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  • chicagoing: Final Don Carlo performance in San Francisco tonight with Furlanetto in for Pape. Wish I was there to see it again. 1:56 PM
  • PCally: Yeah Premiere Opera is where I was debating purchasing it. That and Reimann’s Lear (1982 revival) are the purchases... 1:26 PM
  • Evenhanded: Well. Camille: Gounod’s Polyeucte was revived as part of the Festival della Valle d’Itria in 2004 and a recording... 12:33 PM
  • Gualtier M: This the rest of the cast: Conductor Ferdinand Leitner – Stuttgart 1968 Orchestra – Württembergische Staatsoper;... 12:03 PM
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  • Gualtier M: This was filmed in Stuttgart in 1968 with Silja: httpv://www.youtub e.com/watch?v=40V5 P5iTs4Q Silja always needed to be seen... 10:03 AM

Man of the future

Javier Camerena, “as close to a rock star as the Met has produced from its male roster this season,” has big plans with the company, with at least four roles planned for future seasons. [New York Times]

148 comments

  • 1
    Guestoria Unpopularenka says:

    I’m glad the Met is finally doing some roster clean-up. We need new people.

  • 2
    la vociaccia says:

    Wonderful that he is being capitalized on! He’s such an enjoyable musician

  • 3
    Maury D says:

    Oh, I wonder who else is in Semiramide (idly I wonder this, on the other coast.) Meade, I’ll wager. Maybe Barton?

    • 3.1
      La Cieca says:

      I seem to have a vague idea that Semiramide is a part that DiDonato wants to do. Arsace seems a little low for Barton, but higher mezzos such as Horne and Simionato have certainly done the part.

      • 3.1.1
        Feldmarschallin says:

        Alex Exposito told me that he, Brownlee and Di Donato will be singing Semiramide at the BSO. Now sometimes when a singer sings a new role they seem to go in cycles and appear in it in different cities (Damrau in Traviata, Harteros and Kaufmann in Carlos). So perhaps the Met has a similiar cast with Camerena in Brownlee but the rest of the cast staying the same. When I asked Exposito if di Donato would be singing Arsace he said no Semiramide. I asked him about the director and he said Konwitschny but then later said no the Konwitschy production is something else. I had gotten very excited when I heard Konwitschny.

        • 3.1.1.1
          Guestoria Unpopularenka says:

          Ugh. DiDonato and her dreams of big diva roles. She already underwhelmed as Stuarda. Now she wants to do Semiramide. After that we’ll have Norma. Another Bartoli singing those roles the way they are “supposed to be sung”.

          • La Cieca says:

            Why don’t you go ahead and post your reviews of these future roles now?

            • Guestoria Unpopularenka says:

              I’m not well-versed for writing reviews. The thumbs systems works best for me :D

            • Evenhanded says:

              Well.

              And the “thumbs systems” is about as seriously as your comments are taken. But thanks for the regular dose of negativity. Don’t worry, it’s not boring at all.

            • willym says:

              Sorry but isn’t this the site where I read reviews of the Bartoli Norma the day it was announced that she would sing it and the Thomas Hampson Wozzeck was damned out of existence and he hadn’t even taken to the stage?

            • Guestoria Unpopularenka says:

              Evenhanded -- the opinions of strangers behind a computer are not of my concern. I express my view. You don’t have to agree with it. But thank you for following so closely what I’ve had to say over my short stay here. I, on the other hand, cannot draw conclusions about you since this is the first time I even see you here but I can tell you that your predatory lurking behavior is not taken seriously by me. Have a nice day.

            • bluecabochon says:

              “….predatory lurking behavior?”

              Guestoria, you are definitely new here if you have never seen a post by willym and Evenhanded. Just because you post a lot doesn’t mean that posters who don’t overshare are lurkers.

              You sure are living up to your Parterre moniker.

            • Guestoria Unpopularenka says:

              bluecabochon, I will not respond to your unprovoked attacks. Arguing with me will not solve any of your apparent emotional voids. I ask you not to address me ever again.

            • bluecabochon says:

              “”Unprovoked?” You have to be kidding. It’s possible that you are trying to be a little less acidic after being called out more than a few times, but to portray yourself as an innocent getting beaten up by a bully for no reason is disingenuous.

