Cher Public

Phases of the moon

Dmitri Hvorostovsky has withdrawn from three performances of Verdi’s Il Trovatore at the Met this season, on October 7, 10, and 17. Hvorostovsky, who was diagnosed with a brain tumor in June, will sing the opening performances of the opera at the Met as scheduled (September 25 and 29, and October 3 matinee), then return to London for continued treatment.” So says the Met’s press department. But wait, there’s more!  

Vitaliy Bilyy will sing di Luna on October 7, 10, and 17, a role he performed at the Met in 2010.”

  • Satisfied

    Guess they figured they still have Netrebko, no need to spend on a luxury replacement.

    • messa di voce

      What luxury replacements happen to have a couple weeks open in their schedule one month from now?

      • Camille

        MingoSenzaDo.

  • ML

    Wonderful news! Great to read he’s back — and honestly a surprise that he feels up to it so soon, given the seriousness of the treatment.

  • antikitschychick

    Glad to see he’s still on the roster for September 25th, which is the performance I plan to attend (if I can get tickets! lol) :-). Does anyone know when the Met will start selling student tickets for this season? The website doesn’t specify. I’ve already sent a message via the “contact us” page inquiring. Hopefully I’ll get a response soon. If not I’ll have to call. Am planning on attending the second performance of Otello (Thursday September 24th), the season premiere of Trovatore on Friday the 25th, and then hopefully the season premiere of Anna Bolena on Saturday the 26th at 1 pm and then Turandot that same night. Not sure if I can sit through both of those in one day; if not I’ll definitely just go to Turandot since I’d really like to hear Christine Goerke live. I’d also like to hear Sondra but I can maybe catch her later in RD. I’ve already arranged where I’m going to stay; I just need to buy the tickets. If I can’t get the student ones I’ll have to opt for Family Circle and remember to get the binoculars lol. Am super excited to get to see/hear AN for the first time and Dima as well!! How soon do you guys/gals think that performance will sell out??

    I might end up having to get family circle tickets for all of these performances since I know the student tickets are only offered for a select number of performances. But it’s already September 2nd so the Met should update their website as to when they will become available:

    http://www.metopera.org/Season/Tickets/Student-Tickets/

    All it says is “Student Tickets for the 2015-16 Season will be available starting in September 2015”.

    • Lohenfal

      Anti, I know nothing about the student ticket situation, but there are still a fair number of Family Circle seats available for those 4 performances you mention. There are fewer for the 2 on Saturday, but that’s only to be expected. Considering that the box office has been open for over 2 months, one would think these would have been sold out by now, but the Met’s current situation is very different from what it once was. I exchanged a few seats from my subscription (expensive, but a great location) months ago, and those are still available according to the website. That’s one more indication of the very reduced demand for Met tickets at the moment.

      Good luck in getting whichever seats you prefer!

      • antikitschychick

        Hey Lohenfal. I too am surprised that the Trovatore hasn’t sold out though I imagine it will. I did see there are Family Circle tickets available, its just that the student tickets offer much better seating locations for the same price. I know I can’t keep waiting though so I’ll call the box office tomorrow if I have time; if not I’ll just go ahead and buy all the tickets just to be on the safe side since I only have a few weeks and I won’t have time to make lines for rush or standing tickets. Maybe I can exchange them once the student ones go on sale. Thanks for the advice and well wishes :-). I’m super excited to see all of these operas. It really worked out well because of the Pope’s visit to Philadelphia, which coincided with some really great performances. God Bless the Pope! Lol.

    • Chenier631

      I just came across this information. Soprano Jennifer Wilson was scheduled to sing in a concert performance of Wagner’s Rienzi with the National Philharmonic Orchestra in Bethesada, MD on October 3rd. Apparently, the Met asked her to cancel this performance, which she did (or they bought her out of it), in order to cover the Turandot at the Met the same night. I think it is very strange that a singer would want to cancel a scheduled performance somewhere just to cover at the Met. Don’t they have another Turandot cover?
      Or is the Met planning, for whatever reason, to let her actually sing this performance instead of Goerke?
      It seems very odd to me……

      Chenier631

      • antikitschychick

        Hi Chenier631. I’m not sure why the Met would buy Ms. Wilson out of her scheduled performance, except that maybe they want to give her a chance to have a big moment and possibly offer her more performances in the future if she does well in that one-off Turandot and if they have the monetary resources to do so, well no harm no foul I suppose. Although Mrs. Goerke, who has a strong presence on social media is very excited about her upcoming performances in Turandot, so I don’t see her feigning an illness just to give a performance to Ms. Wilson though perhaps this is all being negotiated…I wouldn’t put it past them if Wilson is a singer they want to invest in, but maybe it’s just a precaution and they’d rather just use her than the cover. I do hope it’ll be Goerke who I get to see though.

