Verklärung
La Cieca hears that the Hildegard Behrens Foundation will be launched today, the first anniversary of the death of the German dramatic soprano. First activities of the group will include bestowing grants on the Metropolitan Opera Lindemann Young Artist Development Program and the YOA Orchestra of the
Americas.
Classy.
A great artist. Unfortunately the last time I saw her was as Electra, at the Met. It was a dismal performance that drew such negativity that the one positive critic, for the NYT, lost his job soon after that review was published.
That first Elektra was a disaster for Behrens, and she canceled the rest of the run. And Edw Rothstein in the Times did in fact say she “was in fine vocal shape,” making the “most demanding role seem almost easy.” Nothing could have been farther from the truth; it was evidence either that Rothstein had no idea of the difference between vocal health and vocal distress, or that he hadn’t been at the performance.
But he did not lose his job. He continued writing music criticism—in fact, he wrote the review of Behrens’s successful return to the role two seasons later (where he acknowledged the “ravaged, spent and wasted voice” that “many attributed to Ms. Behrens” when the production was new—a worm-like way of wiggling away from his own failure as a critic). Moreover, Rothstein still writes for Times, now as “critic at large.”
I remember being at a Met performance where one leading singer was replaced for the last act, and the fact was not mentioned in the review a few days later. I always wondered how that could happen for any reason that would not get the critic fired.
I just read a review on the Met’s database of a Traubel Walkure, where Olin Downes apologizes for not having heard Act III. I assume that back then, reviews came out in the next day’s paper—critics had to hightail it out of there if they hoped to make their deadlines. But there’s no excuse nowadays, when reviews are always published two days (or more) after the event.
When Tebaldi made her Met debut as Desdemona, the Times reviewer said that he had not stayed for the last act. He had a deadline to meet for the review to appear on the next day’s paper.
Well, Desdemona doesn’t have much to sing in the last act anyway…
You’re right about Rothstein not losing his job. My memory fails and exagerates. But the review was so insane I think I just wanted him to lose his job.
you’re right—completely nuts. One more instance of the Newspaper of Record being anything but.
Off topic — does anyone know the real reason New York Grand Opera announced yesterday that it was postponing tonight’s production of Madame Butterfly? The stated reason was the weather forecast, which is not all that dire.
I don’t know why NYGO cancelled, but anyone who wanted to see an “Off-Off Lincoln Center” Madama Butterfly last night could have dropped by The Bleecker Street Opera at Father Demo Hall, as I did. They had a rough opening: the tenor was indisposed, and all the lights on the musicians’ music stands went out half way through the first act. After playing several measures valiantly in the dark, they stopped the show briefly while the crew found another place to plug them in. But the small orchestra was intrepid and there were some quite positive elements, including a lovely Suzuki from Anna Tonna and a very respectable performance by Kristin Sampson in the title role. I also liked the Yamadori, who had a surprisingly strong voice.
Whoever the NY Grand Opera is, I’m glad they did, who needs yet another Butterfly anyway ?
I can’t believe it’s been a year already.
Another off topic-on Saturday, August 21st, at 4:00 p.m. CET, (Central European Time)Walkuire from Bayreuth, live, can be seen and heard on your PC. Link: Siemens AG-Festival Night 2010. I clicked on and the black screen appeared. You have to figure out your local time.
This is the correct link :
https://live.bfmedien.de/live.html?lang=en
it will cost €14.90 which is just under $20.00.
$10 cheaper than last year’s Cosi from Salzburg.
Perhaps the first recipient will be Domingo.
Help him get that promising baritone career off the ground.
was just trying to find her tristan und isolde (the bernstein recording)- such a shame that her passing didn’t yield more re-issues
here’s a link to rapidshare upload of a TV broadcast of the re-opening of the Prince Regent Theatre in Munich with her, conducted by Lorin Maazel:
http://www.todoperaweb.com.ar/musica_728.html
Um this website is freaking AMAZING
they even have everything organized alphabetically!!
http://www.todoperaweb.com.ar/indicealfa_b.html
I’m somewhat less impressed than you, scifi; the first six things I selected were not available. Not encouraged enough to go back.
I the only thing i’ve tried so far, the ROH don C. w/ kaufmann worked, but the homepage of the site did say that the older links tend to expire. The only issue I have with the chronological pages is that there are so many.
The wonderful Bersnstein T&I WAS reissued some 4 years ago, in the Universal opera series where you get a smallish version of the original cover art -- very aptly in this case, the Rackham painting.
I love the Bernstein recording, despite some wildly eccentric tempos, it all works together dramatically / symphonically, and it really holds. The tension is unbearable in the Tristan act and there’s a tremendous Isolde act, with Bernstein and Behrens working together to achieve a very personal interpretation.
Those Munich live concert performances WERE videotaped live, albeit very primitively so. Here is the Liebestod
apparently the T&I wasn’t reissued in the USA, only in Europe
http://www.amazon.co.uk/Wagner-Tristan-Isolde-Peter-Hofmann/dp/B000BDIY2M/ref=sr_1_1?ie=UTF8&s=music&qid=1282312132&sr=8-1
I love the Bernstein T&I too – in spite of it being, I think, well over an hour longer than the Kleiber and Bohm recordings everybody knows, it somehow never feels like anything other than the way it should be done. Behrens is in spectacular form, and the rest of the cast is also very fine.
I think you’ll find the links expire in time, work backwards from the most recent page
So you’re saying ignore the alphabetical listing and use the chronological listing instead? Too bad they can’t find a way of purging the list of things that are non-functional. Right now it’s sort of like trying to cast next season’s PURITANI using a 1914 artist roster.
My link is free. Manou’s link charges you 14 Euros to see the back stage activities during intermitions. My link was published by Time magazine for free, worlwide use. I tried it, and it brought me to a virtual theater with a sreen and audience.
Why is your link free? I don’t see that you have included a link that leads anywhere but the official paying site, so please enlighten me.
Although I am thinking that $20 is a fair price, especially since I don’t have to drive 75-100 miles to a theater.