Cher Public

Beautiful girls

On this day in 1971 the musical Follies opened at Winter Garden Theater in New York for 524 performances.

Born on this day in 1875 conductor Pierre Monteux

Born on this day in 1895 tenor Isidoro Fagoaga

Happy 82nd birthday tenor Sven Olof Eliasson

Happy 69th birthday baritone Sergei Leiferkus

Happy 58th birthday baritone J Patrick Raftery

Happy 55th birthday soprano Jane Eaglen

  • messa di voce

    Alexis Smith -- OK actress, couldn’t really sing, couldn’t really dance, but with Bennett’s help, turned herself into the all-time epitome of musical comedy glamour.

    • olliedawg

      I remain so very sorry not to have seen “Follies” in its original Broadway incarnation. That the show has enjoyed so many revivals, including one I saw at the Paper Mill Playhouse with Ann Miller (who stopped the show), Donna McKechnie, and so many wonderful singing actors, speaks to its high-caliber artistry. One of my favorite songs from the original cast album is “Who’s That Woman?”. If it isn’t one of the wisest songs about women growing older, it’s up in the top 10. But, gosh, I wish I’d seen up close and personal how Hal Prince conjured up “black & white” to color and back. Brilliant score, pungent lyrics, and even the aforementioned Alexis Smith (who I saw in another short-lived musical — Platinum? Anyone remember the name?) who was glorious looking and minimally talented, woo’ed the critics.

      • Operngasse

        I was wondering if anyone else had suffered through Platinum. Short-lived doesn’t seem quite accurate — I don’t think it ever breathed. The most vivd memories are the sable coat, Alexis Smith stripping bare (!) to take a bath on stage, and Chita Rivera’s untalented daughter.

        Is that too harsh?

        • messa di voce

          Lisa Mordente, unforgettable in “Marlowe” (Tony nomination).

        • olliedawg

          Platinum = one of the more awful musicals I’ve ever seen. But Alexis Smith reminded the young ‘uns in the audience what Hollywood glamor was all about.

          • manou

    • whiskey per tutti

      I count myself lucky to have seen the original production of Follies in its final weeks. Unforgettable. Alexis Smith had the most glorious slink of a walk. She got most of the press attention, but Dorothy Collins was heartbreaking and poignant. Her version of “Losing My Mind” has never been bettered.

      • Jungfer Marianne Leitmetzerin

        ANY fan of “Follies” MUST read this book:

        Likely one of my deathbed regrets will be that I actually had the opportunity to see the original production of “Follies” but since I wasn’t yet living in NYC on my own, the Met and NYCO got priority. Same with “Company” but at least I have seen some wonderful productions and cannot get through the DVD with Raul Esparza without crying for two hours starting at the moment Bobby slowly approaches the piano. My love for Sondheim began with “A Little Night Music” which I saw with the original cast eight times and have Hermione Gingold’s autograph. I never missed another Sondheim show or revue up through “Passion” and have seen excellent Austrian productions of “Company,” “Sweeney Todd,” “Into the Woods,” and “Forum.”

        I, too, saw the glorious Papermill Playhouse production (why wasn’t this taped for PBS?), and while I remember all the big names, I was very touched to see Eddie Bracken at age 83 (his performance in “The Miracle of Morgan’s Creek” is one of the greatest comedic performances committed to celluloid).

        • JML did you know that sadly the original Anne of the Little Night Music cast (Victoria Mallory) passed away last summer from cancer.

        • mjmacmtenor

          I also missed seeing both Company and Follies when they came to LA (I was in high school). I saw later productions, but always regret the missed opportunity. A lesson for all -- but I did see LNM, Sweeney Todd, and Pacific Overtures ( and Lansbury in Gypsy).
          Before Follies Dorothy Collins did spa tour of 110 in the Shade. I did not see it, but have the add for it in the program of something else I saw (in Dallas).

          • messa di voce

            Spa tour? Everyone dressed in towels?

        • olliedawg

          TMAMC and just about any Preston Sturges film from the mid-1940’s = can’t be beat.

          And, both EB and AM were wonderful in the Papermill Playhouse production. Showing what real troupers are made of. Donna McKechnie was also pretty terrific.

      • Krunoslav

        “Dorothy Collins was heartbreaking and poignant. Her version of “Losing My Mind” has never been bettered.”

