Headshot of La Cieca

Cher Public

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  • Poison Ivy: Galina Gorchakova. 12:43 AM
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Oh say can you view

“Tune in to ABC… at 11:00 am EST, when Renée joins the ladies of The View and guest co-host Jay Mohr to talk about her upcoming performance of the National Anthem at the Super Bowl.”

54 comments

  • Clita del Toro says:

    Now they can call it, The Veeeeeeeeuuuuuw1

    • Camille says:

      Clita, you are mean!

      Papopera is right.

      • Clita del Toro says:

        lol

        • Clita del Toro says:

          I am having fun listening to Der Rosenkavalier on Sirius with Ludwig, Rysanek, Berry, Grist and Gedda. I have never heard Rysanek’s Marschallin. I like it! It’s one of her many roles that I missed at the Met.

          • Clita del Toro says:

            Ooops that didn’t come out right. I missed only a very few of Rysanek’s roles.

            • Camille says:

              Hey Clita—I thought of you last night—I found Joan’s “Sudden Fear” at the library and thiught I would cuddle down with a cocoa under the blankets in my ‘freezing’ weather, and Watch. Joan. Sweat. All in beautiful San Francisco, too.

              Look, Clit, if I don’t call Irene Dalis “The Toilet” anymore (thank you Mrs. Claggart!), you can’t hold your nose at poor old Née-Née.

            • Grane says:

              Kind of like, “Waste no time in hiring this applicant. He just couldn’t do enough for us while he was here.”

  • papopera says:

    Its good news, at least she can sing it properly with due respect to a national anthem. Contrary to all these loud mouths who splutter and drool it scandalously like a bad song.

    • Clita del Toro says:

      It’s fun making fun of Née-Née, that is all. If you want to call Dalis, “The Toilet,” go right ahead! We can then call Reneigh, The Toilet Plunger, if you like?

      ;)

      PS I listened to her in Act I of Rusalka last night and thought she was pretty good.

      • Clita del Toro says:

        PS I don’t give a hoot about the Super Bowl or who sings the Anthem. Rosanne Barr would be ok with me!

      • Camille says:

        Yes, bei Gott, for a woman fast approaching age 55, and who has been singing professionally for night onto thirty years I’d say it was pretty goddam good!

        I first heard her sing this role in 1990, and aside from the lack of the velours, which has been rubbed away over the intervening years theough constant use and pressure, I found it a remarkable facsimile of what I once heard, twenty-three years ago last October. That is a Big F*cking Accomplishment and a formidable display of vocal technique and musicianship. Also, this music does not allow her to engage in as much of that nauseating ‘gloop and swoop’ crud she does that turns everyone’s stomach.

        For a nearly fifty-five year old woman, a goddam big success, and she is welcome to it! I wish her the best for the HD broadcast!

        • marshiemarkII says:

          CammiB and Clitissssima! you cannot be serious gurls saying anything good about that awful Rusalka :lol:

          Actually I am eating gigantic amounts of crow, and humble pie right now. I’ve had the Freni Butterfly on Laserdisk for centuries, but hadn’t gotten around to get the DVDs, so since my sweet companion last week wanted to know how it should be sung, I just got it in the mail, and I am playing Act I, and can hardly believe how fucking glorious Coca Cola sounds!!!!! can’t believe this day would come :lol: and I am sure if I got the Marshon Lescaut with Scotto I’d probably say the same thing, because I remember in the theater it was glorious, the pazzo son simply amazing. So I guess it’s all a matter of repertoire!!!!

          • marshiemarkII says:

            Oh my God, la Mirellla just sang the most gorgeous pianissssssssisssssissssimo D-flat, unbelievable, she thinned the voice to a thread for the entire entrance music and then the D-flat was in perfect style and organic to the phrase, both she and Karajan masters of the art! wow I had forgotten how gorgeous is the music!!! the singing and the Ponnelle staging, I am mesmerized!!!! can’t wait for the duet in the wheat fields……. and Coca Cola looks good also!