            • Guestoria Unpopularenka says:

              Fine. Next time I’ll try to be more alkaline. Good day.

          • Rowna says:

            I loved her as Maria -- a fantastic actress with tremendous vocal technique at her disposal. You may like her voice or dislike it, but no one acquires a technique like that watching the Simpsons.

            • alejandro says:

              Me too.

              I was so excited watching her Stuarda. I’m a total fan. Can’t wait for tonight!

            • kashania says:

              I must admit that I did not care of JDD’s sound as Maria Stuarda. I want a creamier, more rounded tone on top. But she gave an absolutely tremendous performance, both vocally and dramatically. My PBS station played it twice, and I enjoyed her performance even more the second time.

            • kashania says:

              And let’s have a shout-out to Elsa van den Heever’s Elisabetta, too. She was terrific in the part.

            • Gualtier M says:

              Donizetti is very different from Rossini. As her Angelina proved earlier this evening, JDD is a Rossini goddess. I think Semiramide (written for the older Colbran who started as a contralto and whose range was shrinking as of 1824) is a good fit. As good as Elena in “La Donna del Lago” -- another Colbran role.

          • operaassport says:

            She underwhelmed as Maria Stuarda? She was amazing. Go get stuffed!

          • antikitschychick says:

            I actually think JDD would make a great Adalgisa :-P…heck she could go for Norma in a smaller theater. Joyce is one of the best singing actresses of our times and I find her a joy to hear and watch in everything she does. She may not have the heft we have come to associate with these types of roles but she is an excellent bel canto singer with one of the best trills in the business. Her voice certainly has its limitations but I feel she makes up for it with her stagecraft and musicianship.

            • Guestoria Unpopularenka says:

              When I said Norma, I definitely meant the title role. Oh, she’d never do Adalgisa at this stage of the game. And I don’t agree that she has what is necessary for Norma, but she’s a STAH and oh so down to earth and cute. Just don’t forget to cast a 3rd rate supporting soprano opposite her as to not to steal the show.

            • kashania says:

              Norma needs grandeur and that’s one thing that JDD doesn’t have. It would have been nice to have in Maria Stuarda but it is necessary for Norma, IMO. Having said that, it’s rare when a singer has everything that a role requires and JDD would still bring a formidable set of skills to the part. It would, at the very least, be worth hearing.

            • alejandro says:

              I quite loved the Bartoli Norma with Adalgisa being the lighter voiced of the two (which would make sense given the characters).

              DiDonato is super great with text and I wouldn’t mind a Norma from her. I guess it’s being exposed to Norma via Callas that I prefer my Normas to have some bite. It’s what I loved about Bartoli’s. It was so Magnani.

            • Guestoria Unpopularenka says:

              How does that make sense given the characters?

            • Indiana Loiterer III says:

              Adalgisa is younger than Norma.

            • Guestoria Unpopularenka says:

              Oh, I misread.

          • MontyNostry says:

            Strangely, the ‘Bel raggio’ was the least convincing performance (vocally, rather than interpretatively) on her Rossini arias album a few years back.

            • MontyNostry says:

              … and not just because I was brought up on Joanie’s gloriously outrageous interpolations as heard on The Art of the Prima Donna.

            • Camille says:

              Don’t apologize for that trip to heaven.

              I used to run home from school every afternoon to hear those ear-splitting orgasmic E’s in alt. Nothing like them.

            • kashania says:

              Sadly, I never heard Sutherland live. But after hearing Radvanovsky’s huge high Ds in last night’s dress rehearsal of Roberto Devereux, I feel that I have some sense for what Sutherland’s huge high notes must have felt like. (I didn’t stay for the last scene since I’m seeing the whole thing on Friday, so I’m not sure if she threw in an E-flat at the very end).

            • Clita del Toro says:

              I basically like Rossini, but I am not a fan of the mezzo roles and singers like Horne, Bartoli and Di Donato who sing those roles. I know that makes no sense??? It’s just me.

        • 3.1.1.2
          semira mide says:

          It is wonderful news that the Met is bringing back Semiramide. But the tenor role is not really prominent enough to get excited over ( in my opinion). Much more important is Azzur, and I really can’t think of anyone today who could make the stage sizzle the way Ramey did. Maybe Abdrazakov? I am a big fan of JDD, but I don’t think either Semiramide or Arsace fit her strengths. She will of course dazzle which ever part she sings.