        Take THAT, Ute Lemper! :)

        And Lemper’s “Ladies who lunch” may be the worst recording of a show tune *ever*,

        • armerjacquino

          It’s an important lesson- don’t try and be cleverer than the song. Just sing the song.

          • olliedawg


        • Greg.Freed

          Someone played me some Ute Lemper right after college and I have studiously and successfully avoided her work for the twenty years that have passed since.

          • DeepSouthSenior

            Ute Lemper and Nadja Michael -- Separated at birth? Some wag might say that each got half the voice.

          • armerjacquino

            Her debut album of Weill songs (with Mauceri and therefore unmessed-with) is spectacular. Then she started interpreting* and things went downhill.


            • Jungfer Marianne Leitmetzerin

              In about 1990, the Kurt Weill Foundation announced that Lemper was the greatest thing since sliced Weisswurst and promoted the hell out of her starting with her American/NYC debut: a midnight cabaret concert at Alice Tully Hall. She also played the cabaret at the Rainbow Room (Stars and Whatever) and was a great success. She was planned as the centerpiece of a proposed complete Kurt Weill centennial edition helmed by Mauceri for Decca Records with much support from the KWF and a few albums were issued (two CDs of songs, a pretty decent “Dreigroschenoper” with Rene Kollo as Mackie Messer, a magnificent “Street Scene” in which she did not participate) but it quickly became apparent – long about “Die sieben Todsünden” – that she couldn’t sing the music without substantial transpositions and the KWF and Decca got into a war and the project was halted barely before it got off the ground. She then did something that was supposed to be a rock album and Decca stuck by her with her albums of Dietrich and Piaf songs. That’s when I dropped out. Did I mention that I am in her video of “Alabama Song?”

            • steveac10

              And she still never matched Stratas. I could listen to Stratas Sings Weill once a day for the rest of my life and never tire of it. It’s probably on of the 2 or 3 most played albums in my collection.

            • armerjacquino

              The Mauceri STREET SCENE is one of two recordings which stemmed from the Scottish Opera/ENO co-production in 1989. It’s just such a shame that star casting dictated that neither Kristine Ciesinski, who sang the first ENO run, nor Janice Cairns, who sang the telecast, were used instead of Barstow. As I’ve mentioned, I’m not a fan of hers anyway, but she’s on particularly poor form here, and both Ciesinski and Cairns were superb in the part.

              In fact, Ciesinski did record Anna Maurrant in the second of the two recordings based on the 1989 production. Her colleagues aren’t on the exalted level of Ramey, Reaux and Hadley (not to mention Arleen Auger and Della Jones as the gossipy nursemaids) but Janis Kelly is nearly as good as Reaux and nobody lets the side down. Rose must be a part that brings the best out of people- in the telecast the notoriously variable Lesley Garrett is as good as I’ve seen her.

              One of the highlights of that 1989 ENO production was the teenager playing Mae, who tore up the stage both as singer and dancer and brought the house down at the end of ‘Moon Faced, Starry Eyed’. I wonder what became of Catherine Zeta-Jones?

            • Often admonished

              I wonder what became of Catherine Zeta-Jones?


      • The_Kid

        The recent Opera de Toulon production of Follies is on YT, BTW. The “I’m still here” is wonderful, despite weird French subtitles. Liz Robertson (didn’t she play anna to Nureyev’s King?) is great as Phyllis. I like the Loveland set design myself.

        • mjmacmtenor

          She was also the last wife of Alan Jay Lerner (his widow)

  • messa di voce

    Funny horn boo-boo at the end of the great ATS duet!

    • pirelli

      Must have been Bobby Corno. (As in the phrase starting at 2:22 in this clip.)

  • LT

    In light of today’s broadcast of Ernani

    • DeepSouthSenior

      Negative reviews and comments about the current Met Ernani have scared me off from today’s broadcast. I think I’ll plan to watch two recordings from Met Opera on Demand: The February 2012 Live in HD with Armiliato, Meade, Giordani, Hvorostovsky, Furlanetto; and the December 1983 with Levine, Mitchell, Pavarotti, Milnes, Raimondi.

      Instead of opera this afternoon, for the second time we’re going to see the new Disney “Cinderella” conducted by Kenneth Branagh. Talk about a near-perfect film! This Cinderella is a sumptuous, sincere, technically brilliant, straight retelling of the classic story. No postmodernism cynicism, “inside jokes,” or too-clever-by-half irony here. As one reviewer wrote of the new trend to tell honest stories straight, “Warm is the new cool.” Plus, it features Cate Blanchett as the most glamorous stepmother in movie history. Other good actors get some screen time, too.

