Cher Public

Liberté, égalité, feux d’artifice!

On this day in 1789 the French Revolution began with the fall of the Bastille.  

Born on this day in 1874 conductor Serge Koussevitzky

Born on this day in 1901 composer Gerald Finzi

Born on this day in 1918 director and screenwriter Ingmar Bergman

Also born on this day in 1918 director, screenwriter and playwright Arthur Laurents

Born on this day in 1929 tenor Charles Anthony

  • PCally

    Whatever German newspaper wrote that Meier’s career
    was over either saw her on a bad night, in a bad production, or a in a role that isn’t vocally congenial. Her final Isolde was mesmerizing from beginning to end and she met the vocal challenges head on. Certainly, the voice is no longer in prime condition, most notable unfortunately in the extended legato lines (NEVER her strong suit even on her best days) in the loved duet. Elsewhere, minus the non-existent high c’s, she was on fire all night. How remarkable it is that after having sung the role so long, Meier has never settled in a comfortable routine and has maintained the freshness and spontaneity that others gradually lose. I simply cannot imagine a more devastating Isolde than hers and I feel very privileged to have seen it on three different occasions.

    The production is justly famous and the cast, minus a shrill sounding Michelle Breedt, was probably THE finest one can currently assemble. Dean Smith lack charisma but sings the role without much strain and a beautiful, if somewhat generic, sound. Pape is definitive in his role and was spectacular. Jorden’s conducting was wonderfully theatrical, though I personally prefer him in Strauss.

    The ovation for Meier was among the single loudest I have ever heard and she was very visibly moved.

    • phoenix

      ‘devastating Isolde’?

      • PCally


        • phoenix

          I assume you are referring to your personal feelings, PC, and she did not indulge in devastating poor Isolde herself -- don’t worry, I’m not a German newspaper.

          • PCally

            Yes, that’s what I meant. There was nothing devastating about her performance i.e. anything that one who enjoys Meier could complain about.

          • Adjective, not verb, phoenix. But I have a feeling you’re just pulling PCally’s leg. :)

    • Camille

      Where was this performance and were you there PCally?

      Perhaps phoenix has not seen her sing the role-? It’s not enough to just listen on the radio for this particular singer/role. I wouldn’t believe it myself had I never witnessed it in the theatre.

      • PCally

        Camille, the performance took place in munich, the Konwitschny, which Meier premiered a couple of decades ago (and which is available on dvd in case your interested). I’m a bit biased about Meier because she has (along with Mattila) given me more pleasure than any performing artist, not once having been anything less than enormously compelling each time I’ve seen her. Given her age, her true fach, and the fact that she’s been singing for forty years, she was in good late career voice. It was not just an evening driven by sentiment (though the audience clearly was repaying her when she came out for her solo curtain call) but a really magnificent performance.

        Also Camille, I’m in the minority here but I think there’s a lot to be gained simply by listening to Meier because her verbal specificity is unsurpassed and her ability to play with dynamics is super spontaneous and fascinating.

        • Camille

          Don’t think you are in the minority so far as her verbal specificity and limning of the text — they were really everything and I would imagine most sensible persons would agree to that. It’s just that the voice was never all that, but she did have a striking and individual color and timbre and what she did with her intelligence and her good looks and intenzione, well that, that made all the difference in the world for it was the work of an artist with a capital “A”.

          Even still, the first time I heard her was, I think, a previously recorded Bayreuth Parsifal and that was in 1991. At the time the voice really worked and the sound pictures she painted were those of a master artist. Then in, what? 1993-94, I saw her on TV in the Met broadcast of Parsifal and understood what a dangerous woman this was. And yes, mesmerizing was the word for that performance.

          Now, last time I saw her was as Waltraute in the MaschineRing, and that was finely drawn but with an almost inaudible amount of voice. That’s okay, as it does go very low and slow in the music, but it had really diminished.

          In any case, I am really happy for you that you were able to witness her valedictory Isolde, for she was really something ELSE. I count myself as a lucky buck to have seen her two Isoldes here in NYC.

          • Krunoslav

            ‘two Isoldes here in NYC’

            Did Waltraud Meier do a concert Isolde in NYC, Camille? The only one at the Met was the fly-in of December 12, 2008 in which she was indeed spectacular, the best Isolde of my live experience-- followed by Johanna Meier, I’d say-- even though the voice was not quite what it had been when I first heard her, as Kundry at SFO in 1988-- with Kollo, Hynninen, Moll and Berry, not so shabby a cast!

