Cher Public

“You call that a trill?”

La Cieca invites the cher public to engage in lively but non-violent discourse on off-topic and general interest subjects.

  • La Valkyrietta

    I enjoyed the Forza but have seen much better ones, and in it Jonas, as in Trovatore, though wonderful, is not ideal.

    As an intermission away from opera, how about some scientists’ jokes?

    http://www.theguardian.com/science/2013/dec/29/scientists-favourite-jokes

    The silliest of them is for me the Batman joke :).

  • Quanto Painy Fakor

    ‘Oh, Mr. Adler you are so lucky… one day the vanilla Price and one night the chocolate Price!’

    • Buster

      Great! The missing Behrens Da Capo:

      And Janowitz, too!

      • Buster

        Anneliese Rothenberger:

        • MontyNostry

          Janowitz’s hairdo is channelling Edda Moser in the movie of Don Giovanni.

          • Buster

            Yes, you are right, MOnty! What a classy lady. That Marschallin clip in the middle is lovely.

        • Quanto Painy Fakor

          Strangely, this link has just been made unavailable in the USA. If anyone has it please reupload the video. Here, to the best of my knowledge is the index:

          Da Capo Interviews 1986 -- 1998

          MISSING DA CAPO PROGRAMS:

          03.02.1990 -- Anneliese Rothenberger
          ? 11.05.1991 -- Gundula Janowitz
          10.10.1992 -- Evelyn Lear
          ? 29.04.1995 -- Hildegard Behrens
          ? 24.02.1996 -- Margaret Price
          23.03.1997 -- Otto Edelmann

          Links for Metternich, Giebel, Dermota (and possibly others) are dead

          Sendungen von 1986
          ? 01.02/1986 Birgit Nilsson
          ? 22.03.1986 Hans Hotter
          ? 12.12.1986 Martha Moedl
          ? 17.05.1986 Elisabeth Schwarzkopf
          ? 12.07.1986 Josef Metternich
          ? 04.10.1986 Erna Berger

          Sendungen von 1987
          ? 28.02.1987 Maria Stader
          ? 04.04.1987 Joseph Greindl
          ? 24.01.1987 Anton Dermota
          ? 16.05.1987 Irmgard Seefried
          ? 19.09.1987 Hans Hopf
          ? 11.07.1987 -- Ljuba Welitsch
          ? 19.12.1987 Erich Witte

          Sendungen von 1988
          ? 27.02.1988 Sena Jurinac
          ? 07.05.1988 Inge Borkh
          ? 09.07.1988 Erika Köth
          01.10.1988 Hertha Töpper
          ? 10.12.1988 -- Astrid Varnay

          Sendungen von 1989
          ? 15.04.1989 Giuseppe Di Stefano
          ? 0.05.1989 -- Nicolai Gedda
          ? 30.09.1989 -- Christa Ludwig

          Sendungen von 1990
          03.02.1990 -- Anneliese Rothenberger
          ? 28.04.1990 -- Anna Moffo
          ? 10.11.1990 -- Theo Adam

          Sendungen von 1991
          ? 23.03.1991 -- Ileana Cotrubas
          11.05.1991 -- Gundula Janowitz
          ? 13.07.1991 -- Gustav Neidlinger
          ? 07.09.1991 -- Ingeborg Hallstein
          ? 09.11.1991 -- Anja Silja

          Sendungen von 1992
          ? 18.01.1992 -- Walter Berry
          ? 28.03.1992 -- Edda Moser
          ? 09.05.1992 -- Waldemar Kmentt
          ? 12.09.1992 -- Thomas Stewart
          10.10.1992 -- Evelyn Lear
          ? 14.11.1992 -- Agnes Giebel

          Sendungen von 1993
          ? 30.01.1993 -- Edith Mathis
          ? 27.02.1993 -- Sandor Konya
          ? 24.04.1993 -- Ingrid Bjoner
          ? 19.06.1993 -- James King
          ? 17.07.1993 -- Helen Donath
          ? 24.12.1993 -- Franz Crass