  • Gualtier M

    BTW dropping it here in case it got lost on another thread: Domingo has called in sick for the “Ernani” broadcast only 40 minutes before the broadcast. Luca Salsi is the replacement.

    • Bill

      Listening to the Ernani after seeing it on Tuesday
      (with Domingo) is not a great pleasure. Francesco Melli sounded better live on Tuesday -- when he sings
      Mezzo voce the voice is really quite attractive --
      but he pushes alot probably trying to force his voice
      because of the size of the Met and the voice loses
      some of its allure. Domingo was not (on Tuesday)
      as awful as some of the critics have noted -- he has
      some dulcet notes but then one does also notice
      some shortness of breath. His third act aria
      was not always in zinc with Levine (but then
      Levine practically never looked up not seeming to
      be paying alot of attention to those on the stage.
      Belosselskiy is an adequate Silva -- not really a sonorous voice but reasonable. At the Tuesday
      performance Angela Meade sang flat or just under the
      note quite frequently in the first act so hearing her
      was no pleasure. The pitch problems lessened considerably in the next two acts -- still the voice,
      despite some attractive high notes (a few not all that attractive) for me is not terribly interesting
      to hear. I think not a finished artist vocally
      She was about the same on the broadcast (now entering the third act). The new baritone replacing Domingo, a certain Luca Salsi is a true baritone -- but not vocally at the level which one might expect at the Met (and also short of breath). On Tuesday Domingo received the most applause and the house was less empty than many other performances I have seen this season though not completely full. I went late in the afternoon, picked up a standing room in the orchestra section
      and it was number 3 !!! (out of 100 downstairs) When I took my position before the performance Numbers 1 and 2 were not there
      and that meant I was the ONLY STANDEE which is
      rather a sad thing to see -- But then the Standee
      tickets downstairs are around $ 30 each (different
      prices different performances) so what student
      would bother to pay that amount? On Tuesday the applause for each aria, duet and ensemble lasted about 3-5 seconds each but there was hefty applause at the end particularly for Domingo and Levine.
      Those who are begging for Domingo to retire quite
      forget that his presence (even as a baritone) sells tickets at least for seats if not standing room.

      • Camille

        It’s extremely sobering to consider you were the only standee — o tempura, o mores! And I do think that students are not going to attend at those prices, nor the price of the student tickets themselves, $35.00

        Yes, so long as he sells out the house, he will be retained, per force.

        Hoping you get to Budapest for the Könegin in September!!! Tschuß!

        • Camille

          damn autocorrect made tempura out of my tempora!! Bloody machines!

          • thirdlady

            “o tempura, o mores” DEFINITELY has to become the name of a hipster izakaya!

            • +1

            • Camille

              Hahahaha! You’re right! The more I think about it, the better I like it.

              I still hate autocorrect, though. It’s like having HAL from 2001 take over the control wheels…….

            • Krunoslav
            • Indiana Loiterer III

              Yes, but are they social morays?

          • pirelli

            Doesn’t Carmina Burana start with “O, tempura”? ;-)

            • Camille

              Tempura, tempora—O Fortuna—let’s call the whole thing off—

            • Indiana Loiterer III

              I think you want this:

            • Camille

              Indiana Loiterer III —
              I am forever in your debt! That was the funniest f#cking thing I have ever seen and as I have always loathed Carmina Burana SO much, no more so than when I heard it coming out from bad sound systems of beater cars in midtown traffic on hot, muggy summer daze, THIS, then, redeems it all! It brings it exactly to the place and level it so richly deserves!

              Thankew, thankew, THANKEW! Big kiss!

      • Jungfer Marianne Leitmetzerin

        I thought Luca Salsi was sleeping with the fishes…

        • manou

          • DeepSouthSenior

            He got the point, that’s for sure. One hopes Luca Salsi doesn’t have a strangled sound.

  • I found myself in a youtube hole this afternoon and somehow this is where I ended up/ I had forgotten how dreadful MMe Moffo was in this. How did this EVER get committed to record??

    • DeepSouthSenior

      “How did this EVER get committed to record??” It’s like those ubiquitous NutriSystem commercials featuring a svelte granny in her 50’s -- Marie Osmond. You sella da product, we paya da money.

    • Krunoslav

      “How did this EVER get committed to record??”

