.
1. I thought a Press Release was just that, and in this electronic age, could easily go out to all at the same time.
2.Giving the information in advance to an outlet that carries what is arguably the most widely read source of critical reviews seems to be courting, well, less unfavorable thinking.
3. Given the close relationship between La Cieca and James Jordan, he of the NY Post, was this perhaps a not so subtle message that he might “get on board” the Met’s program, in regard to criticism lite?
4. What is the role of Opera Chic in all this? Certainly, most writers on the subject have “insiders” who can leak stuff. If the leaker is unique in their knowledge (the boss’s secretary, for example) it should only happen once. That It would be the case in the organizations that I headed. Of course, choristers, stage hands, comprima/os and even costars might be much harder to identify but on the same hand, less likely to have the management decision before the rest of the crowd. So, the question becomes; whom has Opera Chic got in her pocket? LC has several sources, as we can easily observe.
5.Why is Opera chic so adamant about “getting credit” for the scoop? Just in a snit because the NYT itself gave Parterre a credit for a scoop? Seems petty. Parterre has many contributors, some reasonably well placed to be able to be the first with some certain knowledge. It’s fun but I doubt that one scoop will make much difference down the road.
6. Despite Opera chic’s demand for credit, I did not see her listed as the Times source. The Times, it seems had no need to give her such credit.
7. I am not an Opera Chic reader but I’ve look at her site. It is not the same approach as that of Parterre. While more esoteric in approach, Opera Chic is much more static and does not have the delightful experience of someone such as MrMyster, the curmudgeoness of Harry or the hilarity of Betsy-Ann-Bobolink or their interaction.
So, what is going on?
Fabio Luisi was already engaged to conduct an “unspecified new Verdi production” at the Met.
Any guesses? Rigoletto, Aida, Don Carlo, and Traviata have already been “specified.” What’s needed? A new Falstaff? Ballo, Otello?
My guess would be the new Rigoletto with Placido Domingo.
The “unspecified new Verdi production” will be Ballo in 2012-13 as listed at Sieglinde:
UN BALLO IN MASCHERA [new production] with Karita Mattila, c. Fabio Luisi, dir. David Alden
I understand that because of illness, Mattila will be unable to sing Ballo in the 2012 production.
The Bell Song clip wasn’t good. But I have seen Futral here in DC in Traviata and Lucia, and she was very good in both of them. I’m only going to Hamlet because it’s part of the subscription, but I’m not unhappy she’ll be singing.
Tom N: how long ago was the Traviata and Lucia you saw?
I had seen Mattila listed for Ballo somewhere in Europe. Is the Met sort of committed to giving her a new production whenever she adds a role to her repertoire? I like Ballo but can’t think of any soprano out there I’d consider featuring in a new production.
CruzSF: Traviata was September/October 2008. I think Lucia was November 2005. Or maybe 2004.
Tom N@19: Good, that’s fairly recent. I’d expect her voice to be in close to the same shape now as it was in 2008. I apologize for being so picky, but I’m looking for a 51% chance that there won’t be a train wreck before I hand over $100.