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  • MontyNostry: Talking of Cotrubas, whom I saw on stage as Violetta, Elisabetta and Tatyana, and in... 10:33 PM
  • NPW-Paris: (Just to be clear: the opening night reviews had thus not prepared me for what I heard when I was... 10:33 PM
  • NPW-Paris: I heard her only once, in Boccanegra: “Ana Maria Martinez was, it seems, petrified on the... 10:31 PM
  • Operngasse: Jungfer – Thank you so much for mentioning Martine van Hamel. One of the great American... 10:31 PM
  • MontyNostry: Camille, dear, I find that very reassuring! Thank you. 10:30 PM
  • Camille: Thanks, armerjay, for I had this home from the library but hadn’t the time to listen. I got... 10:21 PM
  • Camille: MontyN. You have volleyed on back my exact sentiments re all three sopranos spoken of above, not... 10:18 PM
  • Camille: How is that ending different, please? Is that in the UE score? Have only heard the the usually done... 10:10 PM
  • Camille: It’s very interesting to hear what you have to say about the Cotrubas Traviata. She was so... 10:02 PM
  • NPW-Paris: Damn. “… from natural causes”. Sorry. 9:56 PM

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La Cieca hopes you, the cher public, will reveal (rather than conceal) your opinions on off-topic and general interest subjects this week. But it’s up to you!

454 comments

  • ilpenedelmiocor says:

    Finally got a chance to hear Latonia Moore assay Aida live last night — God what a voice. Every time she opened her mouth it almost made you forget the rest of the mostly pretty ragged singing on display (seems that most of the money went into the admittedly very fun Zandra Rhodes co-production with HGO, SFO and ENO).

    The tenor was Walter Fraccaro, who infamously replaced Alagna when he walked out on the La Scala production. Opera Chic’s take on his performance is as true today as it was back then:

    “Oh Fraccaro, how you held the opera together with your bland but adequate stage-presence, singing Radames in your practiced Verdi tenor. I just don’t find Fraccaro all that exciting. He sang well. …Last night, Celeste Aida did not get booed, but this Opera Chic was beyond tempted to start mooing her dissaproval, and almost had to clamp her hands over her mouth to quell the urge! …(The tomb where Fraccaro is doomed to join the company of adequate tenors)”

    In short, he can sign the role (and hit the required notes). Loudly. And more loudly. That’s about the extent of the dynamic range. Jill Grove got better as the evening wore on, but has that mildly annoying habit of ending her phrases by going up on her tippy toes.