Cher Public

The girl on the moon

“In Kristine Opolais, who gave her first Met performance in the title role on Friday night, the company has a Butterfly with the soaring voice and penetrating theatrical presence to meet Minghella’s elegant dramaturgy head on. In fact, she is the most compelling Met Cio-Cio-San since Diana Soviero last sang the role here nearly 20 years ago.” [New York Observer] (Photo: Marty Sohl/Metropolitan Opera)

  • PetertheModest

    The best Butterfly at the Met for 20 years. Anyone care to query that ?

    • “most compelling”

      • steveac10

        I have to agree. While performances such as Racette’s 1st and 2nd rounds in the Minghella production have gotten the job done and ultimately (sort of) moved me. The last time I was truly gobsmacked by a Butterfly at the Met was Soviero. As somebody who enters a Puccini performance as a cynic who would have rather spent his hundred bucks on Ariadne or Lulu -- being gobsmacked is quite an achievement.

      • Regina delle fate

        Well, she was certainly the most compelling Butterfly at Covent Garden over a similar period when she subbed for Pat Racette, two or three seasons ago. Her subsequent appearance as Tosca was less convincing, but good to know that the RO surprise debut was no fluke.

        • Cocky Kurwenal

          That’s exactly how I feel about it too, Regina.

    • manou

      Well, I would certainly say the best Butterfly at Covent Garden in my memory. She could also make you believe that a tall Nordic singer could transform herself into a tiny fragile Japanese young woman. Quite thrilling.

      • Regina delle fate

        Indeed, Manou. You say it more succinctly than I do.

      • Cocky Kurwenal

        Same here, Manou.

    • phoenix

      I read most ‘compelling’ (convincing, persuasive, compelling, etc.) -- which I assume refers to Opolais’ expressive interpretation (both vocally & visually). That’s clear to me what he means.
      -- I don’t expect to understand every writer’s comparative metaphors, but it doesn’t work for me when a critic reviews two different operas by different composers in the same article comparing one cast against the other -- alternatively, the comparison of two different performances of the same opera with different casts does make sense to me.
      -- The Observer writer (as well as Charlie) saw & heard something in Diana Soviero’s performances 20 years ago that I didn’t -- but perhaps I saw Soviero later on her career than they did -- Butterfly in Houston and Adriana Lecouvreur in Montreal is all I remember seeing her in and on those occasions I found Soviero not in the least bit interesting or even believable in either role.
      -- If Opolais could do Butterfly and Arabella, how about Maddalena di Coigny in about 2 minutes from now?

      • Krunoslav

        Soviero was thrilling and moving in the role in 1989 in San Fran w/Aragall; a little harder if voice but still thrilling-- moment to moment textual and musical connection-- at the Met 4 years later w/Leech.

        Have not seen her equal since, though I have enjoyed Racette early on plus (not Met stagings) Ana Maria Martinez and Yunah Lee.

        • Enzo Bordello

          Spot on Krunoslav. I saw Soviero as Butterfly numerous times throughout her career and in various venues (New Orleans, Miami, the Met, etc.) She captured the full tragic stature of the part, not just the pathos. And the effect she had on an audience was thrilling. I was at her final Met Butterfly when the house just exploded after “E torna e m’ama!” And I’m not taking about the polite or even enthusiastic applause you sometimes get at this moment. It was insane. Julius Rudel tried to ritard the music as long as possible to accomodate the ovation but finally just had to plow on for “Scuoti quella fronda.” It was a 1996 broadcast and it’s all there to hear. No, I have not seen her equal since then but am eager to experience Opolais now.

        • Feldmarschallin

          And how is Ana Maria Martinez as Butterfly? She will be singing it here in June with Calleja. I will go to one Performance. Next season Opolais will sing it here as well.