      L’argent fait tout-- et le mariage aussi!

      Moffo had married David Sarnoff, who ruled RCA.

    • Camille

      Hey you guys! Lay off poor Anna! She was a beautiful lady put through the meatgrinder and it would seem she was a fragile person as well. Just because her middle voice wavers and quavers too much does not mean she stank!!

      Everybody is just jealous because she was prettier than everyone else. And I was just as much a snob about her back in the day, too, but have learned my lesson! Go read Mrs John Claggart’s blog entry on her from last spring, for example. he was a great musician, a lady, and for quite a while the most beautiful Violetta or Manon ever.

      Where is SANFORD when you need him?

      One time, a couple of years before she succombed to cancer, I think, Monsieur Camille had a seat next to her at the opera and she said she was still beautiful but looked oh, so sad.


      • Camille

        That is, he said she looked.

        I’m upset. You shouldn’t make fun of her. Bad karma.

        • Camille

          And if you don’t lay off Anna I’ll post that idiotic Leave Britney Alone video.

        • armerjacquino

          Brava. They don’t exist solely for our pleasure. They’re people living a life and doing a job. Sometimes they don’t do that job as well as they could: let he who has never screwed up at work cast the first stone.

        • Krunoslav

          How is it making fun of Moffo to answer truthfully how the RCA THAIS came to be made?

          • Camille

            I think that Anna
            Moffo sings,
            to this day, in a second,
            parallel Met, a hologram of the original
            projected in air,
            where failing voices continue
            to thrive amidst a system of strange geysers
            girders, cables
            linking the golden prompter’s box
            to a sky that burns directly on the stage.

            “Ode to Anna Moffo”,, I think it’s line 45, by Mr Wayne Koestenbaum, someone who knows a thing or three about Humiliation.

            There is also this to consider by that vast Trevi Fountain of operatic lore and knowledge, The Widder Claggart:


            I rest my case.
            These two poets above have spoken for me.
            To learn pity and compassion is a great lesson for us all.

            • Krunoslav

              Many singers who routinely get roasted by some here ( Sills, Milnes, Behrens, Vishnevskaya, Domingo, for example ) also had difficult trials in their personal and/or medical lives and — like most singers- ended up less good than when they were at their prime.

              Is mention of *anything* bad about their careers thus to be avoided- or is Anna Moffo just in a special category because of her beauty and Sanford’s worship? I don’t understand how pity and compassion get reserved only for one object.

            • Camille

              Yes, Krunoslav, she IS a special case because she was special, that’s all, and it is nothing to do with Sanford, who seems to have disappeared. And everyone has a tough time, the singer’s life, even the best of them, is a rocky road. It’s unfortunate that hers was so public and that it discredits for the younger generation her laudable early efforts, Butterfly, Traviata, Mimi, Manon, usw. And I certainly don’t care for what she does a lot of the time, either, and turned my nose up at my one opportunity of hearing her as Marie in La Fille du Régiment as I was then, in 1973, too good a little snob and too discerning for the likes of her. Me cretinona.

              Yes, Behrens, too was special, for other reasons, and you never fail to draw attention to her OBVIOUS flaws, and I am by no means a votary of hers as is her devoted MMII. It seems the singers you approve of, however, are always good and right, strange to say for such an intelligent, learned and discerning critical sense, as yours most certainly is and for which I have quite a lot of respect. I also dearly loved Nerva and know that she is alive and well somewhere but is too temperamental a diva to return in our midst. Disgraziati that we are.

              Now I must turn my attention to La Juive so I must absent myself from further discussion of Madame Moffo, (who sang la Princesse Eudoxie very well in that studio recording of the same opera), and yes, a very special creature, indeed.

            • armerjacquino

              Kruno- I can see how it looks like a double standard. But with the other singers you mention there will always be some defence- some people hate Sills, or Domingo, or Vishnevskaya or whoever, but there will always be someone else to make the opposite point.

              With the Moffo THAIS and with her late career, there’s not much room for defence. It’s just bad and sad and there’s not much to be gained by someone saying ‘wow, that was bad’ and everyone else saying ‘yes, it was’.

              There’s a 1973 recording of ‘Depuis le Jour’ by Hilde Gueden which I heard a while back and it just breaks your heart to hear it- there’s just no voice left there. It would be easy enough to post it and say ‘listen to this! It’s awful!’ but isn’t it more fun to say ‘listen to her Hanna/Sophie/Gilda (etc), isn’t it ace?’.