          Sendungen von 1994
          ? 08.01.1994 -- Gwyneth Jones
          ? 05.03.1994 -- Elisabeth Söderström
          ? 14.05.1994 -- Hermann Prey
          ? 10.09.1994 -- Sylvia Geszty
          ? 22.10.1994 -- Karl Ridderbusch
          ? 10.12.1994 -- Peter Schreier

          Sendungen von 1995
          ? 18.02.1995 -- Brigitte Fassbaender
          29.04.1995 -- Hildegard Behrens
          ? 17.06.1995 -- Engelbert Sauter
          ? 30.09.1995 -- Helga Dernesch
          ? 04.11.1995 -- René Kollo
          ? 02.12.1995 -- Kurt Moll

          Sendungen von 1996
          24.02.1996 -- Margaret Price
          ? 23.03.1996 -- Wieslaw Ochman
          ? 18.05.1996 -- Renate Holm
          ? 06.07.1996 -- Eva Marton
          ? 05.10.1996 -- Reri Grist
          ? 14.12.1996 -- Tom Krause

          Sendung von 1997
          ? 15.02.1997 -- Anna Tomowa-Sintow
          ? 23.03.1997 -- Otto Edelmann
          ? 31.05.1997 -- Hans Sotin
          ? 06.09.1997 -- Katia Ricciarelli
          ? 25.10.1997 -- Franco Bonisolli
          ? 13.12.1997 -- Teresa Zylis-Gara

          Sendung von 1998
          ? 14.02.1998 -- Grace Bumbry
          ? 25.04.1998 -- Giuseppe Taddei
          ? 27.06.1998 -- Renata Scotto
          ? 12.09.1998 -- Teresa Berganza
          ? 31.10.1998 -- Everding über Everding
          ? 05.12.1998 -- Ekkehard Wlaschiha

          • Quanto Painy Fakor

            the check mark may have been converted to a question mark in the above index.

          • I wish they had subtitles.

          • Feldmarschallin

            The first two worked for me but the Rothenberger didn’t will have to play around to see if I can outtrick the system. Had a way in the past what worked but not having any luck so far.

            • Buster

              The Rothenberger interview worked fine here. Janowitz same problem you had. Interesting comments by Rothenberger on Lotte Lehmann coaching her as Sophie at the Met (& Crespin, and an Octavian who was insulted by Lehmann’s advice -- now who could that be?)

            • Quanto Painy Fakor

              Buster, are you in America? The message from YouTube is that the video has been removed in the USA. If you have it could you upload it with the designation that only people with the link may view. It should embed just fine that way.

            • Buster

              No Quanto, I am in Europe. I will try.

            • Quanto Painy Fakor

              That would be great. And if you could please find the DaCapo that Leonie Rysanek NEVER made it would be even better. As I recall, there were many problems with Lotte Lehmann staging (better described as supervising) Der Rosenkavalier at the MET. Back then she did not have the extensive experience of teaching and masterclasses that would be such a huge part of her later life. I remember going up to her in the audience at the premiere to request an autograph, which she wrote in a very large way across of piece of music manuscript paper I had with me.

            • Buster

              Goodness me, you met Lotte Lehmann! The Met Rosenkavalier from 1938, omissions and all, is one of my favorite versions of the opera. The later one (1939) is somehow less special, with not so much detail, and she is poorer voice.

            • Buster

              The insulted Octavian must have been Hertha Töpper.

              Sorry Quanto, I misunderstood, I can play the clip, but don’t own a copy I could upload myself. Did send an email to the person who does, though.

            • Quanto Painy Fakor

              Youtube videos can be downloaded many ways. Try WondershareFree YuTube Downloader, or Jaksta. You just have to know where your computer places the resulting files, which can be in any folder or disk you determine in the preferences/settings.

            • Krunoslav

              “As I recall, there were many problems with Lotte Lehmann staging (better described as supervising) Der Rosenkavalier at the MET. Back then she did not have the extensive experience of teaching and masterclasses that would be such a huge part of her later life. ”

              QPF: Lehmann directed Crespin;s debut ( and insulted Toepper) in 1962. She helped start the Music Academy of the West in 1947 and gave master classes copiously after her retirement from recitals in 1951. Her master classes in NY , Chicago and London in the 1950s ( in which Grace Bumbry took part) were famous. So she had done a LOT of teaching before she took on the Met assignment.