          • phoenix

            No intention of starting another war of opinions, so I can’t say much, Feld. To my ears her intonation sounds idiomatically right for Butterfly and I feel it’s one of her best roles -- her rather covered tone can sound circumscribed & sometimes she gives only a hint of brightness or squillo on top -- but that depends on that particular performance -- she is variable.

          • Krunoslav

            I heard Martinez in Houston with Calleja and was quite impressed. It didn’t sound like a part for her to sing monthly in big venues but the voice is inherently kind of aflame, she has marvelous dynamic control (great diminuendi) and is a very intelligent interpreter.

          • Flora del Rio Grande

            Martinez was a splendid Donna Elvira a few years ago at Santa Fe — sort of wish she had stayed in that repertory. Now she is to sing Carmen
            in Santa Fe the coming season; Butterfly and
            Carmen in the same voice? I wonder . . .

            • Cocky Kurwenal

              I feel sure you’re about receive a comprehensive list of other sopranos who have done both. All my examples off the top of my head are on record only in one case or the other, I think: De los Angeles, Callas, L Price. Dear old Dame Gwyneth did bits of Carmen as a student but I don’t know if she ever gave the role a complete outing in pre-soprano days -- she certainly did Butterfly.

            • armerjacquino

              Gheorghiu has recorded both too.

              Farrar did both on stage, but of course one of them was significantly more successful than the other.

            • armerjacquino


            • armerjacquino


              I might stop doing these one at a time now.

            • Cocky Kurwenal

              Gheorghiu flashed through my mind but I had forgotten her by the time I typed my post -- thanks! Rather disturbed by the notion of a Ewing Butterfly.

            • DellaCasaFan

              “I might stop doing these one at a time now.”

              Armer, please don’t stop! It was fun reading about another odd combination the other day, as Flora started it now. Add to it the ubiquitous Florence Easton. Whenever the versatile repertoire is mentioned, I always think of her (and, of course, Lilli Lehman but I don’t think she did both Carmen and Butterfly).

            • mjmacmtenor

              Ewing went through a phase in the 80s & 90s where she moved into soprano roles. This started with her infamous Salome (infamous for the lack of costuming, at least). She did both Madame Butterfly and Tosca at LA Opera in the 90s. Missed Butterfly, saw Tosca. Tosca was reasonably good, bit I was more focused on Domingo as Cavaradossi. However, by the time she sang My Man’s Gone Now on a Met Gala broadcast, her sopranoness seemed to be pretty shot.

            • Feldmarschallin

              Thanks for all on your responses in regard to Martinez as Butterfly.

          • luvtennis

            In my limited experience, AMM is the finest lyric soprano in the world. The world just doesn’t know it.

            The voice is rich and warm with the brightness that comes with perfect projection and support. She is flexible both in legato and coloratura (not her forte -- the voice is of the kind that loves the long line) and she has tremendous dynamic control. Old school, as it were.

            Plus she is very hot.

      • mia apulia

        I saw Soviero sing Butterfly very early in her career, and it was wonderful; of later performances I only heard broadcasts, but I thought they were damn good, too

        • armerjacquino

          I never saw Soviero but the live broadcasts of her BUTTERFLY are easily the best renditions of the part I’ve heard- including Freni, Tebaldi, Scotto & co.

          I’ve never seen a CG Butterfly so my live exponents of the role have been Janice Cairns, Mary Plazas, and other such people that I’m not going to serve up for ridicule from The Usual Source.

          • Krunoslav

            Good morning, arner!

            In the early 80s, my standing room years, I went to a Met BUTTERFLY to hear Zylis-Gara ( assuredly *not* to hear Ermanno Mauro, though for historical reasons I was pleased to hear Mario Sereni as Sharpless). Zylis-Gara was ill and they sent on Patricia Craig, an intelligent lyric with phenomenal pianissimi ( learned apparently from Olivero when they did PIKOVAYA DAMA together at Spoleto), who did very well on her own terms. The very handsome and charming English guy standing next to me said after Act Ii, “She’s a very fine artist, and with a name like that she *must* be one of *ours*.” I think he enjoyed her Act IIi even having learned that Ms. Craig was from Long Island.