          • turings says:

            Abdrazakov sounds pretty good as Azzur here:

            You can imagine him doing well in a lot of the roles that suited Ramey.

            • oedipe says:

              Abdrazakov will reprise his Moïse role in Rossini’s Moïse et Pharaon, in a series of four performances (concert version), in Nov.2014 at the Marseille Opera. The whole cast is superb, but it has practically zero chances of doing the rounds of most opera/concert stages.

              Sinaide: Mariella DEVIA
              Anaïde: Annick MASSIS
              Marie: Lucie ROCHE

              Moïse: Ildar ABDRAZAKOV
              Pharaon: Jean-François LAPOINTE
              Aménophis: Philippe TALBOT
              Eliézer: Julien DRAN
              Osiride / Une voix mystérieuse: Nicolas COURJAL

      • 3.1.2
        Regina delle fate says:

        DiDonato’s next new role at Covent Garden after Stuarda is Semiramide, so presumably a few opera houses are getting together to co-produce that, like the Donna del Lago -- even though that ended up being three different productions between Paris, Milan, London and the Met….

        • 3.1.2.1
          CwbyLA says:

          DiDonato already sang Adalgisa in a concert performance. I don’t remember where it was. Normal was Edita Gruberova.

          • manou says:

            Typo Du Jour!

          • antikitschychick says:

            thank you for sharing that useful bit of info CwbyLA :-). I found some clips on Youtube but the audio quality is not great so I wont post them…but they are for for those that might be interested…
            speaking of Norma though, Opera Depot is having a sale (all items have a 50% discount!) and so I bought a recording of Norma with Callas, Nicolai, Corelli & Christoff (conducted by Votto I think) from 1953!! Can’t wait to hear it!!! :-D.

            • messa di voce says:

              That’s the Trieste performance. Wild, big voiced Callas, and Nicolai as the last word in the prison matron, hairy-chested style Adalgisa. Thrilling

      • 3.1.3
        mjmacmtenor says:

        Semiramide was written for Isabella Colbran, who some consider to be a mezzo with a strong upper extension. That could be perfect for DiD who has also done other Colbra roles such as La Donna Del Lago. Other mezzos have also recorded Bel Raggio, if not the entire role. JDD will bring s great flexibility for the coloratura and good acting skills to the role.
        But who can replace Horne as Arsace or Ramey as Assur. Arsace requires a solid lower range, which Horne had in spades. You also need a mezzo with a rich, darker sound to contrast with Semiramide and bring out the “maleness” of this trouser role.
        Assur requires a true coloratura bass with both nobleness of tone and great flexibility. People often forget that Sam Ramey began his career as a specialist in coloratura bass roles (at a time that they were almost as rare as the dodo bird) and even made he Met debut in a Handel opera, no less.

        • 3.1.3.1
          Guestoria Unpopularenka says:

          I thought Alex Penda and Mariana Pizzolato made a terrific pairing as Semirmamide and Arsace.

        • 3.1.3.2
          Krunoslav says:

          “People often forget that Sam Ramey began his career as a specialist in coloratura bass roles (at a time that they were almost as rare as the dodo bird)”

          I seem to be Mr. Fact Check these days, but this is not strictly speaking true-- maybe his * major international* career, which really took off with Assur at Aix in 1980. But Ramey began his career doing Norman Treigle’s roles at NYCO in the mid 70s: Mefistofele, Mephistopheles, Olin Blitch in SUSANNAH, the HOFFMANN villains, also things like Colline, Figaro and Escamillo ( best I’ve seen, save for van Dam). Also Nick Shadow, including at the future de Niese estate. He sang Basilio, not a coloratura role, and both bass roles in PURITANI, but he was very much not a specialist.

    • 3.2
      Krunoslav says:

      *The* Azema of the 21st century:

      http://tinyurl.com/lgxm9eq

    • 3.3
      Guestoria Unpopularenka says:

      Meade? Has she even sung any Rossini, let alone do Semiramide?

      • 3.3.1
        Poison Ivy says:

        She’s scheduled for Mathilde in Torino next month.

