Cher Public

  • grimoaldo: “See the Valentino Costumes for Sofia Coppola’s Opera Debut” hecut/2016/05/sofi a-coppola-and-... 7:34 AM
  • Rudolf: @ Opera Teen Are you familiar with the Bulgarian “Francesca&# 8221; recording with Raina Kabaivanska? On RCA. :-) 11:45 PM
  • DonCarloFanatic: Thanks for this treat. I’ve listened once but intend to listen again and again. Maybe someone here could answer... 11:14 PM
  • Camille: Bravo Javiercito! If it is as good here at the MET next season—there will be a revolution. What a voice. Additionally, Srta de... 10:57 PM
  • sogalitno: Merci beaucoup! listening now… what a treat cher! 10:33 PM
  • Camille: I forgot to ask: will this Lohengrin be recorded in any fashion at all? A webcast is likely too much to hope for. 10:31 PM
  • Camille: Heaps of gratitude to the anonymous donor, whomever he/she may be. I had to listen to it twice over for that was how taken I was... 10:16 PM
  • Krunoslav: Also: -Daniela Dessi -Olivia Stapp ( VESPRI in Geneva; I saw her TURANDOT at Torre del Lago, aptly matched with Antonio... 9:49 PM

The Quantification of the Diva: Upon Reflection

Photo: Ken Howard/Metropolitan Opera“Mirror, mirror on the wall, who are the greatest divas (Classic and Contemporary) of them all?”

And the mirror replied, “I’ll tell you right after the jump!”

What a week it’s been, cher public, and La Cieca (speaking on behalf of herself and Jay Caspian Kang) only hopes you’ve been enlightened by our little étude as much as we have found pleasure in bringing a little joy into your humdrum lives.

The scores have been tallied, and all that is left is to view the bubble graphs.


So, now that everything is settled, La Cieca is ready to entertain questions or to…. what’s that? You say the bubble graphs are less than clear in delineating a winner or winners? Oh, well, you’re right, of course, but aren’t all those colorful little bubbles lovely? How they remind La Cieca of the poster for the 1971 revival of No, No, Nanette!

Dear Loni Zoe Ackerman—whatever is she doing with herself these days? ….Oh, yes, of course: the diva rankings!


1 Leontyne Price 830
(tie) 2 Montserrat Caballé 825
(tie) 2 Renata Scotto 825
4 Leonie Rysanek 820
5 Jessye Norman 800
6 Régine Crespin 770
7 Tatiana Troyanos 725
8 Joan Sutherland 710
9 Christa Ludwig 640
10 Marilyn Horne 580
11 Hildegard Behrens 520
12 Mirella Freni 495


1 Edita Gruberova 725
2 Angela Gheorghiu 705
3 Anna Netrebko 690
4 Karita Mattila 680
5 Renée Fleming 675
6 Cecilia Bartoli 605
7 Waltraud Meier 590
8 Dolora Zajick 530
9 Joyce DiDonato 520
10 Natalie Dessay 480

So, what have we learned, cher public?

Well, to begin with: it’s easier to be an older diva than a younger diva. Age adds to the “legendary” quality.

Retirement from the hurly-burly of the operatic stage perhaps adds a luster of soft focus to a diva, glossing over flaws that may have been more apparent when witnessed in real time.

Emotional Journey counts for a lot. Kunst and Stimm are about equally important, but you’d better have a lot of one or the other, or you’re no diva.

And for heaven’s sake, don’t be stingy with the Scandale!

La Cieca now invites the cher public to discuss the rankings, about which she is sure you will all be in complete agreement.

(Photo: Ken Howard/Metropolitan Opera)

Jay Caspian Kang, who has delighted us so often at Free Darko, also may be heard tweeting at maxpower51.


  • 41
    poisonivy says:

    I’m not really a fan of the actual sound of Edita’s voice, but I have to admire her for her dedication to her career. I was talking with a friend today about how many sopranos after the age of 50, especially ones with families, slag off on their careers. They don’t really want to learn new repertory, and don’t like becoming second cast or third cast, so they stick to one or two houses or the occasional concert. Sometimes they whine that no one calls them anymore, but they don’t do much to pursue opportunities either.

    So I have to admire the Editas, Mariellas, and (yes) Renees.

    • 41.1
      Cocky Kurwenal says:

      I’m not sure Renee is quite in that category yet. While I agree she appears to have the drive you mention, and the thought of her continuously adding new roles to her repertoire is not in the least surprising, I’m also pretty sure her agent is still more or less in a position to choose where and when she appears. After all, it’s not like the Met was desperate to do Armida at all costs and went begging to her, is it?

    • 41.2
      richard says:

      But doesn’t EG pretty much sing only in three theaters these days? Barcelona, Munich, and Vienna (where she can drive in and out on the day of the performances). And I would guess an occasional date in Tokyo where I understand she is extremely popular.
      She may do concerts elsewhere, I don’t know.

      I don’t really find this a fault, after all she is not just plus 50, she’s plus 60. But is certainly is a career that is whittled down to just a few venues.

      • 41.2.1
        La Valkyrietta says:

        Yes, pity Edita did not sing more at the Met…”il tempo vola”.

      • 41.2.2
        operacat says:

        I thought I heard somewhere (this site?) that Gruberova wanted to sing more in the US, however her European agent kept scheduling over things that her US agent and after a major US company got “screwed”, no one here would hire her. Does anyone know if there is truth to that?

          Grubifan says:

          The most important reason that Edita stays predominantly in Europe is because she wants to stay home more often and she is affraid of flying. In Europe (indeed often in Germany Austria and Barcelona) she travels by train.

  • 42
    poisonivy says:

    I think Renee is belonging in that category. She’s still being very aggressive in her career, demanding new productions, new roles, and maintaining her position as Queen Bee of the Met.

    Edita took on Norma when she was I believe pushing 60. She’s kept Zerbinetta, Lucia, etc. in her repertory, at an age when even Sutherland was resorting to Merry Widows and Adrianas.

    Not that I think there’s anything wrong with wanting to spend more time with the family and kids once the voice fades and you’re no longer the hot ticket. But I do admire the sopranos who don’t seem afraid of aging and continue to pursue a major career in their 50s and 60s.

    • 42.1
      richard says:

      Definitely Renee is pursuing her career very agressively . From the bits and pieces one hears on sites like this, she has projects in the works until 2015-16 or so at the Met where she is one of the very top stars. She’s operating on a level with the other really big names; Netrebko, Draculette, I suppose Garanca.

      Only Domingo trumps all these stars where you have opera companies selling packages of tickets so that if you want to see Placido you have to buy a series
      of other performances. I noticed SFO is doing this.

      From my viewpoint both Grubbi and Devia have scaled back their careers a bit. Neither is coasting but they pick their venues very carefully so that they don’t have to travel a lot and they have audiences that are very much attuned to what she still have to offer. Good for both of them! They must really enjoy what they are doing and have worked out a way to continue with it while giving themselves some time to themselves.