            Zylis-Gara canceled again and I heard two acts of Canada’s Nicole Lorange, who was *ghastly* — one of the least qualified Met leads I ever heard; and finally heard Zylis-Gara, who made some lovely sounds and was duly sad even if she wasn’t singing “off the words” like a Scotto or Soviero. One moment I still recall: how devastated she looked and sounded saying, “Butterfly.. rinegatta…”

            • peter

              I heard Zylis-Gara many many times at the Met and I found her very sympathetic, without being a riveting actress, in Puccini roles, especially Butterfly. In some ways, I thought she had more of the right voice for Butterfly than most in that the middle of her voice was quite large and could always cut through a big Puccini orchestra.

    • tpogto

      A Small atomic bomb from Nagasaki

      Something very disturbing about the Metropolitan Opera’s current co-production of “Madama Butterfly” with English National Opera has come to my attention, as an opera fan who lived in Japan and is now back in New York. It pertains to the costuming of the sleazy character in the opera, Goro, who procures the young and naive girl Chocho-san for the foreign naval captain. Specifically, he is dressed as a Priest of the Shinto religion! Goro in priest costume takes part in the easy “matchmaking”!

      This strikes anyone familiar with Japanese culture as too bizarre not to give offense. As you may know, Shinto was the state religion of Japan until 1945 and remains one of the two main faiths along with Buddhism. The Emperor was considered a “God” and is the head of the Shinto religion, having a function something like Pope. In fact when imperial succession took place, the new Emperor has worn a costume looking very much like Goro’s in this opera production (see attached photo of Emperor Hirohito at time of his succession to the throne).

      The time of the assumed opera story takes place after the long reigned Tokugawa Shogunate was forced to yield power to Emperor Meiji. Just prior to the Emperor Meiji’s installation, long isolated Japan was forcibly “opened” by the famous American Admiral Perry’s “Gunboat Diplomacy” incident in Tokyo Bay.

      Wouldn’t European or American Catholics be offended if an opera character playing the role of a pimp or procurer of women was dressed just like the Pope? Well, that is how Japanese feels looking at this strange production.

      It is true that a similar question arose when Gilbert & Sullivan’s “The Mikado” came out in England a century ago. Since “Mikado” refers to the Emperor, a few English experts on Japan advised that it would offend the Japanese. Well, it turned out that most Japanese were not upset because they understood that it was really a satire about English society, the setting in Japan being incidental and humorous.

      Nevertheless, the present case of the Met’s “Madama Butterfly” is not comparable since it is not a parody or satire, rather a tragedy in a historical setting. Therefore, I call upon you to advise the General Manager to change Goro’s clothing to something more suitable, so as not to give offensive and in fact to make that costume more like something such a person would actually have worn (i.e. a man’s kimono).

      No other disgraceful “Kitsches” to mention here!

      P.S. Originally written in 2006 and sent to Mr. Gelb after the opera’s MET Premiere.

  • I find plenty of substance in the “Arabella” libretto. The question of appearance vs. essence, already developed in Die Aegyptische Helena , is given a thorough working out among the pairs of crossed lovers in “Arabella”.

    To describe Zdenka’s act II behavior as “an ugly, farcical plot twist in which Arabella’s sister Zdenka arranges a sexual assignation with one of her sister’s suitors” trivializes her desperate, self-abnegating love for Matteo. When pushed to the crisis point, she surrenders herself to save him. Though her intention is to keep him from committing a fearful act, she simultaneously fulfills her deepest desires. Just as Ariadne poses the question -- “does Ariadne give herself to love or to death (or are they the same thing)?”, Zdenka’s Act II gesture poses the question “does she give herself to Matteo or does she give him over to Arabella (or are they the same thing)?”
    Whereas Ariadne’s submission to death/love is the endpoint of the opera, Zdenka’s attempt at a hat trick causes the other billiard balls to spin out of control.

