Your Wagnerian alternatives for today’s chat in La Casa della Cieca: Siegfried from the Met beginning at 11:00 am or a webcast of Der fliegende Holländer from the Bayerische Staatsoper starting at 2:00 pm.
Princeton Opera Festival is doing Dutchman in June. Anyone have any thoughts on the casting?
At 170 years old, does Dutchman qualify as an “antique”?
According to a commonly used definition, over a hundred years old is an “antique”, hence Dutchman; less than a hundred years old is a “collectible”, Turandot.
At easily twice that, does la Castafiore?
Madame Castafiore is an Ageless Diva, FYI+FWIW, Madame Nelli.
“Where IS the ahnvelope?”
Ah… No need to be so jealous, Nervosa.
La Castafiore is only as old as Hergé made her, which is still much younger than you, aka the jealous, nervous Buzzard of Skopje, always available to cackle and ululate at funerals in the finest villages in the Balkans…
Even *you* however sounds younger than the croaking Grannyhilde at the Met… How utterly sad that Gleb and his acolytes have no ears…
Hergé is well known to have copied Bianca’s fearsome visage off a Neolithic mummy found in a melting glacier on the Signal de Botrange.
Oh Nervosa, the Neolithic… I’m sure you remember those days so well… But even back then, you still *stank* as a putrid carrion fly…
Ah je ris!!!!!!
Cara Bianca (“Binaca” might be apter)--
“Laugh, and the world laughs at you!”
Miss Voigt’s dismal tones still sound fresher than your earliest Edison cylinders…
Please, Nervosa gelosa, your cousin Debbie Void sounds fresher than NOTHING, which is so appropriate when it comes to you…
Indra Thomas is the Senta. . . can’t wait she should be fantastic. I love the color of that voice and she is very good on stage. I have just heard here in the Italian repertoire. . this should be a wonderful expansion of her major career. .
Felavan ( a Princeton native) is the Dutchman.
Wow, a rather wonderful alternative is that Konwitschny/Fischer with Rose, Kampe, and Vogt. I’m there.
The most important Fischer associated with this score:
How come they’re webcasting Macbeth with their second cast headed by Nada and not with Negtrebko, Calleja, etc?
The Kusej Macbeth production is from 2008 and Nadja Michael sang the premiere. The 2013 revival is also with Michael except for 2 “gala” performances to open the Festspiele.
Sorry, I messed this up.
The 2013 performances are all with Michael.
In 2014 there will be 2 performances with Netrebko to open the Festspiele.
Thanks. I didn’t pay attention to the dates.
One “Spin cycle” won’t get the filth off the Wagner Commemorative Festivities this afternoon. Not only Voigt is croaking the Siegfried Brünnhilde at the Met, La Bullock is doing similar honor to the role role on an ROH rebroadcast from Cesky Rozhlas 3 Vltava. In addition, we have the much admired Wagnerian revisionist Petra Lang rewriting the Gotterdammerung Brünnhilde for Janowski in Berlin. For the Nederlands Die Walküre we have Catherine Foster as Brünnhilde. Any more dirty laundry? Perhaps we should replace the old one spin cycle with the ‘Shake Away’ 4 Pad Model:
You’ve left out Alwyn Mellor, Phoenix, who has been huffing and shrieking in the Paris Opera Siegfried.
Yes, Mellor seems to have the currently popular ‘Short on the Top’ technique down pat! Did she study with Violeta Urmana?
Oh dear…Mellor is scheduled to sing 3 cycles in Seattle. HELP!
In the line of Our Own Anna Green!
Dear Vicar! I heard Anna Green sing Brünnhilde (in English!) at Seattle Opera in the early 80’s (I was in college then)! Sadly, can’t say I remember much about it.
Sadly, I think I can, reedroom.
The only time I have ever made a hasty exit whilst the Immolation Scene was being, ah, warbled, to be as polite as possible.
Has anyone heard news about Janice Baird and why she cancelled in Paris?
