Cher Public

So what’s the deal with the Dew Fairy?

And so in fact Renée Fleming, celebrated soprano, musical ambassador and riffmeister (known among the cognoscenti as “La Esilarante”) has followed through with her announced plan to collaborate with Chicago’s celebrated Second City comedy troupe, all in the name of opera reach-around, uh, outreach.

  • Clita del Toro

    As one who lives in Chicago, here is my usual, expected YUCH to La Rennaaay.

    • Camille

      Well, Clita Darling del Toro, here is yet another kind of yuck-yuck for you, only for you:


      Love you only—c.

      • Clita del Toro

        LOLOL Cammiest, dahlink, as they say in the trade, you are flawless. LOVED it. Rennaay does provide a variety of yacks. Mille graze!


  • Nerva Nelli

    They should access the *other* Second City, SCTV, and do some new episodes of the immortal MRS FALBO’S TINY TOWN with two other longtime Lyric favorites, Catherine Malfitano (Mrs. Falbo) and Richard Leech (Mr. Messenger):

    [start at 1:20:]

  • This Boheme is fun.

    • Quanto Painy Fakor

      Holly Crap Batman, this is really from the Lyric Opera of Chicago ! Words fail me.
      The Boheme is great TV, but how does this bring people to opera?

    • Benedetta Funghi-Trifolati

      I’m amazed that Carol Fox has not risen from her grave like an avenging fury or, at least, Elektra on meth. And as we all know, BOHEME is a million laughs. An authentic knee-slapper.

  • Camille

    On the back page of the latest edition of AARP Bulletin there is another one of their exuberant articles on the glories of grey hair and aging, this one entitled “50 years on the job and still at it!”. One of the featured personalities is opera’s grand old man, Sr. Plácido Domingo, who is quoted as follows:

    “I won’t deprive myself of singing opera as long as my voice follows.”

    Now, that’s funny.

    • Clita del Toro

      “I won’t deprive myself of singing opera as long as my voice follows.”

      Do us and yourself big favor, Plamingo, DEPRIVE YOURSELF!

      • havfruen

        I think the citation must have been incomplete.

        Wasn’t it “as long as my voice follows me into the shower?”

        • Camille

          NO, but it shoulda been.

    • Nerva Nelli

      In other Domingo news:

      Placido Domingo
      · Songs – Available 10/16
      i. Placido Domingo, one of the greatest tenors of our time, presents his first pop album in over twenty years and his first recording since signing exclusively to Sony Classical in 2011. The new CD titled Songs, features duets with some of today’s most acclaimed artists including Josh Groban, Susan Boyle, Harry Connick Jr., Chris Botti, Megan Hilty, Katherine Jenkins, Placido’s son Placido Jr. and Zaz. The repertoire, in four languages, is chosen from over 70 years of the world’s most popular melodies.

      • Clita del Toro

        Between Plamingo and Rennaay, I can’t take much more

        • operadunce

          Wouldn’t that be Plamingo and Fleminga, Clita, or do I have them mixed up with characters in a Mozart opera? It pains me to hear of your torture, but I never quite understand it. Have they taken to playing their music over loudspeakers on the streets of Chicago? Anyway, if you need an escape, I invite you to visit Detroit where I can guarantee a Domingo and Fleming-free opera season for the foreseeable future. In the meantime, do take care of yourself! You would be missed!

          • Clita del Toro

            Thank you operadunce. Plamingo and Flaminga are better. Yes, they play their music on every corner, in parking lots, alleys and in the restrooms of I-HOP, Chick-fil-A and Chipotle! LOL

  • Camille

    Hire this lady instead--

    • Camille

      Why, I have never heard this lady sing this and my loss!

      At last, I have a daughter!!!

      • derschatzgabber

        Cher Camille, thanks for that post. Have you seen the DVD of the Candide in concert with the NY Philharmonic that was recorded in 2004 and broadcast on PBS? In addition to Kristin Chenowith, the cast includes Patty Lupone, Paul Groves, and Thomas Allen. My favorite non-musical moment is the way Chenowith delivers the line, “well it looks as though my honor is to be sacrificed . . . . . . again.”

        • Camille

          NO, I have not but thanks for telling me of it as it sounds very promising. I like Candide a lot. I was surprised by Chenowith as I have only sing pop stuff and once saw a reTARDED movie on Christmas (on television) with her acting in a non singer role. Girl’s gotta make a living, I guess.