    Zdenka’s dual masculine and feminine nature must have been a treat for both composer and librettist. Strauss loved his trouser roles and now finally, Hofmannsthal had an opportunity to take this operatic stage convention and make it the linchpin of his comedy. For the gender-essentialist Hofmannsthal, the transvestite Zdenka would be an “absurdes Ding” -- glorious in its monstrosity, yet ultimately in need of taming. The seemingly-accidental foiling of Zdenka’s Act II plan was, I’d like to think, Hofmannsthal’s way of indicating that the ordered universe shall not be trifled with.

    • papopera

      how profound

      • Well, Hofmannsthal was a smart cookie. The number of opera librettists who could create literature that is still viable today is very small: Hofmannsthal, Claudel, Auden, Bachmannn, Sorokin and who else?

        • “non-operatic literature”, that is…

        • oedipe

          Colette, Edmond Fleg, Georges Bernanos, Martin Crimp…

        • armerjacquino

          Bit of a false opposition, croche? Some of the best librettists had no desire to create non-operatic literature.

          • Batty Masetto

            Not a false opposition; there’s no dishonor at all in being a specialist. Croche’s remark was directed to the ability to succeed in multiple forms.

            Hofmannsthal was a well-established name in non-operatic literature before he started writing libretti, then wrote several highly regarded ones that have stayed solidly in the repertoire, while continuing to write important works in other media. That makes him pretty much unique.

            Auden, Bachmann, Claudel, Crimp and Fleg have done something similar, but with only two at least reasonably well-regarded libretti to their credit (though Crimp’s oeuvre is still in progress). Colette and Sorokin (so far) have one.

            Metastasio and Da Ponte had minor non-operatic literary careers, but those works have sunk into obscurity.

            Bernanos’ libretto was adapted by someone else, so if we include him we should also include Wilde, Büchner and Wedekind. But none of them wrote those works as libretti so I’d say they belong on a different list. Likewise Berlioz and Wagner.

            • I suppose we can also add Gertrude Stein to the list of two-hit wonders.

            • Flora del Rio Grande

              Charpentier (Gustav)

            • Add Doris Lessing to the list of two-hit wonders, I suppose. The jury is still undecided whether to award Annie Proulx her first star.

        • Ilka Saro

          EM Forster

  • williams

    I’ll probably have to perform seppuku for saying so but kinda liked Malfitano too. She did the earlier run.

    • phoenix

      Willy, I’ll do a few seppuku too -- my favorite Butterflys were Lorengar, Pilou & Gorchakova.

    • williams

      …of that Del Monaco production. Her daughter was playing the kid on opening night and did an inadvertant somersault off a ramp to audience gasps. All was well though, she took a curtain call with mom.

      • williams

        Gallardo-Domas was critically well received for her performance at the premiere of the current production. I’ve forgotten how JJ felt about her. Her voice wasn’t to my taste but she was certainly committed. The house ate it up. When we emerged the people in the plaza went nuts for her.

        • JJ on Gallardo-Domas (and the premiere of the Minghella production.

          • Guestoria Unpopularenka

            I thought the premiere of that production was sung by a Chinese soprano.

            • Guestoria Unpopularenka

              Liping Zhang, but she sang later on. My bad.

            • bluecabochon

              I liked Ms. Zhang very much when I saw it a few years ago, though there was little chemistry between her and her Pinkerton, Robert Dean Smith.

            • Feldmarschallin

              There is always little chemistry between Dean Smith and whichever soprano he is singing with. He is wooden and dull on stage and no matter how good an actress his partner might be, they cannot get something out of him that is not there.

          • williams

            Thanks LaCieca! JJ’s Observer pieces, where he is given some extra column inches to work with, are invaluable. Wasn’t going to go but now I’m there tomorrow.

