Headshot of La Cieca

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It’s the pictures that got small

Norma in HD from Teatro Antico, Taormina, Italy. Pollione: Gregory Kunde; Oroveso: Giacomo Prestia; Norma: Chiara Taigi; Adalgisa: Irina Lungu; Clotilde: Katia Lytting; Flavio: Massimiliano Chiarolla. The Chorus of Francesco Cilea, directed by Bruno Tirotta; The Festival Euro Mediterraneo Symphony Orchestra.” [Opera in Cinema]

26 comments

  • Baltsamic Vinaigrette says:

    Ideal venue for it -- let’s hope the cast is up to the job, too.

  • Harold says:

    Chiara Taigi is currently shipping a case of her silk stockings to every theater -- just in case.

  • La marquise de Merteuil says:

    A Taster

    • Is it just me or is she mostly under the pitch for long periods? And that Wobble!

    • jatm2063 says:

      Based on what I hear in this video, I think she would make a great Norma…..at a place like the New York City Opera…..or Glimmerglass.

      Buwahahahahahahahahahahaha! AHHHHHHHHHAAAAAAAHHHHHHAAAAAAAHHHHHHAAAAAAHHHH!
      cough cough
      hhehehehehehehehehehehehehehehehehehehehehehehehe.

    • OpinionatedNeophyte says:

      Italian nationalism and Tebaldi-nostalgia gone horribly, horribly wrong.

  • Based on the Angelica finale, I am not hopeful

    • Cocky Kurwenal says:

      Oh it’s her…

    • OpinionatedNeophyte says:

      Jesus that Senza Mamma was hard to get through. The audience’s tentative confused applause tells the story.

    • la vociaccia says:

      Based on 8:23 , this is going to be a blast.

      • Luvcine says:

        Regrettably, I missed it. I would have “luv”ed to compare this HD/ in cinema transmission to an absolutely memorable concert format performance of Norma that I was lucky to attend last December in Nice when I was in France. It was with Edita Gruberova as Norma, Sophie Koch as Adalgisa, Massimo Giordano as Polione and Woytek Smilek as Oroveso. Andriy Yurkevich conducted the chorus and orchestra of l’Opera de Nice. After many years of absence from the French scene, Gruberova was back. Needless to say, the performance was a sellout. The performers were recalled on stage many, many times. I understand the concert was repeated in Paris. Did anyone else attend it? I would be interested in others’ opinions about the concert or about Norma with Gruberova. I am not an expert in opera, but I remember that I did not like Jane Eaglen as Norma when she did it at the MET some 10 years ago. I was mesmerized by Gruberova.

        • oedipe says:

          Well, unlike Chiara Taigi, Grubi has been taking voice lessons in the last few years (from someone called Mme Gudrun Ayasse, it seems):

          http://www.spylista.com/star-watch/interview-mit/2012/07/die-fremde/

          I did see the Grubi Norma in Paris and I agree with you, she is a mesmerizing artist, in spite of the evident wear and tear of her voice: the high notes were screamed rather than sung, but with what charisma! Like in Nice, the Pleyel audience went wild. Meanwhile, the detractors detracted…

          • la vociaccia says:

            I always thought Gruberova was a fierce artist in anything she sang. Unfortunately, I have not had the privilege of seeing her live, but some of her video recordings are among my very favorites. I especially love her Violetta from the late 80′s/early 90′s, an underrated interpretation in my opinion. Because her top is so big, Amami Alfredo comes across as if Nilsson is singing it. And as with Nilsson, I find it refreshing to hear italian music sung with laser-like intonation

        • omghahahalol says:

          Exactly, Luvcine -- (this is Baltsamic Vinaigrette off-base) you were indeed lucky to attend it. I saw Gruberova as Norma in a concert-only perf, Vienna Dec ’07 with Parterre loathee Elina Garanca as Adalgisa. Not having seen a live Norma before, I don’t kid myself that La G was the best-ever priestess; but it was a privilege to see the woman that Ann Murray’s very own mother described to me as her favourite singer “managing” the part in exemplary fashion -- and at less than one-third the price of a premium Streisand ticket in a rain-swept Dublin a few months earlier (which -- happily -- I declined). And the female duets were sensational. Delighted to have seen them.

  • Clita del Toro says:

    How can anyone talk about Gruberova and the second rate Taigi in the same breath?

  • MontyNostry says:

    But, whatever the soprano might be up to, the score of Suor Angelica is touched with genius. I get choked up after a couple of notes!

    • armerjacquino says:

      Agreed, Monty. For years I only knew ‘Senza Mamma’ and the scene with the Zia Principessa. Then after la cieca posted that thread with the epic Nizza top C from the Parma TABARRO, I bought the DVD and was absolutely knocked sideways by the last 15 mins of ANGELICA.

      I have a very comic memory of running down Birdcage Walk during marathon training, panting and exhausted after an 8 mile run, getting concerned looks from passers by because I was actually sobbing- this was nothing to do with the run, it’s because Soviero as Angelica had just come up on my iPod!

    • Batty Masetto says:

      I know what you mean, Monty. The theology of the thing gives me the creeps but even with this shrieky lady I got all sniffly.

      • armerjacquino says:

        Fortunately the theology of the piece is… flexible- Scotto playing it as a hallucination, or Richard Jones’ brilliant solution at Covent Garden, which still makes me well up when I think of it.

        • Batty Masetto says:

          You can sidestep the end, AJ, but I don’t think there’s any way to get around the fact that she wouldn’t have committed suicide if she hadn’t been so deeply indoctrinated with notions about the relative values of life in heaven and on earth.

          Also, if her vision of the kid at the end is just in her head, doesn’t that make her just a poor, deluded victim? Scotto brings it off through sheer will (as she did with so many things) but to tell the truth, what really brings on the waterworks for me is a soft-focus kid in a nightgown. Which bypasses the rational me entirely and just goes straight to the gut.

          • armerjacquino says:

            she wouldn’t have committed suicide if she hadn’t been so deeply indoctrinated with notions about the relative values of life in heaven and on earth

            I think there’s room for an atheist reading of ANGELICA which is even more moving and devastating- this poor girl’s life has been utterly destroyed religious ‘morality’, after all- she’s tossed into a convent for the crime of becoming pregnant and then when grief has led her to suicide, she dies begging for salvation. The fact that I’m a non-believer makes that moment MORE poignant for me, not less.

          • Batty Masetto says:

            I get that possibility, AJ, but when I look at it from that angle my personal response is political rage, which is in contradiction to what happens in the music and in my own innards when I hear it.

          • Batty Masetto says:

            Now that I learn the RCC itself would consider Angelica’s revelation a delusion, I’m much happier to accept that it could be real:

            http://www.guardian.co.uk/commentisfree/belief/2012/may/28/message-god-catholic-rules-revelation?INTCMP=SRCH