            • marshiemarkII says:

              That Love Duet!!!!!!!!!!!!!!!!!!!!! words cannot describe it! Gurls THIS IS SIMPLY GLORIOUS!!!!
              La Mirella was truly one of the greatest, no? and Coca C keeps getting better and better, a couple of strained high notes notwithstanding, but his phrasing is really miraculous too, wow!
              And the staging is so beautiful!!!!!
              Why didn’t they give him a crew cut though, it would have looked so much better still :D

              Oh my God the final sequence, la Mirella goes from sounding like Toti dal Monte to now she thickens the voice and on the speakers is rich and broad as Tebaldi!!!! Amazing C for her, alas no C for Coca, points minus for him already!!!!! strange contraption he does as in the Nessun dorma at the Met 1987, tiny high note and very long descent…… oh well

            • pobrediablo says:

              Did we ask for a live report? :P

            • kashania says:

              Marshie: I haven’t seen that film but I’m strongly in favour of Pinkerton taking Puccini’s written line rather than the high C. I think it’s dramatically more effective. All Pinkerton wants to do during that duet is get inside her kimono, and she keeps trying to slow him down. When we finally get to the climax of the aria, I find Pinkerton’s final line to have a “penetrating” quality especially in contrast to Butterfly’s ecstatic high C. It’s a perfect musical depiction of them consummating their relationship.

              The only time I will opt for the tenor taking the C is if he has a truly glorious one. Pavarotti and Freni on the HvK recording are the definition of glorious, especially since they are able to hold the C long enough for Karajan to stretch the tempo and delay the cymbal crash. It is astoundingly good and is the only time that I’ve preferred the unison high C to what Puccini wrote.

              I feel similarly (though not nearly as strongly) about the end of “O soave fanciulla”.

            • marshiemarkII says:

              Oh kashie we totally disagree, the tenor line as well as the soprano at the end is not about “penetrating” it’s about release in a big way, it is a fully taken to term orgasm (no orgasm manque like the Liebesnacht :D ) and with that C you can almost see leche splattering all over the place, it’s that graphic!

              Glorious as Mirella is, and of course I am on record recognizing how good Coca is here, it is very disappointing his weird contraption he creates. I listened to it again this evening with my sweetie and he told me that he liked it much better at the Met where it was the reverse. Poor Mlle was so short and came off it real quick, while the fabulous Hymel came and came and came, that was a lot of squirts :lol:

          • Camille says:

            Marshon Lescaut???
            That’s a good one.

            Is that the movie they made with, ich denke, Herbie the K?

            Yes, I know Née--Née ain’t Benackova but, me poverina, never got to hear her in the role! Perhaps there is a Sirius rebroadcast of it and I should keep my ears open for that.

            • marshiemarkII says:

              Marshon Lescaut???

              You forgot already carissssima, that’s pobrediablo ™, remember, our diablina’s best try at camp :lol:
              I actually like it a lot, maybe a nice alternate name with La Buhlerina (that’s the one I really wanna change to, but the MMII ™ would lose some of its luster :lol: )

            • pobrediablo says:

              Good that you gave me credit. I was about to sue both of your behinds for copyright infringement. I was already making room here for the chairs and other furniture that Marshon would have lost in the lawsuit.

            • marshiemarkII says:

              Beetch!!!!
              Antes muerta!!!!
              :lol:

          • Camille says:

            Crow pie is good with Tabasco sauce I hear. FYI.

            • marshiemarkII says:

              :evil:

            • m. croche says:

              Sriracha helps everything go down, Camille.

              In fact, I plan on bringing a couple of bottles to the MET when Nadja Michael takes the stage in “Bluebeard”.

            • Camille says:

              Why the mean face, MM? I like your smileys! Oops, I forgot where. I put your guide to smiley faces! Misfiled, mislaid, misdeed, meshuggah!!!!

