Cher Public

Dovima sono

Even supermodels take a break from enjoying the opera now and again to discuss off-topic and general interest subjects.

  • chicagoing

    I am happy for the return of Tatiana Serjan and Joseph Calleja to LOC and that Christian Van Horn will have two roles next season, but I was hoping to see Jamie Barton on the schedule.

    • Feldmarschallin

      Conductors and Regie I guess are not important or I am not seeing them? Karg also said she is doing something Italian either Pasquale or Liebestrank but I am guessing that is the season after this one.

  • aulus agerius

    I just noticed that Veronica Villaroel will be singing Suor Angelica next month in Savannah GA. Also Mark Delavan as Schicchi. I might go down for that as I am already contemplating an early spring visit to that city. I saw the same program in the Lobero Theater in Santa Barbara 9 years ago with Oksana Krovytska as a loud SA and Harold Gray Meers as the best Rinnucio I ever heard. Both operas had a big impact in a small theater.

    • Feldmarschallin

      Villaroel sounds so like 1990.

      • Camille

        2000-2001. She was very very good as Elena/Margherita. Less so as Wilson’s Butterfly. It varied. I actually first saw her in “El Gato Montes” in 1993 with PlaDo and Justino Diaz, and she looked and sang beautifully. I always liked her a lot. She was discovered by La Scotissima when down in Sud America (Chile?) while singing an engagement and helped her to get to Juilliard, and the rest was history.

        Well, that’s what I remember at the moment. Her Margherit was extremely affecting in Mefistofele?/i>. I won’t forget it.

  • peter

    Does anyone know why there are no live Sirius broadcasts from the Met this week or next other than the free “listen live” ones? There are two performances of Carmen with Alagna and Garanca which are not being broadcasted.

    • Orion

      I was wondering also … If I am not mistaken, from Sirius monthly schedule, I understand that it will be broadcasted on 23rd February.

  • Quanto Painy Fakor

    Apologies if this has been posted before, but here’s the really big shew for the Pav…
    Pavol Breslik -- the new coif stupebat

    • Quanto Painy Fakor


  • marshiemarkII

    Just came home from a MAGNIFICENT Carmen. The gurl did not disappoint, whatever she had is gone, she is the greatest singer in world today!!!!!!!!!!!!!!!!!no ifs and buts, the voice is GIGANTIC, even in scale, with lots of voce di vagina rising up to stunning Bs, and did I say the voice is GORGEOUS?that’s it, gigantic and gorgeous, what more could a Q possibly want?!?!??!? Hopefully I’ll write more later, but I just wanted to say that she has to be heard in the flesh, nothing from her records prepare one for the beauty of the sound and the enormous size, of course she is ready for Amneris and I want it NOW! :-)

    Alagna was shockingly beautiful also. The projection is stupendous, he sings right into your ear, and the sound is firm, homogeneous, musical and also gorgeous, what a pair!. A night for the ages! and to top it all, a pretty fantastic Ailyn Perez, who also projects her beautiful lyric instrument right into your ear (alla Oropesa), she sang a glorious duet in the first act, and a gorgeous aria that went slightly off at the pianissimo end, nerves?
    Everyone got a huge ovation, with the largest for the DIVINE Diva! And the productions is pretty stunning also. I had unbelievable seats in the very center of first row Grand Tier, perfect seats for a perfect night!
    Off to Iphigenie tomorrow. Bill look forward to seeing you! and hopefully Vochachina, and maybe Kruno?

    • “Voce di vagina”?

      You mean like this:

    • Krunoslav

      ” what more could a Q possibly want?!?!??!? ”

      Well, I wanted some extant emotion other than cheerfulness, and some kind of sense of Carmen being dangerous. Well-thought through and ( I agree) wonderfully sung as it was, Garanca was like a well-brought up, refined young society matron letting down her hair.

      Terrific vocalism, though, maybe the best I’ve heard in this role alongside Berganza and ( in the early years) Borodina.