Found this today, since I had not heard of Cleveman before.
Maybe la nina can help wash out your ears:
Oh, Scifisci, I needed that! I hope someone from the Met is going to attend Stemme’s concert this week. What an incredible pity she is not on the roster. The best Wagner singer, from the sound of Youtube anyway, to come along in some time. Helps to fill in the void left by Hildegard and Gwyneth. Her Liebestod on Youtube is stunning and she is rather a beautiful woman as well.
My most elgantissssima Damekenneth, where have you been all my life. Do you remember how glorious this was:
Thanks for the reply and for the wonderful clip. Behrens always was such an extraordinarily generous performer, and it was such a pleasure watching and listening to such an intelligent and musical singer. I really appreciated the clip. Exciting too to see prime Jerusalem, who I always found rather handsome as well.
I may not have been around for much of your life, but I have a feeling we are near to being neighbors these days, as I live on W. 72. Perhaps we should arrange sometime to meet?
My most elegant Dame, it would be my distinct pleasure and honor!!!! Bill also lives on 79th,as he once told us, and we have a long overdue meeting, perhaps a threesome?
Yes West 79th in the so-called
Museum block behind the Museum of
I do, at least, expect to see you
at the upcoming Julliard “Cunning Little
Vixen” having missed you at the Don Pasquale
My next big thing is the DiMena Concert with Jimmy and Met Orchestra on May 3rd!!!!! it will be sensational, scenes from Idomeneo, and others. Oh, and tomorrow the Britten War Requiem with the glorious Emalie Savoy, are you going? Carnegie Hall!
marshieeeeee, can you tell me again what is the tenor supposed to sing at the end of Siegfried? It seems here that Jerusalem ducks out on the last climatic note?
dk, Jerusalem from this production always sounded much more virile and secure than most Siegfrieds today….
Mia cara Bianchissssima, yes he does duck it out, he goes to the low C while it should be a high A, and when the tenor does take it, it sounds to the untrained ear like a high C as the soprano, because of the relative sound in the ear. Like the A in Felsen at the end of Brunnhilde’s plea in Walkure, sounds like a high Q, because of the excitement of the musical line, and the exaltation of the moment, but it is only an A :-)
Jerusalem was announced as sick for both the Siegfried and Gotterdammerung, and he sounds mighty well in general given that, but he had the big crack in the high C in Act II of GD, which is still there as it couldn’t be fixed after the accident, etc etc.
Bianchissima, in the other clip of Siegfried I put below I think Kollo takes the A, but Behrens totally smothers him, and you cannot hear him :-)
He was such a wonderful singer, but by then he was getting a bit old while she was at the height of her powers. It is a great piece of singing, and to quote caro fenice, what BREATHTAKING MUSIC!!!!!
Bianchisssssima, MMII is getting old and confused, the A for the tenor is at the end of Zu Neuen Taten. Something was buzzing my head, and I decided to look at the score of Siegfried, and there it is, very much a low C for the tenor, the A is not even optional, while the C for the soprano is not optional. Sorry for the confusion of MMII failing memory :-(
The final note for tenor in “Zu neuen Taten” (Götterdämmerung) is an A flat. No option.
The final note for the tenor on “Lachender Tod” (Siegfried)s the C between the middle C and high C in tenor range. No option.
The final note for the soprano in “Lachender Tod” is high C. There does exist an option for taking the C an octave lower. Generally, unless they are sick or mezzoish, they don’t do the lower note. Flagstad did take the lower note, to my great disappointment, but every note she sings is absolutely beautiful.
There is an earlier absolutely non-negotiable, no-option high C for the Brünnehilde in Siegfried, in the arioso passage of “Ewig war ich”. The final high C is usually sung, but even great singers like Flagstad have ducked it so she set a valid precedent.
There are a couple high C’s in Götterdämmerung, as well, for Siegfried, but they usually are squawked, honked, ducked, and by-passed, as well they should be.
