Cher Public

A dandy intermission feature

Once the poor “fell0” has recovered, perhaps he will join in this week’s discussion of off-topic and general interest subjects.

The dialogue (left to right):

“I must draw the Curtain or his screams will alarm the House. You have no fello feeling, my dear fellos; pray unlace the dear love’s Stays, and lay him on the Couch.”

“I am so frighten’d I can hardly stand!”

“Mind you don’t soil the Dear’s linnen!”

“I dread the consequence! That last air of Signeur _________ has thrown him in such raptures, we must call Doctor ________ immediately!”

  • zinka

    Want a MASTER CLASS in singing??The most beloved Von Stade gives one..Born June1, 1945…..Adored by all.

  • Donna Anna

    Any word on how Villazon’s Elisir did in Baden Baden? Looks like he borrowed from a production Cincinnati Opera did back in the 60s, set in the wild west, starring Judith Blegen.

  • Bluessweet

    Bryan Hymel is replacing Jonas Kaufmann in the ROH Les Troyens (Enee.)

    AVA tenor Nelson Ebo has not seen his home country in more than a decade. He and fellow AVAers Chloé Moore and David Lofton have been invited to present a series of concerts in Luanda next week. The concerts are being sponsored by Casa 70, the music emporium where Nelson got his start. The final performance will be attended by the President and First Lady of Angola, and other dignitaries.

    AVA tenor Nelson Ebo has not seen his home country in more than a decade. He and fellow AVAers Chloé Moore and David Lofton have been invited to present a series of concerts in Luanda next week. The concerts are being sponsored by Casa 70, the music emporium where Nelson got his start. The final performance will be attended by the President and First Lady of Angola, and other dignitaries.


    Resident Artists and Alumni
    Summer Engagements
    JUNE 1, 3, 8 & 10
    Luigi Boccia (Count Almaviva) and Ross Benoliel (Figaro) · The Barber of Seville · New Jersey State Opera
    JUNE 5 & 6
    Michael Fabiano · The Dream of Gerontius · Wiener Symphoniker (Vienna Symphony)
    JUNE 6 & 23
    Angela Meade · Operetta Concert · Kiel, Germany
    JUNE 7 & 10
    Ailyn Pérez (Mimi) · La bohème · Opernhaus Zürich (Zurich Opera House)
    JUNE 13 -- 16
    Takesha Meshé Kizart (title role) · Tosca · Deutsche Oper Berlin
    JUNE 14 -- 17
    David Adams (Ernesto) · Don Pasquale · Greenville Light Opera Works (GLOW)
    JUNE 15
    Colleen Daly (title role) and Branch Fields (Palémon) · Thaïs · Opera Company of Middlebury
    JUNE 16
    Angela Meade (title role) and Ruth Ann Swenson (Adalgisa) · Norma (In Concert) · Astoria Music Festival
    JUNE 19 -- 26
    Ellie Dehn (Helena) · A Midsummer Night’s Dream · Teatro dell’Opera di Roma (Rome Opera)
    JUNE 22 -- July 15
    Des Moines Metro Opera
    Cody Austin (Lensky), Jan Cornelius (Tatyana), and Jan Shaulis (Filipp’yevna) · Eugene Onegin
    Zulimar López-Hernandez (Zerlina) · Don Giovanni
    Joyce El-Khoury (Magda de Civry) and John Viscardi (Prunier) · La Rondine
    JUNE 25
    Stephen Costello (Fritz) and Ailyn Pérez (Suzel) · L’amico Fritz · Moscow State Philharmonic Society
    JUNE 25 -- JULY 11
    Bryan Hymel (Enée) · Les Troyens · Royal Opera House
    JUNE 27
    Margaret Mezzacappa, Othalie Graham, Zach Borichevsky, and Luis Ledesma · Beethoven’s 9th · Philadelphia Orchestra @ The Mann Center
    JUNE 29 -- JULY 7
    Olivia Vote (Donna Elvira) and Ryan Kuster (Don Giovanni, July 5 & 7) · Don Giovanni · Wolf Trap Opera
    JUNE 29 -- AUGUST 25
    Santa Fe Opera
    Zach Borichevsky (Matteo) · Arabella
    Christian Bowers · Sciarrone · Tosca
    Cynthia Cook · Calbo (Cover) · Maometto II
    Sydney Mancasola · Zdenka (Cover) · Arabella
    Zachary Nelson · Mandryka (Cover) · Arabella
    Christopher RemmelJ · Jailer and Sacristan (Cover) · Tosca
    Diego Silva · Nadir (Cover) · The Pearl Fishers
    Apprentices: Christian Bowers, Cindy Cook, Sydney Mancasola, Zachary Nelson, Christopher Remmel, and Diego Silva
    JULY 3, 5 & 11
    Corinne Winters (Anne Trulove) · The Rake’s Progress · Wolf Trap Opera
    JULY 6, 10 & 14
    Burak Bilgili (La Fenice) · Michelangelo (world premiere) · Savonlinna Opera Festival
    JULY 7 -- AUGUST 25
    Glimmerglass Festival
    Michelle Johnson (title role) and Noah Stewart (Radames) · Aida
    Young Artist: Chrystal E. Williams (Roles TBA)
    JULY 21
    Eglise Gutiérrez (Giulietta) and Burak Bilgili (Lorenzo) · I Capuleti e i Montecchi · Caramoor Festival
    JULY 21 -- 24
    Takesha Meshé Kizart (title role) · Tosca · Bayerische Staatsoper (Munich)
    JULY 25
    Indra Thomas · Concert · Royan, France
    JULY 26 & 28
    Stephen Costello (Alfredo) and Ailyn Pérez (Violetta) La traviata · Cincinnati Opera ·
    JULY 28
    Corinne Winters and Ryan Kuster · Beethoven’s 9th · NSO (National Symphony Orchestra) @ Wolf Trap Opera
    JULY 29
    James Valenti · Concert Tivoli Festival · (Copenhagen)
    AUGUST 5
    Angela Meade and Michael Fabiano · Concert · Blossom Music Festival (Cleveland)
    AUGUST 17
    Burak Bilgili (Zaccaria) · Nabucco · Auckland Philharmonia Orchestra (New Zealand)