            • Bill

              I saw the Rosenkavalier in question in 1962
              and the staging seemed quite conventional --
              Crespin was a very warm hearted Marschallin
              and sang beautifully -- perhaps a bit “mutterlich”
              but it was an excellent assumption of the role.
              Both Rothenberger and Toepper were quite
              experienced in their roles (it was the first
              Rosenkavalier I had seen at the Met without
              Rise Stevens in the title role). We all know that Lehmann could be quite strict as a teacher -- but, for example, she made Bumbry into a fine lieder singer (having seen
              Bumbry in an all Brahms program at Salzburg in 1965 which was a success with the discerning
              public. We also know that earlier Lehmann
              did have difficulties with numerous other
              rival prima donnas in
              Vienna. But Lehmann had sung Sophie, Octavian
              and the Marschallin with success in all three roles (and in many different stagings) and therefore would have been (or should
              have been)a wonderful mentor for others singing any of the three roles.

      • Quanto Painy Fakor

        Exactly! Now we have all of them.

        • Buster

          Thanks again Quanto!

          • Feldmarschallin

            Thanks Quanto. Just finished watching Behrens and she looks spectacular. Have never seen her look as beautiful as in that video. She also has to be the most intelligent of all the singers that I have seen in this series and I have seen them all except for these three and Sauter. I still think she was overparted and a Jugendlich-Drammatische but the attention to the text and involvement are something else. My least favorite piece was the Mozart Elettra which somehow didn’t work for me. But brava Behrens.

      • Feldmarschallin

        Does the Janowitz interview only have tone but not picture from minute 37 on? The picture remains the same but the interview goes on.

    • Buster

      I had no idea Losey asked her to be Donna Anna in his movie first. She declined, because she was insecure about her figure.

      The passage where she speaks about being booed (as Norma) is just heartbreaking.

      • Regina delle fate

        Buster -- I’ve heard she had a contract in which she undertook to lose 100 lbs or so, but she never managed it, sadly. I am lucky to have seen Price as Donna Anna several times in different productions, so my pictorial memory of it is still quite vivid. Stefanos Lazaridis costumed her spectacularly in John Copley’s 1973 staging and you hardly noticed her size. Feldmarschallin must have seen her often in Rennert’s Munich staging around that time, too. She also looked wonderful in Ponelle’s Cologne production -- the pix of that production were all over Opera magazine in the early 70s. She should never have taken on Norma. It wasn’t boo-worthy, but it was not a success and this time Copley’s designer costumed her most unflatteringly. But she had got bigger by 1987.

        • manou

          I saw that Norma (one for the woad). The production was a disaster, and poor Price was not right. She was completely voiceless twice at crucial moments, but it seems to me that the boos (which I had no part in) were more directed at the production staff.

          • Feldmarschallin

            Manou you mean the concert version at the Festspiele where she walzed in as the first bell was ringing? Friends of mine were standing at the stage door and saw her and then already new that it would go wrong. The booing was already massive after the cabeletta and after the cavatina there was utter silence which was even worse than the booing that was after the screaming which she did. The best way to describe the sound was if you step on a cats tail. The booing at the end was something one had to hear to believe. She was very upset and cancelled the second performance when they flew in Susanne Murphy from England. Price was watching in Sawallisches box. Nafe and Bonisolli were in the cast and Patane conducted.

            • manou

              No Feld -- I mean the John Copley Covent Garden staged production which was beyond ridiculous and was swiftly junked.

              http://www.rohcollections.org.uk/performance.aspx?performance=12064&row=0

            • manou

              …and à propos Norma at Covent Garden, here is an excerpt from Frank Johnson’s 2006 obituary in The Guardian:

              Frank Johnson, who has died aged 63, will be remembered by many for his claim that the most memorable thing that happened to him occurred in 1957 when Maria Callas stuck her nipple into his right eye.

              His class at an east end secondary modern school supplied child extras for opera productions at Covent Garden, and the great soprano swept the 14-year-old Johnson into her embrace in one of the climactic scenes of Bellini’s Norma.