Cara CammiB, you will never let me forget those “flats”, now that I messed up the Lachender Tod C/A whatever, now you have to rub it in that the Zu Neuen Taten is an A “FLAT” for the tenor. Of ocurse, it is in the bold and heroic key of E-flat Major.
But you mustn’t forget that MMII is NOT an E-flat queen, so those pesky flats always slip through the cracks :-) :-) :-)
But I loveya all the same!
Stemme is a good actress with a serviceable voice. She is a terrific Wagnerian soprano no doubt. But she is nothing. NOTHING to Jennifer Wilson. I don’t care how good her acting is. I want to hear this sung by a great singer with a great voice.
@luvt: amen, brother. J Wilson is truly thrilling.
Luvt: I recently asked a prominent professional in the business (whose opinion about voices I really, really trust) about Jennifer Wilson. He said that, when heard live, she’s not the next great thing the way she appears on recording. I was quite disappointed.
I hear you, but I would really need to know your friend’s specific taste in voices before I can give his opinion credence. I have heard several live in-performance snippets that show a voice beyond the quality of any Wagnerian soprano since Flagstad and Leider -- and better on top than either of those ladies if without Flagstad’s goddess like all-encompasssing warmth and mid-range power.
My model for a great Wagnerian soprano is very different from most. I reject the notion that a large metallic or dark heavy sound is required for these roles -- no matter how thrilling Flagstad, Nilsson of Gertrud GP might have been in them.
I think Brunnie and Isolde sound best when sung by voices that could be described as large-voiced spintos -- such as Gadski or Leider or Meier (although she may have had stamina problems according to La Camille). Recall that there were no Wagnerian sopranos for Ricky to model his singers after. He had to work with the existing singers although clearly he expected much (too much?) of them.
Truthfully, we need to put a muzzle on most opera orchestras. They are killing our dramatic voices.
Luvt: The person in question (sorry I can’t name him on a public forum) has tastes that lean more in the direction of beautiful and refined singing rather than big-voiced bluster.
Luvt: I should add that according to him, Wilson is definitely good, just not “the greatest thing since…”. He certainly didn’t dismiss her.
Or Nilsson, in this appallingly truncated excerpt.
Some great singing here.
OT (kinda) but is anyone else going to see this force of nature next week with the Swedish Chamber Orchestra??
I’m kinda freaking out with excitement! I’ll also admit…I’m praying Debbie gets a heavy cold next week, thus requiring Gelb to commission Ms. Stemme to step into any portion of the ring.
If fate will have it, GotDam on Tuesday or DerW on Friday.
He’s BACK and on the offensive again.
I hope you’re having a lovely weekend, blue.
blue, don’t listen to BP. He’s a DB.
(*DB* = dung beetle… Ah, je ris…!!!!)
Please get over yourself. When I added my comment I was on my phone. I would rather abrevate operas rather than spell one incorrectly and be damed by people like you as a result.
Why wouldn’t you want to me “Damed.” Seems like a good deal to me.
Dame Satisfied. Sounds good.
LLCoolB: I was calling yr name at the end of chat, but you had already decamped. mikedfw recommended a pianist I had never heard, Khatia Buniatishvili, and she’s well good if you don’t know her. There was consensus from me, mike, Liz, and others that you should check her out as right up your alley (oh, you might also like her piano playing!) :)
Khatia Buniatishvili is a showy fraud. Some technical prowess, yes, but tends to bang the keys and in my hearing is a shallow interpreter.
Her career (like the braying Grigolo’s) is definitely looks casting-driven — never seen her wear anything less than “come-hither” at a concert.
Perhaps not quite Richter in his prime at this stage but if anything she has a tendency to wear too much clothing. Certainly a comparison with Grigolo seems unduly harsh.
