Cher Public

Poor little rich girl

The best things in life are free, cher public, including discussion of off-topic and general interest subjects.

Born on this day in 1894 soprano Florence Austral

Born on this day in 1921 contralto Marga Höffgen

Happy 90th birthday soprano Wilma Lipp

Born on this day in 1935 composer Conrad Susa

Happy 45th birthday soprano Eva-Maria Westbroek

  • manou

    This is mostly for Lady Abbado (hoping that she speaks Italian):

    https://soundcloud.com/radioclassica

    (second item)

  • Are there any parterrians attending this years Salzburg Whitsun Festival? (22-25/5) It would be fun to meet and gossip over a Sachertorte or a glass of champagne during intervals!

  • manou

    Anja Harteros is not with us, so her acceptance speech will be delivered by a bichon frisé wearing the face of Jonas Kaufmann. #OperaAwards— Neil Fisher (@nfmusic) April 26, 2015

    (Anja Harteros just won the Opera Award for Female Singer of the Year…but did not turn up)

    Gerhaher won Male Singer Award.

    • manou

      OperaAwards Readers’ Award are Jonas Kaufmann and Aleksandra Kurzak!

    • LT

      Why they keep kissing her ass is beyond me.

      I had to google the male winner. Never heard of him.

      • manou

        Shame on you LT. He is absolutely superb.

        • LT

          His repertoire isn’t what I usually listen. That explains it.

    • DellaCasaFan

      Hmmm, right now, their winners page lists “Ann Ziff (Bill and Ann Ziff Foundation)” for the best Opera Company (?!) http://www.operaawards.org/Winners2015.aspx
      (The actual winner is Komische Oper Berlin.)

    • Feldmarschallin

      Did Gerhaher turn up? He had a Liederabend on Monday and another one on Thursday. Harteros had an Elsa on Sunday.

      • Cicciabella

        Of the soloists, only Kurzak showed up and sang.

  • La Valkyrietta

    • baridave

      Puzzling performance: moments of real tonal beauty, with, IMHO, off-putting straight tone and going off the breath at the end of phrases.

      • Cocky Kurwenal

        He was quite entrancing the one time I saw him live, which was as Wolfram, but I don’t think I’d ever stick a CD of him on at home, or anything. He had incredible self-possession though, he really drew the audience to him.

    • Satisfied

      We are all entitled to our opinions, but I thought the first act very promising (albeit flawed and reminiscent of too many other musicals), and the second act a complete disappointment. I saw this early in previews, but found Brantley’s assessment for the Times spot on.

      I think it could have benefited greatly from an out of town tryout.

      • I agree the second act was weaker, but I didn’t think it was so weak as to drag down the musical. I thought “The Omelette” production number brought the energy back up. I was also really glad to see a musical that had extended tap numbers again.

  • Buster

    Happy to read about Alexandra von der Weth’ s succesful return to the opera stage:

    http://www.der-neue-merker.eu/koeln-arabella-premiere

    • Krunoslav

      Buster, please keep an eye out for any further news.

  • redbear

    The city of Nice has received an important donation. Over 3000 recordings, 78s, were received and yes, there is a very rare Caruso. The couple who willed this to the city also had the disks digitalized and the city’s website already has posted some and will post more, they say:
    http://bmvr.nice.fr/EXPLOITATION/conservation-musique.aspx

    • redbear

      You need to hear Selma Kurtz singing Die Volgel im Walde!

      • redbear

        Der Vogel

    • Quanto Painy Fakor

      Was the so-called rare Caruso recording of “Dai campi, dai prati” included in the various complete Caruso compilations?

  • Buster

    I am surprised there is no special Dorothea Röschmann subscription. When I clicked on Parsifal, I was sure it would be her again as Kundry, but it was Waltraud Meier. Netrebko and boyfriend in Trovatore:

    http://staatsoper-berlin.de/de_DE/calendar-2015-2016

    • turings

      I’m glad they’re featuring Katarina Bradic in Amor vien dal destino. I don’t know the piece at all, but she has a stunning contralto sound I’d like to hear more of.

      • Buster

        Bradic is indeed wonderful. She was in the ensemble in Antwerp a few years ago -- saw her in Candide.

  • Buster
  • zinka

    Most of us missed our TRUE career. In the olden days,they would never let us do this….I wanted to cover Zinka…”Vat…..I vill cover you vith Baum!!!”

    When I was singing along with Mancini (Cetra Nabucco)…my neighbors almost sentenced me to the Kathy Battle Rest Home.

    I cudda been a contendah…but better B flat…..