          • Camille

            “have only Heard Her sing…” usw.

          • derschatzgabber

            Like any Candide (alas), the NYPO Candide isn’t perfect. But it’s probably one of the best available. I LOVE Candide, but I have resigned myself to the idea that there never will be a best of all possible Candides. Any stage worthy Candide will have to leave out some good music. And many numbers have acquired alternate versions that don’t work in a single evening. About a year before the NYPO Candide, San Francisco Symphony performed Candide in concert (Rita Moreno was the Old Lady). SF had at least a half hour (it felt like a whole hour) more music than the NYPO version, and a much more serious approach to the story (very HEAVY Auto da fe). The NYPO version worked so much better as musical theater

          • messa di voce

            I’ve come to the conclusion, after being disappointed again and again with Candide productions, that the problem is the work itself: it’s a skit blown up to grand opera proportions. There’s great stuff in it, but it doesn’t add up to a great night in the theater.

          • derschatzgabber

            I agree with Messa di Voce that the book is problematic. So much great music and lyrics, but it’s hard to put them all together in one effective evening in the theater. Is Lillian Hellman’s original book available? Based on the original cast recording,there must have been significant departures from Voltaire in that book. Has anyone on Parterre encountered it?

          • Indiana Loiterer III

            [I]t’s a skit blown up to grand opera proportions.

            Well, it is a musical--or rather, a spoof operetta--rather than an opera…

            And no, the Lillian Hellman book is not available; IIRC, Hellman was so disgusted by the process of making a musical that she forbade any performances of her original book, even from beyond the grave. (And when Hellman forbade something, it stayed fprbidden.)

          • messa di voce

            In the Voltaire tale, all the characters are cardboard talking heads, there only for the author to mock mercilessly. That works in a story that can be read in 30 minutes, but it doesn’t make for much of a dramatic arc. And when Bernstein goes all warm and fuzzy at the end with “Garden Grow,” he’s asking us to have some emotional connection with these puppets that I don’t find possible.

        • Krunoslav

          “Patty Lupone”

          PATTI (named for Adeline, no lie) was even more than usually egregiously self-serving here, and the fawning staging by Lonny Price treated her Old Lady like the point of the piece. (Irra Petina should have lived so long.) Proceed with caution-- I thought this NYPO version largely a dreadful experience, including Chenoweth.

          Groves, Allen and Stanford Olsen emerged unscathed.

      • I know lots of people hate Chenowith’s over-the-top approach to this (and let’s face it, the high notes aren’t exactly pretty). But I love it.

        • perfidia

          I’m with you. If they are not going to be Barbara Cook, I prefer my Cunegondas (Cunegondi?) on the vulgar side. After all, that is not a part that screams subtle.

  • Bosah

    I love the idea of opera singers reaching out to interest new audiences. I’ve never understood why that’s seen as such a crime by many. But I don’t understand why being successful is a crime either. ;)

    • SilvestriWoman

      My question is: Do projects like these actually attract new audiences? The same argument was made about The Three Tenors, but I think they drove more people to arena concerts (and the likes of Andrea Bocelli and Il Divo) than to the opera house.

      What I’ve found in my 50+ years -- as a singer and an audience member -- is what draws people into the opera house is opera. I’m willing to bet Lyric will sell more tickets from their free Opera in the Park this Saturday than from these videos.

      • Bosah

        I agree with you that “crossover” does nothing to increase ticket sales to opera. But I also think that if opera singers are invisible on social media to everyone but opera fans, that’s not good, either. I see these videos as dealing with a stigma that exists within the pop culture, but just as a first step. They’re not dumbing down opera -- it’s not the same thing at all as Bocelli or Il Divo (by the way, I love Bocelli’s non-operatic singing).

      • Loge

        We just had a scandal in Atlanta in which the Atlanta Symphony was to play for Il Divo. At the rehearsal they were told to mime playing as the amplified sound would be from the recorded sound track. I don’t know what bonehead in management agreed to that contract but the players felt humiliated. Makes you wonder why Il Divo would go to the trouble and expense of having a legitimate orchestra. They could simply sing to the recorded track or hire cheap actors to “mock play”.

