Cher Public

  • kashania: Good point, AJ. Though I still don’t understand why opera companies spend big bucks on A-list singers for that role. 1:15 PM
  • quoth the maven: I don’t think the Meister’s acolytes do him any favors by asserting that all of the music is equally... 12:49 PM
  • Milady DeWinter: I agree, Sanford – Bonisolli could be provincial, and was a temperamental weirdo, to say the least, but he had... 12:36 PM
  • Sanford: The Pace is really gorgeous. By the way, is anyone else not receiving email notification of responses? I have gotten an email... 12:24 PM
  • auracentral: My comments are about the sound for Live in HD in general, and didn’t hear or see any of the Kentridge Lulu,... 11:27 AM
  • Sanford: Bonisolli isn’t too shabby, either. 11:02 AM
  • PCally: I too had never heard a single recordings of hers, even that first otello telecast with Domingo. I really enjoying her lovely... 10:55 AM
  • Sanford: I must say that I wasn’t familiar with Ms. Cruz-Romo’s voice before listening to this but I’m in love.... 10:33 AM


Katarina Dalayman will sing the role of Brünnhilde in this evening’s performance of Wagner’s Siegfried, replacing Deborah Voigt, who is ill…. Siegfried, conducted by Derrick Inouye…”

So, cher public, predictions for Saturday morning’s John Keenan-helmed Götterdämmerung?


  • Nerva Nelli says:

    Time for a more telegenic Third Norn!

  • CruzSF says:

    This is the Ring Cycle that won’t die. Are these things usually so marked by substitutions?

    Since you’ve asked, La C, my prediction is that Voigt will sing Gott, if only for the paycheck. I’m glad I’m not putting money down on her, though.

    • The betting window closed after somebody put a finback on Hagen having the last word.

    • derschatzgabber says:

      Hi CruzSF. Back in SF’s 1999 Ring Cycle, there was a bug going around backstage (which must be a challenging space to avoid the germs of others). In rapid succession it felled Jane Eaglen, James Morris, and Wolfgang Schmidt. Schmidt was actually a pretty good Siegfried (a big surprise because of the excruciating Tristan he had sung a few years earlier in SF) and a smoking Siegmund. I was amazed at the amount of heat that he and a pre-little black dress Voigt generated in Walkure Act I.

      • CruzSF says:

        Thanks for that history, derschatgabber. I didn’t know that. I just did an image search on “Wolfgang Schmidt tenor.” I can definitely understand the attraction based on some of those photos, especially one where he’s bald one with a goatee.

        Or did you mean he smoked in voice only? :-)

      • irontongue says:

        You’re the first person I’ve heard who has anything positive to say about Schmidt’s Siegfried. (Okay, he was pretty athletic, I’ll give him that.) Everybody else thinks he absolutely stank. Maybe it was a little better than the godawful Tristan, which was in 1998.

        I missed the sole Siegmund he sang (Mark Baker was also felled by the bug, as I recall); friends who did agreed with you.

        I got Frances Ginzer in Walkuere when the bug got to Eaglen.

        • irontongue says:

          P. S. Schmidt is currently singing “character tenor” roles.

        • derschatzgabber says:

          If memory serves, in her review in the B.A.R., the late Stephanie von Buchau was pleasantly surprised by how well Schmidt survived the first 2 acts of Siegfried, although he ran out of steam in Act III, Scene 2. Maybe our expectations were calibrated low by the horrible Tristan. He wasn’t a Siegfried for the ages, but there was far worse singing the role back then (and now). For example, his cover, George Gray. Mr. Gray was hired as the B cast, which sang the leads in one of the four cycles given that summer, when he was basically the cover. Due to the bug running rampant, I got stuck hearing him twice. I don’t think either Ginzer or Gray were up to Brunhilde and Siegfried in a house with the acoustics of the War Memorial Opera House. And I thought it was pretty sad that Lotfi Mansouri was expecting people to pay full price (at the elevated Ring cylce prices) to basically here the covers.

          I dont’ think Schmidt was covering for an ill Mark Baker. I heard from someone (can’t remember who now) that Schmidt insisted on at least one Siegmund while he was in SF that summer. Apparently he knew it was one of his best roles. But because he could survive Siegfried and Tristan (but could the audience), that’s what he kept getting hired to sing.