      Alagna, who DOES have some passion and danger in his performance, was in impressive current form and I was glad to hear that Perez has seemingly solved her high forte problem- she did very well.

      Bretz, slightly oversinging, was no van Dam or Ramey but one has heard so much worse.

      The Dancaire was actively unpleasant to hear in a way in which few people are on the Met stage these days. I liked the new Frasquita, Danielle Talamantes- anyone encountered her before?

      Glad I was there.

    • marshiemarkII

      Kruno, you want to keep up?!?!?!??! need my beauty sleep for tomorrow :-).
      Glad we agree on the BEAUTY of the singing of the three principals though, so no argument there. Just to keep my bona fides I will acknowledge that some of the criticism of the DIVINE one was valid, she was a tad too refined in Acts I and II, and even remote, gorgeous singing but not a really voluptuous, engagingly erotic, “Southern” Carmen, the acting OTOH was even over the top, bordering on the trashy (OK with me :)) But by the Card Scene something happened and everything came together, the GLORIOUS singing together with an incredible emotional depth, and from there on she was on the road to a MAGNIFICENT last act, where nothing was missing, pure splendor in every department. She is GOLDEN AGE, no doubt!

      I really disliked Bretz’s Votre Toast, lightweight and no projection (when everyone else was projecting gloriously to my seat, so no acoustic issues obviously!). Very insignificant. By Act IV he acquitted himself well, but that was such a small contribution by then that NO, in that company he was out of place, totally.

      But I think we do agree about the stunning singing!

      • marshiemarkII

        Typo ugggh: you want to keep ME up?

        • Camille

          Marshie, cannot really talk but just to say I am pleased to note you enjoyed the Garanca Carmen. I may go, too, after my return to Gotham, alas, not in time for the Iphigénie en Aulide, hélas, for I’ve never seen it and would have enjoyed adding it to my ofher, much loved Iphigénie en Tauride.

          Kinda feel as if it is better to see and hear Gluck live rather than attempt to sit and listen to discs--it tendsto need the stage and theatrical effects to really bring it alive…….muchas buenas cosas a Vd. y vuestra madre!
          Ciao 4 Now!

          • marshiemarkII

            CammiB!!!!! bad gurl! MarshieM is always a lady, you know THAAAAAT :-)

            Too bad you will miss the Aulide, you know I have adored the Tauride ever since I first heard the Oh Malheureuse on the Callas in Paris LPs in college, then got the complete opera, and have always loved it but I am convinced now that the Aulide is the greater music, as I’ve said a couple of times, Idomeneo, the 9th and Fidelio, and Medea!!! could not exist without that template! it’s SUBLIME MUSIK!

            Talking about sublime musik, remember the Israeli pianist we saw conduct at Juilliard? well he will be playing the Beethoven No 4 Piano Concerto on March 2nd!!!!! with the Clarion Society Orchestra, who did a magnificent Mozart Requiem last spring. I hope you can come!

            • Camille

              Checking with my secretary regarding the extensive social calendar I maintain. I see that there is a tiny aperture upon that date and will discuss later. Now I must return to work or Herzog Camille will make me open the bloody door!!

              You know what they say about ladies in the drawing rooms—what putaNONas they become in the boudoir!
              Just don’t get those two directions mixed up!

            • Krunoslav

              Well, I’ll start.

              Ying Fang was AMAZING- just a ravishing sound, beautifully produced and projected. Her Iphigenie would have graced any stage in the world. Andrew Stenson’s Achille also quite impressive in superhigh tessitura

              All the singers had some good qualities and it is indeed a phenomenal score. Conducting (Jane Glover) often proved lacklustre , with iffy ensemble that will doubtless improve as the run goes along.

              Well worth attending.

      • diva2themax

        I was there on Friday & it was a stunning performance. I agree w/ everything you said. The only meh was Bretz. Garanca & Alagna were magnificent. Beautiful singing, great acting etc etc. I kind of want to go again.