        • oedipe

          Interesting incident! It goes to show that in the sea of mass-produced, standardized artificiality that surrounds us, people still have a craving for the “real” thing, a sort of “authenticity envy”: it looks/feels good to pretend there is a live orchestra playing there!

          I believe it’s this sensation of the “real” thing, the authentic and potentially exciting (and accident-prone) nature of the live unamplified performance that makes opera special STILL, and can get new people hooked to the art form, if they luck upon the right kind of performance.

          When I think that some critics and opera fans yearn for reliable, evenly sung performances! I say: give me live variability, if that means the prospect of some outstanding excitement, from time to time.

          • oedipe

            …hooked on the art form…

        • Loge

          By the way, the recorded sound track was the one Il Divo brought with them. So the ASO was “lip synching” to some other studio orchestra.

  • Quanto Painy Fakor

    Look what Jewish sperm can do:

    • Quanto Painy Fakor

      oops_ sorry

      • Clita del Toro

        Si you mean to her dress?

        • Quanto Painy Fakor

          No, to her soul.

  • norma54

    JUST when you think Lyric Opera of Chicago could sink no lower, their PR department comes up with this CRAP. If only they’d spend all that wasted PR money on hiring some real singers……that would sell seats and subscriptions!!!

    • Clita del Toro

      Norma you are so right. If that’s how Rennaay’s brain works, be afraid, be very afraid.

      • Bosah

        How do you mean? Do you mean working to make opera part of popular culture, dispel the stigma that everyone in opera is stuffing and snooty and use every avenue possible to get opera in front of new audiences? Yes, we should be very afraid.

        • Bosah

          Sorry… *stuffy* but I suppose stuffing could work….

          • perfidia

            I am always dubious about that fustification for any kind of flaccid attempts at being hip. Bringing music back to schools will do more to popularize opera. The movie broadcasts are a form of popularizing opera that treats it with respect. I remember how they used to justify the three tenors juggernaut as a way to making opera popular. Well, that first concert was charming, but look what we got afterwards: Charlotte Church and her latest incarnation, that Evancho creature, those dreadful specials of one of the tenors singing horrendous arrangements of Christmas music with people like Natalie Cole (whom I love, but not doing that dreck). And as much as it pains me to say it, opera just does not have a central place in the culture anymore. It’s too dense, too complicated, it requires too much effort for the way we live today. And I don’t think this is not the way to go about reclaiming for the art some of the space it used to enjoy. But that is just me.

          • perfidia

            Sorry, I meant to say “I don’t think this is the way to go about reclaiming for the art some of the space it used to enjoy.” It is Friday, and the kids are more agressively proud of their ignorance than ever.

          • manou

            Not just you, perfidia, me too. Completely agree about music in schools (and better education all round).

            I also do not see the point of trying to attract people to opera by offering them something different. If you are selling soup, would you advertise toothpaste?

            PS fustification) -- typo du jour.

          • Bosah

            I understand, perfidia, but your post seems like giving up to me.

            It’s true that opera has no place in pop culture, sadly. It’s been pushed aside by the easier, pandering music you mentioned. But I think opera singers and fans are partly to blame -- they gave up the field.

            The idea that it’s beneath us to find a way to fit within pop culture doesn’t wash with me.

            I agree that we need more music education in the schools, but when you have the level of rejection of opera and classical music in general that exists nowadays, music education can’t be enough. Even schools that have music education are not focusing on opera necessarily, at least not that I’ve seen. And the kids in music aren’t embracing classical, as you know.

            But approaching opera in a more lighthearted way, while not dumbing down the actual product can’t be a bad idea, especially if it’s done in conjunction with increased music education. I can see these videos being a major aid to music teachers introducing students to these two operas.

            The alternative is to keep doing the same thing, which is how we ended up where we are.

    • operadunce

      norma54: You mean real singers instead of Renee Fleming and Anna Netrebko? I guess Maria Callas was otherwise engaged. In 2001, I went to Chicago to see Otello with Ben Heppner and Fleming. Some tenor named Jonas Kaufmann sang Cassio. I think he went on to become a real singer, too. You never know when you will be seeing the next major talent in addition to those who have been stars for years. I am sure I speak for many when I say that I am so sick and tired of hearing people with access to major companies complain about their offerings. Should the rest of us just stop loving opera and attending our regional productions because they don’t feature international stars or productions that cost millions? I will be attending four of Lyric’s productions this season and coming from Detroit to do so. And yes, I’ll be seeing Streetcar and Boheme on consecutive nights. I can’t wait. But I also have a subscription to the Michigan Opera Theatre which will have four entertaining productions that may or may not feature “real” singers, but I’ll still have a great time at the opera. Maybe it’s good to be an operadunce. Stop whining!!!!

