Cher Public

Ja, sah er Baden ahn der Ruf

davidLa Cieca’s nomination for Song of the Year 2016: an elaborate but hideously tasteless unintentional joke. 

  • Marcello

    I don’t understand anything except Hallelujah. In what language are they singing?

    • Pirelli

      It’s what some of us ruefully might call “operatic English.”

      The soprano’s pronunciation of “bathing” in the 2nd refrain is particularly ridiculous.

      This truly is one of those “so bad it’s good” videos. Thanks for sharing, La Cieca.

      • Rob NYNY

        I can’t pick the word out, but in England it is pronounced “bahthing,” not “baything.”

        • Armerjacquino

          I’m afraid it really isn’t!

          • Pirelli

            Besides, this is a performance from Vienna, and the soprano is German. Nothing “UK” about it.

  • Rowna Sutin

    I had some ideas about last year, too.

  • Rosina Leckermaul

    Poor Leonard. Oy!

  • Brackweaver

    Cohen would alternate between ‘do ya’ and ‘do you’ so that’s an excuse! Accepting the premise of the arrangement with key changes for each soloist, why does the soprano rewrite the melody down? Given the venue and arrangement why not sing it in a translation? So many whys…

    • Magpie

      Why sing it at all…? That song is the most over-sung and under-felt. Most sing it without understanding what they are singing about, and the rest try to over vocalize what is a simple and beautiful and perfect melody. Young singers try to add embellishments and “details” that masquerade as insights….
      And…did they have to flip the pages to read the word “Hallelujah”? …
      And Kashania dear, the stridency was not only auditory but emotional……
      All go make some hot chocolate and cue Cohen’s gravely bark and:
      Happy new year

  • Wow, this gets worse and worse as it goes along, doesn’t it? It’s even worse than a video I saw recently (which I can’t find on YT now) with an opera quartet singing Wham’s “Last Christmas” in a similar manner (though with less strident tone).

    • WindyCityOperaman

      This reminds me of an Ed Sullivan show comedienne’s impersonation of an opera diva slumming it, belting out “Twist and Shout”

    • Marcello

      Nonetheless, I feel sorry for Kasarova. She is only 51 and her career seems to be pretty much finished. She was never one for the glossy magazines, star galas and jetting from one opera house to the other. She had a nice career in Zurich under Pereira, but obviously Homoki has no use for her. She added Carmen, Venus and Dalila to her repertoire, probably not too successfully, But Maddalena, Fidalma and Christmas in Vienna?

      • PCally

        Well she was pretty popular in Europe for a solid stretch of time. I know the few times I saw her the audience roared even when she didn’t sound so good. Sad that the voice went prematurely but even taking taste into account (I personally thought she was one of the strangest performers I’ve seen) she accomplished a pretty substantial amount.

  • PCally

    Went to the closing performance of L’amour de loin and I have to say that Mumford and Phillips were on fire most of the evening. I’ve never been interested in Phillips and she seemed pretty tentative at the two other performances I went to. Last night I thought she gave the best performance of the role imaginable, better than upshaw imo. The orchestra was pretty remarkable as well.

  • CwbyLA

    How many breaths does the mezzo have to take to sing one phrase?

  • Liz.S

    I know many may check out Neujahr concert from Vienna anyways but we have a bit more operatic alternative — Capodanno concert from la Fenice under the baton of our fabulous Fabio ?

    The program looks very invigorating --

    Orchestra e Coro del Teatro La Fenice
    direttore: Fabio Luisi

    soprano: Rosa Feola
    tenore: John Osborn

    — prima parte —

    Ludwig van Beethoven
    Sinfonia n. 7 in la maggiore Op. 92

    — seconda parte —

    Giuseppe Verdi: La traviata «Di Madride noi siam mattadori»

    Gioachino Rossini -- Benjamin Britten
    Matinées musicales, op. 24 di Benjamin Britten
    seconda suite in cinque movimenti da Gioachino Rossini: March

    Giuseppe Verdi
    Rigoletto: «Questa o quella»
    Otello: «Fuoco di gioia»

    Gioachino Rossini -- Benjamin Britten
    Matinées musicales, op. 24 di Benjamin Britten
    seconda suite in cinque movimenti da Gioachino Rossini: Waltz

    Vincenzo Bellini: I puritani: «Qui la voce sua soave…Vien, diletto»

    Giuseppe Verdi: Un giorno di regno Sinfonia

    Gaetano Donizetti
    La Fille du régiment: «A mes amis»
    Don Pasquale: «Quel guardo il cavaliere»

    Giuseppe Verdi
    Nabucco: «Va’ pensiero sull’ali dorate»
    La traviata: «Libiam ne’ lieti calici»