          • bluecabochon

            “Though he oversang in parts of the first act, Marcello Giordani (Pinkerton) unfurled his Italianate tenor with both abandon and sensitive musicality. It’s almost decadent luxury to feast on one of the world’s most brilliant tenor voices in a role that is hardly a superstar vehicle.”

            Sigh. Bittersweet to read this.

          • Regina delle fate

            The premiere of the Minghella Butterfly seems to have been Gallardo-Domas’s most recent high-profile big-house engagement, and JJ clearly has detected a vocal decline. Ten years earlier at Covent Garden she was certainly, from the vocal point of view at least, one of the best Cio-Cio-Sans I have heard there, although the list is not rich: Kabaivanska, Malfitano, Watanabe, Soviero, Vaughan. For some reason I avoided going to see Butterfly in my early days because I didn’t think the Butterflies would come up to my experience of Scotto on the Barbirolli recording -- names like Maria Pellegrini and Yasuko Hayashi -- although I’ve always regretted not going to Hayashi’s run as it was the debut of Carreras at the house and Pinkerton has never been as starrily cast in the house since then. Can anyone tell me anything about Brian Jagde, who will be Opolais’s Pinkerton at the ROH next season? From his website, I see that he is a bit of a hunk, but is it a world-class voice? Hard to tell from YouTube. Has he sung major roles at the Met?

            • Aw him in Arabella as Elmer. He was the best thing about the performance.

            • Batty Masetto

              Ivy, since you liked Elemer, maybe you can get the spell checker to allow you to spell his name right -- Elmer Fudd he ain’t (even if both of their names may ultimately go back to an ancient Germanic “Noble Tales”).

            • I’m on an iPhone that auto corrects, my bad.

  • operaassport

    JJ, as usual, gets it exactly right.

  • Anyone remember the old NYCO production of Butterfly by Mark Lamos? It was just a set of stairs but I thought it was very effective in its own way and I remember a wonderful performance I saw with a Korean soprano (forgot her name) who got the crowd so emotional they booed the Pinkerton mercilessly at the end of the opera. That to me is the Butterfly experience: it brings out something very primal in audiences. I look forward to seeing Opolaus in this next week.

  • Guestoria Unpopularenka

    By the way, long live Chinese youtube versions. Whatever has been deleted or taken down for copyrights, can be found on those. I’m so excited to have found some clips I’ve been missing for a while.

  • oedipe

    Hui He is an excellent Cio-Cio-San. She has sung the role all over the place, but I don’t know whether or not she has sung it at the Met.

    I saw Svetla Vassilieva in the role a few weeks ago at Bastille, in the revival of the marvelous Bob Wilson production. Vassilieva is not the most musical soprano around, but she was an extremely dramatic and convincing Butterfly. The audience loved her (and liked Ilincai-Pinkerton too; in the previous Butterfly revival a couple of years ago, Parisians got to hear James Valenti and booed him off the stage, he hasn’t been seen in Paris since).

    • Cocky Kurwenal

      I’ve seen Vassilieva in a few roles and always enjoyed her. To me it’s a proper full lyric on the cusp of spinto, of the type we’re always being told is in short supply.

      • phoenix

        I agree with Cocky here. She is a favorite of mine, particularly in verismo.

    • Guestoria Unpopularenka

      Vassileva, not Vassilieva. These days she tours with Bocelli. I’m sure that is a nice paycheck.

  • alejandro

    I’ll be there tonight.

    I’ve seen this on video with Racette, but never in house. It’s always been a favorite opera of mine. And I love me some Callas, Tebaldi, Scotto and Freni in this role. Looking forward to Opolais.

    I’m writing a novel now and “Un bel di” sung by Callas features in it, so this will be incredibly emotional for me.

