Headshot of La Cieca

Cher Public

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“Say, what’s in this drink?”

UPDATE: Nice try, cher public, but it’s not Lisette Oropesa but Andriana Chuchman (pictured) who will sing the first performances of L’elisir d’amore, replacing Anna Netrebko ”who has withdrawn from the first two performances of the run because she is suffering from the flu.”

Photo: Chia Messina

77 comments

  • Ilka Saro says:

    I think an Elisir that is played as though it were Pagliacci would definitely draw audiences who are tired of the same old museum-style operas. …Wait! Those are both museum style operas to begin with. Hm. OK. How about Elisir done as Pagliacci with closeted teenagers in online chat! Brilliant!

  • Billys Butt says:

    armerjacquino, I’m aware of the fact that De Niese has already played (and attempted to sing) Adina, but not at the MET, and that’s what I was referring to, because I guess this whole thread is about who should or should not replace Netrebko in the current “L’elisir” run at the MET.

  • Krunoslav says:

    Met just announced: la Chuchman sings the first two shows.

    Good for her!

  • La Cieca says:

    Other nominees to jump in as Adina: Mocja Erdmann, Stephanie Blythe, Juan Diego Florez, Deborah Voigt, Judith Blegen, Ailyn Perez, Anthony Roth Costanzo, Maria Alejandres, Magdalena Montezuma, Danica Mastilovic, Hei Kyung Hong, Deborah Voigt, Roberta Peters, Karen Vourc’h, Angela Gheorghiu, Sonora Vaice and Eva Lind.

  • Cocky Kurwenal says:

    I think Dulcamara will play to Schrott’s strengths and that he is smart to say yes to roles like this that will suit his neither-baritone-nor-bass voice, without worrying about whether he’s the star of the show or not.

  • Porgy Amor says:

    I need a hand from someone a little stronger on classic Hollywood than I am.

    In this production of Manon, Trebs has a different look in each scene.

    Is she “supposed” to be a different Hollywood icon of the ’50s in every scene? Or do some of the actresses bleed over from scene to scene?

    What I’ve assumed:

    Act 1: Hepburn
    Act 2: Still Hepburn?
    Act 3-1: Taylor.
    Act 3-2: Still Taylor?
    Act 4: Monroe.
    Act 5: Bergman.

    But I’ve seen references to Sophia Loren, Lana Turner, and Rosalind Russell in some reviews. I’ve never seen them all nailed down authoritatively.

    Maybe I’m not supposed to sweat it; certainly the point is being made that this is a movie-obsessed Manon who models herself after the stars in ’50s magazines and lives her life as if on camera. I’m just curious.

  • lucy brown says:

    You think Schrott has gotten wind of the criticism he’s been getting around here? Midweek, he started putting new pictures of himself with the kids on Facebook. Then, his status became a love letter to the people who shared the stage with him in L’Elisir…including the leading lady, of course.

    • RosinaLeckermaul says:

      Well, they all seemed to be having a wonderful time on stage last night. Schrott gave Chuchman a giant hug after she received a prolonged, enthusiastic ovation. It was odd to have the handsome Schrott (done up to look a bit like Johnny Depp in his pirate films) as Dulcamara and a tubby baritone as Belcore.
      Chuchman started out sounding a bit small for the Met (nerves?), but got better and better. Vargas was his usual reliable self, and Schott was delightful. I wish they could have a better conductor for this than Benini doing his usual efficient but soulless work.
      This is the first time I have seen the Sher production. I don’t understand why it has inspired such rage on parterre box. It’s a solid traditional production, neither here nor there, not much different from the Merrill/O’Hearn production I grew up on, except Dulcamara doesn’t come in via balloon. I’ve seen cleverer, more imaginative productions, but it was inoffensive. The principals last night looked like they had been rehearsed with considerable care.