Cher Public

  • Bill: Kennedet – from more recent videos of Nebrebko doing various arias, it seems her voice is not quite as steady as it used to... 11:47 PM
  • Magpie: Is it the aspect of my monitor, or am I the only one who sees the elephant in the room…. Her. Is she getting huge or what?... 11:34 PM
  • kennedet: I must say I get a little concerned about Netrebko. Make no mistake that I can’t think of a more exciting singer in the... 11:10 PM
  • DerLeiermann: I see her stealing Margaret Price’s trademark look. http://www.lebrech ntent/uploads/2... 11:04 PM
  • laddie: You might want to run over to Philadelphia and catch “Cold Mountain” in February. I have seen Amleto and, well, I... 10:46 PM
  • Ilka Saro: Thanks for confirming that! My recollection was that it was in color, and I was thrown by the b/w clip. I don’t object to... 9:48 PM
  • aulus agerius: now has ‘The Year in Opera’ available which is very helpful. I’ve planned a trip to FL for... 8:48 PM
  • vilbastarda: Did any parterrian attend dell’Arte Opera’s Rosina by Hiram Titus, and care to share their thoughts? I went last... 8:47 PM

Carl who?

bounty_hunterNo programs for last night’s Fanciulla, just someone had worked overtime on the copier to give us a cast list and plot summary. If no delivery for the glossy, fully 3k people there, just slight slip and slide on the Plaza enough to keep me gripping the alpenstock. (A weapon of Individual Destruction, permitted by the Met, if not airlines outside of Chehnya.) 

I had been to the first iteration of this run, perspectives somewhat dulled by the aftereffects of a heavy date with a surgeon, AND by the muddled staging that made it ever so diff. to see who was singing from the FC even with glasses (praise for Rance’s J. Peterman white dust coat). However, since almost all the action of the first two acts is stage right my seats are on audience left. Ha! One up. But why have Debbie stuck behind a bar beneath an overhang even further stage right??—but this has been treated eloquently and well in this space. (Yes, the Volpe era, but I am sure there would be wigs on the green after all the hammering we heard before the last act as the scaffold, audibly if not visually, was being prepared.)

Back to all those men in dark suits in act 1. We awaited the desperado/Carl Tanner (debut) whose name La Cieca had alerted us to in connection with the incumbent’s sciatica attack. Most desperadoes don’t wear long black coats—at least in my imagination—but Carl entered in a long one amplifying a moderately full figure, maybe like a Neapolitan carriage driver in our first gilded Age—but Giancarlo’s fault, not Carl’s. (Happy the storm prevented the appearance of Monday’s NYT where the term “teddy bear” was used—and at an interview in Upper West Side diner at that.)

Not prepossessing he seemed, and a bit tentative vocally at first, but only then. Then, dear friends, a strong, reliable, tenor with a heroic ring/ping to it, even up and down, musical (not just the high notes). The cabin scene was terrific. Debbie threw herself into it, agile, tempted but careful with her guest, longing but maybe should not, and finally heroic. “Johnson’s” outburst of longing and hurt before going out the door into the snowfall (yes, and smoke from the wood fire in the chimney, and Rance with his rifle in his Peterman coat amid the spruce) was splendid.

It evoked and honored what must have been 100 years ago on the 39th street stage. Ditto the piece before the scaffold which Puccini—not another Cavaradossi here—refused to make an aria but made into a dramatic outburst that showed what he was picking up from north of the Alps. It was thrilling. So was the show, for the darkness and clutter of set and direction, glorious in the pit under Luisotti, everyone on sage and off had a fine time. The 3k gave Carl Tanner the ovation he deserved.

Carl who? The sturdy woman who unseen leaves the newspaper of record outside my door each morning couldn’t make it in the blizzard and left Monday’s with today’s, and, lo, there was Tanner, photo, “teddy bear” like at the diner, one time truck driver, bounty hunter. And, oh yes, the Canio in that fine Pagliacci in the halcyon pre-Mortier-initiative NYCO. Hope you are her for longer, Carl Tanner!


  • Carl Tanner is long overdue for his MET debut. I’m glad they finally got him. He was a truck driver before he was in opera,you know. Maybe Marcello will still be sick for the HD production and we can enjoy a good singer. Congrats Carl.

  • La Valkyrietta says:

    I’ve been to the Anvil, the Mine Shaft, the Toilet and the International Stud, but I’m here! I saw Corelli, Bergonzi, Gedda and Kraus, and I’m here!

    Last night I was at Fanciulla. I loved the production. Loved the horses in the second act. Loved the sets, no sick reggie imposing his neurores, none of that. Giordani is Sicilian and knows what he says, but he could have sang it better. Voigt was in great voice at times, but what was she singing about? I loved the chorus. Levine 54, where are you? Stage director, did you read a Caruso biography? Wonderful melodies. Fanciulla will survive. Honeys, in my time I must have screamed loudly, full lungs, “Brava Tebaldi!” maybe two hundred times. I should have screamed louder five hundred times. She was something.

    Well, I will go the twentieth to Boccanegra. Levine, Dima, Furlanetto, as good as it gets these days. But Fanciulla! Dear Renata who art in Heaven, hallowed be thy name!

    Still, I enjoyed Fanciulla last night. I’m glad I went. I just can imagine how it could have been. The same production. Conducting it a little differently, acting it a little differently, different stage directions…and singers who, how can I explain it?…Deliver!

    I’ve been to the Anvil, the Mine Shaft, the Toilet and the International Stud, and I’m here. I’m still here, on the High Line, lunching at the Standard Grill, having that sinful Deal Closer, but dears, I’m still here. But please! Italy! Give us another Renata while I’m here!

    Too much Cristal, too much Comtes de Champagne, too much Grande Dame. Pardonez moi. I wish you all, dear, dear Parterre posters, and particularly to the incredible and wonderful La Cieca, a very happy New Year.

  • Capriccio says:

    This is completely OT, but is there an opera blog as good as this for the London scene? I just discovered this site yesterday and am devouring it -- such committed and knowledgable people writing and commenting here!