Cher Public

  • antikitschychick: sorry not a handful of times; but a handful of productions, with this one at the Met being her 7th, so more than a... 12:53 AM
  • antikitschychick: Found a good review of the November 28th performance, (same one Camille saw) by Opera Teen: https://operate... 12:30 AM
  • mrsjohnclaggart: And the very greatest Elizabeth Rethberg in 1925 with Freidrich Schorr in “O Sachs! Mein Freund” The story... 12:29 AM
  • mrsjohnclaggart: sorry, httpv://www.youtub d-axeLs and I AM in this one which starts earlier, Maria Reining, with... 12:19 AM
  • mrsjohnclaggart: Now, Batty, wasn’t there someone here who thought act three was the worst stretch in Wagner? Here is the Nazi... 12:15 AM
  • mrsjohnclaggart: Well, Kaiser seems to think it’s a city by city issue. I can’t guess what makes San Francisco so competitive... 12:07 AM
  • Batty Masetto: Lorenzo, I don’t want to cover ground that Greg Freed has covered so well already, but Friday’s performance... 12:03 AM
  • antikitschychick: thanks grim! Yes I added two more posts :-) and no worries about the misspelling; it’s not my real name lol. 11:56 PM

En proie à la maladie

Pretty Yende will make her Met debut as Countess Adèle in this season’s performances of Rossini’s Le Comte Ory, replacing Nino Machaidze, who is ill. (This from the Met’s press office.)


  • Feldmarschallin says:

    The voice is beautiful but I hear trouble at the top which isnt free.

  • semira mide says:

    Sounds promising. What a great replacement. Can we hope to get a Rossini conductor as well?

    The remark about Miricioiu made me recall this from a performance of Armida.

    She literally brings down the house ( and almost herself-watch her reaction at the end) Was she “the greatest”? No, but somehow with a conductor like Claudio Scimone ( and singers like Bruce Ford) she was stunning. I bet everyone there remembers it to this day. Not many recall favorable the Met’s Armida.

    • Camille says:

      This reminds me of a crack Nerva made on another thread, in response to my hyperbole about Rossini’s all around genius.

      Really, Nerva? Had I made such a glowing remark about LUDWIG SPOHR, once considered almost as seriously as the other greatest LUDWIG, I would understand. As it was also only intended as a bit of boosterism for a young group of students, why was it necessary to call me out? Did I not stick to your syllabus, dear Docent??

      Shame that the lousy staging and so-so singing kept me from the performance at the Met, which I had otherwise greatly anticipated.

      • Nerva Nelli says:


        Something like ARMIDA or TURCO IN ITALIA has a few numbers by a genius.

        Not everything Mozart or Wagner or Verdi wrote was a work of genius, either. Why would we expect, or pretend, that it should be?

        Best- NN

        • Camille says:

          If you are in reality Mr. Philip Gossett, I gratefully accept your recommendations and admonitions.

          Otherwise, take your patronizing post facto Edict of Worms and STFU!

          • havfruen says:

            Considering what was left off the list suggests that this person is NOT Philip Gossett.

          • Camille says:

            Exactly my point!

          • Vergin Vezzosa says:

            Another vote for the major merits of ARMIDA, although I can understand why it’s wonderfulness may have not been apparent to some who base their opinion on the mess that, for the most part, the Met made of it.

      • m. croche says:

        The other Ludwig’s other Quartet, op. 131:

        And the scarcely less crucial Ludwig #3

    • Bianca Castafiore says:

      semira, are you in Holland? Thank you for reminding us of this performance, which I have heard on yt before. It makes us miss Bruce Ford, doesn’t it?

      It seems Carmona and Aragall doubled as Ubaldo and Carlo in this performance, no? I love that trio at the end as well. Miricioiu is amazing as well. Oh well, the Met’s (and our) loss.

      • semira mide says:

        No, I am not in Holland. I didn’t see it live, although I have a DVD made from the TV transmission.

        And yes,how I miss Bruce Ford. Thank goodness for all the Opera Rara recordings.

        • Bianca Castafiore says:

          semira, I never had the pleasure to hear Bruce Ford (nor Miricioiu) but from yt, I was so impressed with him. A Rossini tenor who actually sounds heroic rather than all the bleating goats out there!

          Don’t know if you know this, but the Met finally cast him for the Armida (albeit for the small role of Goffredo, rather than the main tenor parts), but he never sang it as he got sick. I wonder how he is these days? Another great singer ignored by the Met.

          • semira mide says:

            After Ford withdrew from Armida for illness, I sent him an email saying how much he was missed.
            He was kind enough to reply that he did not expect to be able to sing again. I believe he is teaching ( lucky students!)

          • Uninvolved Bystander says:

            Ford sang a run of BARBIERE Almavivas some time ago. I loved the sound but it is (was?) not a big voice and I wondered if it was he and not the Met who made the decision not to sing there too often.