      • marshiemarkII

        I thought Costa-Johnson was really wonderful also! and both girls took the C at the end of the Liberte, which our beloved diva didn’t (unlike Obraztsova who always threw it in for good measure), did she opt out because of her recent illness, or she never sings it? Alagna went up to something A(?), which Coca Cola never even attempted with the Big O! back in the day. Can’t believe I hadn’t seen this glorious masterpiece in 37 years!

    • decotodd

      Hi Marshie,

      Thrilled to hear the CARMEN is so good. I was able to get a ticket to the last performance (with Kaufmann for Alagna). Hope they have the same kind of chemistry. Also looking forward to hearing Perez live.

      • marshiemarkII

        Caro decoisssimo, I am sure you will have a glorious time. Garanca is the real thing, she sings better than anyone today I think. The voice is so healthy and beautiful and she is of course a musician of the first rank, she really has everything! It will be interesting with Kaufmann, he is also a great singer, but Alagna’s voice is so well produced and resonant not to mention his exquisite native French, it was really a treat, and Perez really did live up to all the hype. Now I understand why they kept saying she is the far more talented of the pair :-) Fabulous singer!

    • Bill


      Yup -- will see you tonight -- I am sitting in row
      D in the orchestra to the left in seat 10. Looking forward. What about Camille -- or is she sitting
      somewhere in the Dolomites at her computer pecking Parterre Posts.

      • Camille

        Hahahaha!! Aber ja, lieber Bill! I am sitting atop the Dolomites with my BFF La Wally awaiting LA VALANGA!!!!!!!!!!!

        So sorry not to be able to hear Iphigénie, as it’s on my Bucket List, but am far, far away. Please give us your input.

        Oh and I know there’s no good staging of my BELOVED La Gioconda anywhere, that’s why I want La Netrebko to do it. Everyone, Mailander, München, Wiener, MET, The Garden and Paris (not that ugly Bastille but the Garnier) can throw a few bucks into the hat and create one big travelling tent for La Gioconda.

        You see, I have given up on Giuditta. I know it’ll never fly, so this is my new TraumOper!!

        Have fun and make Marshie’M act ladylike!!

        • Well, Paris brought in Pizzi’s production only recently (2013) at the Bastille. But the comings and goings of productions here move in a totally mysterious way: some productions last years, others are replaced over and over (Zauberflöte, for example, or even Saint François d’Assise). And they are capable of putting Rossini (or even Offenbach) in the Bastille but Massenet at Garnier. So who knows? Perhaps you’ll get a Garnier Gioconda.

      • marshiemarkII

        OK great!, my seats is waiting in the box office but I am sure I’ll see you in the intermission!

        • marshiemarkII

          Have an extra ticket! !!!!
          Will be in lobby checking if any interest

    • rommie

      I’ll be at Iphigenie tonight. Any input as to how to best engage with the work in the auditorium?

  • zinka

    I was there for birthday girl (88) Leontyne’s debut with Franco’s. This was PHENOMENAL, like the 1984 farewell “Patria Mia” as if she was 21….You know the “Priceisms” that drive me nuts…and I really never understood why no one told her she could go from phenomenal to almost one evening.
    BUT she was a great lady,and we must celeb rate her achievements….(Just say far away from “Melancholy Baby.” as ever Charlie (who loves MOEDL…talk about flaws!!!!!)

  • zinka

    I think she is a very good vocalist, but she has three completely different voices, one in bottom, other in the middle and another one completely different on top. She darkened her middle all her career and the voice on top dissapears, narrow, she could not open much on top. I think it had been much interesting what happened if she hadn’t covered and darkened much her middle and she had opened much on top.
    (From Facebook poster)

    Glad someone does not think I am a KKK member..Even Zinka was no saint….or was she?????

    • la vociaccia

      Who is that person referring to?

  • Krunoslav

    Palm Beach Opera has announced its next season; some strong casting, certainly by regional standards. Does anyone know Daniel Witzke’s work?