          While we are on the topic of Mr. Schmidt, I sort of owe my discovery of Parterre Box to him. Many, many years ago, I read an article in the SF Chronicle about the new webzine, Parterre Box. As an example of the opera coverage on the site, the article quoted a review of Schmidt as Tanhauser at the Met. It was something like this, “As Tanhauser, Mr. Schmidt remembered all of the words and at no point did blood actually spurt from his throat.” That sent me scurrying to my computer to seek out Parterre.

          • irontongue says:

            Well, hmm. I once read a summary of Ring recordings by Stephanie von Buchau and disagreed with about 50% of what she had to say. But it does sound as though the bar was set pretty low if she was pleased by how well he survived!

            I definitely can believe that George Gray was even worse.

            You’re absolutely right about Schmidt: here’s the cycle announcement in the Chron. He was always scheduled for one Siegmund.

            And I am laughing out loud about your discovery of Parterre Box!

      • marshiemarkII says:

        Yes dear Schatzie, I have to agree with irontongue on this one also. He sang with Behrens in her last Ring at the Met in 1997 and “excruciating” seems the apt word here to describe him as Siegfried in both operas. And as she says I had never heard a good word about him from any quarters,s serviceable at best. Of course that was the same word used for his contemporary JF West and yet I saw him do a pretty pretty good Siegfried as late as 2009, but Gould seems to be the best I have seen so far. I really really like his husky, masculine, well produced tone, and nice phrasing…. not great but he can learn a lot if he wants to. He has the goods.

  • mirywi says:

    She caught up with the state of her voice which sounded decidedly unhealthy during the Valkyries earlier this week. She couldnt produce even one steady note.

  • Signor Bruschino says:

    Inouye? I hardly know you! Sorry- too easy…

  • irontongue says:

    Dalayman, unless they toss Heidi Melton in. (She knows Sieglinde, dunno about the GD B.)

  • Bianca Castafiore says:

    Here’s someone who can sing it, for (hopefully) next year:

    (not crazy about the Siegfried, but I like this Bruenni.)

    And for next year’s Cassandre:

    • operalover9001 says:

      The brilliant Daveda Karanas (who I just saw as Amneris in Vancouver) is the Cassandre cover next year. If only the performances could be split between Matos and Karanas…

  • messa di voce says:

    “So, cher public, predictions for Saturday morning’s John Keenan-helmed Götterdämmerung?”


    • marshiemarkII says:

      Messa that is very funny :-) :-) :-)
      And who knows….. to this we’ve come on the stage where once upon a time titans walked

      • Noel Dahling says:

        Dear Marshie: I recall reading somewhere that the Schenk Ring was designed with Behrens specifically in mind. Could you shed some light on this, if it’s true? Also, what is your take on her recording of La Nuits by Berlioz? Unusual rep for her but was thinking of seeking it out. Speaking of Berlioz, what was her Cassie like? Con amor, your “Dahling” Noel.

        • marshiemarkII says:

          Yes of course my adored Dahling Noel, indeed, after the huge success Behrens had at Bayreuth, “the new Wagnerian Queen” was called by the New York Times, the Met decided to mount a new production specifically for her as Brunnhilde. The Planning began immediately after the spectacular summer of 1983, to begin with the Opening of the Season 1986 with Walkure, and completing it with the Opening of Gotterdammerung in October of 1988, in what was a historical night, as she completed the Ring covered in glory. Subsequently the Ring was finally put together in the spring of 1989, for the first time ever at the Met in the style of Bayreuth in a week long format Monday-Tuesday-Thursday-Saturday because Behrens felt confident enough she could do it given her ample experience doing the same at Bayreuth for four seasons. It was such a stunning assumption that a rich donor gave the money for the telecast but with the clause it HAD TO BE with Behrens as Brunnhilde which required the Met to buy out Marton’s contract for 1990, such was the hold that Behrens had on that production, having captured the admiration of musicians and public alike with the splendor of her assumption, all of which is documented now in those magnificent DVDs of the 1989/90 seasons.

        • marshiemarkII says:

          Of course I also adore her Nuit d’Ete, as you may recall, I mentioned some time ago that she learned French before German as her mother was from Metz hence fully bilingual and a Francophile so she taught little Hildegard French first. She also worked with Regine Crespin (who adored her) on the music before the recording so her pedigree is impeccable.