              Yes, indeed, croche, I gargle with the stuff meself!!!

            • marshiemarkII says:

              Because you were enjoying my humiliation :lol:
              Of course you understand I will always love ya no matter what :D

            • Camille says:

              Oh that high C in the middle of Bluebird’s Castle will have an extra dividend as it will be accompanied by the sound of me screaming . “DISGRAZIA”!!!

              Croche, of possible interest to you: there is a B&B in Asheville, North Carolina where Bartok was sent by a generous patron or someone or another, to reciperate from a terrible bout of illness in ’43 or ’44. There he wrote the so-called “Asheville” Concerto for Orchestra and Concerto for Piano no. 3, in his little attic room. The beautiful sounds of the birds surrounding the house, still heard, are echoed in the piano piece. It was an awe-filling experience to stay where that poor man lived and struggled during the last portion of his life, humbling. Anyway, you may someday like to stay jn the room “Bartok’s Retreat” as it is called. The food was fairly feneric and service indifferent but it is a beautiful old house and it was a privilege to see where he had lived and worked. The name of the B&B is listed with AAA.

            • Camille says:

              Giusto cielo! Che feci in tal giorno?!?!

              I NEVER enjoy seeing you hurt, MM—”Das ist nicht wahr!”

              Anyone with silken bed coverings can do no wrong in my book.

              Basta Roberti. Ich muss schlafen!

            • m. croche says:

              Bartok in Asheville. Masterful use of the long tracking shot. Eat your heart out, Aleksandr Sokurov

            • kashania says:

              Oh that high C in the middle of Bluebird’s Castle will have an extra dividend as it will be accompanied by the sound of me screaming . “DISGRAZIA”!!!

              Camille, I love you. Don’t ever change!

            • Batty Masetto says:

              Actually I think similar screams will be heard from New York to Ulan Bator.

              Though unfortunately probably not loud enough to cover up Ms. Michael’s own contribution.

            • Camille says:

              Oh thank you very much for tracking down that video. If you can put up with all that phoney B&B bullshit gentility hospitality crap, it’s worth it to stay there and just sit very, very quietly in his room and listen to those birds.

              Posted in hope it may inspire some budding composer out there and help them to persist in his/her rock-strewn path.

              kashania, my prince of peace—it is too late to change in this lifetime. Perhaps in the next one I shall repent and be a good little woman. We are still pondering the possibility of that Roberto Devereux and I am trying to coax M. Camille i to a roadtrip, since I see that airfares are quite surprisingly high from NYC to Toronto. More to follow, my pet.

            • marshiemarkII says:

              My beloved CammiB, you can NEVER hurt my feelings, I was just joking, and you know that because you know I loveya :lol: and not only because you like my silks.
              By the way just for the sake of accuracy, the bed-sheets are not silk, it would not be practical, too much sliding during the old in and out :lol: The bed-sheets are 600 thread Egyptian cotton from Casa Graciosa, they provide a lot more traction, in cobalt blue striped.

              The silks are hanging all around the canopy and the back wall and the ceiling of the canopy, so you are surrounded with the silks like surround sound. In fact I have a little Sound System for the bedroom and the speakers are hidden behind the silks, so the music literally emanates from the silks :lol: The sound is not as grand as the system in the salon, but it does the trick just fine, whether it is Tristan und Isolde, or Boleros, or Pujabi music, depending on the victim du jour :lol:

            • Camille says:

              Tsk, tsk, MMII—what a perfetto seduttor you are!

              Have Their Eminences, William&Mary, yet arrived, and in good repair?

