The most happy outcome
After what surely ranked as among the busiest (and silliest) pre-season ditherings ever, that scene everyone was so worried about, La Cieca is informed, is back where it belongs. The decision to restore the aria was made this afternoon, and the reason? Well, let’s just say the “purely dramaturgical” will always be trumped by the “prima donnaturgical.”
Again, wow.
Hard to recognize Pavarotti with hair on top of his head rather than kind of vaguely hanging off his jowls. And it never occurred to me before that they shared semaphoric eyebrows.
By the way, if my slightly bitchy (but equal opportunity) comments are annoying anyone, they’re made on the assumption that everyone is so spectacular in this that they can afford some ribbing intended to be both good-natured and a sign of fondness, nostalgia, and respect: they’re all so damned good that gratuitous comments can’t touch them, because at the end of the day (and/or career) they could all actually SING.
Okay, now imagine them dressed in rat suits and binding up the wounds of Afghan soldiers while they sing, with a herd of regie-mimes operating an oil refinery behind them I guess it would still sound the same.
I guess.
Except on Parterre, where Mr. Costello has a passionate if not always sensible following, I doubt anyone much will pay attention to who sings Percy or what Percy sings. I’m delighted to have the aria and to know that at least one diva has the power to make the administration yield.
(I wish they’d cut the Act II tenor aria in Ernani while they’re revising; it’s not in the autograph, it was a “star” substitution for which Verdi was paid an exorbitant fee and which he hoped would be omitted thereafter. Tenors other than Pavarotti sound horrific in it — Giordani, hopeless. And we NEED the tenor-bass duet they always cut.)
But Percy in Anna B is an almost totally ignorable role. (During the scene with Anna at the end of Act I, I want to KICK him, no matter who is singing it.) Not quite as useless as Leicester in Maria Stuarda but pretty damn close.
Now, about La Favorite …
What about La Favorite?
I don’t care about Percy either but I am glad he’s given his aria because without that–I wouldn’t even have noticed him.
Now, about La Favorite….
Well, you have your wish concerning Ernani!! As for Percy, it is a long and difficult role as written. As I saw Stephen Costello sing it in Dallas, there were many exposed and long held high C’s, and a Db. Not your every day tenor role!
Breaking News from Opera-L:
Now Florez is having problems – a hemorrhage on his vocal folds. His participation in the Bologna tour to Japan now cancelled – no refunds – tickets as much as US$ 700.
Very disturbing news about Florez. Between this, Licitra’s accident, Kaufmann’s chest sugery, and Villazon’s various health problems, the new generation of star tenors is having more than their share of extra burdens to deal with. I wish them all well.
Yes, what a run of health issues. Sad and actually surprised about Florez. I hope it’s not too serious. I have no idea if that would be or not (although it sounds very bad).
Speaking of bad and Kaufmann – wasn’t he supposed to have surgery around this time?
Alright, I’ve now read Opera-L. It seems Florez coughed violently after swallowing sea water, and this is how he caused a blood vessel bleed. Sounds like he should be fine relatively quickly. Good news there, anyway.
Incidentally, was Netrebko definitely involved in the restoration of Percy’s aria? She seems to be getting a lot of credit for it, but I missed the part where we were told it was down to her.
Oh, scratch that, I’ve just re-read La Cieca’s originl post, as you were.
Well, you never know. I’ve met a few men worthy of the title ‘prima donna’. Prima donna assholeuta, in one case. But no, in this case Costello doesn’t seem the type and wouldn’t have the clout.
Having been backstage with a friend who was essaying Anna Bolena at the end of the cabaletta, literally panting, covered in sweat, I had to ask her if this diva showpiece was worth all that – she caught her breath and answered, “I really doubt it”. Netrebko is just discovering what anyone who sings it learns, the more one cuts, the better the chance of survival. She isn’t looking out for her colleague,m she’s looking out for herself. There’s a reason all of those cuts in act 2 and 3 of Tristan, and it isn’t to avoid paying stagehand overtime…….
Cutting it and calling the cut purely dramaturgical was foolish and disrespectful. Let’s trust Donizetti and Romani please, over McVicar on what works and what doesn’t as far as Anna Bolena is concerned shall we. Thanks. To those who don’t care one way or the other, I ask, what’s wrong with you?
I’m disappointed at Armiliato if he didn’t oppose the cut, it’s historically an important highlight of declamatory music written for tenors, plus it’s gorgeous. Jerry Hadley does a fantastic job both in studio and at Avery Fisher Hall and I’d love to hear Florez’s interpretation.
Both Sutherland’s and Sills’ versions are pretty complete, though Dynamic claims on the cover of their release that it’s the “first complete recording” (with Theodossiou) which is nonsense, I couldn’t find any extra music. Callas’ version should be called highlights of Anna Bolena.
Now let’s hope that Costello does the piece justice!