              Of course we don’t need to pretend that nobody ever sang anything badly, but it seems a shame for someone to post a clip of an artist who was wonderful in her prime, and didn’t have the best life, purely to be able to say ‘I’d forgotten how bad it was- listen so you too can hear how bad it was and say so’. There’s a glee there that I find disturbing.

              FWIW I wouldn’t have put your purely factual reply in that category, I just thought I’d explain why the whole idea of putting some unfortunate singing, that everyone who knows about it already knows is bad, on a platter for further delectation.

            • armerjacquino

              Missed the end of that last sentence. But I hope I managed to explain it properly, if repetitively and a bit premiere-of-TURANDOTishly.

            • Camille

              Armerjacquino—thanks a lot, kid.

              You stated what I wanted to say but am an old lady who gets her titties all in a tangle and doesn’t have much linear logic, either, so thanks a lot for clarifying and stating my case for me.

              If I need a lawyer (Solicitor), you are hired.

          • Camille

            Last hiccup about La Moffo:

            Ss long as we are invoking careers aided and abetted by powerfully placed spouses, let us not forget the one of Mrs Peter Greenough, whose ascent the Cleveland Plains Dealer b(r)ought to its prominence, or certainly did impact favourably, and quite some while after she sang very well, indeed. In 1969 I played piano for someone who had sung with her in the fifties, and he enthused about her singing, back THEN, but by the beginning of her heyday nationally, he just laughed and said “you should have heard her in the fifties.”

      • Belfagor

        I sat next to her at the Met when the Kirov did ‘The Invisible City of Kitezh’ at the Met -- I think this was 2003… was already an overwhelming evening as it was a life’s ambition to see that piece, and on top of that , her recordings of ‘Thaïs’ and ‘L’amore dei tre re’ had been major parts of my teen opera obsession. Her companion complemented my designer specs and I was able to exchange a few words with the great lady -- I was very overawed.

        Actually, I love that recording of ‘Thaïs’ -- it spoke to me from the start -- the orchestral playing under Rudel is still the best, as is the sensitivity and nuance of Bacquier’s Athanäel, (so much better than the stolid glassy plod through of Sills/Milnes/Maazel) -- I wanted to tell Miss Moffo how much I adored that recording, and how her fragility actually enhanced it -- I find it very touching -- but of course I didn’t dare. I exchanged a few star struck platitudes and re-immersed myself in Act 4 of ‘Kitezh’ -- which was totally engulfing……..

        • Krunoslav

          Ever given a listen to the wonderful sets with Robert Massard and 1) the 25 year old Andree Esposito-- granted,this one has cuts? and 2) the fabulously vibrant ( too much for some tastes) Renee Doria? May change your THAIS preferences…

          • Belfagor

            Krunoslav, of course I have, Thaïs is one of my great pleasures, and of course these ladies are far more secure and all-encompassing than dear flawed Anna. But as a teen in UK in the 1970’s near a well stocked record library, the Moffo and the Sills were the two recordings available- as I exploted more I found these others -- though the cuts to what is (in my opinion) Massenet’s most intricately wrought score, are galling……thus I have a soft spot for flawed Anna.

            • Krunoslav

              Well, I found Doria first, and only then heard the version by Moffo ( a fine TRAVIATA recording and my favorite recorded Luisa Miller); hence my lack or more than a morbid interest in that set. ( The entrance seems oi be a Streisand hommage…)

        • manou

          Dear Belfagor -- in what way did Moffo’s companion complement your specs? Was he/she wearing tortoiseshell?

          • Belfagor

            Ha ha! A combination of iPhone and old (though very glamorous) specs!! Compliment- of course!

            • manou

              Sorry! It is very unusual to catch you out and I could not resist it.

        • damekenneth

          What I found so fascinating about Moffo’s Thais was how her singing managed to be so beautiful and so wrecked at the same time. From the first moment, “C’est Thais,” the actual tone was all that gorgeous velvety Moffo sound, but the it was like a bowl of jello in an earthquake, completely unstable. Absolutely no control over what was clearly still, in moments, a beautiful instrument.
          I take such a lack of pleasure in her vocal decline, precisely for the reasons Camille pointed to: great musician, stunning voice, apparently a kind and sensitive person, linguistically talented, beautiful woman. Still, I am fascinated by the contradictions presented by that Thais.
          By the way, was it because of Rudel conducting this recording that he did not conduct Sills’? I can’t remember which was first.