Hussshhhh! (I don’t know about Grigolo but I agree with you 100% about her, Nerva ;-)
Regardless, Khatia is one hot looking chick -- KewlB should def check her out, hopefully live! Trust me, I saw many guys went wild at a concert hall (that phenomenon kind of reminds me of sudden craze after the first appearance of Opolais at the Met)
There was a profile in the paper some time about another showy, hot-looking pianist, named Lola something…
… at home her pianola is worked for all it’s worth!
I luv abbrs. I usually go with G-dams, but to each his own.
Use DieW though -- B-hilds is fem.
I got hooked on abbrs and nicknames from the Wellsungen -- God, I miss them. That was one of my favorite sites.
Isn’t Stemme busy singing Isolde in Houston until early May?
Maybe Gelb could play star-maker with promising young Wagnerian:
watching the munich “dutchman” -- not really a favorite opera of mine but….is anyone else disturbed by the “full screen” quality? it doesn’t have the standard upper and lower black boarders -- the picture encompasses the whole screen. consequently the singers/figures are slightly elongated. actually makes them look a bit thinner but really its not real. its watchable -- just a bit off. never really encounter this with arte, medici….am i being too picky? and what’s with presenting the opera without intervals? i guess munich likes all the wagner ouerve to be seemingly interminable.
I have seen three productions of this opera, none in Munich, and never with an interval.
If nothing else, you cannot accuse the house of trying to cash in on bar sales. And nobody relying on public transport to get back home will complain.
The “continuous” Dutchman represents Wagner’s original vision for the score. During his lifetime, it was done in 3 acts, though. Cosima restored the single-act idea at Bayreuth in 1901 and it has become a popular way of staging the opera (including at the Met). It’s just not that unusual anymore.
So, what did those who watched it think about the ending of this Dutchman? It had to be very striking in the house.
No pun intended?
Pun not intended, but pun put forth cannot be taken back.
I missed Act I, but it is a shame that today’s fine performance of Siegfried was marred by the out-of-tune, squaky singing of Debbie Joy. And what the hell was with that huge ovation she received?
Perhaps it was something to do with her performance?
That, or perhaps they really, really want to discourage Mister Gelb from bringing in Miss DeNiese or Miss Michel as a star replacement?
meanwhile i thought Morris had a stellar afternoon….Siegel too
Indeed they did. Morris impressed again by sounding good right up to the last note — no mean feat in this role. I thought Delevan and Arwady sounded great too.
They were applauding the gaudy auditorium & the Great Society postwar architecture -- audiences have been doing so for decades and like any antique, the place only gains status with age.
When I saw her in Walküre (her first go at it), she got a good ovation but not as big as the crowd response to the rest of the cast (especially Terfel, Kauffman and Blythe). And that was when she sounded pretty OK (though not great). Today, she sounded godawful and the ovation she got was huge.
I agree, it wasn’t a good performance from her. Very disappointing. But Jay sounded very good, as did the rest of the cast, esp. Siegel, Konig, Arwady and Oropesa.
I listened to the Sirius broadcast curtain calls today also kash and it was quite an ovation -- not since Rula Lenska came out in front of the gold curtain on my first color TV screen has there been such a commotion.
1. Sirius and the Toll House cookiemonster pre-recorded a huge ovation to replay just at the moment Maggie announced that Her Highness La Voigt is taking her curtain call -- so those of us listening to the audio stream wouldn’t have known what really happened anyways -- there was no HD telecast of it. Perhaps La Voigt actually got booed & took a shit in front of the gold curtain before stomping offstage -> like Belle Barth (whom La Voigt idolizes) did decades ago in Vegas after she lost her casino to Martha Raye in a crapgame.
2. Pehaps the Met pumped some sort of benzodiazepine (such as Xanax) through the ventilation system in the auditorium during the last Act and gassed the audience into ecstacy.
3. Most of the audience (well over the alcohol limit drinking age) got tanked during the long intermissions & whooped it up until they convinced themselves the media propaganda crap about La Voigt being the greatest Wagnerian interpreter of our time MUST be true -- and that says a lot for our time, doesn’t it?