    • MontyNostry

      Chloé Moore is a really interesting singer, particularly for French repertoire.

      Here in ‘Dis-moi que je suis belle’.

      • Bluessweet

        She did a fantastic job with Elixir last month.

    • Luanda sounds like my kind of place.

    • and Michael Fabulous Fabiano has been announced as Alfredo for Santa Fe’s 2013 La Traviata.

  • Gualtier M

    Well, we are finally getting the Ring Cycle on PBS. Five nights in prime time. First “Wagner’s Dream” on September 10 and then the tetralogy September 11-14. Robert Lepage’s acclaimed new production of Wagner’s Der Ring des Nibelungen, will air on Great Performances at the Met, September 11-14 in primetime each night on PBS stations (check local listings), as a major television event.

    • Does this put Peter Gelb back in the fuckin’ genius category?

    • Nerva Nelli

      September 11 seems an apt day to present this great, regrettable disaster to the New York public.

  • Peter Mattei gets his man, and his timing right (well, almost):

    • Most of the entire Haneke production of DG from 2012 has been uploaded via better than average spy camera on Youtube, for now.

      • oedipe

        Thanks for the tip, Louannd. Just imagine if we had a recording of the same production with Pisaroni in the cast:

        BTW, I can’t wait to see Haneke’s new movie, Amour, which has just received the Palme d’Or at the 2012 Cannes Film Festival. It’s mind boggling how much subtle, realistic emotion can be packed in one minute of film!

        • Yes, oed, I heard a review of the film on NPR which talked about the simplicity of the film, a “process” film. Essentially he talked about watching someone you love slowly die, trying not to get overwhelmed by the “process,” in this case an act of love. It sounds intense and worthwhile.

  • Buster

    Hi Camille -- just got you a Frau ohne Schatten seat. On the balcony, in the corner, at the end of a row. The alternative would have been behind a big pillar, or on stage, so I am really pleased with this one.

  • Quanto Painy Fakor

    Let’s study Russian this summer:

  • WindyCityOperaman

    Born on this day in 1804 composer Mikhail Glinka

    Red letter day for the lower-voiced ladies!
    Born on this day in 1881 contralto Margarete Matzenauer

    Born on this day in 1889 contralto Sigrid Onegin

    Happy 67th Flicka! Forgive the tv yokels who still can’t pronouce your name!

    • Clita del Toro


      • Clita del Toro

        Oops. I was writing that Matzenauer makes Verdi sound like a Viennese operetta. lol

    • MontyNostry

      … and can’t pronounce ‘mezzo’ either. But don’t you think it’s really a soprano role?

      • Loge

        I sang in the chorus of Lucia in the late 70’s. In the program Alisa was listed as a “metro soprano”.