          Now since I also adore YOU, and I happen to have a few extra copies, please allow me the pleasure of sending one as a present. Please Carissssim Cieca, if I may impose, make my private e-mail available to Noel so I can get his mailing address. It has existed in many Decca formats,including as part of the GRANDI VOCI series, so you can have that beautiful CD as a present from MarshieMMII

          • Nerva Nelli says:

            Noel Dahling says:

            Dear Marshie: what is your take on her recording of La Nuits by Berlioz?

            marshiemarkII says:

            Of course I also adore her Nuit d’Ete

            I seem to recall-- years ago, centuries ago (oh, earlier today) being accused of being less than well-educated by these two mutually congratulatory posters who do not know that Berlioz’ song cycle is called *LES* *NUITS* D’ETE. That would seem to me to suggest certain limits to the Marsh Thing’s judgment in terms of good French. But that’s just me…

          • marshiemarkII says:

            Remember writing this (during your latest peroration to rival the Norton Lectures):
            “Plus, there are not even all that man “humans” among the major actants.”

            I kindly assumed you had dropped the “Y” in ‘man “humans”‘ because otherwise you would need to be even more illiterate than assumed. But you have now resorted to the ultimate refuge of the scoundrel in parterre, which is to pick on TYPOS, imagine the crime, a dropped “S” in Nuit….(oh the *Les* I had dropped deliberately for conciseness)….. tres triste Nervita

          • Nerva Nelli says:

            Dwarves seem very much to the point just about now.

            Please don’t stint on sharing your opinion of the Behrens IL REGATTA VENIZIANO and LES BONS CHANSON.

          • marshiemarkII says:

            incoherent much Nervita??????????
            no comprender……

          • Nerva Nelli says:

            I’ll *bet* you don’t.

            Or basta; it would not be not seemly further to bait one slow of understanding.

          • marshiemarkII says:

            Or could you please kindly translate this into English ” it would not be not seemly further to bait one slow of understanding.”

            You make it too easy Nervita…… like handing it on a plate….. give me a challenge please :-)

          • La Cieca says:

            Gentlemen, this might be best to take to private email?

        • Cocky Kurwenal says:

          Noel, I have Behrens’s recording of the Berlioz, and I have to say I really like it. It isn’t the most natural repertoire choice for her granted, but I’d venture that if you like Behrens you’ll like this. It actually really suits her in a way, because of her skill when it comes to floating high notes. What I love best about it is the tremendous sense of atmosphere she creates in the songs which quite honestly I think she achieves more naturally and directly than Crespin who despite her amazing gifts I’ve always found just a little bit effortful in almost everything she sang. It’s true that many might prefer a more straight-forwardly produced voice than Behrens in these songs though, with crisper text and I could well understand that, but for me it’s the most absorbing and moving recording I’ve heard of them.

          • marshiemarkII says:

            Oh my adored Cocky, you write with such eloquence, it leaves in a state of sheer happiness. Yes there are few things more GORGEOUS than her Spectre de la Rose, that high phrase is simply sublime, and the pathos of Sur les lagunes, and so on. Do you have in on the GRANDI VOCI CD? If you ever see that GRANDI VOCI in the shelves in London (I understand is the only place where it is still available) please let me know, as I’d love to buy at least 10 of them, to have for presents, as I am running very low on current supply :-) . I also have it on a different format design CD from Decca, with the gorgeous picture of young Behrens, but the GRANDI VOCI is nicer :-)

          • marshiemarkII says:

            it leaves ME in a state…. ugggh

          • Cocky Kurwenal says:

            Yes I have it from the Grandi Voci series. I think they’re actually deleted here as well, but they do come up second hand quite a bit. The Behrens one is great because as you know it also includes her Freischutz arias which I hadn’t otherwise come across.

            When I first started collecting it was all about the Grandi Voci recitals -- they helped me familiarise myself with all sorts of singers and repertoire.