              Johnson went on to become the funniest parliamentary sketch writer of his generation; but he really believed that opera was worth more.

              The piece he wrote 25 years later about his brief stage career concluded: “There are few men who can truthfully say that their eye made contact with the right nipple of Maria Callas. So it is not necessarily true that someone who has passed much of his adult life in the press gallery of the House of Commons has never glimpsed greatness.”

            • Feldmarschallin

              26.7.85 was the date of that Norma since I just looked it up and on the 29th was the second performance which was broadcast on the radio as well.

  • Feldmarschallin

    Buster where did you find those missing ones? Which other ones are missing? The earlier ones were one hour and the later ones 45 minutes. Welitsch is great fun and she is the only diva who brings her poodle to lay on her fur coat. True diva! Will watch them this afternoon even though I am in the thick of Downton Abbey. Question on Cocky or Manou. I have now the first two seasons all on DVD. How many more seasons are there already being shown in England?

    • Buster

      Quanto found the Margaret Price, one, and the kind soul who uploaded that episode, also uploaded the ones above.

      I believe all of them are available now, except Evelyn Lear.

      Ridderbusch:

      If you are through with Downton Abbey, try Mr. Selfridge, which is hilarious too. Jeremy Piven is NOT Paul Hollywood, as I thought watching it for the first time.

      • Feldmarschallin

        Ok thanks for the tip Buster.

    • manou

      Hello Feld -- my devotion to duty ended up with my computer being infected with a virus, but I hope I have sorted it out now.

      There are four series of Downton + a Christmas special. Under NO circumstances should you go to a website which seems to give you access to series 4, as you will end up in all kinds of trouble as I just did, and import a lethal virus -- as I have just done. Thank God for Apple Care.

      I have changed my passwords -- but not this one. Any silly puns, corrections and jokes will obviously be posted by miscreants….

      • Feldmarschallin

        Good luck with that Manou. Remember not too long ago I had the problem with someone getting into my old email and sending out some message of me needing money. I ended up going to the police and filing a complaint. I would never download those since I like to have things. No downloading music on the internet for me but I like to have the CD in my hand and on my shelf. The first set of Downton DVD are 3 and the second set which start at the beginning of the war are 4 and also include that Christmas Special. So I guess I need series 3 and 4 but that may be some time before they are released here. I can wait. Hope things get resolved for you and looking forward to meeting you on the 5th.

        • manou

          You can get the DVDs from amazon.co.uk:

          http://tinyurl.com/nht4fl7

        • Regina delle fate

          I’m crossing all fingers, toes and anything else crossable for you that JK is genesen by Sunday!

  • -Ed.

    Thank you for the list, Howling, I shall be busy for weeks. I must say (I’d be fingering languorously my emerald necklace too, if I were wearing it) that the Venice Baroque Orchestra behind Kermes is adorable!

  • mercadante

    Picking up on the earlier thread on trillers: I just got my Arias for Caffarelli disc and have to say that for me the winner and champion among current trillers is, A MAN! Franco Fagioli has the best trill I have currently heard. Prepared, unprepared, short, sustained, semi-tone, whole tone, they are all marvelous! And not just technically great, they are musical, beautifully integrated into the melodic line, and expressive. Bravo Sig. Fagioli!

  • WindyCityOperaman

    Born on this day in 1910 composer Paul Bowles

    Born on this day in 1943 tenor Gösta Winbergh

    Happy 61st birthday soprano June Anderson

    Happy 60th birthday director Graham Vick

  • Feldmarschallin

    Here Buster this is especially for you…

    http://www.crotchet.co.uk/prerelease-lieder.html?id=ieIjBTuv

    • Buster

      Excellent, thanks a lot! I had been looking forward very much to Charlotte Margiono singing the Wesendonck Lieder last month, but she cancelled both concerts, unfortunatly.

  • Quanto Painy Fakor

    These days operas don’t make movie stars, but sometimes operas make good movies (i.e. Joachim Herz 1964):

    • Quanto Painy Fakor

      If we only had the complete video of this performance!!