      • Nerva Nelli

        “:Michigan Opera Theatre … will have four entertaining productions that may or may not feature “real” singers”

        Hey-- MOT this season has Rodion Pogossov, Elizabeth deShong her Angelina the toast of Glyndebourne this year, it seems) and Rene Barbera (BARBIERE), David Daniels, Lisete Oropesa/Andriana Chuchman and Anthony Roth Costanzo in CESARE, Christine Goerke-- newly announced as Leonore (FIDELIO) and Anita Rachvelishvili in AIDA.

        Sounds like “real singers” to me even if Norma54 may pine for such Chicago stalwarts as Doro Antonioli (1954’s Radames), Hugh Thompson (Belcore, 1954) and Gloria Lind (Musetta, 1954).

        • operadunce

          Yeah, maybe folks will be traveling east on I-94 this season. We’ll be ready for ’em. That means YOU, Cleeetaah! :)

  • adina

    I like the idea. Humor is a good way to introduce more people to opera, IMO. Maybe everyone just doesn’t find that it’s funny. It reminds me of the Des Moines Opera weapons policy skit for their new season. I forgot where I first saw this -- on this site, or another opera related site. (This is my first You Tube posting. So, if it doesn’t post, would someone please help me.) Caveat -- I’m not a big Renee fan.


    • SF Guy

      This one?

      • adina

        That’s it -- thanks SF

      • oedipe

        Oy vei iz mir!

    • Camille

      adina—-thanks to that nice man Harold who passed this on to me I can relay it to you:

      when you copy the url address there will be a box below it- “Options”. Make certain you click on that box and then a couple boxes below will appear. The trick is to click on “Long Link”!!!!!!! Then all should go well for it is Not Enuf to merely place the “v” before.

      I hope this will help you and I cannot make it more clear or succinct, I fear.
      Good luck from the technically challenged Camille.

      • Harold

        Do you mean me, Harold? How nice of you to mention me. Thank you! I’m glad I could help.

        Actually, I came here to report BREAKING NEWS at CommandOpera. It seems that Maria Callas has just walked out of a performance of Norma at the Rome Opera. Details are sketchy and reports are still coming in, but I repeat: CommandOpera is reporting that international diva Maria Callas has just walked out of a performance of Norma at the Rome Opera. Be sure to go there for further updates as things develop.

        • Camille

          Yes, you are our only Harald and you helped me in a moment of crisis and am grateful for your kind help.

          So, I scurried right over to the Command Center to get the latest on the scandale royale with Callas. It WAS worth my time as a posting of a portion of that performance was up [I noticed that it had only been recently put on Youtube in early August, maybe that is what made this newsworthy?]. That was very interesting to hear, sopratutto for the Splendido Franco Corelli! Callas actually sounded pretty good in the “Casta Diva”. It does make one wonder anout the ‘bronchitis and tracheitis’ she supposedly had.

          Anyway, it’s always a joy to Go ‘GLOBAL’!

  • zinka

    Renee’s endeavors into Pop music are more like the second shitty.

  • Quanto Painy Fakor

    Opera Chic points out that Dolce&Bannana have foot the bill for the addition of Italian MET titles to be added to the languages in the MET auditorium. Yes, I know that people are often assisted by reading text that their ears can’t detect clearly when expanded by music or garbeled by singers but none of this aids in developing listening skills in the opera house. I’d rather read my Ipad in a wonderful place if the titles are all I can rely on in the opera house.

  • Quanto Painy Fakor

    and have you heard the abysmal music used as background music for both presidential candidates. Hideous. At least Clinton had a catchy tune and he was right: yesterday’s gone! Good luck to all. I wanted to find something grotesque, but this will have to do:

    • PushedUpMezzo

      For something grotesque try Katie Derham discussing the Last Night of the Proms with Danielle de Niese (or “that gushing brunette” as the Telegraph reader calls her). At least she wasn’t on stage.

      Mr Calleja’s hyper-sensitive and beautifully vocalised Nessun Dorma was a joy.