          • marshiemarkII says:

            Yes I know they are deleted, but PLEASE let me know if you see them, and I can order through credit card, as I’d like to get as many as possible. You know Christopher Raeburn from Decca, had contacted her only a few months before she passed on, telling her how much he wanted to reissue it, and the plans to do it shortly, and then he himself passed on, what a tragedy as the whole series is glorious. It’s hard to believe they were issued in 1996 and so much time has passed……it seems like yesterday……

            By the way last Friday, Emalie Savoy, the second Hildegard Behrens Foundation Awardee, sang a breathtakingly beautiful Leise Leise with Fabio Luisi and the Met Orchestra, another name you will see in the headlines very soon, a glorious glorious girl!

          • Buster says:

            A Hildegard Behrens recital I never see in used CD stores is Premier Récital. Frauenliebe- und leben, Bach, Berg, Strauss. Still looking, but is it any good?


          • marshiemarkII says:

            Buster, the singing is SUBLIME through and through but none more glorious than in the German Lieder, most specially the Nachtigall, Nacht and the sublimest Bist du Bei Mir. However that particular issue is only interesting because of the gorgeous baby Behrens cover. The same program plus a lot more, including the Wagner Heroines CD can be found in EMI’s (2 CDs) The Very Best of Hildegard Behrens Series, and the main advantage is that the lieder recital has been REMASTERED, and the sound is spectacular. So that is the set to go for, if you like that music, which to me is desert island indispensable!

          • marshiemarkII says:

            By the way Cocky, it was you who got me to listen again to the Liszt CD, and now I have become a Liszt freak :-) I am obsessed with the Annees de Pelerinage, and of course the Wagner Transcriptions, all with the glorious Zoltan Kocsis, who plays like GOD!!!!! The Lohengrin is pure heaven, as is the Meistersingers, Parsifal and Tristan. Highly recommended if you do not have them. See that’s another beautiful thing we have in common with adorable Cammie, Torna la Pace……. Senza rancor :-)

          • Buster says:

            Thanks a lot Marshie -- I had seen that compilation, but it seemed to lack quite a few songs from the original issue I would like to hear, in particular the Zumsteeg Maria Stuart song.

            Frauenliebe und Leben : op. 42 / Schumann --
            Maria Stuart : “O Dank, Dank diesen freundlich” / Zumsteeg --
            Gebet : op. 135, no. 5 / Schumann --
            Queen Mary’s song / Elgar --
            Nacht / A. Berg --
            Die Nacht : op. 10, no. 3 / Richard Strauss --
            Der Tod, das ist die ku?hle Nacht : op. 96, no. 1 / Brahms --
            Der Tod und das Ma?dchen : op. 7, no. 3 / Schubert --
            Bist du bei mir / J.S. Bach --
            Wiegenlied : op. 49, no. 4 / Brahms --
            Wiegenlied : op. 41, no. 1 / Richard Strauss --
            Das verlassene Ma?gdlein / Wolf --
            Ma?dchenlied : op. 107, no. 5 / Brahms --
            Als Luise die Briefe ihres ungetreuen / Mozart --
            Willst du dein Herz mir schenken / J.S. Bach --
            Meine Liebe ist gru?n : op. 63, no 5 ; Die Nachtigall / Brahms.

          • marshiemarkII says:

            Oh, of course Buster, here goes the old gurl here, showing her age once again :-) . You are absolutely right, the Very Best of HB does not include the *entire* Lieder Recital CD, and they left out some true gems like the other Bach, Willst du dein Herz mir schenken, which is divine, and the Mary Stuart, glorious, etc. Yes quite a pity, because in the Recital CD, the sound is very boxy and unsympathetic, so I was thrilled with the remastering, but of course is not the whole thing because they had to fill that CD with such rarities as the Final Scene from the Salome with Karajan :-) Oh those damned marketeers!!!!

            But THAT singing, throughout……

          • Buster says:

            Thanks again Marshie -- now I really want it, boxy sound and all. The Schumann Maria Stuart group is one of my favorites, and I am very curious how Zumsteeg holds up, compared to that.