  • manou

    I know you are all waiting with bated breath for the announcement of the New Year Honours (hi Kashie), and so I should tell you that Angela Lansbury becomes a Dame (and so does Penelope Keith -- for those of you who know who she is). Sir Peter Maxwell Davies becomes a Companion of Honour, and Sir Simon Rattle gets the Order of Merit.

    This must be put in perspective by the news that mysteriously, Katherine Jenkins gets an OBE.

    • A. Poggia Turra

      Perhaps Sir Simon’s additional honour is given for rescuing the LSO from Gergiev’s clutches?

    • PetertheModest

      Katherine Jenkins said she was “incredibly humbled” to receive the award for services to music and charity.

      • manou

        KatherinetheModest.

        • PetertheModest

          She was a mentor on Popstar to Opera Star with Villazon.

      • Batty Masetto

        She misspoke. She meant “incredibly humiliated.”

      • MontyNostry

        I do think it’s odd how ‘humbled’ has come to be a disingenuous replacement for ‘proud’. I am not laying the blame for this at La Jenkins’ door -- everyone seems to say it these days.

    • Grane

      That’s a joke, right? I got misdirected to The Onion, right?

    • damekenneth

      Well, it’s really about time for Lansbury. And thanks, Manou, for word of Penelope Keith’s knighthood. She has given me endless hours of pleasure as far back as her role in The Norman Conquests.

  • Krunoslav

    Surprise guest artists at Prince Orlofsky’s party in Act II (Met 4/14/56)

    Ich muss einmal wieder in Grinzing sein (Viennese Song)
    Otto Edelmann

    Strauss: Frühlingsstimmen
    Hilde Güden

    Gastaldon: Musica Prohibita
    Cesare Siepi

    Tosti: L’alba separa dalla luce l’ombra
    Grieg: En drøm
    Jussi Björling

  • zinka

    You can know someone,and have sung with someone..for almost 50 years, and it still is as fresh in my mind,when I hear this, just what Marisa Galvany (one of her 45 names) can do!!!!!!!!!!!!!!!!!!!!!!!

  • Quanto Painy Fakor

    As if reading sub or sur-titles during an opera isn’t distracting enough, now you can see opera on ice

    • -Ed.

      Any chance they could loose a few hungry lions in that arena and call it regie ice opera? No? Oh, too bad.

  • Quanto Painy Fakor

    La mère = Maureen Forrester!

    • Quanto Painy Fakor

  • Baltsamic Vinaigrette

    Miss Lansbury is now Dame Angela! In the first-ever Honours List to feature a greater number of women than men, Penelope Keith is similarly elevated and there is even an OBE for Katherine Jenkins.

    Sir Simon Rattle and Sir Peter Maxwell Davies receive the Order of Merit.

    • manou

      Sir Peter Maxwell Davies becomes a Companion of Honour, and Sir Simon Rattle gets the Order of Merit.

      • Regina delle fate

        And the erstwhile critic of The Times, The New Yorker and New York Times, Paul Griffiths, gets an OBE, like Jenkins…..

      • Baltsamic Vinaigrette

        Dame manou, you are correct. And if I knew what the difference was I’d probably feel mortified. Going by the published list, I suspect CH is even tonier than OM. But I must confess that an air of “who cares?” hangs over Schloss Vinaigrette as we prepare to host the NYE neighbours’ party.

    • WindyCityOperaman

      Congratulations Dame Angela!

  • WindyCityOperaman

    Happy New Year’s Eve
    Born on this day in 1905 composer Jule Styne

    Born on this day in 1908 baritone Marko Rothmüller

    Happy 77th birthday mezzo-soprano Eva Randová

    Happy 55th birthday conductor Graeme Jenkins

  • Walther von Holzhaufen

    How far back in the orchestra section of the Met can one sit and still hear well? I seem to remember that in prior discussions on parterre of this topic, rows farther back than rows R, S, or T were considered undesirable. Thanks for the help.