      The Mattinata with violin obbligato wasn’t bad either

      • Nerva Nelli
      • MontyNostry

        PUM -- Derham and DeNiese were clucking away like two trumped-up overpainted matrons, weren’t they? Grotesque.

        I like Calleja, but the choice of repertoire was a bit odd (as was the entire concert, which was even more messy than usual), and I think he is best suited to gentle melancholy, not to big Puccinian passions.

        • MontyNostry

          … and, if the BBC is worried about an ‘elitist’ image for classical music, those two — with their silly frocks and their affected accents (De Niese is entering Jessye territory on that front, but without the senior diva’s aplomb) — are just cementing populist prejudices.

        • oedipe

          I think he is best suited to gentle melancholy, not to big Puccinian passions.

          I think so too! Calleja is wonderful in belcanto and gentle lyric roles . But he simply doesn’t have the temperament and the stylistic heft for Calaf or Cavaradossi. His Faust at the Met was misguided, in spite of some stretches of beautiful singing. And he has plans to sing Don José (who DOESN’T?), another highly dramatic role. Dommage!

          • PushedUpMezzo

            I could agree with you that he shouldn’t be doing full Turandots all season, but I found his Nessun Dorma such a lovely change from the usual squillo bellowing. And the words were all there. DDN incidentally doesn’t know the literal translation of the first words of Nessun Dorma (Let none sleep -- the subjunctive, I think?). And the concert set-up was the usual Eton Mess, made worse by the BBC constantly encouraging you to switch over and see other events in Scotland, Wales and Northern Ireland (who drew the short straw with Hayley Westenra) or Kylie in Hyde Park, who I missed completely. The whole thing is now very embarrassing and should come with a health warning that this is not really Classical music in any accepted sense.

          • manou

            PUM -- Eton Mess is a delicious confection of broken meringues, cream and soft fruit, and so is the Last Night, indeed “not really Classical music” (capital noted), but an occasion for the Prommers (who have attended a month-long series of very serious Classical music, often in very uncomfortable circumstances) to let off steam and have a bit of a lark too.

            People who do not normally attend or listen to Classical music do tune in to the Last Night, and who knows, maybe a few of them will have been encouraged to try something new as a result.

            You are of course absolutely right to deplore the whole gallimaufry from a strictly serious point of view, but as D.H. Lawrence said: “It’s bad taste to be wise all the time, like being at a perpetual funeral.”

          • MontyNostry

            manou, fair enough about making it an occasion to let off steam, but why, then, those typically flaccid Delius songs and, frankly the elegiac arias from Werther (in quaint French, didn’t you think?) and Tosca?

            And, PUM, it doesn’t surprise me that DDN got things wrong on ‘Nessun dorma’, but I couldn’t bear to listen properly to what she was saying in, as Arabella might say, ‘dem exaltierten Ton der Mama’. Frankly, she gave the impression of being in an advanced state of sexual excitement. She is so damn stage-school.

            And one can’t escape the patronising Ms Derham. She is presenting today’s R3 unchtime concert from the Wigmore, pronouncing all the foreign words on the tips of her teeth, so to speak.

          • manou

            Monty -- the Delius was part of the 150th anniversary celebrations (and appropriately called “Songs of Farewell”).

            I do think the smörgåsbord programme is worked out to include all kinds of different types of music to please one and all -- there were 6,000 people in the Albert Hall, 40,000 in Hyde Park, plus all the regional concerts so a huge audience to cater for.

            I am not even going to say a word about Alfie Boe…..

      • Agnese di Cervia

  • Clita del Toro

    OT: The beast, ACD carries on about Parterre on opera-l:
    Subject: Re: Parterre Box Clarification
    From: “A.C. Douglas”
    Reply-To: A.C. Douglas
    Date: Sun, 9 Sep 2012 02:35:38 -0400
    Content-Type: text/plain

    text/plain (75 lines)

    stuart meadows wrote:

    >Also I must say, although this is not directed at you [Bob Rideout], the
    >discussions [on Parterre Box] do not degenerate into personal abuse and
    >name-calling as they often do on this list for the simple reason that the
    >blog owner [James Jorden aka “La Cieca”] does not allow it….

    That’s a flat-out lie and you’re a flat-out liar and you know it. What you
    mean is there’s no personal abuse and name-calling of those of whom you
    approve, and La Cieca does not allow such personal abuse and name-calling
    directed at those of whom he approves.