          • Bianca Castafiore says:

            I can’t imagine the voice is any smaller than JDF, Banks or Brownlee though…

  • atalaya says:

    Wow. I really hope she does well. Completely unfamiliar with her. From what I could find, she’s 27 or 28. Fairly young.

    According to operabase she sang Barbarina, Musetta, Norina, and Sacerdotessa (Aida) at La Scala this year. Making a Met debut as Adele with JDF is an impressive step.

    Le Comte Ory opens Jan 17th.

  • Quanto Painy Fakor says:

    Int’s a fact: nobody has done more for advancing the careers of unknown singers than Placido Domingo and Operalia.

  • OpinionatedNeophyte says:

    Cautiously optimistic.

    • Camille says:

      OpNeoPhD—you should be THRILLED that la Nino-the cause of your distress at La Fille last year or so-is off the boards. You and your mum had quite an uncomfy experience.

      Miss you when you are not around but do understand that you are very preoccupied.

      Hope to see you in the New Year!

      Kindest regards—

      • OpinionatedNeophyte says:

        Dear Camille,

        The new year will in fact witness my restoration as a more active participant on these boards. I will be visiting three universities in the new year for finalists interviews for tenure track positions. Wish me luck! I do continue to check in here when I can and I’m so happy that I may actually be missed. Much love!

        • Camille says:

          *Tenure Track* being the two holiest words in a professional academic’s vocabulary!

          I wish you all good fortune in your pursuit, difficult as it may be in these straightened financial times. The pursuit of such a goal is a very difficult challenge. One I am sure you will be able to surmount, dear sir.

          With my great sympathy and kindest possible regards,

        • kashania says:

          Good luck, ON. Hope to see you back.

  • Gualtier M says:

    Okay, this is another case of a singer canceling due to illness nearly a month before they have to begin performances. In some cases -- Gary Lehman for example -- there may be a longer lasting debilitating illness at issue. But really if it is just a cold or flu wouldn’t she be recovered in three weeks time?

    Again there is likely more to this story.

    • Camille says:

      Maybe she has “morning illness”, Batty.

      Either that or an acute case of permanent laryngitis.

    • aronocity says:

      I don’t think she can rehearse when she’s sick. So even if she got better by opening night, it wouldn’t be rehearsed.

  • Quanto Painy Fakor says:

    It’s not like le comte Ory is standard repertory and it’s not a good idea to make a MET debut in something one has not done many times and studied for years.

  • La Cieca says:

    Actual film of the Met’s artistic administration office reacting to the news of this cast substitution.

  • manou says:

    “Phèdre toujours en proie à sa fureur extrême,
    Veut-elle s’accuser et se perdre elle-même ?”

    (Just trying to hide behind Racine to say the title above should be “En proie à la maladie”)

    With the usual apology about my own fureur extrême.

    • La Cieca says:

      La Cieca’s proofreading skills really leave a lot to be desired, and at any rate she shouldn’t try to post before her first cup of coffee in the morning.

  • MontyNostry says:

    As I said the other week, I hope Pretty has sorted out her technique a little in the time since this was recorded -- two or so years ago.

    • kennedet says:

      O.K., Feldmarschallin and MontyNostry, please tell me what your thoughts are regarding Pretty Yende. I thought Pretty was pretty good (excuse the pun, but I couldn’t help it). I loved everything about the sound and her vocal production. If she continues to sing like, this I think it will evolve into a very satisfying spinto sound.

      • MontyNostry says:

        I haven’t seen her perform live, only on YouTube, but she won a whole swathe of major singing competitions a couple of years ago, so I assumed she must be knockout. I have to confess I have been a bit disappointed by what I’ve seen, though the voice has lots of shine and energy, and she is clearly charismatic. But it also seems a bit relentless and rough round the edges too.

  • Bianca Castafiore says:

    Is it me or she sort of looks like Barbara Hendricks?

    • semira mide says:

      It is NOT just you -- she really does look like Barbara Hendricks. Not so much in the video, but the photo shows an amazing likeness.

  • parpignol says:

    Dwayne Croft was announced as singing through a cold this evening, but for his dull Chorebe it hardly mattered, and still less for partnering Voigt who is singing like a mouse; no volume, no color, no tonal beauty, she’s peeping out the notes; we’ve asked it before, but we have to ask it again: is she really going to sing Brunnhilde at the end of the season? I love the ‘Fall of Troy’ acts, so I really hate to say this: but if you’re going to see Les Troyens this season, go at a civilized hour after the first intermission, because it gets a whole lot better when you get to Carthage, Voigt disappears, and Susan Graham begins to sing; she’s giving the performance of her career, even up against very powerful memories of LHL in this production; Giordani was good enough in acts 3 and 4 in the ensembles and love duet, but does not, at least at this stage, have the goods and the artistry to bring off the big aria in the last act; Appleby very fine in the sailor’s aria at the beginning of the last act. . . the production is uneven; Luisi not very interesting conducting Berlioz. . . it could have been Alan Gilbert. . .