        • MontyNostry

          Love it! Alisa is one of the defining ‘e poi’ roles along with Ines in Trovatore.

          • Loge

            I was king of those roles. My professional operatic debut was as Giuseppe in Traviata. I played more notaries and servants than I can count.

          • MontyNostry

            Surely, with a name like Loge, you played a few torch-bearers too.

  • Hippolyte

    Heard at the NYPhil last evening: Rafael Fruhbeck de Burgos conducting, with Orfeon Pamplones (huge chorus brought in from Spain) in selections from Falla’s “Atlantida” and then Orff’s “Carmina Burana,” the latter not done by the NYP since 1995. The Falla was stirring but not particularly interesting and marred by the dull Emalie Savoy as Queen Isabella. The Orff was much more effective (isn’t it always?) but the soloists were a mixed bag: Nicholas Phan and Jacques Imbrailo only OK, but the soprano, Erin Morley, was superb, just ravishing--hard to imagine anyone being able to top her in that music today.

    • Cocky Kurwenal

      Interesting to get this take on Imbrailo, who gets rammed down our throats rather in the UK thanks to his ROH association and a BBC radio new artists programme.

      • MontyNostry

        Imbrailo is very stylish and sensitive, but I think the voice itself is underwhelming -- pleasant enough, certainly, but it doesn’t really make much of an impact. I imagine he found the more shouty bits of Carmina burana a bit of a strain.

    • marshiemarkII

      Interesting what you say about Emalie Savoy being “dull”, who is in my view one of the most exciting young American budding dramatic sopranos. She has a gorgeously rich timbre and is a beautiful musician, as I was able to hear when she sang the Leise Leise from Freischuetz, and the Quartett from Fidelio (as Leonore) with Fabio Luisi and the Met orchestra, a couple of weeks ago. She was also an immensely satisfying Armide with the Juilliard Opera, back in February. She is fantastic talent that will definitely go places. I predict Sieglinde and Chrysothemis very soon, and of course she’ll make a glorious Elsa.

      Anyway, I’ll hear the DeFalla Concert tonight, and be able to hear for myself, but I’d be curious to hear more details from you.

      • Hippolyte

        She strikes me as a hard-working singer with a big, colorless voice that could either be a soprano or a mezzo and that she does little of interest with. That was my response to the Armide and to the deFalla last evening. I will add that those I was with liked her less than I did.

  • zinka

    Again, its hanky time as the incredible Magda sings Fedora.I saw her do this in Newark,NJ…..It was an all-time great moment..This time here she does not utter the “Loris,dove sei” as sometimes she did that SCARED us..but what a dream she is!!!

  • Quanto Painy Fakor

    Where in the world is the rest of this Butterfly?

    Part of the Ponselle Hollywood screen tests

    More Peru TV

    “The last interview of Renata Tebaldi”

    • MontyNostry

      Don’t you love the way that, in a huge, brightly lit studio full of people, Tebaldi and her interviewer (whose acconciatura is nearly as elaborate as hers) strike up a very Latin intimacy? Wonderful!

  • zinka

    But the dumb Met would not grant her even ONE Fedora..The Montreal video complete is just amazing (w.Ermanno Mauro).The very last of the true verismo sopranos…..

  • CruzSF

    oedipe, thanks again for the Lille Poppea link. There’s much I like about it, although it’s a little abstract for an introduction to the work. I especially like the scene of Seneca’s death, and the trick with the statue of Mercury was very, very well-done. I also liked the way the tiles started to come apart in Seneca’s house.

    There were some things I didn’t like: the staging-within-a-stage (again), some acting/directing choices that sacrificed musicality for gimmicks (the nurse jumping on a high note, which became a screech; some shouting instead of singing), 45 minutes or so of Act I spent in front of a lowered curtain (which made me think of an ancient version of Lepage’s La Machine, but at a fraction of the cost).

    But I’m glad to have seen it. Hallenberg, Mead, Whelan, Brahim-Djellou impressed me with their voices. Yoncheva & Cencic were good but I thought they seemed distracted by the business they had to do, at some points resulting in harsh top notes.

    • oedipe

      Hi Cruz,

      I am glad you enjoyed the Poppea.