        • 3.3.1.1
          Krunoslav says:

          Yep, and she has already sung Semiramide, at Carmoor with Genaux, Brownlee and Mobbs in 2009, and has sung Sinaide in MOISE ET PHARAON (Morris, K. Ketelsen, Cutler, Rebeka, Angelini) with the Collegiate Chorale and the ASO, 2011.

      • 3.3.2
        La Cieca says:

        Meade sang the complete role of Semiramide in concert at Caramoor in August 2009.

        • 3.3.2.1
          Guestoria Unpopularenka says:

          Ow!

          • Batty Masetto says:

            I rarely agree with Guestoria on anything, and don’t entirely here either, but in spite of the amazing facility I just can’t get much pleasure out of Meade’s sound, here or anywhere else I’ve heard her via media. She reminds me of those pianists (Volodos comes to mind) who have fingers for days and are saying zilch with the music.

            Maybe one of these days I’ll hear her in person, but I’m not making a special trip.

            • Guestoria Unpopularenka says:

              Then you don’t agree with me on this one either. I actually quite liked it (except some very unnecessary ornaments).

            • Rowna says:

              Oh no Batty! I adore Meade -- so sorry we disagree. Not only do I think she has a fabulous voice, I think her career is moving along well, and so is her vocal acumen.

            • armerjacquino says:

              I’m afraid I agree where Meade is concerned. I just don’t like the basic sound and I don’t feel as if she offers any particular insight to compensate.

            • alejandro says:

              I’m in the same boat. She does have a great instrument and she seems really smart when I hear her talk, but I just don’t get excited when I hear her sing.

            • grimoaldo says:

              Well I have certainly derived great pleasure from watching this over and over, and thinking what a shame that the Met, or somebody, could not have seen this or heard it and seen Fabiano in Corsaro or heard him and put on I Due Foscari for them, really quickly, like a couple of months later, rather than five years later, or more likely, never.
              I also very much enjoyed Meade when I saw her as Norma, without thinking “oh she’s as good as Callas” or anything like that, and in a wonderful broadcast of Sicilian Vespers from Vienna with her and Kunde.

            • antikitschychick says:

              I’m with Guestoria, Rowna and Grim on this one as I absolutely love Angela’s voice. Its distinctive and she can wield it extremely well. I was very sorry to have missed the Requiem in Jacksonville but I’m hoping I can catch her in the future…preferably in an opera performance!

            • grimoaldo says:

              antik, have you seen this?
              http://www.osterfestspiele-salzburg.at/jart/prj3/osterfestspiele/data/uploads/Osterfestspiele%20Salzburg%20Programm%202015.pdf

              Osterfestspiele Salzburg 2015
              28. März – 6. April

              Cavalleria rusticana
              Liudmyla Monastyrska, Santuzza
              Jonas Kaufmann, Turiddu

              Di • 31. März / Fr • 3. April • 19.00 Uhr • Großes Festspielhaus

              GIUSEPPE VERDI
              Messa da Requiem
              für Soli, Chor und Orchester

              Liudmyla Monastyrska, Sopran
              Anita Rachvelishvil, Mezzosopran
              Jonas Kaufmann, Tenor
              Ildar Abdrazakov, Bass
              Chor des Bayerischen Rundfunks
              Christian Thielemann, Dirigent

            • antikitschychick says:

              yes I did Grim!!!! :-D :-D :-D (but bless you for sharing it again) it was posted on another thread about a week or so ago…I am SUPER excited about that!!!…it will surely be *THE* operatic event of the season!!! :-P. I do hope there will be some sort of broadcast and/or DVD and seeing as herr Jonas is making a major debut so I have high hopes :-D. I am so effing happy that she is getting the recognition she deserves and I hope it will continue!!!

            • Rudolf says:

              Batty Masetto, I have greatly enjoyed Ms. Meade as Alice in the recent Met “Falstaff”. Not only did she sing the role splendidly, she was also quite funny. I liked her “Norma” very much. Her “Ernani” Elvira was excellent. A few weeks back I found a YouTube snippet with her performing a scene from “I due Foscari” and she was great. I think the occasion was the Richard Tucker Award but I don’t remember which year. Here, in “Semiramide”, she overdoes the embellishments to my mind. And the sound source is not ideal. Of course. In the right hands, she is an exciting singer, I dare say. :)

    • 3.4
      FomalHaut says:

      This was my EXACT response (who will sing Semiramide?!) — my guess is JdD or perhaps Meade.

