Cher Public

Vivre sa vivandière

On this day in 1840 Donizetti’s La fille du Regiment premiered in Paris. 

On this day in 1843 Verdi’s I Lombardi premiered in Milano.

Born on this day in 1901 tenor August Seider.

Born on this day in 1903 baritone Robert Weede.

Happy 89th birthday tenor Michel Senechal.

Happy 78th birthday soprano Edith Mathis.

Happy 71st birthday baritone Lenus Carlson.

Happy 70th birthday soprano Magdalena Falewicz.

Happy 65th birthday bass-baritone Jean-Philippe Lafont.

Happy 58th birthday soprano Gabriele Fontana.

  • Hippolyte

    Happy Birthday to the divine Sénéchal who I was privileged to hear as the Hoffmann servants, Triquet and Don Basilio at the Met. I had no idea he had done 175 performances there, the last one in 2005 when he was 78!

    His Platée remains a miracle.

  • grimoaldo

    The fabulous Sénéchal with Laurent Naouri and François Le Roux in the wonderful “Patriotic Trio” from “La Belle Hélène”

    Love that performance of the Lombardi trio!

  • aulus agerius

    I listened to the performance of Luisa Miller from San Francisco last fall that was broadcast on KDFC Sunday night. I have to say my benchmark for this opera is the 1974 performance from the same house with Ricciarelli, Pavarotti, Quilico, Tozzi and Tourangeau. Probably not possible to beat that one and this recent performance didn’t come close. Mostly I was impressed with the condcucting of Luisotti -- there was a lot of urgency expressed through orchestration I’d never noticed before. Brava Verdi! Crocetto was surprisingly good in filling out the line but she fell a little short in the high staccati and the delicate high line in her first aria and last act duet for example. Silvestrelli wasn’t quite as woofy as I heard him in Houston as Filipo in DC. Fabiano, the raison d’etre. I think maybe I like him less and less each exposure. I do not find his voice to be beautiful. I have liked him the best as Nemorino in Fort Worth and Oronte in the OONY Lombardi. This heavier stuff sounds so effortful to me in a way that reminds me unfortunately of Villazon. He sounds like he is trying to generate too much sound from his slender frame. I enjoyed the performance though and will listen to it again, but no trip to SF for me to see DC this summer. I don’t think it’ll best Jovanovich and Wilson in Houston a few years ago -- in French.

    • phoenix

      How very very different we all are. -- Luisa Miller is a tragedy -- Fabiano acts with a full range of vocal expressiveness -- Crocetto does not -- her monochromatic tone & intrinsic lack of dramatic vocal expression sounded to my ears just as dull as she was as Verdi’s Elisabeth in Philadelphia. Is she ‘pushed forward’ because of a singer of the year award she received in Great Britain (homeland of the great singers, no doubt) or do people really hear dramatic expression in her tone that I don’t. Sorry aulus, despite her perfect intonation, I’ve never heard any soprano on the international circuit as dramatically amateurishly mediocre as Crocetto. She should stick to oratorio singing.

      • armerjacquino

        Snark aside (sigh) what British award did Crocetto win? She’s a Met auditions winner, a Bel Canto Foundation winner, has won the Jose Iturbi competition and was an Adler Fellow in San Francisco. All these organisations were based in the US last time I looked. She competed in the BBC Singer of the World once, but she didn’t even get to the final.

        • phoenix

          ‘Leah Crocetto represented the United States at the 2011 Cardiff BBC Singer of the World Competition where she was a finalist in the Song Competition.’ -- from her promoters blurp.
          -- You are correct armerjac, she didn’t win -- but I distinctly remember her being tooted on some opera websites (company sites, if I recall correctly) as ‘a winner’ of the Cardiff BBC Singer of the World Competition, which of course is stretch of a plug at best.
          -- You can enjoy her as Aida next SFO Fall season.

          • armerjacquino

            Hmmm. The Song Competition is a bit ‘thanks for turning up’.

            Anyway, to your original point, I doubt she’s getting work in the US because she competed in and lost a heat in Cardiff five years ago!

            • la vociaccia

              Yeah I was gonna say…there are BRITISH people who made it to Cardiff who aren’t having a fourth of the career Crocetto is…

            • phoenix

              si! there are probably dozens of GB citizens who made it to Cardiff over the years who don’t have 1/4 the professional success of Crocetto -- and with promotion could have done better.
              -- believe it or not, there still remains in USA people who give an inordinate value to anything British, hence the Cardiff Singer promotion -- and there are other groups quite the opposite, who resent reference to British heritage and consider Great Britain the homeland of the white trash -- this is how it is over here -- no offence to any individuals involved -- the Cardiff Singer of the Year promotion for Crocetto came out just as she was getting started as a newcomer but that plug is no longer needed.
              -- The commercial packaging & media promotion of Crocetto is indeed amazing -- but the actual product itself offers no dynamic conviction to her singing, just a very pretty sound on perfect pitch. But truth-to-tell, I remember another famous American soprano very similar to Crocetto in the 1960’s at the Met, who also had a great career, who sang with the same lack of expression in her tone. Nevertheless, I knew several civil service workers from Long Island who absolutely adored her ‘perfect singing and beautiful voice’. So, to each their own.
              -- As far as the great singers in Great Britain, if there are any still available there, promote them as soon as possible to keep it up. It doesn’t matter how talented they are or aren’t, like anywhere else, a clever & powerful promoter can make a star out of anybody.

            • “Great Britain the homeland of the white trash…” Well, it *is* where I’m from so they may be right.

