Cher Public

Le tout New York

Now that everyone (who is everyone) is here, cher public, proceed with the off-topic and general interest discussion!

  • Feldmarschallin

    Takesha Meshé Kizart….now that is someone who has disappeared.

  • WindyCityOperaman

    RIP singer Lesley Gore

  • zinka

    GELB!!!! Opera can be stuffy..Get this lady so we can have some fun…..

  • zinka

    I just added a room to my apt…for all my Rings..I adore the Mehta/Valencia Ring.

    Yes,I know Wagner was not Mary Poppins,but my life would be incomplete without the RING..Remember the Ring????

  • Quanto Painy Fakor


    A neglected Mozart mad scene with extra high note for good measure

  • Buster

    Amsterdam 15-6: Ingo Metmacher is back! And Margiono as Gertrud.

    http://operaballet.nl/nl/programv2/opera?filter=107

  • Camille

    Carne Vale!

  • Feldmarschallin

    About two weeks ago someone here asked about the UA with Villazon at the Prinzregententheater. Here the details:

    https://suedpol.staatsoper.de/die-besetzung.html

    • Hippolyte

      Wow! Hampson AND Villazon…with Mojca Erdmann AND Tara Erraught! It doesn’t get any better than that! Lucky Munich!

      • Feldmarschallin

        I am assuming that is a joke right? Hampson and Villazon sung out, Erdmann with a tiny voice that is nothing special. Hannah Elisabeth Müller from the ensemble can sing rings around her so we have left Erraught, Petrenko and Neuenfels which are the three that interest me the most in this UA.

    • Cicciabella

      Hampson, Villazon, Erdmann & Erraught. I hope there’s a webcast so that the parterriat can have a collective transatlantic cardiac arrest.

      • Camille

        LMAO!
        Think of the pearls to be clutched at and the thunderbolts of imprecations to be launched. Thanx for the laff!

        • Quanto Painy Fakor

          Not to mention the composer

          • manou

            Make No Noise” -- a good motto for some composers to live by.

            • Camille

              Along with “The Sounds of Silence”.

              Jesus H Christ in a bunnysuit—I wish I had a dollar for everyone of these things I’ve sat through in the last forty years. Each one repeating the tropes of the other or previous one, and on and on, in endless waves of ennui.

  • zinka

    At 63…Incredible lady….Feb.19, 1843….I found only one flaw…When we ate out,she refused to eat Peaches Melba..well,no one is perfect….

  • WindyCityOperaman
  • Quanto Painy Fakor

    Anyone here know which organization will be producing RIENZI in Washington in the near future?

  • zinka

    Not only did I just get Virginia’s 9 cd set (but she sent me NO FLORIDA WEATHER..VERGOGNA!!)but I see a glowing review in Opera News on p.48 Bonynge has good taste!!!!!!

    No one deserves it more..She turns 90 Oct.21

  • zinka

    Available from Norbeck,Peters, and Ford..

    Product Description

    V2313. VIRGINIA ZEANI: The Artistry of Virginia Zeani, studio recordings, 1956-71, incl. Arias & Duets (w.Agostino Lazzari & Nicola Rossi Lemeni) from I Puritani, Lucia, L’Elisir, La Traviata, Madama Butterfly & Cavalleria -- recorded 1956-58, Hamburg & Torino; w.Gavazzeni Cond.Maggio Musicale Fiorentino Orch.: Arias from La Sonnambula, I Puritani, Lucia, La Traviata & La Boheme – recorded, 1956, Decca; w.Patanè Cond.Santa Cecilia Orch., Roma: Arias from Gianni Schicchi, Turandot (Liù), Madama Butterfly, La Boheme, Suor Angelica, Manon Lescaut, Tosca & La Rondine – recorded 1958, Decca; w.Annovazzi Cond.Hamburg Radio Ensemble: Arias & Duets (w.Giuseppe Savio & Paolo Gorin) from La Traviata – recorded 1960, Musica et Litera; w.Brediceanu Cond.Operei Romane din Bucuresti Ensemble: Arias from Don Carlos, Aïda, Manon Lescaut, La Boheme & Madama Butterfly – recorded 1971, Electrecord; w.Zedda Cond.Torino Ensemble: Duets (w.Ennio Buoso, Ottavio Garaventa, Gloria Foglizzo & Nicola Rossi-Lemeni): Excerpts from Otello (Rossini & Verdi), recorded 1964, Philips; w.Nicola Rossi-Lemeni (B); George Singer Cond.Hamburg Radio Orch.: LA SERVA PADRONA (Pergolesi), recorded 1960, Musica et Litera; w.Luigi Infantino, Antonio Boyer, etc.; Mario Rossi Cond.RAI Ensemble, Roma: LA TRAVIATA (Complete), recorded 1963, RAI; [1993 Interview with George Jellinek, WNYC -- most informative, refined and inspiring, especially her comments on Callas, Albanese and Pertile]. (Canada) 9-Musique Aria 7648401, each CD in its own jacket, plus beautifully-produced brochure with many lovely photos, in slipcase & presentation box. Each CD jacket features facsimile of original Decca, Philips & Electrecord artwork, where applicable. Decca, Philips & Electrecord recordings reproduced here under license to Steven Smith, Musique Aria. Available exclusively through Norbeck, Peters & Ford. -- 625989679322