        • armerjacquino

          I think we can use Occam’s Razor here, can’t we? The Met wanted someone to cover the run, chose Wilson, and asked her to extricate herself from the one night she wasn’t free. Need it be any more complicated?

          • antikitschychick

            we could, and it makes more sense that she would be covering the entire run rather than just that October 3rd performance, leading up to November 12th which will serve as her Met debut I think. But it’s not entirely clear from Chenier’s comment whether she would be covering just that one performance or a number of performances rather than just the one. Lise Lindstrom is giving a series of concert performances as Elektra in the UK during that time and can’t cover so again it makes sense that they’d ask Wilson to. Not sure if she has other engagements during that time. Operabase doesn’t list any but it’s probably an incomplete list.

            • armerjacquino

              I wish it was Elektra Lindstrom was doing- it’s Salome. Two performances in the UK and one in France.

            • antikitschychick

              Ahh, you’re right lol. Apologies. Well it’s great to see she’s getting hired for roles other than Turandot.

          • Chenier631

            To reply to armerjacquino,

            What puzzled me is that Jennifer Wilson had been engaged for the Rienzi about a year ago. How is it possible that the Met only just found out about it a couple of weeks ago? Surely Wilson’s agent had been in contact with the Met during all this time. Wilson was probably signed by the Met quite a while ago, to cover and sing the one performance of Turandot on Nov. 12.
            Also, she is surely not the only cover for Turandot.
            It would appear to me that something has happened that caused the Met to need Wilson to cover on October 3rd.
            It is isn’t complicated, just puzzling, that’s all.

            Chenier631

      • Camille

        That is a very interesting development as Ms Wilson’s sole performance and debut, as it happens, was not scheduled until later in November (one of the scheduled dates for another debutant, Mr Eyvazov).

        Thank you for that tidbit of information as I will stand at the ready on that date, for I have promised luvtennis to be there for ‘his girl’s’ debut. As she is a thoroughly experienced Turandot, one would hope she’d get a bit of a break. Her schedule on Operabase, by the way, shows Septmeber through January listed as Turandot at the Metropolitan Opera, so I sort of assumed she was the go-to gal, in any instance, for last minute substitutions. As she and Lise Lindstrom are the best suited to the role not to mention the most experienced of that quartet, I am hoping either one of them would also get the HD broadcast, as if we needed another one of Turandot!

        Anyway, in bocca al lupo to La Wilson! Long overdue debut.

        • ML

          On this subject, Camille, I was wondering what people here on Parterre have been saying about Nina Stemme’s turn as Turandot (in the Berio completion) at La Scala three months ago. Did you happen to read anything?

        • luvtennis

          Camille:

          It is a tavesty that she is coming to the Met so late. SHAME ON GELB AND HIS CASTING TEAM. This woman is the greatest dramatic soprano of the last 50 years…. How could anyone have let Voigt go one as Brunnhilde when Wilson was available and experienced in the role. It’s just a shame that Ms. Wilson is apparently not visually acceptable to tdoay’s casting directors.

          If she is in voice, it will be a triumph. And sorry, but Lindstrom -- an excellent and REAL singerr -- is not in Wilson’s league as Turandot. The voice is too cold and the lower register is thin.

  • antikitschychick

    Also, just wanted to reiterate my continued well wishes for Dima! Hope everything works out well for him, and his family of course.

    • messa di voce

      Agree!

    • gustave of montreal

      Poor Dima, so sad, so cruel

  • Camille

    Thanks for the advance notice. I pray for his wellbeing and safe recovery. He is a treasure.

  • Tamino

    Best wishes to Mr. Hvorostovsky for a full recovery.

    I wish the MET would try Stephen Powell as replacement for one of these Verdi baritone roles sometime. He’s terrific.