  • grimoaldo

    Every year is Verdi year in the opera world, but this has been a special year for the composer, who, as the great philosopher Isaiah Berlin wrote in 1979
    http://www.newrepublic.com/article/91320/opera-verdi-isaiah-berlin
    “Noble, simple, with a degree of unbroken vitality and vast natural power of creation and organization, Verdi is the voice of a world that is no more. His enormous popularity among the most sophisticated as well as the most ordinary listeners today is due to the fact that he expressed permanent states of consciousness in the most direct terms: as Homer, Shakespeare, Ibsen, and Tolstoy have done. This is what Schiller called naiv. After Verdi this is not heard in music again. Verdi’s assured place in the high canon of the musical art, which nobody now disputes, is a symptom of sanity in our time.”
    Not just one of the greatest opera composers along with Monteverdi, Handel, Mozart and Wagner, but right up there with Homer, Aeschylus, Shakespeare, whoever you care to name as one of the supreme creative geniuses of Western civilisation, in the category of dramatists / artists than which there is no higher.
    I was hoping to have the opportunity this year to hear or see live performances, if not in person at least in broadcasts or live streams etc of the few Verdi operas I have never seen live -- Alzira, Jérusalem (French revision of I Lombardi) and Aroldo (revision of Stiffelio), but no such luck. The year hit a nadir with the Met’s two broadcasts of Trovatore,so atrocious that I thought I never wanted to see or hear another opera for the rest of my life and could not listen to or think about opera for months afterwards. But it picked up in the latter part of the year with the joyful experience I had of being present at Washington Concert Opera’s “I Masnadieri”, an opera I adore, with a superlative cast.
    The Met has redeemed itself to some extent in my eyes with very good performances, at least musically, which is all I can judge since I only heard the broadcasts, of Rigoletto and Falstaff. I missed the Traviata with Damrau from the Met, which people say was very good, as that was during my post-Trovatore opera turn-off.
    Some of the leading European opera houses that we hear about here, which is my window into the wider opera world, thank you as ever La C, came croppers in various ways with the new Verdi productions to celebrate his bicentenary -- ROH with a lavish production of Sicilian Vespers which most found simply dull,(Stephen Jay-Taylor on Opera Britannia
    http://www.opera-britannia.com/index.php?option=com_content&view=article&id=1066&Itemid=1
    refers to the “agonising, interminable dreadfulness of its Vêpres siciliennes, woefully sung, pitiably badly directed”)
    Paris with a lavish production of Aida that the audience started vocally protesting as soon as it started on the first night and continued booing fiercely until the end --
    http://www.bloomberg.com/news/2013-10-15/booed-aida-in-paris-repels-with-klan-gestapo-review.html --
    and it wasn’t just the staging, they hated the singers too --
    and La Scala with a Traviata without a single Italian in a leading part and a show that provoked howls of anguish, screams of hatred from large portions of its first night audience.
    Can these state subsidized European houses really go on like this, taking money collected from general taxation including of course tax payers who have no interest in opera, in order to put on shows that a large portion of the tiny minority of the country’s population that actually turn up to see the show in the theatre, violently detest? Should they go on like that? Is there any other art form or form of theatre that has developed the attitude “A lot of the audience showed how much they hated the show by booing and screaming curses at us, well, that just tells us we are doing the right thing, the booers are hopelessly old-fashioned reactionaries who are fifty years behind the times?”
    Thankfully the year came to a close with a show from what seems to be the best-run opera house in Europe, at least that we hear about here, Munich, which has managed whether by sheer luck or skill to become the home house of two of the most widely enjoyed singers of today, Kaufmann and Harteros, but also consistently puts together good casts in productions that its local audience enjoys rather than violently protests against.I am very grateful to BSO not only for its vindication of La Forza del Destino, a great opera neglected for decades due to the lack of anyone who could sing it, but for sharing its splendid performance with the world for free and bringing Verdi year to a magnificent close.
    Happy New Year to La C, thank you for putting up with me, and to all my fellow parterrians.

    • antikitschychick

      I enjoyed reading your year-end review Grim and Im glad you were able to recover from your unfortunate experience w the Trovatore broadcast. Here’s to a new year with more performances like the Forza broadcast :-). Cheers!

    • -Ed.

      Luv you, grimoaldo. You opera my world!
      Happy, happy new year.
      We need one.

      • grimoaldo

        Thank you -Ed. How sweet!
        Happy NY to you and yours!