    • 3.5
      sycorax says:

      “With Tell out of the way, there’s room for another big Rossini in the 2017-2018 repertoire, which looks like it will be Semiramide with DiDonato in the title part.”
      http://parterre.com/2013/08/14/well-settle-that-tonight/

  • 4
    antikitschychick says:

    fantastic news…finally they are getting on the ball with capitalizing on good debuts!! Also, and this is slightly off topic but the thread photo got me thinking about whether an operatic rendering of Snow White exists..so I took to Youtube and found this:

    sounds creepy and macabre as hell…but interesting. It would have been cool if Verdi, Wagner,Dvorak, Offenbach or one of the other greats would have been inspired to turn the fairy tale into a grand opera…the original tale has some elements that would make for an interesting libretto and Mr. Holliger certainly conceptualized it in a unique, post-modern way from what I can tell by reading some of the reviews.

    • 4.1
      Buster says:

      One of the things I remember from Maria Stader’s autobiography is that she sang the second dwarf in a Snow White opera based on music by Schubert, put together by Felix Weingartner. Typecast, because she was not very tall:

      http://www.spiegel.de/spiegel/print/d-44447640.html

      • 4.1.1
        antikitschychick says:

        AHA! Makes perfect sense that the composer of Death and Maiden and Gretchen am Spinnrade would also set Snow White to music…I love Schubert so I would love to hear what it sounds like…thanks for sharing that Buster :-). Do you know of any recordings in existence?

        • 4.1.1.1
          Buster says:

          No, sorry, AK, but I can highly recommend the book. In between all the curious facts she chooses to share with the reader (her first period, the colors of all her carpets and curtains) she is very strong on Ferenc Fricsay -- she loved the man, obviously -- and on singers who misbehaved before, during, and after the war, like the appaling Maria Müller. It is called Nehmt meinen Dank.

          • antikitschychick says:

            sounds fascinating Buster, thanks for sharing that recap. Unfortunately I’m not familiar with Ms. Stader’s work so I shall need to do some research on YT to acquaint myself with her singing before opting to read the bio :-P.

    • 4.2
      PushedUpMezzo says:

      Two balletic versions and an article from Harpers. You lucky New Yorkers can see it live this week

      http://www.harpersbazaar.com/fashion/fashion-designers/jean-paul-gaulter-ballet-preljocaj

  • 5
    Krunoslav says:

    “as close to a rock star as the Met has produced from its male roster this season,”

    The sound you hear is Vittorio Grigolo wailing.

    • 5.1
      Guestoria Unpopularenka says:

      LOL! As a consolation, Vito is the better looking one.

    • 5.2
      m. croche says:

      “as close to a rock star as the Met has produced from its male roster this season,”

      Oy.

      • 5.2.1
        messa di voce says:

        How many rock stars does the Met usually produce per season?

      • 5.2.2
        m. croche says:

        So here’s a perhaps more interesting question, at least for me. Which actual rock stars know a good bit about opera? Patti Smith springs immediately to mind. Other suggestions?

        • 5.2.2.1
          oedipe says:

          Laurie Anderson.

          • m. croche says:

            L.A. is of course a wonderful composer and performer, and she did have a surprise hit about 30 years ago with “O Superman!”, but she is not a rocker, much less a rock star. (Lou Reed was a rock star, but I’m not sure whether he had much interest in opera.)

            • DellaCasaFan says:

              I wanted to suggest Lou Reed because I saw photos of him attending the Met and ROH, but now that I’ve read here that Anderson takes an interest in opera, then it could have been her influence.

            • antikitschychick says:

              :-D.

            • m. croche says:

              You are mischievous, Anti-K-C.

            • m. croche says:

              DellaCasaFan: If you saw Lou Reed at the MET and ROH, then he wanted to be there. Lou Reed didn’t go to anyplace Lou Reed didn’t want to go to.

            • DellaCasaFan says:

              m. croche says: “DellaCasaFan: If you saw Lou Reed at the MET and ROH, then he wanted to be there. Lou Reed didn’t go to anyplace Lou Reed didn’t want to go to.”