          • marshiemarkII says:

            Oh Buster, you really got me thinking now, how important it was for her to have sung Bach in her early years, in preparation for a career as a great Wagnerian soprano. You know she sang in the Bachchor (both Muenchener and Freiburger) while she was a law student, and told me that her first paid gig was a Bist du bei Mir at a wedding of some wealthy couple in Holland!!!!! And it was recorded, and they sent her a tape later, can you imagine if we could get a hold of that now???? She must have been in her twenties……

            There IS a tradition in German singing that goes from Bach to Beethoven to Weber and only then Wagner, and you cannot skip any steps, it has to go into your bloodstream, as it were….. And then I think that poor Debbie Joy’s preparation for Wagner were show tunes in California……something don’t compute as they saying goes :-)
            I’d do anything to get a hold of that Bist du bei mir, as I also want to make it a goal of the Hildegard Behrens Foundation to find the 30 reels of video tape of the rehearsals for the Bernstein’s Tristan that exist, can you imagine what a treasure that will be? Hopefully a documentary can be made of that at some point.

          • Nerva Nelli says:

            “There IS a tradition in German singing that goes from Bach to Beethoven to Weber and only then Wagner, and you cannot skip any steps, it has to go into your bloodstream, as it were….. And then I think that poor Debbie Joy’s preparation for Wagner were show tunes in California……something don’t compute as they saying goes.”

            Boy this is just *insane*. But it does show the snobbery and-- here, Armer, I think the term has been earned-- *racism* behind Marshie’s condemnation of many American and non-German singers.

            Outside of this fantasy of Aryan musical purity, it doesn’t seem to have hurt Flagstad much to grow up singing operetta, or Traubel singing show tunes, or Norman singing spirituals, or Goerke singing- again- show tunes.

            Speaking of which,look at LOC’s slogan for ELEKTRA-- they should add, “Christine--get the axe!”


          • Nerva Nelli says:

            And might one mention Rita Hunter, growing up singing show tunes, and Marjorie Lawrence, growing up singing G & S…

          • Krunoslav says:

            Following Nerva’s tip, I went to see the whole LOC site. Here are the season slogans! I think the Massenet takes the prize…

            “Before there was MOMMIE DEAREST there was ELEKTRA”

            “Who said being in charge was easy?” SIMON BOCCANEGRA

            WERTHER: “In the end he just can’t take it anymore”

            DON PASQUALE: “Older Man marries Younger Woman- -and boy is he sorry!”

            HANSEL AND GRETEL “Here, kiddie, kiddie..”

            LA BOHEME: “Oh, to be young and in love and in Paris”


            “A Father’s Worst Nightmare” RIGOLETTO


          • marshiemarkII says:

            Look my adorato Dahling Noel what thou hast wrought with your questions :-) :-) :-)

            By the way Kruno (thanks a MILLION for that recommendation on Galina Pavlovna’s Katerina, it was devastatingly beautiful, I bought both the old from Kiev and the short film made from the recording, FABULOUS) surely you remember the transcendent night in 1976 with Leonie as Sieglinde, and the show-tunes singing Roasting Thanksgiving Turkey in Act III?

          • Krunoslav says:

            Glad you enjoyed Galina’s Shostakovich, M II--
            one of her greatest achievements.

            A little mystified as to the 1976 Leonie question. I first heard her (a schoolboy, I hasten to add) in 1977, as Sieglinde in the old OLD Karajan production. By the turkey do you mean Rita Hunter, whose last Met show it turned out to be? She looked- well, *remarkable*-- but she sang Bruennhilde very well indeed. I don’t get Nerva’s (your?) show-tune thing in relation to her, though. Did she record show tunes at some point, like the dire pre-Dame Kiwi?

          • marshiemarkII says:

            Kruno, the Galina Pavlovna was life-changingly good! whatever my issues with her, as a singer she was one of a kind!!!! Both movies are so glorious! (and talk about Catalina videos in the Peter Weigl!!!!! those brutish hunks were sublime)

            I seem to recall, from many years ago a discussion, that we both were at the same Walkure with Leonie. You say 1977, I say 1976, so one of us is right (we could check in the database). I was also but a school boy in pink shorts :-)

            Now the show tunes business I know nothing about…… it was a feeble attempt to play around with someone else’s obsessions and phobias, without being too invested in it, to be able to talk much more about it :-)

          • Krunoslav says:

            MM II, turns out that was the only show that Rysanek and Hunter ever sang together (they would not have done so other than at the Met).

