Cher Public

Einspring is in the air

perezAmerican soprano Ailyn Perez made her Royal Opera debut last night on the company’s tour in Japan, singing two-thirds of the role of Violetta when the scheduled soprano, Ermonela Jaho, canceled after a rocky first act. (Jaho herself was a late substitute for the ever more elusive Angela Gheorghiu.) A witness to the performance says, “She was amazing and had grown men weeping at how naturally she inhabited the role.” La Perez will return to the return to the Royal Opera (this time in London) as Violetta and Liu.

  • good for ailyn! she was a beautiful violetta here in SF two seasons ago…so, no surprises there.

    don’t tell me Jaho is already having vocal problems. was she just indisposed?

    • on Jaho’s website (http://www.ermonelajaho.com/index-2.html) she definitely displays some poor technique in the bolena excerpts…and that was 2 years ago. maybe she’s losin’ it by now. if so, sad! it says she did butterfly and mimi earlier this year. WHAT!?

      • Jon E. Ski Key

        I’ve seen Jaho’s Mimi, Liu and Butterfly (her first) in Philadelphia. The Mimi and Liu were dramatically spectacular, if vocally alternating between gorgeous/shimmering with stretches of sharp singing.

        Over the past few seasons her voice has taken on a darker quality and a tremulousness has set in her middle voice.

        The Butterfly was definitely not of the Tebaldi mold, but of the Dal Monte mode. She emphasized Butterfly’s youth, almost playing her like a petulant 10 year old in the first act. The pianissimo singing was gorgeous, but again there was too much sharp singing.

  • Olivero is my Drug of Choice

    Here she is..not bad!……(though she needs a “stylist”)

    • she has always reminded me mostly of de los angeles…which is a welcome and rare comparison.

    • MontyNostry

      Perez is a lovely, lovely singer and I think the voice has spinto potential for the future. As it happened, she’d left her concert gown at the hotel when she gave that recital in London! She apologised at the beginningh of the recital.

  • rommie

    damn she’s good. i hope things work out well for her. :)

  • SilvestriWoman

    Must be a slow Sunday… No mention yet of Perez’ husband? Well, let me do the honors…

    • SilvestriWoman

      IMHO, he should think twice about taking the C at the end… Judging from her Depuis le jour, she probably has a lovely float. Hubby sharing the top note robs us of what would probably be a very lovely moment.

      • florezrocks

        Love them….but not great blend!

      • louannd

        The clips that disappeared that were on Youtube (after they changed management companies) from La Boheme performances only had her taking the high C. Much more beautiful sound than on this rehearsal room acoustic one.

        Their R&J from San Diego was fab and they are scheduled to do Faust in San Diego in April.

        • papopera

          Who the hell is R&J ????????

        • louannd

        • armerjacquino

          Heh, why does he look so sulky?

      • Will

        He needs to develop a head voice fast. The end of the first act of Boheme should be sweet and intimate, not a shouting match.

        Her Louise wasn’t half bad but that plodding, clomping pianist was a distinct trial.

        • SilvestriWoman

          I completely agree about Costello. Couldn’t help but wonder -- if he’s half as fabulous as his hype, why is he working so hard?

          Most beautiful ending of O soave fanciulla ever -also first time I didn’t hear the tenor take the C:

      • armerjacquino

        She certainly ain’t floating there.

    • bassoprofundo

      What’s up with his r’s? “in te rrrrrrrraviso… frrrrrrremon gia nell’anima… le dolcezze estrrrrrrrrreme…. frrrrrrrremon nell’anima…. nel bacio frrrrrrrrreme amorrrr.”

      she’s a lot better than he is.

      • Malapasqua

        And I do believe Montsy takes the last two amors in one breath, wow.

      • Regina delle fate

        It’s called good diction -- most of the older Italian singers used to do it and the 1950s -- 1960s generation of Austro-German Mozart singers when singing in Italian.

      • rapt

        Thanks so much for posting this, SilvestriWoman. I’d never heard it, and it is indeed something! It’s the first time I’ve heard the voices match the tenderness and breathless hope that’s in the orchestra (but I’ll admit to not having listened to every one of the googol of recorded Bohemes).

        • SilvestriWoman

          You’re very lucky! I first heard as teen when the local SF classical station played the new Solti Boheme. Caballe’s floated high C blew me away but I thought, Something’s wrong! Then I realized Domingo was not singing the C. Ever since, I’ve zero interest in hearing the tenor singing the high C, at least until one comes along who can float it. (Probably won’t happen in my lifetime…)

  • richard

    AHA! So are these the details hinted at in the “no worse than mousha” blind item from several weeks ago? The soprano who had “lost her way”? Although it appears that two sopranos have lost their way (in different ways) at this point.