  • Constantine A. Papas

    Is she the new next? For the past 114 years three names are mentioned to compare rising stars to legends: Caruso, Callas, Pavarotti. People who never saw or heard opera music know about them. They have reached a cult status. Nobody ever mentioned with frequency about the “next” Mrtinelli, Gigli, Bjorling, Melchior, Corelli, De Stefano, Vickers, etc. Or Ponselle, Tebaldi, Nilsson, Sutherland, Freni, Scotto until now: is Opolais (in JJ’s opinion) the new Tebaldi? Or who’s going to be crowned in the first part of the 21st century as the “next’ legend to become a point of reference for uprising singers? Has she or he arrived, or are we still waiting?

    • Krunoslav

      “Nobody ever mentioned with frequency about the “next” Martinelli, Gigli, Bjoerling, Melchior, Corelli, Di Stefano, Vickers, etc. Or Ponselle, Tebaldi, Nilsson, Sutherland, Freni, Scotto”

      As Gwendolyn Fairfax says, ‘It is obvious our social circles are widely different”-- since over the years I have heard all too many people hopefully [adverb correctly used for once] proclaimed “The New X”, particularly the new Bjoerling ( Leech and even-- thanks to the magic of the TIMES-- Gregory Turay got this one) and the new Sutherland ( June Anderson, Jessica Pratt) and the new Corelli ( Shicoff way back in the day and, sad to relate, James Valenti). The friend who told me about Jonas K spoke of a “potential New Jon Vickers”..

      Plus what about all the “new Leontyne Prices” who have come ( and in many cases, gone). Wunderlich, Gedda, Crespin-- I’ve heard this locution about a lot of famous singers who were not household names.

      • armerjacquino

        Are circles the new spheres?

  • mjmacmtenor

    When discussing great Butterflies, I cannot help but be reminded of Martina Arroyo on the Tonight Show with Johnny Carson. After singing a wonderful Un bel di, she sat down to chat. She said that her favorite role was “Madame Butterball” -- Freudian slip! Well, she may not have looked like a slender 16 year old geisha, but she could sure song and act the hell out of Butterfly. The richness of her voice in the role followed the tradition of Tebaldi.

    • armerjacquino

      Arroyo could sing the hell out of anything. Rarely has anyone ever been gifted with a more spectacularly beautiful and secure voice.

      Saying she could act the hell out of Butterfly, or anything, however, is pushing it.

      • Batty Masetto

        But she sure acted the hell out of the “Madame Butterball” line, which she used multiple times. Adorable lady.

  • alejandro

    I think Valenti sucked the life out of everything in Act One, but boy did Opolais bring the goods in Act Two. The drama was immense. That death scene was amazing. I was in tears and then muttered “bow down bitches” before I began my “bravas!”

    • Now I really can’t wait to see this next week.

  • Guys, while we’re on Ms. O, I found the HD of “O soave fanciulla”:

    And here, for comparison’s sake, is Anita Hartig:

    • Rudolf

      Ivy, Thank you much for these interesting sound samples. I am glad now that I did not attend the HD in the movie theatre. Mr. Grigolo’s voice has no appeal for me. I think his voice blends better with Ms. Hartig’s. As for Ms. Opolais, I have not yet heard her live but various samples tell me that I cannot warm to her voice. :-)

      • alejandro

        From the clips of that HD online, I think she sounds a little tired . . . which is understandable. But it’s still a formidable achievement to sound like that given she sang Butterfly the previous evening … and she’s in a production she’s never rehearsed.

      • alejandro

        I’m a total newb but I find Grigolo pleasant sounding. He’s also very charismatic. From what I read here, I was expecting to hear something really awful, but … sue me …. I like it.

        • oedipe

          From what I read here, I was expecting to hear something really awful

          Hmm, I wonder what might have given you that idea…

          • oedipe

            Why were you “expecting” something awful, what has led you in this biased direction?

            Hey, there’s no such thing as a prevailing view capable of biasing your opinion (or at least, so I’ve been repeatedly told).

            • alejandro

              I am not understanding your question. I read a lot of griping about his singing in Boheme on this site. I was expecting him to be out of his league vocally, but he sounds just fine to my ears.

