Cher Public

Happy Birthday Anna Netrebko

The Met’s new Tatiana is 42 today. [Facebook]

  • Anna’s been slimming down! Too bad she can’t do a retake of that unflattering ON cover.

    • DonCarloFanatic

      I do not think you understand figure-flaw camouflage.
      Notice the position of her knee, which blocks her entire midsection.

    • meowiaclawas

      I’m not a fan of AN, but I think she looked pretty darn stunning on the ON cover.

      • To me, that cover made her look more like Maria Ghuleghina, than Anna Netrebko.

        • degan

          Not only does she look like Guleghina, on her Verdi CD the Lady Macbeth is pretty much the same like Guleghina´s. Low high notes, bad coloratura, bad Italian. The only thing is: Guleghina has the right voice for it, Netrebko doesn´t (but has the more beautiful one). By stage presence, there is no stage animal like Guleghina….

  • SuperSuper

    Take the pricetag off the bottom of your shoe, honey.

    You can take the girl out of Russia…

    • antikitschychick

      LOLz this beats Putin’s shirtless horseback riding pics any day of the week :-P

  • rapt

    Certainly ranks among the top ten most adorable things I’ve ever seen.

  • Camille

    Had to be posted here again (WindyCity already put it up on the intermission thread):


    http://www.youtube.com/watch?v=QoVK6osTe7s&sns=em

    [If one does not remove those stickers from the bottom of shoes promptly they are just impossible to scrape off later on. After they’ve become frayed, at that point, one invariably lifts up the sole to publicly display what one has bartered in exchange. Ahimè.]

  • Constantine A. Papas

    I hope she carries a license. Those heels are lethal weapons that can stab you to death!

    • Camille

      They are called STILETTOS for good reason….

  • operaassport

    Is that Anna Maria Alberghetti?

    • Krunoslav

      Yes, fresh from the loo at the Jones Beach Musical Theater…

  • Will

    Odyssey Opera’s Superb Concert Rienzi in Boston
    by William Fregosi

    After a year of mourning the demise of Opera Boston, an inventive and daring company with high musical standards and a fascinating repertory, the city celebrated its “revival” when Odyssey Opera presented the Boston premiere of Wagner’s Rienzi in concert at the acoustically magnificent Jordan Hall. Opera Boston’s Music Director Gil Rose has established the new company and decided to place it before the public with a splash – and nothing operatic makes quite the splash of a well-cast and gorgeously played Rienzi.

    The edition used was that of the opera’s world premiere in Dresden, observing Wagner’s own cuts and without any of the “new” material that has come to light in recent decades. Given Rose’s taught, exciting conducting, it’s time to put aside fears of this opera’s “impossible” length. Presented in afternoon and evening sections (acts 1 & 2, dinner, acts 3, 4 & 5) any audience that can sit for Tristan, Gotterdammerung or Meistersinger should easily make it through the extra fifteen minutes or so of Rienzi. And the rewards are considerable.

    When played and sung as well as we heard it on Sunday, September 15, Rienzi holds attention through its great massed choral scenes, grateful if demanding vocal writing, and absorbing plot of the rise and fall of a people’s hero who succumbs to his own success, becoming an enemy of his countrymen who destroy him. Lithuanian tenor Kristian Benedikt brought a medium-weight budding heldentenor to the role. Dark of tone, with a voice a bit too far back in the throat for maximum impact, he was nevertheless untiring and handled declamatory passages confidently with sturdy high notes. His performance of the act 5 Prayer was lyrical and got a very good hand. It is to be hoped that his voice grows and comes forward to develop some brilliance up top.

    Margaret Jane Wray, a significant Wagnerian these days, sang Adriano with richly colored floods of tone. Only a couple of the highest notes in her great aria emerged with slight strain; the rest of the performance was thrilling. Elisabete Matos, Irene in Opera Orchestra of New York’s concert performance of Rienzi last year, was much the same in Boston. The voice is loud, easily carrying the top line in the massed ensembles, but is also strident at fullest volume and rather often crude in phrasing. The strong ensemble in support of the leads featured Kristopher Irmiter, David Kravitz, Stephen Salters, Ethan Bremner, and Boston legend Robert Honeysucker, at 70 still pouring out a rock-solid, authoritative bronze-toned baritone. Special mention should be made of soprano soloist Christina English and the Lorelei Ensemble, a women’s modern and early music ensemble who were outstanding as the Messengers of Peace.