            • Hippolyte

              Yes, Meier did a complete Isolde on 20 October 2001 at Carnegie Hall with Barenboim and the Chicago Symphony with Franz, Michael, Schmidt and Tomlinson, a great night despite Franz’s bleak tenor and Michael’s coming to grief during the Watch.

            • Gualtier M

              Times review:
              I remember that Meier wore a dark blue dress in Act I, the identical dress in red for Act II and another identical gown in white for Act III. Young Nadja Michael already sounded unsteady (though the voice had bloom on it) and ran out of breath in the middle of a phrase in “Einsam Wachend” in Act II.

            • PCally

              That concert was the first time I had ever heard her live and she blew me away. I will say however that if we talk tonal beauty out of the equation, she was in pretty poor voice that night, everything above the staff pretty much going off the rails. She actually had her voice under better control both when she sang the one-off at the met and a few nights ago.

              I also really really liked Nadja Michael tbh. MUCH warmer sound than it is now and she was actually very expressive, minus any of the grunting and groaning she does now. I preferred her any of the women who have sung it in the current production (well maybe not Dalayman but I don’t remember her that well).

            • PCally


            • Camille

              Yes, exactly as Monsieur Hippolyte has precised above and as I no longer remembered the orchestra nor the Marke but remembered Franz and Michael, good he showed up with this date. And best of all, I’ll always remember the RED dress Waltraud sauntered out in so nonchalantly for the LiebesNacht! That took guts to pull off, especially remembering the red light cue disasters in the Heppner/Eaglen edition, a year or so before and which they mercifully oned down. I no longer remembered the date other than that it was sometime between 2000 and before 203. Yes, Michael had a bit of a struggle in her Warnung but the upside was that she kept her clothes on, unlike her awful Sally May in San Francisco,or her execrable Lady here at the Met, the twin nadirs of my recent opera-going.

              Yes, Ms Meier did have a fine Isolde in her but the night I saw her, in the early eighties in Seattle she didn’t pace herself and gave far too much in Akt I and came back with very little voice for the rest. At the time I did not know the opera very well so I mistrust my own memory a bit. Edward Sooter was the Tristan and that is all I can remember of my virginal T&I. Also saw the North American debut of Gabriele Schnaut (in San Francisco), an event never to be forgetten, for I had an influenza and was taking medicines that made me woozy and her Liebestod to the poor Tristan of William Johns was loud enough to wake the poor dead man, and made me so wretched I would have Left At The Interval, had it not have already been Das Ende.

              A couple of other messes at the Met and the terminable boringness of Jane Eaglen, whom I tried and tried and tried to like, but didn’t, and that’s why I’m so grateful for my two Waltraudian Isoldes. She understood what the others didn’t, that Isolde is a sorceress, not just a big fat lady yelling her lungs out in a marathon with a tenor.

              Thank you, Waltraud, for that and I will gve you a big thank you brava for your Mamma Klytie, even if you show up in a wheelbarrow with no voice. It’ll still be more exciting than most of the rest of what you see on the boards of ‘the greatest opera house in the world’.

      • phoenix

        No, I never saw her Isolde -- but I did see her in Mannheim in the 1980’s sing Wagner -- Fricka, among other things -- but my memory is dimming now. I also saw her somewhere around 1990 as Kundry -- entirely different from the earlier times I saw her -- as Kundry at that time her forte high notes were her jewels, quite awesome, it was like the operahouse sound technician turned up the volume 3 times higher when she hit one of them. I’ve heard her on the radio broadcasts recently, but to my ears she doesn’t sound the same. As far as what she does now with the text, now that I am sure you are correct about that, PC -- in her later years she has refined the art of subtlety, from what I understand.

        • PCally

          phoenix, If you have any memories, could you comment on the fricka? Her recording for Haitink, though not my favorite fricka, is really quite wonderful and surprisingly sexy and youthful compared to the battle ships most singers make her out to be.

          • phoenix

            I remember that performance quite well because I went with friends -- they were acquainted with Ingrid Haubold ( who sang Brünnhilde that night. The Wotan was Willard White, who commanded a great deal more volume in those days.
            -- PC, Meier was in her prime -- it probably is not so polite to comment on someone’s personal appearance (but I am not known for my politeness anyway, so here goes): she was very beautiful, dressed in a sort of skimpy Greek-like goddess costume, and it was her looks that I remember best. Also, her diction was more precise & idiomatic than anyone onstage, but I think Fricka (and Waltraute, too) did not flatter her vocal abilities like many of her other roles. She portrayed a very youthful, almost vulnerable Fricka, quite different from what you usually get. She was more hurt than angry. Her low-keyedness threw me off, but you know, if I remember her quite well in the role 30 years later, it did have its effect.