3. Most likely, however, it is none of the above -- it’s just the same old ‘Act 3 Siegfried Syndrome’. As brilliantly orchestrated as Acts 1 & 2 are (particularly Act 2 where Wagner comes closest to impressionism), nothing in the Wagner canon matches the magnificence of Siegfried Act 3 -- this is not just my opinion, many friends have informed me of their feelings about it. A hog (such as Mmes. Voigt, Bullock, etc.) could come out onstage as Brünnhilde, sing the Awakening scene and still be applauded, that is how breathtakingly beautiful the music is.
Carisssimo fenice, of course you are RIGHT!!!!! Siegfried Act III is breathtaking music, those final pages!!!!!
but you do need something like this to do justice no?
Credulous people are responding to the documentary, the “as seen on TV” factor, and the mendacious past reviews of Voigt’s Bruennhilde by some NYT and AP critics.
Any news of the Dutchman from San Carlo? And is that live stream still available for download on the web, does anyone know?
Bianca, the broadcast yesterday had some technical recording issues with the volume on the stream.
-- Juha Uusitalo as the Dutchman had one of the worst nights I’ve ever heard from him -- his upper register in a downward state of diminishment -- by the last act he barely pecked at the higher notes. Still, he knows the style & the role well enough to bring it off. Stanislav Shvets’ Daland sounded very fine to me. Matos, although not perfect, IMO is still the closest thing to golden age in this rep.
-- There is another performance tomorrow in Napoli with the same cast, then there are 2 more later on with Jalun Zhang as the Dutchman & Jennifer Wilson as Senta. Yesterday’s performance went out as a EuroRadio broadcast, so they will undoubtedly record tomorrow’s performance also and most likely splice the best of the two together before they send it out to the other EuroRadio stations (and maybe it will show up over here on World of Opera) -- hopefully with Uusitalo in better form. The chorus was under-rehearsed and sounded pretty straggly, but the orchestra at San Carlo is good. Reck dealt with everything quite well. I am sure the recording volume issue will be doctored up. It’s still listenable but a bit strained here and there. A good recording of it will probably show up on the other stations in a couple of weeks or so.
fenice, the only times I heard Uusitalo were on YT and I did not like his voice at all. Very tight sound production to me. Grazie for this info.
I have only heard Uusitalo as Scarpia, a monumental piece of miscasting -- pale tone colour and strangely Anglo-Saxon diction, considering he’s Finnish. Unfortunately, so monumental that certain phrases have stuck in my mind.
A four-hour, concert version of the Ring starring Jay Hunter Morris and Jane Eaglen!!
Did this actually say *all-star*???????
They do have Richard Paul Fink!!
I’ve never heard of the Wotan/Fasolt, Philip Skinner, eventhough the mini-bio says that he’s sung with the Canadian Opera Company.
And I love how Eaglen’s bio makes it seem like her career is still going on.
Kashie, Skinner has been singing in San Francisco for years. I haven’t heard him recently, but last I heard him he was very good.
Glad to hear it. I’m just surprised I can’t recall having heard him…
Skinner has also sung in Seattle, though not for several seasons. “Wotan/Fasolt” seems an odd pairing since the two appear onstage together in Rheingold…
Reedrom: It’s a four-hour version of the whole thing so the majority of the work is cut.
It isn’t Wotan/Fasolt. Fink is Wotan/Gunther and Skinner is Alberich/Fasolt.
Sorry, I mixed up Fink and Skinner, but the roles are combined as I said.
Better again, I see that Luretta Bybee -- l’Italiana in a Dublin production 20 years ago -- will take on the roles of Fricka and Floasshilde. Now there’s a career that I thought had long ago evolved into full-time teaching; my mistake, by the looks of the bio.
BTW the web-site describes the show as “one of the most unique offerings” of this anniversary year. God, I got a roasting from my English teacher way back when for saying this. “Uniqueness is an absolute!” But my Chambers Dictionary notes that the term is often used loosely for ‘unusual’, which is how I was using it at the time. Think I’ll send Mr. Lynch a Chambers for his 80th birthday. It may be one of the most unique offerings he gets, after all.