    • Krunoslav

      Indeed, but if Someone We Hope Will Leave Soon in casting harbors a dislike for someone, that person could be Battistini or de Luca reborn and would not be hired when there are second-rate Slavs or aging London-based Kavalierbaritons to contract.

    • armerjacquino

      It’s clear from the many recommendations by People One Trusts that Powell should be given a chance at the Met, but in this case, to be fair, he’s not free- he’s singing Germont in Philadelphia.

      • aulus agerius

        It was my impression that the general consensus after Cincinnati this summer was that the Count di Luna was not a good role for Stephen Powell. I only listened to the coloraturafan tape and I would agree.

        • Krunoslav

          Have not heard that TROVATORE-- and I read a positive review-- but Powell has done well by Rigoletto and Posa and has not been/is not being given chances when the Met needed either.

          Being in Philly through the 11th means he should indeed be available for di Luna the 17th. Don’t believe Vitaly Bilyy will outsing him, but I guess they just wanted the three dates filled, e basta.

          BTW, Powell’s Violetta in Philadelphia is none other than Oropesa, and the Alfredo is site semi-favorite Alek Shrader--so that might get some asses on Amtrak or NJ Transit/SEPTA for that run.

          • Howling in Tune

            For that trip, Bolt/Megabus/Greyhound/Chinatown is really better -- unless there’s serious traffic, it’s faster than NJT/SEPTA and cheaper than either rail option.

    • steveac10

      I wouldn’t hold my breath. The current casting folks in the house seem more inclined to use provincial talent from the former Soviet block than talent from the North American regional scene. Aside from a handful of singers who have been with the company for a decade or more (Philips, Leonard and Polenzani), they seem to have little interest in home grown singers these days -- Paul Appleby is about it. Even most of the Lindemann singers aren’t from the US anymore, more than half are from Europe and Asia.

      • armerjacquino

        Aside from a handful of singers who have been with the company for a decade or more they seem to have little interest in home grown singers these days- -- Paul Appleby is about it.

        Yep, Angela Meade, Jamie Barton, Stephen Costello, Michael Fabiano, Lisette Oropesa and Ailyn Perez just can’t catch a break.

        • steveac10

          I’ll grant you Costello, but Meade is treated as a glorified cover singer who gets a handful of performances a season -- and one first cast assignment in a new production over a decade. Neither Fabiano or Barton were engaged for 2014-2015 or 2015-2016. They only reason they have appeared on the roster was cancellations well after the seasons had been announced. They cut Oropesa loose 2 seasons ago after nearly a decade of good to stellar performances. Perez has, to date, been given two second cast assignments in long running revivals, the second of which was due to a cancellation (and years after successful debuts in houses across the Atlantic).

          They’ve made good use of some holdovers from the old regime like Radvanovsky and Racette, but even they were initially slated to be cut loose when Gelb took the reins.

          • armerjacquino

            Meade has been singing prima donna assoluta roles since two years after she won the auditions. I always find it weird that she’s talked about as someone who hasn’t been given a decent shot. Plus by now simple economics have come into play- if she were big box office, she’d be getting more work.

            Your points about the others are well made, but I mentioned them because they’ve all been hired at least as prominently, if not more so, than Paul Appleby who was your original example.

            • steveac10

              I mentioned Appleby because he seems to be the only American Lindemann grad of the Gelb era they have shown any consistent interest in. Most of them disappear from the roster within a season of finishing. He’s had a new production, followed by first cast assignments in each ensuing season.

          • Grane

            Wasn’t Oropesa the subject of a blind item to the effect that she’s difficult to work with? It did seem uncalled for when she left a critical comment on a Ruth Ann Swenson YouTube clip, which someone here pointed out.

            • Porgy Amor

              I missed that. Does anyone remember which Swenson clip it was?

              I remember the blind item, but I felt (even if she were the subject of it, which seemed almost certain) we were only getting half of the story. Maybe she wanted more than they were prepared to offer her, and the relationship broke down, and someone on the Met side was pursuing an agenda. That she isn’t singing there anymore is their loss and ours, in my opinion. I’ve already seen or heard several Met performances with inferior singers in roles for which she would have been perfect.

            • Grane

              I can’t find the thread here, Porgy, but it was a concert performance of Regnava nel Silenzio. Oropesa was way down in the comments saying Ruthie sang flat.