    • Thanks for your report. I love Meier’s Isolde in the 2007 Chereau production but was surprised to hear that she’s still singing the part.

      • PCally

        Kashania, Meier has stated multiple times that that particular Isolde was the greatest experience of her professional life and that she was simply amazed by Chereau’s expertize as a director.

        Also, believe it or not, I actually think that it is Meier’s lower middle that is currently the weakest part of her voice, having noticeably decreased in size and volume since she was last at the met. As such I’m a bit nervous about the Klytemnestra at the met next season (less so in a smaller theatre like munich, a performance I will be attending in a few days). Because of this Isolde actually probably lies a bit more comfortably for her and she probably felt she could keep in in a bit longer. It may have been that she simply working very hard or that she was inspired because it was her last one, but after several less than stellar reports of her recent performances, I was pleasantly surprised at how solid she sounded overall. It’s clearly and threadbare sound but she controls it like a pro and her musical instincts are still just as powerful.

        • Good point about the tessitura of Klytemnästra. It’ll probably be more impactful on HD.

  • Milady DeWinter

    Que les fetes commencent!

  • phoenix

  • Camille

    A recent exhumation of Massenet’s revolutionary opera Thérèse, a not entirely unworthy, not to mention a tad more virtuous, sister of Mlle Manon Lescaut:

    Vive la France!

    • Camille

      That was such a tasty morsel I went back for seconds:

      Now, had Mme Gubisch been the Léonor in the other night’s performance, we would have had more to talk about, as this lady certainly knows her business. Mo. Altinoglu, the conductor in this instance, and she are married, or so I believe I’ve read somewhere.

      There is some singerly discussion, one in French, another in English. It would appear to be a promo for a disc to have appeared sometime in 2013 of this performance. Bravi tutti!

    • WindyCityOperaman

      Maybe some enterprising company could do a double bill of “Portrait du Manon”, and “La Navarraise” or “Therese”.

      • Camille

        I’ll raise my fork to the Manon/Thérèse combo platter, WCO!

        Was it Queler, or was it NYCO?, no I guess it was Queler et Cie. that did Navarraise a few years and it went over like a lead fart, so am thinking it may be hard to find someone to give it a go again.

        That role is a real veristic tour de force piece of nonsense and Garanca just did not do the thing that was to have been done, from all accounts, I dunno as I wasn’t there. I sort of love the old Horne recording in which she does the mad thing at the end really, really well. Never heard the Lucia Popp recording (I think I read on Auld Parterre Box that she was a last minute substitute in the role) but have always been curious about it.

        • phoenix

          The 2013 Navarraise from Wexford was wonderful -- it may show up somewhere as a commercial release, along with the equally well-done Thérèse, both with Nora Sourouzian.
          -- Navarraise is a favorite of mine: A couple of years ago they did a concert version broadcast on France Musique with Alagna & Deshayes, which was good enough but not exceptional because Deshayes, not really a dramatic singer, was miscast. The old commercial recording with Horne (whom I usually didn’t like) is excellent -- Horne puts more into it than most. If you, like Bill does, have x-ray hearing, you can try the old Rita Gorr utube performance from Carnegie Hall, but it’s not audially viable enough for me to get through. I never heard the commercial recording with Bonynge & Tourangeau on Decca. So far for me, la Canadien Nora Sourouzian at Wexford is the best live Anita I’ve ever heard & Horne the best commercial.

          • Camille

            Oh, that’s interesting, as I feel much the same about Horne, who is REVERED in Southern California and treated like a diosa! Just when I think I can no longer stand General Jackie, she will come along and do the damnedest thing you’d have never expected from her and just turn your applecart all upside down. Like her recording of the godawful Fidelio aria or her Immolation Scene, remarkable both. I wonder what her Marie in Wozzeck, her American opera debut was like — oh hey phoenix! You were there in S.F. in the early sixties, maybe you heard her there?

            Anyway, Tourangeau is surprisingly quite good but of course Bonynge’s tempi are always limp. I can’t remember now for sure so they may be all right here. I’ll look in the Youtuber field.

            I am so excited to see this Mexican Ciné Negro coming up next week — it will be great fun and thanks so much for the heads up on la diosa arrodillada!!!!

            Maybe I’ll go see if I can find Emma Calvé doing so Navarraise in the Youtuber field………….