We are all unique, Baltsamic! At least that’s what we are told by the cosmetics manufacturers who want to sell us the umptieth version of a generic product which we all DESERVE because of our uniqueness…
Hi oedipe -- and you wouldn’t believe the number of orders I took from gal pals before my recent New York visit on account of such unique Clinique stuff costing way less than in Yurp. Plus you remind me of the scene from the Life of Brian in which he tries to impress on the dumb-ass crowd that they should be able to think for themselves, that they are all individual. “Yes! We are all individual!” they cry, as one.
“I’m not”, mumbles a lone, apologetic voice…
A familiar TV advert from some years ago which has filtered down to us via various other divæ, but this is the original and WORTH watching IT!
The Brit version
A more recent  version:
Now YOU’re Worth It!
Ms. Bybee’s husband is Greer Grimsley. She has been singing smaller Ring roles. I guess she wants to be his wife onstage as well.
Camille e Nerva -- molto grazie, I only just got these clips now as I have been away. Oh, what treasured memories!
And hasn’t “the other Met” done rather nicely out of those cosmetics fortunes lately?
Yessir, BV, it is a very BIG deal for the Met Museum.
It just goes to show that wrinkle creams are good for something besides crowsfeet.
That reduction has been performed twice in the SF Bay Area. First by Berkeley Opera, and then by West Edge Opera (the company that evolved out of Berkeley Opera). It’s interesting, if not entirely satisfying to anyone who knows the complete cycle well (it might make a useful introduction for a newbie hesitant about trying the whole cycle). It is also re-orchestrated for a chamber orchestra and all of the big orchestral passages are cut (no Rhine Journey or Funeral March). The reduction tells the basic story, but some characters are completely cut. There is no Erda, so Wotan changes his mind about giving the giants the Ring with no external prompting.
It’s a bit of a shame that this will be a concert performance. A big part of the fun of seeing the abridged version put on by a smaller company, like Berkeley Opera, was the ingenious ways in which the production team staged the Ring on a shoe-string budget.
At the end of Gotterdamerung, Loge came out in a janitor’s suit (with “Loge” name patch on the shirt), swept all of the props into a garbage can, and wheeled it off stage.
Well, she has a lot of metal in the voice… She looks much bigger than when I saw her at the Met a few years back as the Bruenni in Siegfried.
(Loved that top comment about the Met ‘craptacular.’)
Is that Theorin? Her sound is exciting -- I like that shimmer and spin it has. Shame about the lack of words, though.
Yes, it is. I saw her as a very appropriately athletic, teenage-like Bruenni in the Siegfried at the Met maybe 4 yrs ago… She had a much more secure, brighter sound then, but she’s still very exciting and certainly more appropriate than many out there.
Must be something in the water in Sweden???? Theorin, Stemme and Dalayman…
She is meant to be pregnant in the Copenhagen production, isn’t she?
I once read that Sweden produces good singers because Swedish is a ‘vomitory’ open-throat language.
As for Theorin, I can’t really tell what pitches she is singing much of the time. I love you all but I don’t think this does justice to the music. By the way, Siegfried J., whom I have enjoyed in the past, sounds in trouble in the GD excerpt. The voice cannot get all the way up there sometimes so he fakes it. Must have been I’ll. He was a better singer of this.
The curse of Autocorrect strikes again.
Recently I was texting a friend that I had downloaded a recording of her singing in Beatrice di Tenda. After autocorrect I sent “I have a copy of your brassiere.”
Luvt: Siegfried Jerusalem was in great voice for that Siegfried until the very end when he just ran out of voice. He was at his best in Act I which he sang with great gusto. His voice sounds noticeably coarse through most of GD, unfortunately.
yes, Theorin’s Götterdämmerung Brünnhilde got much better over the last few years -- but in Siegfried not so much (IMO, of course) -- unfortunately you really need a voice in it’s prime.
