Cher Public

  • Lohengrin: Simply the best! 11:13 AM
  • aulus agerius: Operateen has posted reviews of Aureliano at Carammor and Iris at Bard – 2 operas I considered for this summer and... 11:10 AM
  • WindyCityOperaman: “Kaufmann’s Dick is great.” Wha . . . ? 10:59 AM
  • Fidelia: The livestream of Parsifal from Bayreuth just started about 30 minutes ago. It is sounding great. 10:32 AM
  • LT: I thought the Tosca duet was an a odd choice with Terfel having to wait on the side during Vissi d’arte. 10:07 AM
  • armerjacquino: Ooh, Tynes sounds fascinating! http://vintageblac m/post/12882940681 4/happy-96th-birth day-to-my-beau... 9:44 AM
  • Dita Recon: Kaufmann’s Dick is great. 9:31 AM
  • WindyCityOperaman: RIP Marni Nixon http://www.nytimes .com/2016/07/26/ar ts/music/marni-nix on-singer-soprano- dies-86.html?_... 9:29 AM

Sicura, presta è la mia difesa

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Your doyenne is working to update the parterre chat to a more secure, non Java-based platform.


  • 261
    Clita del Toro says:

    That’s it for me and Trovatore for a while. I usually like Meade, but did not so much today. As fro Blythe, I am renaming her Kojack II.

    • 261.1
      armerjacquino says:

      I’ve never heard Zajick come anywhere close to giving a performance as bad as Blythe’s was today.

      • 261.1.1
        Clita del Toro says:

        Right, jacquino

          Gualtier M says:

          Blythe sounded seriously ill and Meade slightly unsettled and nervous. I would pass on making any final judgments on one afternoon’s performance.

          • oedipe says:

            I would pass on making any final judgments on one afternoon’s performance.

            But you actually don’t pass! Most of us don’t! It’s just that you -like all of us- are willing to give more slack to the singers you like than to the ones you dislike.

      • 261.1.2
        FigaroFigaro says:

        Up until today, I thought SB could do no wrong. I was wrong.

    • 261.2
      Camille says:

      Great name, Clita!! Lol

  • 262
    perfidia says:

    I listen to the broadcasts on WHRB (on the web). I love the post performance playing of selections from the broadcast we’ve just heard. Many times the selections function as a rebuke to the broadcasts, sometimes they are sad reminders of what once was (listening to Voigt’s previous broadcast Cassandre last week. Even when the role was never a good fit, what a difference!). This week it was medicine for the assault perpetrated upon my ears. And to hear Frieda Lieder sing “D’amor” with such poise, sense of line and beautiful trills (and she was one of the great Wagnerians!) was just what I needed. I think the Maria Stuarda will make up for this sad afternoon.

  • 263
    Camille says:

    I wish to thank Patrick Mack for the most funny comments in this thread on this Trovatore malcreato.

    After that yelp from Blythe in the racconto I snapped it all off, thinking it must have been my hangover. I see it wasn’t.

    Perhaps the Met has the intention of presenting Trovatore as did the Marx Brothers?
    “An Afternoon at the Opera”???? Where is Kitty Carlisle when you need her? ( yes, I know she is in cielo….)

  • 264
    m. p. arazza says:

    Does anyone else feel that the hosts’ hyping of the singers has become ever more excessive and unseemly? Juntwait: “Our tenor, Marco Berti, has that full-throttle Italian sound people want from a hero like Manrico?” (I will give her points for that final question mark.)

    • 264.1
      decotodd says:

      Yes! Not only was the vocalism dreadful today (maybe the claque is alive and well in the house; they couldn’t have been cheering the rotten singing) but the intermission feature was four (!) banal interviews with singers. While some singers are quite erudite (kaufmann comes to mind) most are not famous for their eloquence.

      When I first started listening to the broadcasts at age 13, I learned so much from the likes of Goldovsky and Owen Lee. Ira Siff’s synopses hint at what could be ( how about some musical illustrations of how Verdi conveys a characters emotion via melody and orchestration, for example). Educate the listeners rather than offer puff pieces a la Access Hollywood. Surveys have shown that viewers are hungry for more hard news stories rather than the junk the cable and networks offer up. Similarly, I bet the listeners would prefer to have more educational intermissions. About 10 years ago Will Crutchfield had a great series illustrating vocal types and categories. The producers would be smart to revisit the old broadcasts for guidance.

      • 264.1.1
        decotodd says:

        I would also eat my hat if anyone had really come up to Juntwait and asked where MARIA STUARDA had been all their life. It’s not as if it was THAT rare. As we know Sills and Sutherland did it in the US in the 1970s and recorded the roles too.

          Angelo Saccosta says:

          AS did Caballe in Chicago, maybe 1973 or so with Viorica Cortez as well as the CH concert with Verrett in December 1967, the performance that made a Donizetti freak of me.

  • 265
    Clita del Toro says:

    One last point: I don’t know whether it was my radio or what, but Meade’s voice sounded thinner and less dramatic today than it did in Bolena. The way she sounded today does not bode well for her upcoming Norma. I hope I am wrong.

    • 265.1
      Camille says:

      Butcha aren’t ever wrong, Blanche!

      Compare this sounds to the one she made in that Audition film. I remember her debut Ernani, as I happened to listen to it, by chance. It was a firm, fully packed sound unlike the current one.

      Nous verrons, mon cher.

  • 266
    Nerva Nelli says:

    zinka says:

    “Blythe sounds great”


    The *bon mot du jour*? What a jokester!

  • 267
    zinka says:

    Something totally LOST these days…


  • 268
    Buster says:


    Richard Strauss : Elektra, Adelaide, 1991 (Video), Director: Richard Armstrong

    •Yvonne Minton (Klytemnestra)
    •Marilyn Zschau (Elektra)
    •Claire Primrose (Chrysothemis)
    •Florian Cerny (Orest)
    •Robert Gard (Aegisth)