Cher Public

  • williams: …not to mention whether to use head or chest. 8:21 PM
  • Porgy Amor: I was just reading some classic (giggly) Caballé vocal pedagogy in a Telegraph piece from the ’90s. Excerpt: “When... 8:19 PM
  • -Ed.: and seeing a great regie production of an old favorite is like having your lover surprise you with a new sexual position. You know... 8:18 PM
  • -Ed.: Video snippet of Callas rehearsing Norma in 1964. New to me, looks professionally done. httpv:// com/watch?v=8X1lT5 Lb8-M 8:14 PM
  • mrsjohnclaggart: Armerjacquino, I’m with you! Caballe was notorious for applauding people after their arias. The worst was her... 8:05 PM
  • antikitschychick: I see. That makes sense. I draw the line at applauding at yourself/oneself. That I do find to be in poor taste; but... 7:45 PM
  • mrsjohnclaggart: Oh yes, dexter he was just like those old-fashioned opera singers who didn’t care who else was on stage as long as... 7:39 PM
  • armerjacquino: It’s seen as saying ‘weren’ ;t we great’? Applauding is the audience’s place to decide that. I... 7:36 PM

A night at the Roxburgh

Did someone ask Jungfer Marianne Leizmetzerin for a real operatic rarity? Well, you’ve got it: the early Meyerbeer “heroic melodrama” in bel canto style ma di Resburgo, starring Simone Kermes and Vivica Genaux.

Giacomo Meyerbeer: Emma di Resburgo

Wiener Singakademie
Andreas Stoehr, conductor
Konzerthaus Wien
07 November 2010

Emma – Simone Kermes
Edemondo – Vivica Genaux
Etelia – Lena Belkina
Norcesto – Thomas Walker
Olfredo – Manfred Hemm
Donaldo – Martin Vanberg
Un araldo – Thomas Kneifel