          • Belfagor

            I think Thaïs was the first I heard of her -- followed closely by L’amore dei tre re (the recording of which is close in date, but not so parlous vocally) -- as an impressionable teen I was more repertoire driven than voice driven. I was struck by her fragility and soul -- quite possibly had I heard her in her prime first, I would have known to be2 more discerning.

            But there were a lot of great voices I heard live in the late 70’s-early 80’s who had been peerless earlier, and who were past their primes, but who had such magnetism: Crespin, Vishnevskaya, Vickers, Verrett, Caballé, Gwyneth, Scotto, Gedda, Kabaivanska, Cotrubas etc.. that vocally fragility and imperfection were almost like a signature, I found it sort of endearing and individual……….

            • damekenneth

              Yes, I share many of your feelings about this Belfagor. I loved Sills in spite of knowing her more from her past-prime years, and had a huge soft spot for Cotrubas, loved Scotto’s commitment, etc. But I must say Gwyneth’s prime and past prime years are a bit more confusing. I would say she had a renewed prime, or renaissance or something, from about 1985 -- 1990 during which time she was more consistent than during anytime in the 70’s or early 80’s and when much of the tonal beauty and steadiness of the voice returned. But it’s true she never again seemed to be one of the great Verdi singers after about late 1969.

        • Camille

          Well, Mr Belfagor dear, at least you had thhe temerity to say something to her and have that bella soddisfazione. Poor Monsieur Camille sized her up and decided not to invade her privacy on that evening—I forget which opera and why I wasn’t there—because, as he said, “She looked so sad.” Seem to think it was an Italian one, though, and possibly one of her former roles, as well. Can no longer remember as it is a dozen or more years ago.

          Just in case you have not heard——Important news about Le Cid!!!!! The broadcast of the Paris production will be on the 18th at 7:30 pm CET, so set the clock and the date. I am going to resort to IMSLP as it is one score I do NOT have and it is hard to scare up. Maybe I shall trot off to that Great Mother, NYPAL, and have myself a look.

          Happy listening. I am invoking the deity of Le Mage to somehow make the Le Cid appear at the Met. If only!!! Happy Easter Eggs to you!

          • Belfagor

            Camille, I would never have dared open a conversation, had not there been an opening. I was aware of the flutter of recognition and whispers all around.

            I’m in Paris for one of the performances of ‘Le Cid’ but it seems to have been sold out for ever -- maybe I’ll see if I can get in somehow…….I’d love to hear it live, even if it’s not a great favourite on recordings as it’s so macho and noisy -- !!

            • Camille

              You have to stand outside the Garnier with a sign saying
              ” Je suis un pauvre étudiant de la musique—De grâce! Ayez la pitié de me donner un billet!”

              Look, it worked for a kid outside the Juilliard Theatre, whereupon I gave him my ticket and walked back to the subway. You MUST get in and see it for MOI!! If I weren’t ill and in debt, I would be there!
              (Camille doit souffre…..)

            • Belfagor

              I’ll need a thorough Von Aschenbach makeover if I’m going to impersonate a penniless student -- even by gaslight……..!

            • Camille

              Consult Mr Mann’s manual and Bonne Chance!

              Rachel is about to get flung into the vat of boiling oil so I must be attendance. (La Juive is much better than its reputation. )

  • Camille

    The Kubelik Parsifal has just now hit the runway on and is off and running, for all you Church Of Parsifal People out there—you know who you are and now you know where to find him….

    Happy Holidaze to all religious persons of whatever religion.

    Buona notte and goodnight a tuttiquanti

    Pax vobiscum

  • littoraldrift

    The new TCE season is up and some exciting stuff:
    Ariadne auf Naxos Harteros/Kaufmann (!!!), Werther w/JDF and JDiD among the concert performances, Tristan under Gatti in a Pierre Audi production (+ an all-Puccini recital by JK!)

    • Spontini!

    • Hippolyte

      Both TCE and La Monnaie (Brussels) are doing Mozart’s Mitridate next spring--different conductors and productions but both with Myrto Papatanasiu as Sifare! Why??

      Both are also doing Spontini too--the Vestale in Brussels for assoluta Alexandra Deshorties!

      • DellaCasaFan

        I believe that Spontini is their co-production.

      • Camille

        Spontini = Spuntino for moi! Hooray!