            • LT

              Scroll down the comments under this video:

            • DerLeiermann

              I posted the video and spotted the comment.I was just ready to defend her saying that the comment was 7 years ago, but she was already working at the met in the 2007-2008 season.

            • Porgy Amor

              I’ll defend her in that I don’t think it’s so bad. Yes, Swenson is another soprano who was active at that time, and so a colleague, but Oropesa was just dropping in on a Luisa contest as a listener and saying “She’s flat too often for me.” That’s about on the level of Voigt listening to Fanciulla recordings and having her spontaneous reactions to recorded Minnies (some reactions favorable, some not) transcribed for the Opera News piece.

              This doesn’t mean much, but my mole at another North American opera company said they loved having Oropesa, that she went above and beyond what was asked of her. So, even if she did do something to earn a “difficult” label in the past, she’s young for an opera singer and has more of her career ahead than behind.

            • Porgy Amor

              Luisa contest! Where did that come from? Lucia, of course. I make so many errors here, where there is no edit button…

          • antikitschychick

            “Meade is treated as a glorified cover singer.”

            Have to disagree with that. She’s been given leading roles in various operas, including an HD, for a few seasons now. She doesn’t get as many performances as some of the other lead sopranos, because she often shares roles with the likes of AN and Sondra R who are more experienced and more of a box office draw but that’s understandable. This all has to do with the fact that the lyrico-spinto rep has suddenly become crowded. There are very talented sopranos of slightly different generations who all currently sing the same rep and are vying for the same roles. Thus in the case of Meade I don’t think she’s being discriminated against at all. Getting to share a run of performances with AN is nothing to scoff at imho. Plus, I definitely think she’ll get to headline a major new production in the near future. Wasn’t it rumored that she’ll be singing Semiramide?

            • Evenhanded

              Well.

              IMO, Meade has been treated with exceptional generosity, given the unevenness of her performances. Let’s face it, she really hasn’t grown much as an artist over the last several years, yet she continues to be rewarded with plum assignments at the Met. Her international career is modest (at best). If her singing caused the frisson that so many were predicting ten years ago, she would be a dominant force on the world’s stages. The fact that her career has not really blossomed speaks of her rather patchwork technique and especially, her detached, sullen stage presence.

              While some listeners like steveac10 may be frustrated by Meade’s “glorified cover status”, there are others (like me) who think she has been treated far too generously and more appropriately belongs on the regional circuit. The idea that the Met may be considering reviving Semiramide (one of THE GREAT bel canto operas) with Meade in the title role is extremely depressing for those of us who would like to hear the piece sung by a singer actually capable of meeting and exceeding the challenges set down by Rossini.

        • mirywi

          Stephanie Blythe also inexplicably ignored.

      • Soviet block:

        • WindyCityOperaman

          Chicago Opera Theatre successfully staged “Cherrytown” a couple of seasons ago (in English, of course); it would have been a perfect vehicle for NYCO. BTW “Trololo” guy baritone Eduard Khil is a vocal double for one of the on-screen actors.

  • antikitschychick

    Wow, what a great cast they assembled for Traviata at Opera Philadelphia! I’ll try and attend a performance of that too. Thanks for bringing this to my attention armerj. I’d also add to your list Amber Wagner, Latonia Moore, Sondra Rad, Christine Goerke (the latter two headlining major operas), Mathew Polenzani, Quinn Kelsey, Ryan Speedo Green, Alek Shrader (also performing in that Traviata @ Opera Philadelphia), Eric Owens, Nadine Sierra etc…