            Metropolitan Opera House
            February 24, 1977

            DIE WALKUERE {429}

            Bruennhilde…….Rita Hunter [Last performance]
            Siegmund…………….James King
            Sieglinde……………Leonie Rysanek
            Wotan……………….Norman Bailey
            Fricka………………Mignon Dunn
            Hunding………Manfred Schenk [Last performance]
            Gerhilde…………….Elizabeth Volkman
            Grimgerde……………Joann Grillo
            Helmwige………Sarah Beatty [Last performance]
            Ortlinde…………….Carlotta Ordassy
            Rossweisse…………..Jean Kraft
            Schwertleite…………Elvira Green
            Siegrune……..Marcia Baldwin [Last performance]
            Waltraute……………Sheila Nadler

            Conductor……………Erich Leinsdorf

          • marshiemarkII says:

            Wow Kruno, one more who is showing this gurl for her age, oh it’s like the Old Countess, all one big mushy memory of all those glorious nights at the Met. Remember Leonie herself was a bit plump then, but what a performance….. The funny thing is that I had come to NYC from school in New England, to see the Forza with Price the next day, and being in the city and with my erstwhile idol James King in the cast, and Wagner!!!!! what the heck I had to go see it, but I HAD NO IDEA who Leonie Rysanek was!!!! That would change that night, which also changed my life, because I was never the same after, that was a DEMENTED night, the first time in my young life that I would learn what opera queendom was all about, to be in the presence of gay royalty……Forgive me then, that compared to that, the roasting turkey, with a squeaky, Deutekom-on-steroids like voice. I really disliked that kind of unsupported, top heavy voice, especially in Wagner!!!!!!!. And all joking aside, FAT had nothing to do with it, as I would later adore Elisabeth Payer-Tucci, now that was a voice!!!! who cared about her girth that might have been larger than Hunter, but what voice! too bad she ended up in the nuthouse apparently, sad.

          • marshiemarkII says:

            Forgive me then, that compared to that, the roasting turkey, with a squeaky, Deutekom-on-steroids like voice WAS NOT MY CUPPA . Uggggh

  • Bianca Castafiore says:

    Isn’t the tenor here R. D. Smith?

    Schwanewilms looks like a million bucks.

    A search turns up Gould, but it looks like Smith to me.

    • enzo says:

      It’s Lance Ryan.

    • louannd says:

      Die Frau Ohne Schatten
      Salzburger Festspiele 2011

      Der Kaiser Stephen Gould
      Die Kaiserin Anne Schwanewilms
      Die Amme Michaela Schuster
      Barak, der Färber Wolfgang Koch
      Sein Weib Evelyn Herlitzius

      Bühnenbild: Johannes Leiacker
      Kostüme: Ursula Renzenbrink
      Musikalische Leitung: Christian Thielemann
      Regie: Christof Loy

  • Sonofamoll says:

    Brandon Jovanovich just withdrew from an upcoming Washington Concert Opera performance of Samson -- the notice says “doctor’s orders.” Anyone know whassup?

    • derschatzgabber says:

      I was in Houston for the last night of Don Carlos. He was announced as indisposed, but willing to perform. He didn’t sing “Je l’ai vu” in Act I (I assume it was performed on other nights). He sounded pretty good, until the end of the Auto De Fe scene, when his voice started going out at the end of phrases. But after the intermission and the rest provided by Act IV, Scene 1, he rallied for the last 2 scenes. Perhaps he hasn’t recovered yet. Or maybe, the stress of singing while ill took a toll.

  • Bill says:

    Jonas Kaufmann also just cancelled an upcoming scheduled lieder recital in Zurich (I think in the opera house)
    and his replacement will be Edita Gruberova singing
    Hugo Wolf, Richard Strauss and perhaps some arias.

    • decotodd says:

      It was a gala for 3 one acts -- Carmen Boehne and I think tosca. Hopefully he will get better soon.

    • Edward George says:

      He’s probably not even sick, but cancelling on a whim because he doesn’t like the productions of Boheme, Carmen and Tosca he’d be singing in. Oh, and Walkure too.

      And I read somewhere that someone had heard from somebody that Jonas’s singing teacher had told him not to sing any more Rodolfos, Cavaradossis and Don Joses. Or something. Oh, and Siegmund too.

      The idea that he is actually sick is just ridiculous.

  • operaassport says:

    I saw Dalayman last week. She was superior to Voigt in every way.