            • phoenix

              -- Did not see Horne’s debut in 1960 as Marie, didn’t arrive at SFO until 1962 so I saw the ’62 Wozzeck revival -- don’t know if it was with the same cast, the great Geraint Evans sang Wozzeck, if I remember correctly, and they did it in English. Not that it would have mattered to me, but as much as I love Lulu, I do not care for Wozzeck. A familiar, oft-repeated tragedy that some of us witness only from reading news stories and others from real life experience. Let us put it this way: I don’t want to remember certain things that Wozzeck pushes a button that should remain off. The only performance of Wozzeck that mesmerized me was when Anja Silja sang Marie at the Met in 1970(?). After that, I ceased going to see it.
              -- Horne, in declamatory phrasing, particularly in English had that westernPA whine in her tone. I guess that suits Marie in Wozzeck, I don’t know.
              -- She sang quite a lot in SF, as I remember. I heard a sort of grinding slide in her tone as she went from middle to bottom register, something she employed so much it got rather tiresome (particularly in the fioratura passages of the Rossini operas) -- but the public liked her very much. For me she was an unremarkable Eboli, particularly so in company with the great Jon Vickers’ Don Carlo.
              -- But her voice was actually quite beautiful compared to what she sounded like decades later. She had a bright top that often made her sound more like a soprano. I enjoyed her Nedda better than Wilma Lipp -- Lipp might have been past her prime when she sang it at SFO, I don’t know for sure.
              -- This is what I remember her sounding like. The tape is old and not the best audio quality, but you can hear her as she sounded in those days:

        • Henry Holland

          I’d love to see a production of Le jongleur de Notre-Dame, I really like the one recording I have of it, the l’Opera de Monte-Carlo LP’s that were released on EMI. It’s only 90 minutes long, it could be paired with another, shorter Massenet opera.

  • CwbyLA

    Does anyone know the link to watch the Eiffel Tower concert live?

  • A new, more complete video of the legendary 1989 Mareseillaise sung by Jessye.

    • Camille

      Was there anything ever more mythic, more monumentL than Jessye dressyed as le drapeau français?!?!!!!!! Merci mille fois, chéri prince.

      • Bravo to whoever thought of the idea. I love watching her emerge from the darkness before the spotlight hits her. Though it’s not from the opera stage, this is probably her most iconic moment on video.

        • Camille

          Yes, Jess was born to do this, even if not born in the correct country. No one, but NO ONE could have done anything to equal it and perhaps its appropriateness to the nature of the strong rapport between France and the fledgling United States. Until I finally looked at it, I was always miffed that a great French singer hadn’t the honor but no one could have topped this or pulled it off but La JESSSSSSSSSSONDA!!!

  • Henry Holland

    WCO, thank you for the Finzi clip, a lovely song. Here’s the description of the images used in that clip:

    My personal choice of paintings for this piece are by Henry Scott Tuke RA (1858 -- 1929), an English artist. Today, a particular tilt of puritanism might meet many eyes negatively no doubt, but to me these paintings depict the innocence and beauty of youth

    Milady DeWinter, thank you for posting Danton’s Tod, I’ve only heard the Orfeo recording with Adam, Rdyl and Lipovsek, cond. Zagrosek. It’ll be nice to hear another version.

    I’m a big fan of Ingmar Bergman’s films, one of my favorites is Autumn Sonata with Ingmar Bergman as famous concert pianist Charlotte Andergast and Liv Ullmann as her daughter Eve, who has issues, to put it politely. Love this scene, Eva plays a Chopin piece (Prelude No.2 in A Minor Op.28 per IMDb):

    • WindyCityOperaman

      My personal favorite Bergmans: Smiles of a Summer Night (wittier than Sondheim’s musical), Fanny and Alexander and then Magic Flute. The fourth is Virgin Spring -even though it has perhaps the most horrifying rape scene ever put on film.

      • Henry Holland

        Luckily, TCM shows a lot of Ingmar Bergman films, among critics it’s not uncommon to group his movies in periods:

        Dreams > Smiles of a Summer Night > The Seventh Seal > Wild Strawberries > The Virgin Spring being the “classic” period or more accurately, when he first had international success. I love them all, The Seventh Seal being a favorite. Yes, the rape scene in The Virgin Spring is ghastly to watch, but the father killing the herders with his bare hands is pretty brutal too.

        I love his “Silence of God” trilogy of Through a Glass Darkly > Winter Light > The Silence, my favorite being Winter Light. They’re all pretty austere, not a good entry point in to Bergman’s work.