    The orchestra of 77 and a chorus of 72 performed tirelessly, with the addition of 22 brass and percussion players divided into two bands who played in the Balcony during the massive third act with its lengthy choral passages. There was not a horn crack or an instrumental misstep of any kind throughout the demanding score. The effect in Jordan Hall was overwhelming. The audience gave the performers and triumphant conductor Gil Rose a tumultuous ovation. Who’s afraid of Rienzi? Clearly, not Boston — nor should anyone else be.

    • papopera

      was there a serpent and an ophicleide in the orchestra?
      Wagner scores for serpent under the bassoons and the ophicleide under the trombones

      • grimoaldo

        Verdi, Wagner, Meyerbeer, Mendelsohn, even Arthur Sullivan, lot of others, scored for ophicleides and more rarely serpents. Except for “original instrument’ those instruments are nowadays almost always replaced with tubas.

        • grimoaldo

          ” Except for “original instrument’” ensembles, I should have said.

    • Camille

      This was very interesting to read and thank you for having posted it.

      The idea of breaking in the middle is perhaps a solution?
      As the OONY production proved to be far too much in one afternoon for me, it ended up as something to be endured rather than to enjoy.

      Perhaps a tad unfair to Elisabete Matos; the role of Irene is very poorly written, in my opinion, and chiefly requires penetrating high notes out of the blue, and at odd intervals. Not a great part.

      Interesting,in that there is a topic in Mary’s garden this week about opera being banned in Boston…not entirely it seems!

      • Two different opinions, chère Camille:

        http://artsfuse.org/92382/fuse-opera-review-a-triumphant-bang-of-a-rienzi-from-odyssey-opera/

        “Ms. Matos’s voice is a powerful instrument, but she knows how to wield it. She can soar over a big orchestra effortlessly, as witnessed by her spectacular displays at the ends of Acts 2 and 5. But in the more intimate pairings between Irene and her suitor, Adriano, she reined in her power, revealing a pleasing sweetness and vulnerability. Despite its size, her voice is also remarkably agile – her intonation on Sunday was spot on and perpetually impressive as she navigated the music’s many high, florid passages.”

        More here:

        http://www.bostonglobe.com/arts/music/2013/09/16/odyssey-opera-debuts-with-wagner-rienzi/UfKFt7qOhyR6xVFOgqvQzJ/story.html

        And elsewhere.

      • Feldmarschallin

        Well Camille I heard a very young Studer sing gloriously as Irene in the early 80’s when she was still in the ensemble here and even sang things like Peer Gynt which I only saw once but with her :). That whole Rienzi cast wasn’t bad with Kollo and Brinkmann and Sawallisch conducting.

  • PushedUpMezzo
    • Lysenko lives!

      • oedipe

        M.Croche,

        In the 1950s, I believe, there was in the USSR a famous large-scale Lysenkoist experiment meant to discredit once and for all the putrid, racist, capitalist theory of genetics: the tails of many thousands of mice, over several generations, were cut in order to show that species can be taught change and that eventually a new, socialist type of mouse will be born. But guess what, those reactionary mice kept on being born with tails!

        • To paraphrase Garbo in “Ninotchka”: Patience, Comrade! These experiments will be great success! From now on there will be fewer, but better, rats.

          • manou

            Dear m. croche -- are you a very early riser or an insomniac?

            • Dear Manou -- yesterday (or today, depending on your time zone) was/is the Mid-Autumn Festival. Naturally, I was out gazing at the moon -- which seemed to be just a little bit larger than usual

              Yours most sincerely,

              Croche Lunaire

  • spiderman

    not a shitty balcony …

  • la vociaccia

    In other news, Tchaikovsky wasn’t gay, he was *lonely,* so says Russian Culture Minister Vladimir Medinsky

    http://www.theguardian.com/music/2013/sep/18/tchaikovsky-not-gay-russian-minister

    • antikitschychick

      Hmmm….based on his comments, I take it Mr. Medinsky is well acquainted with feelings of “loneliness” then? :P :P :P

  • Constantine A. Papas

    And Russians say T’s loneliness was aggravated by cholera that eventually killed him. Of course, this 24-karat garbage continues. No one expects intellectual honesty from ex KBG operatives.

    • antikitschychick

      WORD. What a bunch of utter buffoonery.

  • Camille

    “The Real Housewives of St. Petersburg”.

    It suddenly makes sense…..

    • antikitschychick

      LOOOOOLZZZZZ…TOUCHE CAMILLE.

  • Donna Anna

  • Donna Anna

    I forgot to add the comment:
    “He wasn’t gay. Not gay per se.”