    January 13, 2016
    Featuring Stephanie Blythe, Mezzo Soprano
    The Society of the Four Arts, Palm Beach

    January 22, 23, 24, 2016
    by Georges Bizet
    Kravis Center for the Performing Arts
    Rinat Shaham, Riccardo Massi, Eleni Calenos; David Stern

    February 4, 2016
    The Mar-a-Lago Club, Palm Beach

    February 19, 20, 21, 2016
    by Gaetano Donizetti
    Children’s Performance: February 20, 2016
    Kravis Center for the Performing Arts
    Janai Brugger, David Portillo, Lucas Meachem, Carlo Lepore; Antonino Fogliani

    March 18, 19, 20, 2016
    by Richard Strauss
    Kravis Center for the Performing Arts
    Wendy Bryn Harmer, Brian Jagde, Irene Roberts (Komponist), Zerbinetta TBA; Andreas Delfs, director Daniel Witzke

    • Camille

      Good. Now Jamie Barton will know when and where to return KATE SMITH’S red hot dress to Stephanie Blythe, for her “We’ll Meet again”.

      Can’t log on to parterre again until after the 17th because those big red things threaten to poke my eyeballs out.

      What WERE those “stylists” thinking? Don’t Say “YES” to THAT dress!!!

      • Camille

        The original:

        It was more modest, but same general idea.

        Where is bluecabachon when it is most needed, to stomp out these forest fires, like Smokey the Bear?

        • manou

          I thought the original was a red double-decker London bus.

          • Camille

            HeeHeeHee. Coco Chanel would have had a coronary over this red dress affair.

            I had no idea she was SUCH a spia and troia infedele until just recently when I saw a PBS special on her. Mind you, I’ e seen two movies, the one with cute little Audrey Tautou and that other one about she and Stravinsky, and neither even began to get into all the dirt! What an utterly extra-ordinary sphynx/phoenix creature she was, coming from nowhere and nothing and rising to such a niveau sanspareil. I am currently using no. 22, pretty strong for an old lady but it is a part of what makes my buon brodo.

      • Grane

        I’m seeing this ad 3 times: the banner, above the left-hand column, and below the first item. I love Jamie, but, well, that’s a lotta Jamie.

    • la vociaccia

      Judging by the way he generally muscles notes at full force, Bacchus is definitely the appropriate role for Jagde to go from ‘next big thing’ to ‘regional burnout.’

      • Re Tosca in Chicago last week, I did note “He was better at loud than soft” and added “perhaps more subtlety, dynamic variety and general smoochiness will come with experience”.

        • la vociaccia

          Some people like that type of tenor singing. I don’t, but you can get away with it in music like Tosca. Strauss…the lines are too long, the tessitura is too high. You’ll burn the fuck out if you sing LOUD the whole time. It’s happened dozens of times before.

          • It was a bit relentless. But these days I admit Im glad when a singer is actually properly audible.

            • It was ear-trumpet time with some of the cast in Tamerlano in Brussels this Sunday, as it was with il Seraglio in Paris. I find it hard to believe Erin Morley will be cast as Sophie at the Bastille when she made so little noise at Garnier.

            • Camille

              You know, NPW chéri, I am quite distressed to hear this about Erin Morley as when I first heard her at the relatively small Sosnoff Theatre at Bard, she sang very well, and under that acoustic, she seemed viable. Since then, hearing her only on Met broadcast and not in the house yet, I have wondered where her vocina has strayed to. I am sorry as she is a pretty and talented houng lady and had hopes it might worked.

              I wonder if Birgit Nilsson would have been heard in that Bastille, though, from the sounds of it!!??!!! Why did they build an opera house on that site anyway??

            • Hippolyte

              I had absolutely no trouble hearing Morley’s lovely Sophie from upstairs at the MET last season, nor her Constance (Dialogues) the season before.

            • I don’t think the site is responsible for the acoustics! Dame Gwyneth jones managed to fill the bastille with sound, though.