  • parpignol says:

    definitely superior to Voigt, and I love the sound of Dalayman’s middle voice and her Wagnerian phrasing, but she has troubles of her own on top, and much as I like her I found her a little wearing over the course of a complete Ring Cycle, and Siegfried was perhaps her least successful opera; Wolfgang Schmidt I thought was really quite bad in some past Met Ring Cycle, opposite Schnaut perhaps? Jay Hunter Morris has been a huge step up. . .

    • operaassport says:

      I agree about Dalayman’s top but her superb acting compensates for me especially compared to the bad Theda Bara impersonation that Voigt thinks passes for acting.

  • Buster says:

    John Keenan will be out, James Levine in.

  • Cocky Kurwenal says:

    The gentleman who runs Opera Depot expressed displeasure with Dalayman on his facebook page. Anybody else hear her and care to comment?

    • operaassport says:

      See above. I don’t take seriously an opinion from someone who sells bootlegged crap for a living.

    • Sheldon says:

      Cocky--I heard her last night in the house, and as she apparently did earlier, she took the optional lower C at the end (so did Gould). I don’t care for how she pushes to get to her upper register, either.

      If anyone else saw Voigt in Walkure on Monday, you will have noticed how uncharacteristically immobile she was throughout. She has had surgery to address a hip/knee issue, and has been told to stay off of her feet. My fingers are crossed that she will be well enough to appear on Saturday. I know I am in the minority here, but I much prefer her to Dalalyman, and I am sure that Marshie will understand why.

      • marshiemarkII says:

        I do Shelly I do :-) :-) :-)

      • Cocky Kurwenal says:

        I’m pretty sure I do too Sheldon, though it’s a while since I’ve heard Dalayman live.

      • Sheldon says:

        I was wrong, and apologize for any misunderstanding.

        • marshiemarkII says:

          You were wrong about what Shelly? I am genuinely puzzled about what misunderstanding.

      • La Cieca says:

        La Cieca’s understanding is that Voigt’s surgery for a hip injury was some time ago, and she is continuing to receive treatment to help her with mobility. My source says that Voigt was indeed in a good deal of discomfort Monday night, which I assume was the reason she had to cancel the Siegfried later in the week. She is reportedly planning to sing tomorrow’s performance.

        • marshiemarkII says:

          Thanks La C!!!!, I like Sheldon a lot and I was hoping I had no offended in any way, even remotely.

          Please allow Noel Dahling to have my private email, so I can have his mailing address.

          Tonight is the last night this season for me…..
          Durfort if you read this, I’ll be in row M orchestra

          • Sheldon says:

            Marshie--You could never offend me, even if you tried (which you never would, of course). We are, as you aptly noted earlier, sisters of the same feather--I feel that I’m mixing my metaphors, but as Bette said, “I’ll mix what I want!”

          • marshiemarkII says:

            We are Shelly, we are sisters of the same feather, I actually love the metaphor :-) . I remember you once discussing the final pages o the Immolation and I knew then that we were sistahs. Lots of love!

        • Bosah says:

          Thank you, La Cieca.

          She said on twitter a while ago that she had surgery scheduled for her knee in August, so I had wondered if it was moved up. I guess this is something different.

          According to twitter she did sing tonight, but did seem to be physically struggling in places (and the website had listed Dalayman).

  • marshiemarkII says:

    So how was the performance anyway, any reports from the last GD?

    • Sheldon says:

      Marshie--I loved it, of course. While I am still conflicted about some aspects of the production, the direction of the singers this time around was much better than when it was rolled out this past winter. Tenors and sopranos were flung about (and to the floor!) in all the appropriate places, so it wasn’t the same wooden performance I saw earlier. Even the staging for the Gutrune/Brunnhilde exchange before “Starke Scheite Schichtet mir dort” was better (and finally made sense to me). On the other hand, the dumb business with the statues at the end looked unchanged and was just as wrong as it has always been. But I’m starting to like the “bobble-head” Grane (pace, Babs).

      And while I’m certainly no expert when it comes to singing, I truly enjoyed how everyone sang that day. Maybe it had something to do with where I was sitting for the cycle (row S, center orch vs. row K, side orch last winter), because I know there are some “dead” areas in the orchestra, but I had no trouble at all making out every word DV sang in the Immolation Scene. Overall, it was a glorious end to a wonderful eight-day stretch of Wagner.