              Amen to that! I should have thought first.

              Velvet Underground was Vaclav Havel’s favorite band and this was from a concert tribute to him, but … Anti-K-C was indeed mischievous in posting *this* clip. :-)

            • PushedUpMezzo says:

              The famous BBC charity version of Perfect Day. The Corporation blissfully ignorant as ever of psychedelic inferences.

            • antikitschychick says:

              *GASP* say what m. croche? Moi mischievous? Not at all! I SOLEMNLY SWEAR….
              I AM UP TO NO GOOD :-p

            • Krunoslav says:

              Anderson has said she conceived of “O Superman” by mishearing Domingo’s phrase “O souverain” in LE CID --alongside Grace Bumbry! -- at an OONY concert.

              Maybe a pop rather than a rock star, but Melissa Manchester’s father played bassoon in the Met orchestra.

              As a student I had a nice conversation with Lynda Carter, actress/jazz-cabaret singer, at a TANNHAEUSER when I happened to be seated next to her. I had noticed her at the Met before. She was quite knowledgeable (and positive) about Leonie Rysanek and Mignon Dunn, that night’s leading ladies.

        • 5.2.2.2
          armerjacquino says:

          Well, everyone here hates him, but there’s no doubt that Rufus Wainwright knows his opera.

          • oedipe says:

            Everyone?

            • armerjacquino says:

              Sigh. No, not everyone. Well done. You know EXACTLY what I meant.

            • oedipe says:

              No, and more often than not people don’t seem to know EXACTLY what I mean either.

            • armerjacquino says:

              What do you do when you’re not posting here? Stand and shout at the mirror, perhaps.

            • oedipe says:

              Whatever I may choose to do, it’s always more pleasant than having an exchange of words with you.

            • armerjacquino says:

              An obvious solution suggests itself.

            • Camille says:

              D’accord, M œdipe.

              Although some of your remarks may be provocative, per se, it seems to me that they are misconstrued, misunderstood and re-hashed ad infinitum in futile manner, because the essence of your remarks goes unheeded and is looked askance upon. When one listens carefully and thoughtfully to you in the first instance you are making very good and valid points. Also, is your first language French or English, may I ask? Your English is of course on a very, very high level, so it would be hard to determine.

              Your entire Ligne de Chant lectures are among the most concrete, instructional and useful comments I’ve seen here. And yes, the French really are different and there is a correspondingly different viewpoint based on a long cultural patrimony that has greatly enriched the world’s culture in les beaux arts.

            • armerjacquino says:

              Ah, I obviously ‘misconstrued and misinterpreted’ that ‘Everyone?’ which was posted out of nothing but kindness and good fellowship. I feel so stupid.

            • oedipe says:

              You are very sweet, Camille.
              Actually, I lived for too long in too many countries so now I don’t speak ANY language perfectly.

          • alejandro says:

            I love Rufus Wainwright. I don’t know Primma Donna at all, but I love Rufus as a songwriter.

            • grimoaldo says:

              I don’t hate Rufus Wainwright, I have no opinion about him at all, I have only the vaguest idea who he is. I know that “Prima Donna” was panned, and he is some sort of songwriter/singer, and that’s it.

            • Regina delle fate says:

              hehe Grim. I saw one act of Prima Donna…..

          • m. croche says:

            Wainwright can rock, at least gently. And he has a cult following among the alt-rock set. But his numbers aren’t stratospheric and I imagine many rock fans wouldn’t consider him much of a “star”. So maybe six points out of ten for Wainwright.

        • 5.2.2.3
        • 5.2.2.4
          damekenneth says:

          A couple of the members of The Grateful Dead (can’t remember which) professed to be Wagner fans. Joan Baez, though not a rock star per se, listens to opera.

        • 5.2.2.5
          Lady Abbado says:

        • 5.2.2.6
        • 5.2.2.7
          la vociaccia says:

          Rob Halford of Judas Priest is a big opera fan, saying he used to work as a stagehand in a local opera house as a teenager, and also referring to Pavarotti once as his “ultimate God.”

          An obvious answer is Freddie Mercury, the most famous Caballe-queen (pun intended) of all time.