            • marshiemarkII says:

              Oh God CammiB!!! it’s sweet and sour like everything in life :8. I DID NOT get the William& Mary, they went for way way way more than the high estimate, and MMII has a rule not to go much higher than the high estimate, because the point is to get a bargain (the gurl is cheap too :-) ) unless it is something I could never live without, as it has happened several times before, but that was not the case here, as I didn’t even have the room for them, so I passed, and I am of course a bit sad, they were glorious and would have been a perfect match for what I have. There were Qs on the phone from Italy and England! and hyenas on the floor of course, so the chairs were fab, which speaks very well for the ones I already have that are even GRANDER, remember these Gs here have the original Gobelin, the other ones had a later 18th C needlepoint (very chic but…..)

              But not all is lost, this GURL got the two 17th C Flemish Tapestries!!!!!!!!!!!!!!! and she is in absolute heaven waiting to install them, to the music of Handel and Bach!!!! it is looking more and more 17th C Venus’s Lair :lol: , and got them at a very good price, so I am very happy!. You must come one day to see the Wagner Shrine!

            • Camille says:

              Oh well—you win some and lose others. More important to keep your ruling about never exceeding the high price, for if you don’t—it’s a rocky road to the Bankruptcy Court! And you are certainly correct that having an original Gobelin tapestry is far more precious a commodity.

              I am beginning to suspect you as none other than the reincarnation of King Ludwig II, MMII!!

            • marshiemarkII says:

              Oh no CammiB, she IS the reincarnation of Kaiserin Maria Theresia :lol: :lol: :lol: for whom Franz Joseph even wrote a symphony!!!!! or two actually because L’Imperiale is also about her, I listen to them all the time. And with the center of gravity moving more to 17th C from the earlier 18th C flavor is more d’accord, don’t you think?

              You must come to see the Wagner Shrine and then you can get finally the Medea Fiorentina, I have not forgotten!

            • Buster says:

              Marshie: two 17th C Flemish Tapestries?? For picnics at the beach? Spreading them on the sands?

            • Camille says:

              The problem is: i am not a True Believer and therefore unworthy of the privilege!

              I have not forgotten about that fiorentina Medea either and can’t wait to set my gnarly shrunken paws on it! Perhaps we can meet in some den of inequity? The Mineshaft is out, definitely, but we shall have to arrive at a solution.

              Hoping all your little chickadees are doing well. Did the one who was to sing El dia que me quieras in D.C., ich denke, do all right by the song?

            • marshiemarkII says:

              Yes CammiB, two sublime tapestries!!!! but they are not huge, they are narrow and long so they will go guess where?!?!?!?!??!?! on either side of the bed, so behind the silks :lol: , the one on the right will have in front of it the Colonial Croce dell Indio (rendetemi la croce) from my grandmother, remember? so the evil spirits are kept away :D , so it will look more and more like un chiostro :lol:

              Yeah we had to drop that plan of the tango, we couldn’t find a string quartet transcription ready made, in the short time we have, so it will just be the usual operatic arias, plus Meine Lippen, and Draussen in Sievering, and of course Traume, but it will be very beautiful with string quartet, and some piano . It is on February 10th evening, in Georgetown, and on the 11th I’ll have to fly back in time for the Lindemann 4 one Act operas with Jimmy L, at Juilliard. There is a dinner at 5PM so the G will be very tight with the time, but that’s the way it is…..

            • marshiemarkII says:

              Oh my adored Buster, I just saw it was you talking about Flemish tapestries at the beach, yes caro, they are a pair but because they are long and thin, no I am not THAT regal to have two huge ones on each side of the bed :lol: mine are called entre fenetre and are probably fragments of larger ones but in impeccable condition with a silk frame, very shall we say Q factor :lol:

        • Camille says:

          And further, Marshie, Monsieur Camille said that she sounded better than in the 1997 version of arusalka, which we both attended and neither liked. Then there was the matter of the Merritt Meltdown, right before our eyes, which may have distracted poor Rusalka.

          Now the cords are definitely post-me opausal when she tries to expand on climactic high notes, but after a career spent on lots of coloratura, right or wrong, and a lot of conversational Germanic operas, this music is quite something other than those. However, it is certainly in her muscle memory, as she said herself in her interview and is anle to make the large part of the role.