  • Buster

    Annick Massis as Lucia. Sumi Jo as Manon Lescaut (Auber). Antonacci as Susanna and Elle:

    http://www.operaliege.be/fr/activites/operas

  • zinka

    More later about Roberta Peters was born Roberta Peterman in The Bronx, New York City, the only child of Ruth (née Hirsch) and Sol Peterman,[2] a shoe salesman and a hat maker. Encouraged by tenor Jan Peerce, she started her music studies at age 13 with William Herman, a voice teacher known for his exacting and thorough teaching method. Under Herman’s training, Peters studied the French, German and Italian languages and practiced singing scales from a clarinet method. After six years of training, Herman introduced her to impresario Sol Hurok, who arranged for an audition with Rudolf Bing, general manager of the Metropolitan Opera. Bing asked her to sing the Queen of the Night’s second aria from The Magic Flute (with its four Fs above high C), seven times, listening from all parts of the hall to make sure she could fill the hall with sound. He scheduled her to sing the role in February 1951.

    Peters however made her debut earlier than planned. On November 17, 1950, Bing phoned her asking if she could step in to replace Nadine Conner, who was ill, as Zerlina in Don Giovanni. Peters who knew the role, but had not yet ever performed on stage, or even sung with a full orchestra, accepted. Fritz Reiner was the conductor that night. Despite a reputation for being distant and reserved, Reiner made a point of coming to Peters’s dressing room to encourage her and guided her through the performance. Her performance was received with great enthusiasm, and her career was established.

    Combining an attractive voice with sparkling coloratura agility and good looks, Peters became a favorite of American audiences and a great proponent of opera for the masses. She quickly established herself in the standard soubrette and coloratura repertoire. Her roles at the Met included Susanna in Nozze di Figaro; Despina in Così fan tutte; The Queen of the Night in The Magic Flute; Amore in Gluck’s Orfeo ed Euridice; Marzeline in Beethoven’s Fidelio; Rosina in Il barbiere di Siviglia; Adina in L’elisir d’amore; Norina in Don Pasquale; Oscar in Un ballo in maschera; Nanetta in Falstaff; Olympia in Les contes d’Hoffmann; Sophie in Der Rosenkavalier; Zerbinetta in Ariadne auf Naxos; and Adele in Die Fledermaus. She later added lyric-coloratura roles such as Amina in La sonnambula, Lucia in Lucia di Lammermoor and Gilda in Rigoletto, the last being her farewell role at the Met in 1985.

    Peters also appeared frequently with the Lyric Opera of Chicago, the San Francisco Opera, and the Cincinnati Opera, as well as in numerous cities around the United States while on tour with the Met. Over the years, she expanded her repertoire to include roles such as Lakmé, Juliette in Roméo et Juliette, Massenet’s Manon, even attempting occasionally Violetta in La traviata, and Mimì in La bohème.

    Peters also appeared abroad as early as 1951, when she sang at the Royal Opera House in London, in Balfe’s The Bohemian Girl, conducted by Sir Thomas Beecham. From the mid-1950s onwards, she appeared in several opera houses in Italy, the Vienna State Opera, the Salzburg Festival, and the Bolshoi in Moscow, in 1972.

    Peters was as popular on television as on the stage. She appeared regularly on such programs as The Voice of Firestone and The Tonight Show. On the Sunday night CBS variety program The Ed Sullivan Show, Peters was its most frequent guest, appearing a record 65 times.

    Peters also had an extensive career as a recitalist, appearing in concert halls throughout the United States. Early in her career in 1962, she performed before an audience of over 13,000 at the popular outdoor “Italian Night” concert series at Lewisohn Stadium in New York under the direction of conductor Alfredo Antonini.[3]

    Later in her career she added operetta and musical theater to her repertoire, appearing in The Merry Widow, and The King and I. Peters has never officially retired and still gives occasional recitals.

    Personal life[edit]
    Peters was briefly married to baritone Robert Merrill in 1952, later admitting she had fallen in love with the voice and not the man. The two divorced amicably, remained friends and continued to perform together in opera and recitals. She remarried in 1955, to Bertram Fields, with whom she has two sons, Bruce and Paul and 4 grandchildren: Julie, Jessica, Remy, and Noah. Bert Fields died in 2010 after 55 years of marriage.

    We crabby standees used to say “too cutesy,” but over the years we realized her musicality, accuracy,range,projection..were superb….Clip on the way. She is 85 May 4th.

  • zinka

    httpv//www.youtube.com/watch?v=6dc_8NlUPKU

    Any other Gildas take E natural here..and even diminuendo…..?????

  • zinka

    Vergogna!!!! I hope this one comes out!!!!!!

    • LT

      I’d rather she didn’t take the E and instead sang the whole thing much better.

  • zinka

    Do you think Zinka would have appeared on a show like this??? No..maybe on The Twilight Zone????