“The title character in Barber’s Gothic melodrama Vanessa, a self-deluded, manipulative older woman, ‘keeps coming up,’ Ms. Voigt said.” [New York Times]
probably no one will agree, but I thought that, in her prime, she was excellent as Sieglinde, clearly worked on the role with Levine, and performed it as he wanted it, which was really beautiful. . . act 1 with Levine, Voigt, Domingo, and maybe Salminen, back when, was (perhaps unexpectedly) a great night at the opera. . .
I agree. Sieglinde was a great role of hers, and probably one that she could still sing quite decently.
Two other roles that might be a good fit at this point are the Countess in Capriccio or the Marschallin in Rosenkavalier. Don’t think she’s tried out either, has she? Although she has sung the Rosenkavalier Trio in concert.
These are fairly meaty, starry roles without being overly taxing.
Not enough skill with-invetstment n words for either word, not enough tonal beauty , especially not for CAPRICCIO.
Vienna heard her Marschaliin with great indifference, opposite the fine ( for once!) Octavian of Kirschschlager.
Actually, she sang eight performances as the Marschallin at Wiener Staatsoper: five in May 2005 (four with Kirchschlager -- by the way, one “s,” not two; one with Michelle Breedt), and three in December 2006 (two with El?na Garan?a; one with Daniela Sindram). When I saw it, Garan?a was truly the star of the evening, and Voigt’s German was… peculiar.
Junger -- believe Voigt also essayed a few
Rosenkavaliers in Berlin. After what I heard
were a couple of bad Salomes in Vienna and in he same season some not well sung Fidelios
with the Vienna Opera in Japan, Voigt never
returned to the Vienna Opera (whether she
was not asked back or decided on her own
not to return there, I do not know). And that
was a couple of years before her not so successful Minnie at the Met where she sang flat much of the evening. I never heard Voigt
sing the Marschallin and with her rather
scratchy middle voice (and the Marschallin’s
role almost entirely sits in the middle of the voice and her music is not much higher than
that of Octavian in reality) I think it would
have been a chore to listen to Voigt in that role and surely an Octavian like Garanca would have outshone Voigt throughout the opera.
Garanca’s Octavian would outshine only but the
very finest of Marschallins, I should think for Garanca, both dramatically and vocally, is as good an Octavian one can find nowadays -- pity that it is unlikely now we shall hear Garanca at the Met -- have not heard if
Garanca’s scheduled April 2014 Octavians in
Vienna will actually take place (with Schwanewilms). I plan to be there.
Voigt’s “Salome” performances in Wien (three, in November 2008) were bizarrely dreadful. She was so totally detached to the point that – after making such a fuss about her pride in being able to do her own “Tanz der sieben Schleier” in Chicago – she had a double come out and wiggle for her. That was, indeed, the last I expect we’ll see of her. She did the Salomes and the “Fidelio” in Japan as a sort of compensation for dropping out of the new “Ring” Cycle (the dreadful Bechtold production) opera by opera, and Ioan Holender (the tyrant who ran Staatsoper for 19 years) was furious with her. That was when Eva Johansson got cast as the first and third Brünnhildes, and then Nina Stemme in “Siegfried.”
I don’t thank anyone noticed how Voigt sang as the Marschallin, since Garanca was so totally dazzling as Octavian. She is still on the schedule for three performances in April 2014, but I have no idea when the baby is due and if she’ll be ready to return by then.
Didn’t manage to get back to you at the appropriate place so I shall say bon voyage to you, and please have a wonderful Reise — have some poppyseed pastry for me, too, please.
What wonderful memories you have. Hoping it is all written down somewhere.
With sincere best and kindest wishes from
Actually, I was not attempting to render a complete Voigt/Resi/Wien chronology; perhaps I should have said, ” I witnessed Vienna hear her Marschallin…”
Granted I myself sometimes hit people with the archive pages rather hard-- though usually after statements like “I don’t know if ever Ruth Hesse sang at the Met…”--not a difficult search. ( She didn’t, btw.)
I never know what diacriticals the Parterre Box site will accept. Of course, that is Elina Garanca.
Just a reminder that this is not Voigt’s only buyout in a major American house -- just the most recent one. There was that Ariadne in Chicago last year that I believe Amber Wagner sang in her place. The official excuse is that Voigt was now concentrating on “dramatic” roles (like Isolde) and felt that Ariadne (the role that put her on the map over 25 years ago…) was no longer suitable. Then there was a Salome scheduled in Dallas for Fall 2013 (right now) that was 86′ed from their schedule.
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