      Personally, I very much appreciated Sivadier’s staging. Maybe because I find his elegant, cartesian style a welcome change from the more widespread germanic style of Regie, with its often heavy-handed expressionism…

      The theater-within-theater is indeed a signature device for Sivadier, but many directors have their signature devices (e.g. the historic pageants used by Herheim, or the arena setting with the chorus looking down from above, used by Decker). Actually, this is one my criticisms of Regie today, it is increasingly becoming déjà vu all over again in terms of its repertory of stage devices; which doesn’t mean that the existing ones can’t still be used creatively and effectively.
      And this is, IMO, what Sivadier is doing with theater-within-theater here.

      I see it as a philosophical statement rather than a stage gimmick. The singers -regular guys and gals- come to the theater to work, sit at the bar for a drink or a bite to eat, then start singing/acting, get ever more involved, and finally almost lose themselves in their characters. Sivadier’s idea, as I see it, is that theater can provide a cathartic, meaningful, relevant view of history.

      For Sivadier, a critical look at history allows us to better understand our world. And theater allows us to incarnate history on several levels, e.g. on the level of our perception of the art work as a historic phenomenon, and on the level of our knowledge and perception of historic facts.

      This may be a very French Regie approach. Elsewhere, it is more fashionable to assume that, since we live in a world of incessant evolution and progress, the past is by definition inferior to the future, and history is totally irrelevant to the present; thus, the only stagings that are relevant to today’s audiences (excluding the passéistes) are those that superpose modern themes on old works of art, discarding history as useless and quaint at best (or, at worst, as the repository of ignorance, prejudice, stupidity, barbaric ideas and deeds).

      The way Sivadier integrates historic facts into the very modern staging of a historic work of art, and the way he conveys the idea of a young troupe of singers/actors ambiguously identifying with the fictional AND with the historic characters, made a great impression on me.

      • CruzSF

        oedipe, you persuade me that Sivadier is doing more with the staging than merely reusing the play-within-a-play idea (often used today without much thought, IMO). I felt the singers (regular guys & gals) completely (not “almost”) identified with their characters by the end, and this provided much of the horror. I’m not sure I totally accept that their transformations would occur in such a short time frame. When I let myself consider this issue, I felt the staging was weak. When I focused on the performers moment-to-moment (at times, I had to will myself to do so), I found the staging very compelling. However, after awhile, whenever Arnalta (the nurse) came on, I was taken out of the concept. This singer was such a ham and was required (by Sivadier, I assume and hope) to sing in such an ugly voice, I dreaded his every appearance. The opera did end well, I thought, with Cencic and Yoncheva giving incredibly committed performances and intertwining their voices beautifully.

        • oedipe


          I don’t think it is that difficult for a singer/actor to identify completely AND quickly with a character, that’s what these people do for a living, after all. The difference is that here the audience is, uncharacteristically, shown the process by which this identification is achieved.

          But what interested and impressed me most in this staging is the AMBIGUITY of the identification: there are the singers, there are Monteverdi’s fictional characters, and there are the actual historic characters somewhere in the background. Whose identity appears on stage? Who do the singers identify with? What’s the role of the singer’s own identity, as a modern human being reflecting on the historic characters?

          Sivadier gives a lot of importance to this ambiguity when, as an epilogue, he has an actor tell us what eventually happened to the actual historic figures: this is similar to the epilogues of those movies which, although fictional and “unreal” like any artistic endeavor, pretend to be based on a “real” story.

          • CruzSF

            oedipe, ah, I didn’t realize the people milling about the stage at the beginning were supposed to be actors/singers. I thought they were “regular guys & gals.” I see I misunderstood your original characterization of them: they are in fact singer-actors shown to be regular people outside of a “performance.” in this light, yes, I see that they would identify with their assigned parts rather quickly. In my original (mis)interpretation, these non-performers falling into character so quickly lent a kind of Lord of the Flies feeling.

          • oedipe

            Ha, ha! Among “the people milling about the stage at the beginning”, as you put it, you can actually see practically everybody: Sivadier, the conductor Emmanuelle Haim, Cencic, Ann Hallenberg and much of the rest of the cast…

          • CruzSF

            I recognized them. But regular people adopting the “roles” of conductor and director still fits into a concept of art transforming non-performers into artists.

  • WindyCityOperaman

    Born on this day in 1857 composer Edward Elgar

    0Born on this day in 1946 soprano Inga Nielsen

    Happy 65th birthday conductor Mark Elder

    Happy 63rd birthday tenor Neil Schicoff

  • Feldmarschallin

    The aria for Clorinda was cut. I payed attention today and there is big comotion backstage at that time since di Donato only has 2 1/2 minutes for a costume change. Both performances were sold out so far.