Cher Public

One more into the breeches

“Norwegian mezzo-soprano Ingeborg Gillebo will make her Met debut singing the role of Cherubino in this evening’s performance of Mozart’s Le Nozze di Figaro, replacing Isabel Leonard, who is ill.” This from the Met press office.

  • uwsinnyc

    Isn’t she the singer who replaced Leonard at the Richard Tucker Gala on Sunday?

  • Gualtier M

    She sang the “La Ci Darem la Mano” duet with Ildar on Sunday. However, the show before the HD is the camera dress rehearsal. Hope Isabel recovers in time for next Saturday!

  • manou

    Brilliant title -- naturellement.

  • MontyNostry

    Here she is in Mozart …

    All very nice, but the kind of voice I find it hard to get excited about.

    • “All very nice, but the kind of voice I find it hard to get excited about.”

      A perfect substitution for Leonard, then?

      • MontyNostry

        The thought had entered my mind too, Dabrowski -- only this one’s a pretty blonde rather than a (very) pretty brunette.

      • I think Leonard’s voice is rather exceptional. Yes, she’s lacking in personality as a singer but she’s young and can still develop as an artist. But the voice is warm, attractive, and seamlessly produced.

  • MontyNostry

    As in “Prenderò quella brunettina”.

  • 98rsd

    I think the Cosi and she are lovely.

  • Quanto Painy Fakor

    Speaking of press offices… Earlier today Lebrecht took a slam at the some of what he deems to be among the worst and the best in opera, describing the MET as being:
    “historically overstaffed, wildly inefficient, half the press list are long dead. Hasn’t operated well since Johanna Fielder was in charge.” I disagree.

    http://slippedisc.com/2014/10/the-best-press-offices-in-the-music-world/
    http://slippedisc.com/2014/10/the-worst-press-offices-in-the-music-world/

    • Quanto Painy Fakor


  • Will

    I’ll just mention that last Friday night Ms. Leonard got a huge reception for her Cherubino, vocally as well as dramatically (ie. an almost uncannily realistic presentation of a teen-aged boy).

    • peter

      And Levine’s ridiculously long pause between verses of Dove sono tonight caused some in the audience to applaud.

      • overstimmelated

        That was bizarre — I suppose they’re getting the new audiences they need. I noticed that pause on the previous broadcasts as well — it just sounded as if he’d lost his place. (It might have worked given more imposing vocalism.) I assumed it might be related to something in the staging, but in light of last night, presumably not.

        Since they apparently won’t be broadcasting “Klinghoffer,” it may be worth mentioning that Margaret Juntwait interviewed the director on sirius last night, and some snippets of the score were actually heard.

        • He did that the night I saw the Figaro too. Nothing was going onstage. It’s definitely weird, but it’s one of Levine’s new Mozart idiosyncrasies.

          • peter

            The pause was so long, I thought there would be an announcement that someone was ill … or maybe the Countess was going to sing something else instead of the 2nd section. Maybe something from the Barber of Seville :-)

            • Milady DeWinter

              Yes, very weird. And now that the run has been ongoing, I still found the best vocalizing fom Mattei and Petersen. Gillebo was attractive; Majeski’s voice still rattles (literally) but was much more composed and attractive than at the prima. Still, not a performance that floated mon bateau.

          • damekenneth

            Is it a bit Levine’s expression of himself as the Grand Old Man that time will literally stand still for?