    • Regina delle fate

      Grim -- the Vêpres in London was a great show but a misfired attempt to find layers of dramatic interest that I suspect simply aren’t there. It’s slightly puzzling that the RO should have spent so much on getting Herheim to stage a relatively minor work no matter the cost. I wish they had asked him to restage his Bayreuth Parsifal, even though that was a bit Festspielhaus-specific. One of the most interesting sounding Verdi projects must have been Hamburg’s trio of early operas -- Battaglia di Legnano, Lombardi, Foscari -- in productions by David Alden using, apparently, the same basic set. Manuel Brug, Die Welt’s critic, who is generally not an Alden fan, said it was the most enterprising event of the Verdi year in Germany. Hugely agree about La forza -- what a wonderful opera it is -- musically anyway. I’ve been listening to all my recordings over the hols -- Callas/Tucker, Price/Tucker, Tebaldi/Del Monaco, Arroyo/Bergonzi and Price/Domingo. I might also give the Freni/Domingo/Muti a whirl. I’d forgotten how wonderful Bergonzi is in that role, the most nuanced performer of the role I’ve heard. And Arroyo is gloriously youthful and unmannered, though obviously less of a “personality” than some of her rivals. I missed her RO performances in the 1970s and am now regretting it. And I foolishly decided not to go the Cruz-Romo/Bergonzi performances because I couldn’t stand Peter Glossop (by the mid-70s, his voice had become very blustery and woolly). I must try to get to the München Forza at the summer festival.

  • zinka

    May I wish you all the GREATEST NEW YEAR..You make my life happy..BUT someone out these who thinks I am a pain in the ass..just did a VOOODOO think on me..I fell on my ass…and so you see…..I got what I deserve…..

    En espanol esto se llama Feliz ANO NUEVO (No tilde)

    LOVE YOU ALL!!!!!!!

    I called Magda today..not easy now at almost 104 to understand each other..but bless her heart!!!!!

  • zinka

    Since that guy told me how rich I am going to be with his TRUTHFUL HONEST SINCERE E-mail about the “big deal” for m to make money (and he wasn’t even from Nigeria), I will be changing the Met 2014-2015 season from a really borrrrrrring one,as I see to the following:

    (Keep Di Donato Donna del lago, Neterbko/Piotr Yolantha, maybe one of two others BUT add:

    THE OLD RING

    Lucrezia Borgia (FABIANO)

    Stiffelio (Di Giacomo)

    Edgar (Latonia,Giordani)

    Louise (Placido in act 2 as the Pot seller..(He CAN be HIGH again)

    Iris (Soviero alternating with Scotto)

    Die Schmuck of the Madonna (with me as the Schmuck)

    Rocky Horror Show (with Gheourghiu)

    La Vida Breve with Miguelito Bloombito (en SPANGLISH)

    Concert: Mahler’s Symphony no.8 “Of a thousand” with the cast of Facebook (conducted by Sam Ramey,Jr.)

    Il Twercho” Newly committed..commissioned… opera featuring Milena Cyrusanska

    Ed Rosenkavalier (lypstinking of Justin Bieber to Richard Tucker)

    Triple Bill on New Year’s Eve of Huguenots, Parsifal, and William Tell (who cares…the audience will be polluted anyway)

    …and i wrote this without drinking!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! CH

    • antikitschychick

      LOL Il Twercho….not a bad name :-P.

      BTW, have ya’ll seen who Opera News is honoring this year?

      http://www.operanews.com/Opera_News_Magazine/2013/12/News/DiDonato_Pierce_ON_Awards.html

      It will be Patrice Chéreau, tenor Juan Diego Flórez, mezzo-soprano Christa Ludwig, bass-baritone James Morris, and soprano Nina Stemme.

      Interesting that they’re honoring Nina Stemme, since she doesn’t sing much at the Met…am really looking forward to her Tristan and Isolde in the Willy Decker production!! Who will be the Tristan? Jay Hunter M.? Jonas?

      Any who, happy Friday :-D.

  • Ze bubbles! Ze bubbles! Ze Fledermaus comes back to ze Met und ze public ver allowed to vatch vor vonce. Review on Superconductor.