        I’m not that familiar with the 1970’s movies, Cries and Whispers is a throwback to the classic period.

        Then there’s Fanny and Alexander which I only saw for the first time last year, in the “theatrical” version of 188 minutes. It instantly became one of my favorite movies, I want to get the BluRay boxset that has the 188 minute theatrical version and the 312 minute television version. I have The Magician (1958) parked on my DVR, I’ll get to it in due course.

        • Milady DeWinter

          I DVR’d “The Magician” the other night from TCM and just watched it over the weekend -- you will enjoy it. It’s quite a sly little movie, with a fun twist, and of course, Bergman’s uncanny ability to conjure up a specific period, and at the same time be sort of timeless, without much reliance on set design or frills.

    • Milady DeWinter

      I had always avoided “Autumn Sonata” for some reason, HH -- but finally watched it last year, and am so glad that I did! It’s masterful, and Bergman’s unlovable character, as she unfolds and responds to Ullman, becomes lovable. What an acting tour de force, and what a film. I think Bergman’s “Magic Flute” the best opera film ever, btw.
      I am currently on a Jacques Demy binge thanks to a documentary by Agnes Varda which showed on Turner Classics last week.
      “Parapluies de Cherbourg” is one of my Top Ten all-time favorite films, but have finally watched “Lola” and “Peau d’ane,” among others, which I just got on that 10-disc Demy set. Merveilluex!

      • Camille

        There is to be a retrospective of Ingrid Bergman films this autumn (sans the sonata!) at MoMA, celebrating what would be her centenary year. Just last night, par hasard, I saw her in For whom the bell tolls and although she didn’t for a second begin to suggest even a northern Spanish girl, she was all tenderness and youth, plus her own specially unique genius of photogenic beauty. Always a pleasure to see her again, and if you are in NYC or visiting, you may go to the site and look for the films series in “Upcoming”. All of her children will attend some of the showings to introduce the films and speak of their mother. It begins August 28th and runs through September 10h.

        Just last year I finally saw The Virgin Spring, and with that viewing I began to understand And get a better grasp on Bergman and from whence he was coming. Starting out much later in time, as I did with Authmn Sonata and Fanny and Alexander, really never quite “got” him until seeing this early film. Yes, a terrible rape scene (what one would not be so?), but the story is so beautifully realised and there is such an arc from beginning to the wonderful and unexpected miracle at the end, that one endures it, and learns something precious.

        • messa di voce

          “Shame,” his war movie, is one of his simplest films and one of the most powerful.

      • Camille

        Don’t neglect--if you are able to get it--the adorable Les demoiselles de Rochefort, which has both sisters (my favorite was always la pauvre Françoise) which features the big bonus of a latter day Gene Kelly dance scene with La Dorleac. It’s wonderful fun.

        • Milady DeWinter

          Camille- Have it! Love it!
          (And thanks for the lowdown on the Bergman retro at MoMa).

          • Camille

            Oh good! It is more fun than the law should allow, that film, and I think Dorleac’s last one before her car accident. Such a pity.

            • Milady DeWinter

              Oh tragic! Were there ever two lovelier sisters? One thinks of the Gishes and Fontaine/deHavilland (another sad story, but not tragic like Dorleac’s demise).

            • Camille

              Funny thing was, I knew of Dorleac before I ever became aware of Deneuve, whom I never really paid attention to very much. I think it was a chance screening of La peau douce which I saw and in which I thought her so very good. It is just as well that she is memorialised in Les Demoiselles in such a joyous and fantastical manner while still so young and so full of life, when you think of the hard fate that was soon enough to befall her. It must have always been very hard for her sister to have coped with the loss.

              About Fontaine and the formidable and ever-alive at 99 Olivia, I have heard so many stories from either side that I have no idea what to believe. Although Olivia was so fine an actress,( I just saw her a week ago as that steel magnolia Melanie Hamilton Wilkes ), I liked Joan the best perhaps because of her performance in Max Ophuls wonderful film Letter from an Unknown Woman, one of his masterpieces and on my top ten.

  • Milady DeWinter

    p.s. actually the Demy set has 13 discs!

  • Satisfied

    Speaking of France…it seems as though Kusej’s Entführung was pretty much loathed in Aix. Too bad really, I thought he might do amazing things with this opera.