    CRITIC REVIEWS:

    “Virginia Zeani belongs to the singers who were almost ignored by the multi-national recording industry. She herself preferred her live recordings to those of the studio. This might be partly the reason why she is to be found on but a few commercial recordings.

    Hers is a voice of much flexibility, emitted with remarkable technical competence, extending from warm chest notes to high E. She sings with impeccable phrasing, with great intensity and dramatic conviction.”

    -- Andrea Shum-Binder, subito-cantabile

    “Virginia Zeani was immediately noted for her rare ability to bring precise meaning to her music, achieving that rare synthesis of bel canto and expression which drew praise for her interpretations, both for their dramatic sensivity and intimacy and for her radiant singing. Beneath all this, however, there was something in Zeani’s timbre which went straight to the heart: an aura of veiled melancholy, a nobly-controlled passion which blended exquisitely with the bewitching color of her voice, dusky in the center and radiant at the top. Hers was a voice of fascinating femininity, capable of expressing both tenderness and sensuality, both elegy and tragedy.”

    Davide Annachini

    “An exceptionally beautiful woman with dark, lustrous hair, Romanian-born soprano Virginia Zeani became one of Italy’s most-appreciated artists during the 1950s. Initially specializing in lyric/coloratura roles, she moved in the 1970s to more dramatic parts, maintaining nearly all of her vocal allure while adding a dimension of larger-scaled authority. Celebrated most of all for her touching Violetta, she made her career primarily in Europe.

    Beginning in the early ’80s, however, she moved to the U.S. with her husband, Italo-Russian bass Nicola Rossi Lemeni, to become a faculty member at Indiana University and continued to teach there following his death in 1991. Zeani, born Zehan, pursued her interest in singing despite parental opposition. Encouraged by an endorsement from her chorus director when she was 12, the girl located a teacher and paid for her own lessons with money earned from church performances and part-time work. By the following year, her family had capitulated and she was able to undertake lessons in earnest from a new instructor. It was not until she became a student of Russian coloratura soprano Lydia Lipkowska (who had sung Violetta at the Metropolitan Opera during the 1909 -- 1910 season) that Zeani was prepared to sing in her correct range. After work on Violetta, Mimi, Massenet’s Manon, and Gounod’s Marguérite, Zeani left Bucharest in 1947 to study with the celebrated Italian tenor Aureliano Pertile in Milan. His response was highly favorable as he informed her that she needed only additional coaching in pronunciation and style. Zeani also sought the counsel of Luigi Ricci in Rome and several of Toscanini’s former coaches at La Scala.

    By the time of her début at Bologna in 1948, Zeani had been thoroughly prepared. The role, not surprisingly, was Violetta, the signature characterization that would carry her through several other important débuts: London (1953), Vienna (1957), Paris (1957), New York (1966), and Moscow (1969). In 1956, Zeani appeared for the first time at La Scala when her Cleopatra (Handel) appeared together with the Cesare of Rossi Lemeni. Zeani had encountered the bass several times before, beginning with her Milanese student days. On-stage, they had met previously in Florence during Zeani’s debut in I Puritani when the soprano replaced Callas at a late hour. When Zeani and Rossi Lemeni connected in GIULIO CESARE, he proposed even before rehearsals were over and marriage followed three months later.

