Cher Public


Your doyenne, while she never, never would think to record a performance she attends, is from time to time sent recordings of certain live events. A fragment of a recent such event, which some indeed might venture to term a “Sternstunde,” follows the jump.


  • grandtier

    Meade needs to throttle back, but that was in part the conductor’s job. Unrestrained, she sounds like she is trying to sing Abagaille. But Fabiano? Absolutely stunning.

  • Quanto Painy Fakor

    Video of Fabbiano in the Verdi Requiem from Oslo
    (does not embed)
    Oslo Filharmoniske Orkester markerer 200 års jubileet for Giuseppe Verdi … Solistene er håndplukkede Verdi-spesialister; Serena Farnocchia, sopran, Julia Gertseva, mezzosopran, Michael Fabiano, tenor, Michele Pertusi, bass sammen med Oslo Filharmoniske Kor og Orkester samt koret Schola Cantorum. Alt under ledelse av Jukka-Pekka Saraste. Opptak fra Oslo Konserthus forrige lørdag. Presentert av Arild Erikstad.

    • Quanto Painy Fakor

      Typical performance from assorted editions -- soprano and mezzo using the new Ricordi edition, Fabbiano holding the old Peters edition, Pertusi using a different score as well. Serena Farnocchia very satisfying in the “Frels meg.” While there are many beautiful phrases throughout from everyone, especially in the Hostias, I wish I could explain what leaves me with the feeling that something is missing. Maybe it’s that Jukka-Pekka Saraste is just boring and lacking a sense of drama.

      • k0000

        since he’s now the apple of everyone’s eye, can we please agree on the correct spelling of his name? It’s FABIANO

      • This makes as much sense as Caballe and Bumbry preparing “conflicting versions” of Norma. Once you learn the piece, unless the edition you used is the Strauss edition, there should be no issue.

        I would venture to add that, given that they are openly doing it, the conductor and the musical staff did not see a problem to it. Lastly, it is not like it is the first time soloists use different editions of a score. You know of this instance because the soloists were not given a black cover to hide their scored behind (a more standard practice). I wonder how many times we have attended an opera or a concert where the tenor learned their part with a Riccordi, the mezzo used the kalmus, the Bass used the Schirmer, the Soprano printed hers from IMSLP and the choir master used the Barenreiter.

        The one piece in the Requiem that I do know is the Domine Jesu and it didn’t sound like they were singing anything out of the ordinary.

      • MontyNostry

        Couldn’t someone in oil-rich Norway have organised for the soloists to put matching covers on their scrappy old vocal scores? It looks terrible on TV. And Farnocchia (though she sings very well) seems to have her face buried in her score far too often.

        And while I’m at it, Julia Gertseva is a very good-looking woman, but the shmatte she’s wearing …

    • any suggestions as to how to download this? Stream Transport did not even tough it.

  • Benedetta Funghi-Trifolati

    And for what it’s worth: Oronte (Mr. Fabiano) basically walks out onstage, has a few, brief measures of recitative and then launches straight away into ‘La mia letizie infondere’ followed by ‘Come poteva un angelo’. Mr. Fabiano sounded damn good walking out “cold”, as it were, but as the evening progressed and he warmed up, got even better than this clip. His work in the Trio and, in particular, the final arietta sung by Oronte as a “voce dal cielo” was, I thought, more impressive than this clip. Eve placed Fabiano in a 2nd tier box and his voice literally sounded from on high and angelic.

    • Camille

      Indeed, what I’d MOST like Johnny Depp to show up here with are the goods from that wonderful trio. Hoping Long John Silver is not holding him hostage.

    • grandtier

      Absolutely agree.

  • Quanto Painy Fakor

    • Quanto Painy Fakor

      Agreed. That was beautiful. Happy Meade is singing with more elan and abandon. She should be encourage to do that a lot more. Bravi.

      • antikitschychick

        ITA Agree 100%!! Good for her.

    • Camille

      Thanks so much, QPF. I missed the beautiful opening violin solo which I love so much but still nice. Tempo strange.

    • perfidia

      At least in the recording, Meade is just pouring the voice without doing much more with it. Fabiano really shows a beautiful line, and the contrast is obvious. However, I much prefer her doing that than the way sometimes she micromanages the line. It’s like you can hear every coaching suggestion made to her. This outpouring of voice would have served her really well in the Met Trovatores. Fabiano is wonderful. The top is scary bright and exciting. I hope he can keep it up. He sounds like someone who has listened to old recordings and has made the lessons his own. And conservatory training did not flatten his personality like it happens with so many potentially great singers.

  • Quanto Painy Fakor

    His voice pooped out in Berlin this week, but don’t worry… now he’s an author too

    • perfidia

      Villazon’s mistake was trying to sound like Domingo without the ironclad technique. Even in those little bars he croons at the end you can hear the similarity. I hope literature gives him an outlet for his creativity. Lord knows he has too much of that, and it is kind of sad he cannot really fulfill his artistic ambition through singing anymore.

  • Rudkin

    Terrific singing, really. Not heard in this combination in quite some time! The audience is electrified. He is breath of fresh air. I look forward to hearing more from him. Kudos to our doyenne for this glimpse of a great night and a snapshot of a young man at the beginning of his career. I hope to hear him more here. You hear his voice with your soul. So very exciting…

  • aulus agerius

    Camille, Kashania, Rysanekfreak, Antikitschychick -- Send your email address to zenpoazc at gmail dot com and you’ll get back some more goodies.

    • antikitschychick

      mille grazie!! will do….:-D

    • diva2themax

      Can I join the goodies fun?

  • bassoprofundo

    La Cieca: the embedded file included in this post was exactly what I was referring to the other day re: Monastyrska and how to embed that mp3 within the page. I see you found a way to do it. Would it not work if someone posted such an mp3 in the comments page as well?

    • Actually, no, because WordPress has different rules about what sort of scripts are allowed in posts vs. what’s allowed in comments. In a comment you can post a link to to an mp3 or you can embed a YouTube, and that’s where the permissions cease.

  • zinka

    BTW I guess they do not rehearse at Phil.Hall becfause Michael told me that the FIRST time he stepped on that stage was Monday at 6:30…..

    OOOOOPs..i used his first name..

    Well,you might want to know that NO ONE called Tebaldi anything but “Renata” because of the way she was…but you could never call Zinka “Zinka” because she was such a Kunc.

  • A. Poggia Turra

    Planning note: Speaking of live transmissions (and of early Verdi), on 17 April at 20:00 CEST, Radio RAI-3 will carry a live relay of Oberto from La Scala (Ganassi, Lo Monaco, Pertusi, Agresta under Frizza).

    Same station on the 19th, but at 20:30CEST, a live relay of Fliegende Hollaender from the San Carlo (Matos, Uusitalo under Stefan Anton Reck).

    (Note: the Munich webstream of Hollaender is on the following day, so Wagnerites will have lots to compare).

    On the 19th of the same month .LoMonacooft