  • zinka

    7/17/1914 As much as I saw rhe great Steber, I did have to graduate,so I saw Zinka so much,that maybe another 10 perf.withb Steber would have been great.She was amazing…Mozart roles,especially Fiordiligi, were a triumph.
    She had a great career, and was able to surmount the serious alcoholism problem and emerge as one of the greats,
    One memory is the one Manon she did one season,and De los Angeles never took a D at the end of the Gambling Scene/(Who knew anyone did it…we did not know one could). Sudenly,out came this “Nilssonian” note, and we went nuts!!!
    I hope more youngish people recognize her greatness.
    …and let’s face wouldn’t catch Zinka at the Continental baths…maybe Baum….

  • JohninSeattle

    If anyone can bring back the Guilotines of 1789, it’s DONALD TRUMP!

    Can you imagine how pretty the Trump combforward will look in a wicker basket? (Cue Edna Mae Oliver as DeFarge!)

    Melania (current wife until the chassis is replaced with the newest model) is PERFECT for Marie Antoinette!

    Storm the Bastille! Storm the Bastille!

    • Milady DeWinter

      Please JohninSeattle -- don’t insult Marie Antoinette! She was better than that!
      P.S. Edna May Oliver was Miss Pross; the fiery Blanche Yurka (who once sang small parts at the Met in the first decade of the 20th century), was the implacable Mme. DeFarge.

  • zinka

    and speaking of Steber’s birthday, this is the ONLY time I ever heard them open the cut in the duet..and it is so wonderful……

    • Camille

      I could not agree any more emphatically about this, zinky. A marvelous singer.

      Is it her birthday tomorrow? It took me years to really find out about her and I wish I had when I was younger.

      There is a youtube of a performance with Ghena Dimitrova and Tenor X in which the cut is opened, and it just takes the roof off the joint!

  • lyrebird

    et le quatorze demande

  • Well, I was hoping for a clip from “Andrea Chenier” to help illustrate today’s main theme, but Mel Brooks is nearly as good.

  • drewco

    Yes. Meier sang a concert Isolde at Carnegie, again with Barenboim. It was the greatest live Isolde (including Nilsson’s) that I ever heard until her Met “fly-in.”

  • antikitschychick

    Le concert de Paris 2015:

  • redbear

    The smashing July 14 concert with Terfel, DiDonato, etc. etc. is still up on France TV pluzz for the next few days. Also there is the Orange Carmen and Midsummer’s Night Dream.

    • Cicciabella

      Loads of online opera right now, as redbear points out. If anyone wants to watch a truly clever and good-looking production, I suggest the Alcina from Aix on The Opera Platform. Unfortunately, due to copyright issues it is only available in Europe. Maybe it will nefariously cross the border in the coming weeks…

      • nachEule

        The regional blocking of some operas on the Opera Platform is a disappointment! Naively, I assumed the whole point of that site was to make productions available to view no matter where, but it seems it’s not so!
        As for the Orange Carmen, it was indeed viewable in the US on Medici TV during its live broadcast, with promises of viewing availability in replay soon, but as far as I can see, it’s not yet up on the Medici site, and it’s uncertain if it’ll be behind their paywall ultimately.
        I suppose it’s because of the US model of blacking out a home game in the local sports market, but I find it counterintuitive that viewers who would largely have no opportunity to purchase a ticket to a performance (because they’re on another continent!) wouldn’t be offered free viewing of a public broadcast, since their internet viewing represents no loss of revenue, unlike the home crowds.
        (I’d also like to second the thanks for info on ANT from zzzznombula, plus a tip of the hat to your moniker!).

        • nachEule

          Of course, as soon as I’d commented, I was indeed able to find the free replay of the Orange Carmen on Medici.TV…

    • zzzznombula

      Is this available in the US? Tried this and a few other sites and can’t access the video…. (And, so far, YouTube has only the fireworks!)

      Does anyone have a link to a video that will play on a computer in the US?

      • Is CultureBox not available there?

        • zzzznombula

          No, we cannot access the video here. It says “not available in your country” -- or something similar to that. Also found a few other sources, but got the same result!

          • Copyright issues no doubt. But I’d be quite pleased if it came out on commercial video -- my mother would love it: Bryn Terfel AND views of Paris!

            • zzzznombula

              If you can watch it on your computer, you can download and burn it. For instance,I’m told that Firefox is compatible with ANT, which easily downloads anything you’re watching and saves the file on your computer.

            • ipomoea

              Thenk you, zzzznombula,
              for the tip on ANT. This is enormously

  • PushedUpMezzo

    Oh Lordie Me! Those images would have encouraged me mightily when I was struggling with Finzi’s Bagatelles for Clarinet and Piano all those years ago .