              Like any singer, Erin Morley may have been having a difficult evening. And I noted: “The impression I got, though admittedly I may just have been projecting my own dismay on the cast, was that everyone involved realized that this was one giant turkey and had lost heart, for which they can’t be blamed”.

            • Perhaps everyone perked up in the second half. I don’t know -- I wasn’t there.

            • Camille

              Apparently, Hippolyte’s ear trumpet works better than ours.

              When you walk, where do you walk to? It must be magnificent walking down the staircase of the Garnier alone at night.

            • Well, I walk down the polychrome marble stairs, cross the square and take the métro to my usual Turkish restaurant at Strasbourg Saint Denis.

            • But the really nice thing is to be first out at the interval at around sunset and first in the main foyer, magnificently restored, before anyone else gets there; then out on the loggia in the last rays of sunlight, overlooking the square and the avenue de l’Opéra.

            • Camille

              Thank you, NPWchéri. One look at that foyer made my day; everything I have dreamed of.

              When and if I ever achieve my goal of getting there, I shall let you know, so that we may walk out together, to catch the last rays of golden sun, having dabbed on copious amounts of L’Heure Bleue.

            • manou

              Ah memories…I went to the Bal de l’X at the Garnier with a dashing Polytechnicien, never went to bed but changed out of my ballgown and went straight to the office afterwards.

              I do not recall much productive work that day.

            • Camille

            • manou

              Exactement Camille!

            • tiger1

              I have seen Manon and Tales of Hoffman at the Bastille Opera and had no problem hearing any of the singers.

            • That first photo was a bit truncated and gave the impression the foyer was pokey. This is more like it:


  • Feldmarschallin

    It is with great sadness that I share the news that my wife, Ailyn Pérez, and I have separated, with the intention of divorcing. I am very grateful for all of the love we’ve received over the years from our friends, family, colleagues and fans, and hope you will continue to show your support for us by respecting our privacy at this difficult time.
    [Stephen Costello]

    • Camille
      Is this the link, Feldmarschallin?

      What a shame, especially at this time of her debut which must be stressful enough.

      • Feldmarschallin

        Yes that was the link. I never heard either of them. Didn’t he show up in the Audition and sang Faust in Amsterdam recently? Maybe I am mixing up tenors but I thought it was an American with an Italian name.

        • Feldmarschallin

          Just did a search and answered my own question. Fabiano sang the Faust and was in the Audition.

        • Camille

          Feldmarschallin, did you possibly see the MET HD broadcast of Anna Bolena? If so, you saw him, as Percy. She is just now maki g her MET debut performances in Carmen.

          Yes, easy to mix up Costello for Fabiano but two very techniques and attitudes, let alone voice and looks.

        • LT

          Costello is an American with a Scottish name.

          • Krunoslav

            Costello is actually an Irish name, though some Scots of Irish descent bear that name. The one time I encountered Stephen Costello he told me his heritage was Irish.

    • Gualtier M

      Ailyn Pérez also made an identical announcement on her Facebook page:

      “It is with great sadness that I share the news that my husband, Stephen Costello, and I have separated, with the intention of divorcing. I am very grateful for all of the love we’ve received over the years from our friends, family, colleagues and fans, and hope you will continue to show your support for us by respecting our privacy at this difficult time.”

      Weirdly the post got 62 “likes” so far which is just, you know, typical Facebook weirdness. I mean they want to send a positive vibe but there is no way that is good news or anything anyone should be pleased about (except maybe for one person, who I will not name but who has been called out here on this site for spilling tea).

      • la vociaccia

        It’s because this is OLD news. The ‘likes’ are out of relief, like FINALLY this nonsense can just be put on record

        • Camille

          Really? How is it old? Or should you say, seriously, don’t if it creates more brouhaha and bullshit.

          • la vociaccia

            Around the time of the Opera Philadelphia Gala early this fall, Costello briefly listed his Facebook relationship status as “widowed.”