            • armerjacquino

              Oedipe, there’s certainly no prevailing opinion here about Grigolo. If you look at any thread about him, there’s a more or less even spread of admirers and detractors.

              Once again you’ve picked an example which proves the opposite of your point.

            • oedipe

              I know, I’ve seen all those negative comments too.

            • oedipe

              …but some people might say you just “imagined” you saw griping, rather than praise, or whatever, Alejandro.

            • armerjacquino

              Oedipe- there’s plenty of griping, and there’s plenty of praise too.

              I mean, people can read, you know. When I say there’s plenty of praise on here for Grigolo I’m stating a fact, not offering an opinion. A verifiable fact: read the threads.

            • alejandro

              Yikes, oedipe, I am referring to reviews about his Rodolfo that I casually read on here last week. I read the review of his recital which was actually positive.

            • Yes Oedipe my review of his recital and Boheme were total slams. Do you even read?

        • Rackon

          I’m not a newb, and I don’t get the hate for Grigolo either. Don’t worry -- just enjoy.

          • I like Grigolo a lot too, so don’t hate, just appreciate.

            • Rackon

              Words to live by ;-)

  • Milady DeWinter

    I had thought so too Rudolf, but last night made a believer out of me. She knocked it out of the park. Magnificent.

    • williams

      Hadn’t intended going until reading JJ’s review. My sincere thanks to LaCieca for posting Mr. Jorden’s piece. This was a performance I won’t soon forget. Her Magda last year was delightful but this is a part that really suits her vocally & dramatically. It has been a long long time since Cio Cio San has brought me to tears.
      Apropos of the earlier thread on opera fashion I saw some gorgeous ladies kimonos last night. Most of them were worn by women.

  • antikitschychick

    Hola queridos!

    great review and lovely photo of Ms. Opolais! Does anyone perhaps have a recording of last night’s performance they’d be gracious enough to share? I really wanted to listen to the broadcast but, alas, ma bum aint gonna tone itself :-P.

    • alejandro

      Ooh . . . I was actually thinking about what you would think about it!

      It’s too bad she wasn’t paired with Hymel and this wasn’t taped.

      • alejandro

        For video that is.

        • antikitschychick

          yeah its a shame indeed (though I’m hopeful a recording will surface on YT or something in the coming days). I’m happy for her success as she seems to be a hard-working, serious artist…I’m really curious to hear her rendition of Butterfly though so I can get an idea of what she’s capable of offering. You’re lucky you got to see it live!

      • Bill

        Alejandro -- at this time Hymel is singing Pinketon in Vienna with Hui He and Markus Eiche -- all but the conductor (Jonathan Darlington) had good reviews though there were some quibbles about Hymel’s lack of sweetness in the voice mentioning the metallic sound -- it was Hymel’s Vienna debut but he is not listed for anything there next season.

        • alejandro

          I meant that he sang it with Echelaz here earlier and I heard she wasn’t that great, so it’s a shame they couldn’t get a good tenor and a good soprano together. I was so torn about which cast to see. Same thing with Boheme next season. Usually I like the Rodolfo but not the Mimi. Ack!

    • Yes, that would be wonderful to have (hint).

      • antikitschychick

        Hey there Lurker. Thanks for the hint! Lol how might I go about hitting up the hinter? (Nice Tumblr you’ve got btw).

        Happy Friday to the Cher public as well :-)

        • Hi AKC -- Hope you didn’t interpret my post as having something to share -- I was hoping someone else had something to share!

          But you can contact me at roselovr @ (without the spaces) and I just added a message link to my tumblr.

          Thanks for the props!


          • antikitschychick

            Ah yes that makes sense. Thanks for the response!

  • Satisfied

    I believe someone inquired about her Sempre Libera…here’s a nice clip with some fierce signing. gets a little out of control at the end, but otherwise very impressive.