Cher Public

  • sycorax: http://futuremet.w -2020 2:31 PM
  • Jamie01: Why is Susan Graham interviewing Betty Friedan? 2:25 PM
  • Cicciabella: I’ve said it before, and will say it again. Gheorghiu should sing La Vestale,at least in concert or semi-staged, and... 2:08 PM
  • laddie: Get it while it’s there: https://www.youtub &v=VCtvH5Ni4lI 2:06 PM
  • Camille: This Salome is exceptionally good, die Feldmarschallin was right. To my way of thinking Mara Zampieri’s timbre of voice is... 1:23 PM
  • Camille: This is indeed very helpful to me, PM, as I am currently debating whether or not to reinstall my Sirius connection, as I do not... 1:20 PM
  • Camille: Italics outbreak!! Run and hide!! 1:14 PM
  • Camille: From what I saw of Maestro Levine at yesterdays morning’s rehearsal, I would wager that he is not going anywhere, anytime... 1:12 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.)


  • 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. . .