            So yeah. That love couple has BEEN over

            • steveac10

              She’s been absent from his twitter account for over a year -- they were probably waiting until all the joint engagements were out of the way.

      • manou

        Never mind spilling tea -- aren’t you supposed to spill beans?

        • manou

          Gualtier -- I was very thoughtless and unkind, and should never have asked for bean spillage. Forgive me.

          But my conscience demands that I should point out that it should be …”one person, whoM I will not name…“.

        • Gualtier M

          Manou -- be careful to WHOM you speak when you correct the usage of slang:

          • manou

            Touché! I shall now have to teach you Cockney rhyming slang…

    • mjmacmtenor

      They met while students at AVA and we’re both Richard Tucker Winners (him first). Although they have maintained seaparat active careers, they also did a number of projects together (Boheme, Traviata, Romeo & Juliet, etc.), including recitals and a CD of love duets. From happier times

  • Quanto Painy Fakor

    Someone has uploaded a very rare collaboration of Leontyne Price and Gerald Moore from their stunning 1960 BBC performance of Barber’s Hermit Songs. It’s here with the full announcements:

  • antikitschychick

    sad news about Costello & Perez; wish them both the best on all future endeavors as they are both budding artists and seemingly nice ppl.

    On an unrelated (and much happier) note, Sondra Rad posted a link on her Facebook page to this review of her recent Norma in Barcelona:


    “Estamos en su caso ante lo más parecido hoy en día, junto con Liudmyla Monastyrska, a lo que llamaríamos un soprano assoluto, capaz por igual de moverse por terrenos de lirismo belcantista, cuajados de agilidades y florituras, como por los terrenos dramáticos, más propios de una spinto, como la Amelia de Un ballo in maschera o la misma Aida.”


    Presently, she and Liudmyla Monastyrska are the closest representations of what we would call a soprano assoluta, capable of moving through the lyrical terrains of bel canto, curdled with [demanding] trills and frills, as easily as the more dramatic terrain typically associated with a spinto role like Amelia in Un Ballo in Maschera or even Aida [proper].”

    First of all, props to Sondra for linking to an article that complements one of her colleagues on such a high level; it takes a secure singer to do that so BRAVISSIMA!!! I am now a bonafide fan (even though that will obviously create conflicting interests in the near future :-P).

    Second of all it’s just generally great that she’s being given this level of recognition, especially since she hasn’t taken on a lot of those quintessential Only Maria roles yet. But more specifically, its great that professional critics are noticing the insane potential she has, which makes me super happy because it will hopefully mean she’ll get offered the roles that will let her showcase her vocal arsenal more fully.

    -Most importantly, this is tangible supporting evidence for my theory which is awesome.

  • zinka


    She is sending me some Florida weather in the [package with the cd’s…..

  • zinka

    Sorry…my error……

  • zinka

    Years ago, a kid in my Spanish class said “My aunt is an opera singer.” I thought to myself (Yeah…Zelda Schlokermeyer)…..NO…It was dear Elizabeth Carron, born on 2/12/ 1922..Gorgeous voice and wonderful person…..

    Next time this happened a kid said,”My aunt is Theresa Stratas.”

  • zinka

    We all have our beloved favorite recordings. Here,to celebrate the Feb.13 (1920) birthday of the great Eileen Farrell, is one of mine.
    She chose not to do a complete Wagner opera…OK..but at least we have a lot of material that indicates how she would excel in this repertory.

  • zinka

    Feb.13 is a good birthday day…..Here is Johanna Meier (1938) who for me has been one of my all-time favorites….Great lady!!!!!!

  • DonCarloFanatic

    Is Iolanta tomorrow sung straight through or with an intermission?

    • operadunce

      According to the Met HD guide, there is only one intermission and it is between the two operas. Total running time, 3 hrs and 40 minutes. Starting time 12:30 PM ET

      • DonCarloFanatic

        Thanks. I looked but couldn’t find that info. I’m trying to beat out some expected snow and may leave after Iolanta.