          • Camille says:

            The flimsiest excuse or mention will suffice, as my love for this knows no bounds:

        • 5.2.2.8
          antikitschychick says:

          Roger Waters!! He’s actually written like 2 operas I think :-D.

        • 5.2.2.9
          Chanterelle says:

          I used to see ZZ Top at the Met now and then--anyone remember them? Are they still around?

  • 6
    williams says:

    “…But in a lucky break for both singer and audience, on April 3 the company announced that Juan Diego Flórez would be dropping out of the first three performances of this “Cenerentola” run, citing illness…”
    That must have been a cringe moment for JDF

  • 7
    irontongue says:

    Camerena seems charming and has a good voice, but whoa, a lot of aspirating in there!

    • 7.1
      operaassport says:

      Rock star? Talk about cringe inducing. They seem to have gone overboard on the hyperbole with that phrase.

    • 7.2
      FaustinaBordoni says:

      Agreed, irontongue. His high notes in that clip are sensational; I’m glad he was in excellent voice for that performance. BUT the aspiration is pronounced; if my memory serves me well, it’s even more obtrusive that Francisco Araiza’s aspiration in the same aria.

      As to whether the rock-star moniker fits properly, I think it’s premature. But we’re talking about a journalist writing for the New York Times. I expect the occasional overstatement.

  • 8
    oedipe says:

    Javier CamArena, folks!

    If he is to be treated like a rock star, at least his name should be spelled correctly.

  • 9
    operaassport says:

    Noel: you might like to read my posts more carefully. I’ve said about 7 positive things just in the last two days :)

    • 9.1
      Noel Dahling says:

      Ha ha!:)I think the reason some didn’t respond to her in Stuarda is that she lacks that ‘grande dame’ quality that people associate with the role; however she was extremely moving. If she does get to do the Semiramide, we’ll get to see the role ‘acted’, and not merely sung, which will be exciting.

      • 9.1.1
        operaassport says:

        I thought her portrayal was riveting. I actually quite liked the production as well.

  • 10
    Camille says:

    Javier Camarena is no longer the Man of the Future but the Star of the Moment.

    Wonderful singing with a wonderful voice and technique. BRAVO e Bis!!!

  • 11
    Satisfied says:

    Just back from the prima, and just wow…what a wonderful evening!

    It’s simply too hard to single out what made this a fantastic performance…JDD’s luminescent presence (though her singing was a tad uncertain and low at first), Camerena’s luscious and virtuosic singing, Luisi’s buoyant leadership of the fabulous Met Orchestra and chorus, or the amazing supporting cast. Yes yes, there were some synchronicity issues this evening and Javier’s performance was a little on the wooden side, but these are simply minor quibbles that could not bring me out of euphoria…walking on a cloud after that performance!

    All the more impressive that the dull and aribtarity-inspired-by-Magritte production did nothing to bring this performance down. Cannot wait to see this again next month, and I wouldn’t be bothered one bit if JDF dropped out, just so long as Camerena is available!

  • 12
    alejandro says:

    Just back from the delightful Cenerentola. It seemed like it took everyone a bit to warm up tonight. The overture felt overly polite and the singing didn’t really take off until Joyce and Javier began duetting . . . but Pisaroni, Corbelli, Joyce and Javier ended up bringing their A game in spades.

    I think Javier and Joyce were amazing together and I was incredibly pissed off he’s not getting the HD. He was just even more adorable in this than in Sonnambula.

    Joyce of course nailed it at the end. But I knew that she would.

  • 13
    williams says:

    +1

  • 14
    Poison Ivy says:

    Well I was there tonight. The awesome DeCaffarelli is doing the parterre review and I can’t wait to read it, but meanwhile I put my review on my blog:

    http://poisonivywalloftext.blogspot.com/2014/04/la-cenerentola-viva-rossini.html

  • 15
    La Valkyrietta says:

    I was in the house too, quite wonderful. Queen Victoria would have loved the singers. I can picture Bertie asking mum to give them the Order of the Garter.

  • 16
    manou says:

    Tommasini’s encomium to Camarena

    http://tinyurl.com/mmk4lsd

  • 17

    My goal is to be the Jeff Gilbert of opera critics. My attempt with Cenerentola is here.