    It should also be noted that some of the *best* singers currently performing (and headlining) at the Met are “from the former Soviet block” and/or Slavs so, with all due respect I don’t think the generalized dig at singers from that region of the world is justified. Of course we all have our subjective tastes but I don’t think it accurate to say that major stars like AN (Russian) or Antonenko (Latvian) who headline major productions can be said to be “mediocre” and their presence counts too, does it not, since we’re talking about all performers in general aren’t we? Don’t really get the aging “London-based Kavalierbaritons” complaint either. The Met has a pretty healthy mix of international and American artists on its roster, plus James Levine (who is American, obvs) is the general music director. Moreover, the young artists program he works with isn’t designed specifically for American singers is it? Even so, I don’t think there’s a dearth of American talent/presence at the Met, especially not with the upcoming generation of singers. My generation to be precise :-P. Sure, the majority of singers aren’t American and there could always be more, but I don’t see why the majority of singers have to be American. World-class opera requires an ensemble of the world’s best singers/performers, which may or may not include American singers, just as it may or may not include singers from other countries. That’s just how opera is and the Met’s mission (and that of any world-class performing arts institution) is to create great art, not advance some nationalistic agenda. I do get that some posters would like that American opera companies support young American artists, but marginalizing a group of performers in that way comes off as xenophobic, especially considering that, again, a lot of talent is coming from those regions of the world as well. Even if the Met were to change their mission and exclusively or almost exclusively focus on hiring American singers, then that would entail hiring more American singers over their ‘foreign’ counterparts, but I don’t think such a mission would be well-aligned with the constitutional rights and ideologies this country was founded on nor do I think it should be the Met’s (or any single American opera house’s) prerogative to single-handedly fix the performing arts crisis in America. They could and should lead by example but it needs to be a joint effort. There are problems stemming from the American conservatory system that are outside the Met’s or any singular Opera Company’s scope. It’s a much larger issue that needs to be dealt with internally (i.e. through the educational system and its institutions). JMHO.

    • manou

      Dear antik -- I can quite see why you would confuse armerjacquino and Krunoslav.

      • armerjacquino

        Maybe. But in this case she didn’t.

        • manou

          err…yes she did -- it was Kruno who said:

          BTW, Powell’s Violetta in Philadelphia is none other than Oropesa, and the Alfredo is site semi-favorite Alek Shrader--so that might get some asses on Amtrak or NJ Transit/SEPTA for that run.

          • armerjacquino

            But, in being the first person in the thread to mention the Philly TRAV (as all the cool kids are calling it) I was the one who, as she said, ‘brought it to her attention’.

            I wonder if everyone else has lost the will to live yet?

            • antikitschychick

              Yes armerj you did bring it to my attention and it was you who I was thanking :-). Madame manou was a little over eager on this one, but hey to err is to be human(e)…for better or worse lol.

          • rapt

            “err…yes she did”

            Manou! I didn’t know you could err!

          • Krunoslav

            Whole team pretty promising-- plus, hunks for all ages, Shrader, Mobbs, Ott, Hage..

            Giuseppe Verdi : La traviata
            2, 4m, 7, 9, 11 Oct 2015 Other performances within 7 days and 125km
            In Italian, and surtitled in English
            Philadelphia, Academy of Music
            Conductor Corrado Rovaris
            Director Paul Curran
            Sets, Costumes Gary McCann
            Lighting Paul Hackenmueller
            Chorus master Elizabeth Braden
            ~
            Violetta Valery Lisette Oropesa
            Alfredo Germont Alek Shrader
            Giorgio Germont Stephen Powell
            Flora Bervoix Katherine Pracht
            Barone Douphol Daniel Mobbs
            Marquis d’Obigny Jarrett Ott
            Dottore Grenville Andrew Bogard
            Annina Rachel Sterrenberg
            Gastone Roy Hage

            • ML

              Roy Hage looks like a squooshed version of Frankenstein and the handsome site credits no chorus or orchestra on the “cast and creative” page.

      • antikitschychick

        LOL touché señora. Thankfully armerj is right, I didn’t.

  • antikitschychick

    Sorry that long second paragraph was supposed to be split into two paragraphs but for some reason it didn’t split; apologies.

  • javier

    Meade is actually in a very good position. She is singing some very interesting roles and some day she will be give the chance to be the headliner. Right now she might be singing after sopranos who have been at the Met longer than she has. That is just casting politics and has nothing to do with her talent.

  • Tamerlano

    Maybe Ruthie was singing flat…she was certainly capable of it. She always had an unevenly weighted voice and that can create flatness.

  • overstimmelated

    Braving the glacial website, I noticed that Julianna di Giacomo is currently on the roster (“Who We Are”). As a standby for Leonora or Desdemona or Amelia “TBA” perhaps?

    Okay, I figured out why Roberta Alexander is on the roster (if that’s what that is), but why is Deborah Voigt there?

    • steveac10

      I can only guess it’s because she is probably hosting HD’s. Fleming, Racette and Rachvelishvili are on the roster as well and I doubt they have any cover assignments. Racette was scheduled, but others who cancelled have been removed. That roster is a mess anyway. Elizabeth DeShong is performing something called TestTestTest, and some of the covers have their roles listed. John Del Carlo, who is doing all of the Toscas and Bohemes this season isn’t even listed (but his bio is listed in the “artist” section under the discover tab, where only the principal singers bios are listed.