-- Getting back to the subject of this thread, Saturday’s webcast -- does anyone actually have anything honestly viable to say about it? Many of us come on here just to exercise their wit (I don’t have any to exercise) -- such web literari are informative & clever but rarely take the risk of true cut-throat criticism (am I beginning to sound like Geneviève?)
-- In all honest I did not see/hear that webcast Saturday but yesterday they rebroadcast another fliegende Holländer from Stuttgart done last January at Zürich Oper -- with Kampe again as Senta. Now I have listened to several Kampe Sentas (pun intended) -- in Zürich she was almost stripped down to ‘topless” vocally -- aim, scream = hit or miss. Nothing reliable above an ‘A’. But isn’t that what audiences thrill to (will she make it or will she not? poor dear!)? Zinka, Leonie & my beloved Régine (in their late careers) were glaring practitioners of that grand out-of-legato vocal archery & look what great success they garnered! Ah, welcum Kampe! Keep it up, girl!
So far as I can tell, Phoenix, you are the first person on the internet and perhaps in print to use the evocative phrase “vocal archery”. Well done.
From a Grand Master, much appreciated!
I am a bit worried about the targets though -- could they be related to fundamental topics discussed elsewhere?
Absolument -- ces caractères mensongers -> elswhere indeed, all over the place. As Nerva has pointed out, the most accessible can be found on NYT and AP, but don’t forget the bloggeress mesdames who loquaciously prostitute their opinions in conformity with these most powerful propagandists -- such meritricious hags give free passes left and right -- for what? do they get free tickets, dvd’s, cd’s, parties, etc. or does it just make them feel accepted, exalted or whatever? There is the infamous shrill offpitch coloratura who advertises her favorite role in her website title, but she is eclipsed by the Grande Patroness of Filth across the sea, Mistress of the Intermezzo Court. There are many, many more of course, but thankfully I have not encountered most of them yet.
-- I admired and do miss the revealing insight of Poison Ivy -- probably the most interesting reading of any of the classical arts blogs.
Phoenix, Ivy’s blog is back up! :)
E? troppo sibillino!
blue, thanks for the good news about Ivy! I haven’t seen any comments from her recently (but I don’t read every thread on here, either).
manou, I didn’t know they were related!
Ivy popped into chat on Saturday for a bit, phoenix -- it was good to see her. :)
Bravo Phoenix, you have a “bonne plume”!
I generally agree with you on everything you write (except for your antipathy for Sophie Koch).
Œdipe, France Musique broadcast a recital with Sophie Koch last year -- I don’t know whether you heard it or not -- but it was quite successful, particularly her Debussy -- as good or better than anyone I’ve ever heard do them. Why is she wasting her time with the operas when she is probably the best singer around for those impossibly difficult mélodies lyriques? No, I don’t like her in the operas -- not enough splash for me -- but on the concert stage she would conquer the world!
Dunno, Phoenix. She already has a very successful career, though she rarely sings in the US and will probably never sing at the Met. I do think she is better in some roles rather than in others. But then, unlike some others, I don’t that’s true of ALL singers, there are no “gods” among them.
…I think that’s true of ALL singers…
Œdipe, I am not a musician nor even a college graduate, but I am sure you, too, would notice how much more fluid, idiomatic & unpretentious uncontrived she sang that rep than most who attempt it nowadays.
-- I think she will show up at the Met, but unfortunately like many foreign singers who come here, not until her better days are behind her.
“unfortunately like many foreign singers who come here, not until her better days are behind her”
You have to have had some better days in order to get them behind you -- this particular item has not to my recollection had any better that I know of -- check out her fabulous Donna del Lago!
Camille, DO NOT CLICK!! :)
Hahaha!!! Thanks for the warning but Nerva shall not lure me back into her bed of roses! Ich bin kein Napolitänischer General..wo ich steh’, steh’ ich!
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