Cher Public

Broadcast: Rigoletto

La Cieca (pictured) invites you all to enjoy and comment upon this afternoon’s broadcast of Rigoletto, already in progress.

  • Brackweaver

    There are some very enthusiastic audience members in the house.

  • Yige Li

    I like the conducting. About the best thing of the performance.

  • Gualtier Maldè

    Lucic is taking lower options -- particularly the final high note in “Pari Siamo” was down. He sounds bored and vocally tired. Peretyatko’s voice has a soubrettish quality. Good technique but doesn’t sound childlike and innocent. Costello bawls through the upper break but is secure and the sound is attractive. Andrea Mastroni sounds like a comer. Good conducting. Very business as usual revival, nothing new to see or hear.

    • Morandi has a good grasp on the score. The first scene was a tad slow, though. I’m sorry the Met keeps booking Lucic.

    • Armerjacquino

      Lower than the E natural? How does that work? What did he sing?

      • Gualtier Maldè

        Lucic didn’t sing the standard expected high G interpolation. I think it was lower than an E though… He took more lower written options -- including one in “Cortigiani” Sounds empty and worn. Update: Didn’t take final high note in the “Si Vendetta” duet. I think he is sick.

        • Rosina Leckermaul

          Aren’t there other baritones in the world. The Met keeps going to Lucic as if he’s the only person around who can sing these roles (and Jokanaan!). There were once lots of good baritones. What happened??

          • Armerjacquino

            The Met aren’t outliers here- Lucic sings everywhere.

        • Ivy Lin

          I don’t think the high note in “Si vendetta” is written in the score. It’s an interpolation. Also don’t think the G in “Pari siamo” is written. It’s just a traditional interpolation.
          Renato Brunson in his video with Muti doesn’t sing it:

    • Cameron Kelsall

      “Very business as usual revival, nothing new to see or hear.”

      Spot on, and having seen the matinee yesterday from the house, I think it’s time to send this production to the warehouse for a couple of seasons. Lots and lots of empty red velvet throughout the auditorium. Three revivals since this production premiered is too many, especially since the casting has been somewhat uneven.

  • Ivy Lin

    Is Lucic sick or is this how he sounds nowadays?

  • ines

    Yep, curious. That is why singers love to sing in the States; he would not get that hand in Milano. ( I am not complaining about the enthusiasm of the american audience..)

  • ines

    slightly anticlimatic.. and 23 secs of applause. With Nucci you get a bis

  • ines

    But Olga sounds better , than I expected. (Saw her in Puritani many moons ago). Maybe she will develop like her famous compatriote, and from Gilda, in 10 years she will sing Lade M ( sorry, I’m drunk..)

  • QuantoPainyFakor

    Important video of the Ruth Berghaus Barbier von Sevilla now on youtube,
    along with this gem:

  • Ivy Lin

    By the way I have had a minor obsession with Tatiana Serjan ever since I saw this clip of her “Una macchia.” I’ve DL’ed a Macbeth and I Due Foscari of her. Despite the fact that she’s just singing with a candle look at what she does with the music. You can feel Lady Macbeth’s pain and remorse. Her connection with the text is such that her wiry D-flat doesn’t even matter.

    I compare it to Netrebkos and have to say that Anna obviously has the more beautiful voice and secure upper register but she just glowers a lot and you don’t feel her anguish and remorse at all. The characterization seems shallow compared to Serjan.

    • Porgy Amor

      Muti was casting Serjan in a lot of things over several years, including the 200th-birthday Verdi Requiem in Chicago. Her Lucrezia (not with him) is impressive. That is, Lucrezia the soprano character in the I due Foscari you are going to see, not the Donizetti. The role arguably needs someone who could be a plausible Lady Macbeth (Marianna Barbieri-Nini created both roles). The most recent (bad) release with Domingo and Pappano had Maria Agresta, a nice singer in her fach but all wrong for that.

      • Armerjacquino

        ‘Nice’ is exactly right for Agresta, in my experience. I saw her as the TROV Leonora recently- vocally and dramatically she did nothing wrong and nothing interesting. It was a severe disappointment after the glowing opinions I’d read about her.

        On the other hand, she was sharing a stage with the absolutely extraordinary A-Rach, and anyone would have paled in comparison.

        • Porgy Amor

          I heard at least some of a Trovatore with Agresta from Milan and was fairly impressed. A little small-scale, I suppose, but it worked better for her than the Foscari Lucrezia. Maybe she was ill at ease in the ROH’s new production.

          The first time I remember hearing of her was when she stepped into a Torino Vespri for an indisposed Radvanovsky (Kunde was the tenor), around the dawn of this decade, and had a success. I do think she’s a very good Italian soprano in the Frenian mold, and the roles in which I most want to hear her are Freni’s best ones (less so ones where even Real Freni was iffy).

          • ines

            I had a great surprise w Agresta’s Norma, a success in Paris.
            Right now listening live from Vienna ilTrovatore w Netrebko and Alagna.. this might become a great evening , or not…

            • Degan

              Nebs sounds great overall but has some problems with intonation, especially when she went for the D flat. All other also in good form.

            • ines

              Alagna pretty fresh-voiced so far

            • ines

              pira… not so fresh anymore

    • aulus agerius

      I saw Serjan sing Lady in Dallas about 10 yrs ago. I was very very impressed. It was the production from Seattle with blood running down the walls and CHAIRS. Alberto Gazale was the Macbeth and he was very good as well

  • Opera Shouth

    Lucic is very ordinary -- makes you appreciate those “second string” baritones of the past, like Guarrera and Sereni. At least h’s an improvement over Guelfi, who was voiceless at the MET for too many years.
    Speaking of improvement -- I give Costello the most improved award for this season (so far). He no longer sounds whiney like he did in “Bolena,” in fact, he seemed to be the most involved. A little tonal and dynamic shading wouldn’t hurt, however. Peretyakto has a very odd way of approaching and leaving trills. Otherwise she is ok, kind of vanilla.
    I agree with those who thought the bass was a find.

    • Porgy Amor

      I almost wrote exactly the same thing yesterday. My usual reaction to Lucic’s presence in a cast is that it could be worse, and Guelfi is what I have in mind. He was everywhere last decade, and the best I could say is that he pronounced the words correctly.

  • Rudolf

    @ Ivy Lin
    Ms. Serjan convinces with her singing. The D-flat sounds fine to mine ears. Sleep walking, however, she is not. That Lady is wide awake. Probably the stage director wanted it that way. Leaving the candle behind and disappear in the darkness … scary.