      • Porgy Amor

        Elizabeth DeShong is performing something called TestTestTest

        Hmm…

        New to the 2014-15 season, at a random point each week, the opera being performed will stop in its tracks, and a designated singer (this season Ms. DeShong; it will be a different young-artist type each season) will take the stage and emit a sustained tone. This will be followed by a short speech by Gelb to the effect that this was only a test of the Sirius broadcasting system, and then the opera will resume.

      • overstimmelated

        Fleming does have a CH concert (4 Last Songs) and her 25th anniversary celebration in May. I suppose it’s possible that Voigt or others will be performing at the latter.

    • Camille

      “Glacial website”. Well put, overstimmelated.

      Where does one go to find out about last minute cast substitutions, now they’ve changed it all around? Or has that been eliminated and must we wait for an official “Press Release”???

      That was one of the most useful items on the former website and now we get “Shout-Out”, instead.

      And speaking of Roberta Alexander, she was listed as a “Tenor” on the “Who We Are” section when I glanced at it a few weeks ago. Surprises abound.

      Maybe Voigt is the secret cover to something? Like what? Manon Lescaut? The Pearl Fishers? LULU??!!!!

    • antikitschychick

      I tried buying the series of tickets I wanted online for the 4 performances using two different browsers and each time I would attempt to “proceed to checkout” and get to the page where one is supposed to give one’s credit card information the screen would go blank, but the timer would keep going lol. I ended up having to call; thankfully a rep answered almost immediately and I was able to purchase all of the tickets, and save ten bucks from the handling fees through the “create your own” feature :-).

      My only complaint is that it’s inconvenient that they won’t have a list of performances for which student tickets can be purchased until opening week, by which point some performances may be sold out, or may not even be added on the list. Plus I can’t exchange the tickets I already bought for student ones if the performance is added to the list. I think they should maybe choose the performances that will go on the list a bit earlier, even though I guess they wait to see which performances are selling and which aren’t, although I feel like any performance with AN will sell. I suppose I could’ve waited and taken the risk, but I think Otello and Trovatore would probably sell out by the 18th, which is when the rep said they’d have the list. Had I more flexibility with my schedule I’d opt to wait but those 4 dates are the only available window I currently have (in the immediate future). I’m still shocked at how perfectly it worked out though! Guess I better shut up before I jinx it :-P.

      • Camille

        Honey dear,
        Lots of times, from what I can now recall about the Student Tickets, they will be listed only AFTER those certain performances have proven not to sell well. I don’t even know where all that Student Stuff has gone to now, so can’t tell you anything more. Just be a diligent and in dogged pursuit about those dates and check up at regular intervals.

        Good luck with your new school year. At least you don’t have the shock of the new this year and must have settled into a groove. Hope so. Best of luck, querida chica!

        • antikitschychick

          Thank you Camille; very much appreciate your well wishes and yes, the shock effect has happily dissipated (for now lol). From what I’ve been able to discern so far about the student ticket program, your advice about checking up at regular intervals is sage advice. I guess it makes sense that they would offer tickets for performances that aren’t selling that well, although I did get student tickets for that Traviata earlier this year with Sonya Yoncheva who received rave reviews, albeit it was one of those middle-of-the-run performances, IIRC. That Decker production has also done well it seems so maybe it’s a combination of both. I’ll call on the 18th and ask to learn more about the program. For now I’m just happy that I was able to get tickets. They’re all in Family Circle but not all the way back and not off to the sides. Plus, all of the performances will feature singers with the more (if not most) heftier voices, so projection-wise I should be A OK.

          • Camille

            The MET Opera Shoppe sells opera glasses, by the way, which may be advisable but the really important thing is to be seated in the center and not have to twist in your seat to see things. The sound is really pretty good up there, so it is a far, far better thing you HEAR the work well, as you wouldn’t, under the dread overhang thang, which really deadens the sound and makes you feel as if you are hearing it in another borough.

            I look forward to hearing Monastyrska as Tosca and especially as Santuzza, both of which I think (and hope) will suit her much better than Aïda, although she did do well in the first series but I understand last year’s turn was lackluster. Oh well, a million things can get in a singer’s way.