    In 1957, Zeani created the role of Blanche in Poulenc’s DIALOGUES DES CARMÉLITES at La Scala. In contrast to her involvement with works of the bel canto composers and later operas derived from the verismo movement, Zeani was keenly interested in contemporary works. In addition to Poulenc’s DIALOGUES, she participated in the world premieres of Raffaello de Banfield’s ALISA and Barbara Giuranna’s MAYERLING. Zeani was assigned roles in notable revivals as well. In 1965, she took the title role in a Neapolitan production of Donizetti’s MARIA DI ROHAN, in 1968 portrayed Desdemona in Rossini’s OTELLO at Rome and in 1970 sang Verdi’s ALZIRA also at Rome. By the 1970s, Zeani began to move to such spinto roles as Aïda, Tosca, Fedora, and Magda Sorel. There, her histrionic mastery and command of style matched the expertise that had made her earlier work in the coloratura repertory so distinctive.”

    -- Erik Eriksson, allmusic.com

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    Demon (Rubinstein) (Zeani, Rossi Lemeni) (2-Myto 065.335)

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    B

  • Feldmarschallin

    The queen of the pirates has died:

    http://www.welt.de/kultur/musik/article137670659/Sie-war-die-letzte-Koenigin-der-Musikpiraten.html

    What a perfect description of the Disco Center which no longer exists. That is where most of my lp’s came from especially all the live things. The Köln Sonnambula, Scala Bolena etc etc.

    • Buster

      Fascinating story -- thanks! Anneliese Rothenberger is such a wonderful singer on those early tapes, now luckily all back into print: Clivia (1951), Lustige Witwe (1950), Graf von Luxemburg (1951), Frau Luna (1954), Maske in Blau (1953), Tausend und eine Nacht (1953), Landstreicher (1951), Land des Lächelns (1950). She is much more alive and brilliant here than on her later studio recordings, which basically all sound the same.

      • Feldmarschallin

        Buster were you ever at the Disco Center back in the day? You walked downstairs by means of a very narrow spiral staircase and then the first thing you saw was a poster of Sutherland with a real big attached to the poster. Over the years there were things put around the poster so it became like a shrine. Even bizarrer made it that the big Sutherland queen was this jewish guy who always wore a little cappie which is very unusual here and only last week was there a report in the SZ about an American guy who has been living in Germany since the 80’s and who for the last 3 years now went around Germany wearing this to see the reaction of people. Turns out there was no reaction and if there was it was friendly.

        • Buster

          No, unfortunately not. Bachler should have bought that Sutherland assemblage for the BSO, it sounds more interesting than what he hung up there recently.

  • Quanto Painy Fakor

    When you can’t find a rabbi, you perform L’elisir d’amore!
    Aufgrund der Erkrankung von KS Neil Shicoff wird statt Jacques Fromental Halévys La Juive am Montag, 23. Februar Gaetano Donizettis L’elisir d’amore an der Wiener Staatsoper gegeben. Es singen Valentina Nafornita die Adina, Antonino Siragusa den Nemorino, KS Alfred Šramek den Dulcamara und Gabriel Bermúdez den Belcore.

  • Quanto Painy Fakor

    Time machine (you gotta love Youtube!):


    POLISHED!

    • Feldmarschallin

      But what was she thinking when she put on that dress? The underdress looks like a slip. Not a good look for her and on top of it the hair needs a lot of help as well.

      • Lohengrin

        Feldmarschallin: No reply, but “Gute Reise” (hope that Deutsche Bahn works…..)!

        • Feldmarschallin

          Danke fliege mit Lufthansa für 98€. Gute Reise auch.

          • Lohengrin

            Habe es leider weit zu jeglichem Flughafen und fahre daher mit dem Nachtzug für 74 €, ICE-Bahnhof fast vor der Haustüre.
            ALLE WEGE FÜHREN NACH ROM!

    • PushedUpMezzo

      That Eliza doesn’t quite match the immortal Nilsson version, but it was a very brave attempt. I’m off to YT to see what else was on the programme. Dich Teure Halle maybe?