    Congrats to Ms Perez

  • BETSY_ANN_BOBOLINK

    Costello, Shmostello. I’m into Capalbo now. The only tenor worthy of putting beside the divine Behrens.

    • louannd

      Capalbo, shmapalbo, unless it is worth you sending me a copy, then perez, shmerez.

      • BETSY_ANN_BOBOLINK

        Ooops, confusion point. Is “louann” different from “louannd”? If so, I”ve been sending a lot of stuff to the wrong person.

        • louannd

          no diff
          I’ve been getting them, thank you lots.

    • i.e., six feet under?

  • Bill

    Costello just made his Wiener Staatsoper debut in Boheme (replacing Villazon) and of the 8 reviews I read
    of the first performance (a rehearsed Wiederaufnahme), none were particularly positive and he did no take the high c at the end of the first act. Stoyanova did and all 8 reviews of her Mimi which I perused indicated her perfomance was radiant and that she was the absolute shining light of the evening. Welser-Moest condcted.

    Perez had sung a number of Violettas in Vienna last
    Spring (when their unsuccessful production of Macbeth was replaced by Traviata -- 2 Lady Macbeth’s were ill).
    and Perez received quite favorable reviews.

    • brooklynpunk

      I listened to a broadcast of Costello, from Vienna last week, in Boheme…and..he was a cipher, as Rodolfo…I thought……

      Very UNIMPRESSIVE….

  • Nelly Melbacioiu

    Ms. Perez was the Countess in a Ravinia concert performance of Figaro this summer. It was my first time seeing her, and I was quite impressed. Her “Dove sono” truly stopped time and brought down the house. I look forward to seeing her again.

    • peter

      I love your name, Nelly!

  • justanothertenor

    I saw Jaho as Violetta in Berlin last year. She was dreadful. I mean, dreadful

    • manou

      I saw Jaho as Violetta at Covent Garden. She was not dreadful.

      • Regina delle fate

        I agree with Manou -- she was perfectly acceptable, in fact greatly preferable to La Gheorghiu at the performance I saw during her summer run. Ange, after getting rave reviews for the first night, seemed to have switched to autopilot mode, almost marking rather than singing out and the audience’s disappointment was obvious. Several people were heading for the cloakroom after Act II.

        • justanothertenor

          Well in Berlin, it was really bad, and many people were headed for the cloakroom at the first intermission. There were people in the orchestra who left in the middle of the Germont/Violetta duet. Maybe she just could not connect to the production. Lord knows I could not. It felt as if it was all set as a memory/dream as Violetta is in an ambulance. There was a movie projection of a road behind her, and the characters never looked a each other. And she sang very poorly, as did the Alfredo and the Germont. It was a pretty sad night, and she was smack in the middle of it. I just remember her veering off pitch constantly. It was very rough.

        • justanothertenor

          By orchestra, I mean orchestra level.

        • MontyNostry

          I saw Jaho as Violetta at Covent Garden a couple of years ago when she was springing ein for a bronchial Netrebko. The voice is not exceptional, but she gave a lovely, sensitive performance and she certainly looked the part, if not as voluptuous as Nebs or as striking as Ange (whose breakthrough Violetta I saw in 1994; even then I felt she was a narcissistic singer who fussed with the line a bit …)

  • Donna Anna

    @Silvestri--that room is in Cincinnati’s Music Hall. P&C were both superb in Cincinnati Opera’s Boheme, directed by our hostess’s nemesis, Sir Dr Jonathan Miller (and even he liked them). I am delighted for Ms. Perez--we heard her in St. Louis’s Hoffman a couple of years back and she sang Mimi with passion, tenderness and genuine dramatic sensibility. I don’t know Jaho and sounds like I should be grateful.

    • mrmyster

      D. Anna: What was Mimi doing in Hoffman?
      Such syntax, oy!

      • Donna Anna

        M. Myster--my apologies. Such syntax oy indeed. Suffice it to say that she was great as the four Hoffman heroines; wonderful as Mimi. And I hope she gets to sing the rest of the Traviata run.
        Shana tovah to landsmanner…

        • mrmyster

          AND, D.A., don’t we wish that A. P. had sung the Santa Fe
          Hoffman heroines this summer!!!! She sings Marguerite here
          next summer I believe, and I look forward to it.

      • justanothertenor

        For that matter, who is the composer “St Louis?”

    • marshiemarkII

      It must be a new ailment affecting parterrians, didn’t someone also just saw Verrett interrupting a Sutherland/Pav Trovatore with bits of Norma? :-)

  • Harold

    Here is a young tenor I find very promising, Antonio Poli.

  • MontyNostry
    • louannd

      At this rate, I wonder if the two will even show up in San Diego next spring, or if Ailyn will still do Santa Fe next summer?