            Another thing I might suggest is to get a Sirius subscription because you can hear multiple operas a year for the price of one not so great seat in the orchestra in an off night. I don’t know what the rates are right now but that information is all available on the MET website as there is a link to Sirius.

            Keep on studying, counselor!!

            • antikitschychick

              hey Camille, sorry for the late reply; had a long day lol. I was planning on renting binoculars since it’s only 5 bucks (per the Met website) though eventually I do wish to invest in my own pair. Re: Sirius, yeah it’s great; I’ve used the trial version a couple of times, since its free and have really enjoyed the broadcasts. I’ll look into getting a subscription again soon.

              I’m also excited to see/hear Glammyla in those two roles and I hope she’ll be great as well! Judging from that concert performance she gave, she can certainly sing Vissi d’arte well, though it needs a bit of work, and she kind of ran out of steam at the end because she sang 4 arias back to back (and Vissi d’arte was the 4th). I’m also really, really excited to see/hear Nina Stemme in Elektra, even if she’s not ideally suited for the role at this juncture, I’m sure she’ll give an exciting performance and I’ve never actually seen that opera in its entirety so I’m excited about it :-D.

            • antikitschychick

              correction: she did take a break after the first aria and the orchestra played the intermezzo from Cavalleria Rusticana. But she sang the subsequent 3 arias back to back…Visi d’arte was the encore.

            • Aaaargh, neighbours fiddling with opera glasses…

      • Lohenfal

        Anti, I’m glad to hear you were able to get the 4 tickets you wanted instead of waiting for the iffy student version. Isn’t it interesting that, with all the Met’s other problems, they seem to have a new one: ordering through the website? One would think that everything related to ticket purchasing would work perfectly, but even that appears to be faltering. What’s next?

        • antikitschychick

          Thanks Lohenfal :-) yeah I’m happy it worked out. I mean, it’s good that they revamped the website as I do think it looks better now but they definitely need to fix those types of glitches because that can certainly hinder their ability to sell tickets. Someone could loose interest in buying tickets if that problem persists, because they may not have time to call. I didn’t want to call because I really didn’t want to be put on hold forever. Thankfully I wasn’t and the rep was courteous and accommodating. It could have just been my laptop though; who knows. I really just hope they have a strong season. The prospects certainly look good. Guess we’ll find out soon enough!

  • Totally off-topic (sorry about that), but seeing the surname Hage on the Philadelphia “Traviata” roster reminded me of Robert el-Hage, a Lebanese bass who appeared on a few recordings made in the 1970s and/or ’80s. I always thought he had a terrific voice that seemed wasted in the tiny roles he fulfilled. Does anyone know anything about him? The Google was surprisingly unhelpful, as was Operabase.

  • jrance

    Oropesa has future engagements at The Met. She has a very busy career and a full calendar; offers from The Met don’t always dovetail with a singer’s schedule. The Met certainly has not “cut her loose”.

    • ML

      Yes, she’s a fine musician.

    • Camille

      Wasn’t part of the scuttlebutt about Oropesa the pertinent fact she wished to sing leading roles — like what she is now about to do in Philadelphia — rather than cute little secondary roles — like Nanetta and Sophie?

      There’s a big, wide world of opera out there and it is probably good for a relatively still young singer to go out there and grab up as much as they are capable of, to test their mettle. She put in a good stint at the MET, and I think what she is doing now is all for the best, rather than being cast in big roles like Norma and Anna Bolena, e.g., and not really living up to it all or being physically incapable of expressing those roles.

  • Constantine A. Papas

    Sirius charges around $17 a month for one device such a radio connected to your audio system. You may need an outside antenna for good reception. (I did). It will costs you another $4 if you add internet streaming. No radio or antenna is needed; and the sound is good if you have a decent pair of PC speakers that have come with a subwoofer.

    • antikitschychick

      Thanks for the 411 Paps :-). I don’t have a radio so I will most likely opt for the online streaming as I did before. I do have speakers and a small subwoofer but I usually listen with just my headphones. I need to invest in a proper pair of headphones too but right now is not the time. I definitely enjoyed all of the broadcasts when I had it so I will definitely renew my subscription sometime in the near future. Luckily I’ll be able to watch more live opera this season that I have in the past.