          As to Benackova, who had a seriously magnificent voice which was also significantly on a larger scale as well, and as a native speaker, I have no doubt she was in a class by herself, but I have inly had opportunity to hear her recording, which came off a bit cold. I don’t jnow, perhaps I should go back and re-listen. I winder why Renee never sang--or if she did I don’t know of it--Jenufa, come to think of it.

          I must stop. You see what you start Marshie. Ætna erupts.

          • javier says:

            Renee sang Jenufa at Dallas Opera in 1993 and she recorded a scene from the opera. She should sing the role again at the Met and she has expressed interest in doing that, but I don’t know if it will ever happen.

            • Camille says:

              Gracias, javier. That I did not know. Wonder why she did not persist with the role? It is certainly too late now to contemplate for after one sings Hanna Glawari there is usually not much else left to happen. But she is a recitalist and may continue in that fashion yet for a good while.

          • marshiemarkII says:

            Well I can believe on recording it may sound a bit better, it’s the age old thing about being there, and the miracles of technology :lol: . I saw what Javier posted, and it sure didn’t sound as bad as what I had heard in the theater, but what I heard there was so messy, how it projected out, so thin and bodyless, as I said no core, and I could still hear a bit on the YT of Act II, but only because I remembered how it was in the theater.

            And now the G has to go brave the -20 for the gayest gym, because she will have company at 7PM so Ta Ta hasta la noche :lol:

            • Camille says:

              Ya veo.
              Entonces, nos vemoa despues del gym y hasta la vista!

            • javier says:

              The technology does change her voice because I have heard it live and it sounds the same. Her voice is soft grained naturally, so *naturally* it doesn’t project the way a more dramatic voice does. But I think she compensates very well for her odd voice type and she has sung an interesting combination of roles that you don’t typically hear sung by a single soprano. No other soprano is going to sing Thais, Armida, the Marshallin and Rusalka at the Met, ever again.

          • decotodd says:

            Thanks for the comments Camille. I’m unexpectedly going to be in NY next week so maybe I will try and catch the RUSALKA after all. My hesitation has been that it’s the Wed performance before the HD, and the singers seem to hold back (or are no-shows!) saving their energy for the telecast. BUt that is the only thing currently playing I might see. I’ve already got tickets for the IGOR in March and wouldnt’ go to that FLEDERMAUS if it was free.

            • Camille says:

              Oh, you are more than welcome and only too glad to help. The point you raise about the performance before the HD is a valid one, however, so prepare yourself.

              They would have to pay ME, and a lot, to see and hear that turkey they turned Fledermaus into. And to think it is running until mid-February! Some mighty stale champagne, that one.

          • luvtennis says:

            Camille:

            Give the live Benackova another go. The voice is so golden that it is easy to overlook how touchingly she conveys the arc of Jenufa over the evening.

            • Camille says:

              Oh helllooooooo there luvtennis and where are you popping in from? So nice to hear from you!

              The live Benackova in which? The Jenufa from Carnegie Hall with Leonie is the only one with which I am acquainted and that one I listened to chiefly for Leonie’s sake. I must say that the APPLAUSE to that one is more thrilling than a lot of actual live performances I see these days.

              I never chanced to hear Benackova live and know her chiefly from my now extinct VHS of the San Francisco Meristofele, which I liked very much.

              Sometime I will do a little digging around and go on a spree listening to her. I am supposing she may have sung Dalibor. I wish someone would have ever made an excellent recording of Dvorak’s Armida, an also-ran in his operatic cannon that somehow doesn’t roar.

              So good to hear from you!

  • -Ed. says:

    I would pay good money to read further on the subject of pre-and post-menopausal cords. Since this is America and so much information is available for free, I don’t have to pay because of a place called Parterre and people like Camille and Marshy Mark II who, btw, should probably get a room.