Cher Public

  • PCally: Well I honestly can’t remember the singing all that much, it’s not really that kind of role. 11:17 PM
  • Krunoslav: Nope. We have bad/spoiled voices here too. Roz P started out with a rich sound and much promise but never got the top... 10:56 PM
  • Camille: I’m sold. Especially after looking at the programs to be featured this summer–all Puccini and other veristi, all the... 8:23 PM
  • FragendeFrau82: Thank you so much! Will listen to this on the drive to DC on Saturday. Nice photo too–includes the gray. New to me,... 8:07 PM
  • Camille: Bluebeard–I fear you may have hit the bullseye here, based on many of the already established actualities re Ms LH... 8:01 PM
  • Camille: Yes, and similarly, I had so looked forward to the double bill of Iolanta/Bluebeard& #8217;s Castle at the MET, and ended up not... 7:42 PM
  • Camille: Caro Cocky K.— That would indeed make me very happy as -for some peculiar reason- perhaps based upon your unusual degree of... 7:19 PM
  • phoenix: Interesting sub-sub-thread. I also liked Plowright – she had her mannerisms but I still found her interpretations quite... 7:15 PM

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

  • 61
    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.

  • 62
    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.

    • 62.1
      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.

  • 63
    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!

    • 63.1
      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.