    I was by no means a member of La Cieca’s “cher public” and logged onto
    Parterre Box only to correct those PB members who inaccurately brought me or
    what I’d written elsewhere into the conversation. Here are examples from
    Parterre Box of “no personal abuse and name-calling” the last time I did
    that, all of them from but A SINGLE thread:

    === Begin Quote ===
    ACD is an ASSHOLE (and not a pretty one)!

    [H]e constantly puts down italian opera and singing, which he does to gain
    attention and controversy.
    ACD? A type of VD exhibiting aspects of both the syph and the clap. It’s
    more annoying than deadly. By all means take appropriate measures against
    the horrid thing.
    Seriously. All I can come up with is “Abcessed Compulsive Disorder.”

    (to which another Parterre Box member responded:) Pretty spot on.B____…!
    [ACD’s] turgid, cliche-mongering prose style is about as “snappy” as that of
    Charles Krauthammer, unless of course you meant “snap” to connote a
    deteriorative venereal disease.
    Oh ew, ACD’s here. But ACD, we actually discuss live performances that we’ve
    attended and recordings/videos we’ve listened to/watched, so this might not
    be your place.
    === End Quote ===

    My response to that last comment — a comment posted by none other than the
    notorious “Poisonivy” of Opera-L fame — was:

    === Begin Quote ===
    Of course it’s my place, you poisonous little twit, if only to keep live
    opera snobs such as yourself in line.

    See how that works?

    Why, of course you do.
    === End Quote ===

    For which response La Cieca, knowing full well I’d never permit it and would
    instead never again attempt to post a comment on Parterre Box, PUBLICLY put
    me on moderation. Needless to say, none of the above insult-spewing PB
    members received even so much as a knuckle-rapping public reprimand for
    their foulmouthed personal abuse and name-calling.


    • oedipe

      Gee, I had no idea Opera-L could be so entertaining!

    • armerjacquino

      I don’t really know who ACD is and have never posted on opera-L, but I remember this incident (it was on a particularly bad-tempered thread under a Fleming review, iirc) and I’m pretty sure that

      “La Cieca, knowing full well I’d never permit it and would instead never again attempt to post a comment on Parterre Box, PUBLICLY put
      me on moderation. “

      isn’t true.

      I’m sure I remember an angry post in *response* to having been moderated.

  • grimoaldo

    Good memory, aj!

    I notice that he starts off in typical form by saying he is antipathetic to Haydn’s music, Debussy is limp-wristed, diffuse and repugnant, Italian opera in general and bel canto in particular is a failure, and does not deny that he called for Gerald Mortier to be murdered.

  • WindyCityOperaman

    Born on this day in 1939 soprano Judith Nelson

    Happy 73rd birthday bass Hans Sotin

    Happy 68th birthday baritone Sir Thomas Allen

    Happy 65th birthday director David Pountney and composer Adriano Guarnieri

    Happy 63rd birthday soprano Françoise Pollet

    Happy 55th birthday tenor Laurence Dale

    • Camille

      Bonne anniversaire à la très grande artiste, Mme. Françoise Pollet:

      C’est si un peu en retard….

      • Camille

        In Memoriam

      • stevey

        That was just lovely, Camille! Thank you. La Pollet is wonderful, isn’t she? I absolutely love her rendition of this aria (even better than Crespin). Such a rich, deep, plummy, BEAUTIFUL voice…:

        All my best to you, as ever!! :-)

        • Camille

          Stevey, two selections from Guillaume Tell:

          And this, which I saw on Christmas Day 1995, an unforgettable performance by Maestro Chailly et al.:

          I don’t know what the story is about her performances at the Met—what went wrong or right—but it is a shame she wasn’t more in evidence here. She is a rather rara avis.

          All the best to you, stevey, and please don’t just lurk! I miss you when you don’t come around. Next up, Cleopatra’s Death!
          Yours truly and affectionately, Camille

  • WindyCityOperaman

    Born on this day in 1659 composer Henry Purcell

    Also born on this day in 1922 singer Yma Sumac

    • Clita del Toro

      Windy, thanks--loved the Ima Sumac.

  • WindyCityOperaman

    Born on this day in 1938 mezzo-soprano Tatiana Troyanos

    Happy 64th birthday tenor Luis Lima