Headshot of La Cieca

Cher Public

  • La marquise de Merteuil: Kashania, I think we also need to remember that the first Otello, Tamagno (?)... 5:04 AM
  • MontyNostry: “Till is, like, a really wacky guy. I can’t see him being a hit on the lawns at... 4:15 AM
  • MontyNostry: She probably won’t be doing much with the words anyway, Feldmarschallin. 4:12 AM
  • Archaeopteryx: “She is a good singer” - understatement of the year. She is phenomenal, and has... 3:53 AM
  • Feldmarschallin: The next Eva will be Krassimira Stoyanova who was born in 1962. She is 52 now and will be 55... 3:39 AM
  • Feldmarschallin: Yes she recovered even if she needed a bit of help yesterday when she came on stage at the... 3:27 AM
  • Feldmarschallin: Well lets hope she learns German first right? Wasn’t Fleming also suppossed to sing... 3:22 AM
  • steveac10: I can see why it was blocked from your memory. I only remembered it was not originally assigned to... 2:30 AM
  • Buster: Miriam Portmann is much better than all the previous Carlotta’s, she really sings “mit... 2:22 AM
  • La Cieca: Yes, you are right – I was working from memory. Volpe replaced the tired, traditional Carmen... 2:01 AM

Dessa!

UPDATE: It’s official. The Met press office just announced, “American soprano Latonia Moore will make her Met debut as the title character in Verdi’s Aida in the March 3 matinee performance, replacing Violeta Urmana, who is ill.”

EARLIER: La Cieca hears that soprano Latonia Moore will make her Metropolitan Opera debut this Saturday afternoon. What might she sound like?

Here’s a sneak preview of Ms. Moore’s Aïda.

156 comments

  • Clita del Toro says:

    BTW, I am listening again to yesterday’s Aida, broadcast form Alaska (YUCH!). I will never like that place again after learning too much about S.P.

  • grimoaldo says:

    “That even major artists have vocal imperfections was demonstrated by Marcello Giordani’s performance as Radamès. His big top notes rang out excitingly. But his lower range was sometimes weak and leathery. And he resorted to falsetto singing, it seemed, in high pianissimo phrases.”

    “major artists”, ha, he is not an artist at all, major or minor, judging from the one time (quite enough) I saw him live and the broadcasts I have heard from him, more of a sort of circus trick performer who would give much better value if they just hired him to come out onstage, sing a couple of b-flats and then go home rather than degrading one operatic masterpiece after the other. This is the only good thing even his supporters say about him, he has loud high notes. It is a barbaric attitude, the antithesis of “opera as drama” or anything but the coarsest cheap thrills, artistically valueless.

    • Clita del Toro says:

      I love the way people forgive shitty singing and strangulated, dry tones or toneless singing for a few ringing Bb’s.

  • Clita del Toro says:

    TT’s review of Latonia.
    http://www.nytimes.com/2012/03/05/arts/music/latonia-moore-steps-in-to-aida-at-the-metropolitan-opera.html

    Yes, Blythe’s Amneris is a “force of nature” without a single flaw!

    • kashania says:

      TT didn’t say that Blythe was flawless. And I think his description of her as a “force of nature” is quite accurate, whether one agrees with her blunt approach or not.