            • armerjacquino

              How very weird. Cardiff is a British competition in the sense that it’s hosted in Britain but in every other way it’s an international competition- international contestants, international judges (the year Crocetto won only 2 of the 9 judges were British). You might as well say the Olympics are Brazilian.

              I’m sure the stereotypes you mention exist, but I don’t see why a winner from Cardiff would be seen to have a particularly British imprimatur.

    • Don_Dano

      Wow! Michael Fabiano sang Nemorino in Fort Worth back in 2010. I never made that connection. That was a nice night at the opera. I think it was the first time I made the drive to FW’s Festival. I had been curious about “Before Night Falls” and The Elixir of Love was one of those “well since I am spending the entire weekend in Fort Worth” add-ons.

      • aulus agerius

        Christopher Bolduc was a fantastic Belcore in the FW Elisir, and very good-looking to boot. I cannot understand why he hasn’t had a bigger career in the States. He seems to perform almost exclusively in Europe.

        The FW Festival looks interesting this year with new works JFK, Buried Alive and Embedded, but it doesn’t fit with my schedule alas.

  • grimoaldo

    I saw that Luisa Miller live, Fabiano was beyond words wonderful. He really threw himself into the part.I loved his singing.
    Crocetto was not on that level. A dumpy stage figure, not an actress, some quite nice singing. Semenchuk was excellent.

  • Baltsamic Vinaigrette

    Happy 44th birthday Maestro Kirill Petrenko.

    • Satisfied

      Happy birthday indeed to the young maestro. Cannot wait to hear his Meistersinger this summer! Hopefully with Kaufmann (his health permitting).

  • LT

    A new Handel’s Messiah from the Mormon Tabernacle Choir is to be released in a couple of weeks with Yoncheva, Mumford, Villazon and Terfel. Snippets at the link below. Villazon sounds very out of style here.

    • Bad news for all eels : “… every mountain an’ eel made low”.

      • Krunoslav

        I thought it was ‘eels, as in Alfred P. Doolittle kickin’ up his ‘eels…

  • zinka

    Could someone por favor explain to yours truly why the Met Stuarda this evening was attended by the number of people that might fit in my old high chool auditorium..even with empty seats. Don’t try to tell me people only go to Rigolettos and Bohemes, because I attended them this season and it was no different.

    Gelb…any ideas? You better come up with some soon…I had to yell extra-loud for Sondra tonight in order to compensate, and my throat hurts.
    ..And speaking of Mme.Radvanovsky, the glory that exudes from her throat is no less of a glory than any soprano tone I ever heard. The control, the piano and triple piano singing, the ease of production, that usual “miked resonance,” and some top notes that came very close to someone named Renata . When today do I almost JUMP in my seat? In my slight experience, I place Sondra in the realm of “superb in any era.)

    I would like more declamation on “Vil bastarda, al tuo PIE” (see under Leyla Gencer-where the people applaud on the word.), and despite a fine voice in the upper middle and especially brilliant top,Mme.Van Der Heever does not have sufficient volume in the lower part of the voice to make the scene FIRE.(See Verrett and especially Galvany, who tore up the scene with Beverly.).

    However, we know that we cannot have it all,unless it is a 1966 Frau or a 1939 Boccanegra or a Handelman Melitone.

    Youn was adequate, and happy to see the wonderful Patrick Carfizzi, even in a small role. I always said he deserves much more.

    Now..HELP ME! I once “faked” Ruiz in a tenor voice;that was Caruso compared to the “thread of a voice” of Celso Albelo,whom I would not allow on a stage, even as Ruiz. Do not recall any tenor as “senza voce” as this total ridiculous embarrassment…there is “no tone” there,and maybe he got his buddy Trump to donate to the Met. I was flabbergasted, longing for even any American Idol loser. Cruel, Charlie? Sorry, it was disaster.

    Adored the great Sondra and Donizetti, but how can the house be at least moderately filled? Time for “Gypsy” with Richard Simmons or “Michael Fabiano,superstar” with any GOP dude as Ponty Pilot, or even those Time Square desnudas in the Carmelites.

    Long live La Sondra….but get the bananas out of Gelb’s ears!

    • Krunoslav

      ‘happy to see the wonderful Patrick Carfizzi, even in a small role. I always said he deserves much more.’

      Well, you might want to check for Dole or Chiquita products in your own ears, since the Cecil last night was quite visibly and audibly not Patrick Carfizzi- indeed an admirable and undercredited singer-- but his announced alternate, David Pershall, who was solid enough. The program listing was wrong, and they haven’t yet to correct the archives, but Pershall’s bio was in the program and that was him. The Met confirmed this.

      What you say about Albelo is simply untrue. I don’t love his tone but he was at no point inaudible on toneless, either to me or to people I asked at 2 other places in the auditorium. But then Berti is high in your pantheon.

      I admit the tone of my reaction is marked by your childish, insensitive repetition of the usual Milanov fanboy calumnies about Ms. Price on her 89th birthday.

      • zinka

        Funny..Left glasses home and assumed it was Carfizzi…but nobody’s perfect…. Albelo made Baum sound like Gigli.

        Berti not very good in Turandot..better in Pag.

        How come there is only one…I think..member of Parterre..who would never measure up to the lovely people we have on Facebook…but look…nobody’s perfect.

        Sad……………….you have issues/

        • Krunoslav

          In fact, I *do* have issues with crass insensitivity and daily-proferred ignorance.

          Glad to learn you judge singer thanks to your glasses.

    • dr.malatempra

      Our own “JJ” liked the tenor. See his review elsewhere.

  • zinka

    Nothing like oral inhalation…..anal ones hurt….