Cher Public

My memories burn in my head with a steady glow

On this day in 1969 Jerry Herman‘s musical Dear World opened at the Mark Hellinger Theater, to run 132 performances.

On this day in 1813 Rossini’s Tancredi premiered in Venice.

Born on this day in 1898 soprano Erna Sack.

Happy 80th birthday tenor Wieslaw Ochman.

  • Rosina Leckermaul

    Tyne Daly is playing the lead in a “Musicals in Mufti” presentation of DEAR WORLD at the York Theatre in March.

    • MisterSnow

      She seems to be making the rounds. She did it recently in the Los Angeles area.

  • manou

    Netrebko’s Trovatore at the Wiener Staatsoper -- apparently a showstopping tour de force:

    • DonCarloFanatic

      OMG. Can you find more pictures?

    • grimoaldo2

      Oooooohhhh thanks manou! And with Alagna and Tezier! wow, listening to this IMMEDIATELY!

      • grimoaldo2

        She is soooooooooooo wonderful in “Tacea la notte” and the cabaletta! Terrific performance of the fabulous first act all round!

        • grimoaldo2

          sound cuts out a bit in Act Two scene one but starts up again -- d;Intino is excellent. Tézier’s “Il balen” is incredibly beautiful and stops the show itself, big ovation. What a voice! what a singer!, wonderful ensemble at end of act, I am getting such a kick out of listening to this performance

          • grimoaldo2

            Tezier and D’Intino and chorus on fire in Act Three Scene One, very moving to me,Alagna sings “Ah si ben mio” OMG how wonderful *faint, pass out,swoon in ecstasy* BRAVO, but only one verse of “DI quella pira” unfortunately

            • grimoaldo2

              Yes, Nebs’ singing of “D’amor sull’ ali rosee” does rightly stop the show, aria of unearthly beauty and sung with such (final note does not sound quite in tune to me, but who cares)prolonged ovation. Fabulous low notes and dramatic sounds in her “Miserere”, only one verse of the cabaletta, that’s a pity. Great Nebs and Tézier duet!
              D’intino beautiful in last scene. Magnificent finale.
              Many thanks again manou for posting this, when I woke up this morning I had no idea the day would hold such a WONDERFUL treat as being able to hear a SPLENDID performance of this opera of operas and thanks as ever to La Co for hosting this site where we can share these things!

            • manou

              It is indeed a quite amazing D’Amor and yes, worthy of the ovation -- disruptive as it may have been. There is also this:


            • ines

              I loved her performance…. but in the ‘Miserere’ my modest opinion is , that it went a bit too verismo, losing a bit the elegant line in the low notes…. something that a certain dead singer, whose name I won’t mention (Callas) always kept in the bel canto tradition…

            • David Prosser

              I do like Alanga and I think he’s generally great throughout, but don’t you think one verse of Di quella pira was enough?

            • grimoaldo2

              This is sort of a personal bugbear, I guess, as it doesn’t seem to bother others, but no, I don’t like cuts being made to Rigoletto Traviata or Trovatore, and they are almost always performed with “traditional” cuts that I do not understand the reason for, they are not long operas and imo they work better if performed as Verdi wrote them (I do not object to interpolated high notes).

            • Armerjacquino

              “they work better if performed as Verdi wrote them (I do not object to interpolated high notes”

              I… erm…

              Never mind.

            • Bill

              grimoaldo2 -- Sometimes cuts are made when singers in these operas cannot stretch their voices to sing the florid cabellettas -- or as in Di Quelle Pira the singer does not want to sing it through the second time though if I am not mistaken the high C at the end is not in the original score -- I recall McCracken in Vienna holding on to that note forever then again with an ensuing ovation which demanded five call backs for his curtain calls. I have not heard Alagna in this but he reportedly just now in Vienna only sang one verse and cut his high C quite short, But he reportedly had a cold the night of the premiere. Bonisolli lived for this note. Conversely when Muti conducted a premiere of Rigoletto in
              Vienna, the Gilda, Edita Gruberova, was not
              allowed any unwritten high notes at all as Muti adhered to the written score.

            • grimoaldo2

              No, the high C is not in the score, Verdi said he didn’t mind the tenor adding a high C “as long as it is a good one”.
              He would not have liked the practice of lowering the key and singing a B instead.
              Yes, Muti insisted on “come scritto” and no interpolated high notes, which I think is going a bit too far (because that’s that Verdi specifically said! no cuts, no transpositions or additions in his operas but extra high notes are OK as long as they are good. I knew I would get a reprimand from aj for saying this again, but DP asked me a question.)

            • Armerjacquino

              Scratching my head trying to find a reprimand anywhere.

            • David Prosser

              Generally I’m a more the merrier sort of guy, but I was being a little naughty. Alanga didn’t sound that comfortable in the one verse he sang (in an otherwise very fine performance) and so I’m not sure a second one would have been in anybody’s interests!

    • Leontiny

      This is just great. Thank you for making my evening. She just gets better and better. I’d love to hear her again now in Macbeth.

    • DonCarloFanatic

      Thank you. This was great fun to listen to.

      • manou

        So glad you enjoyed it -- I think Netrebko at her considerable best here.

  • Lindoro Almaviva

    is it me or does Angela Lansbury look like Edita as Zerbinetta in that picture?

  • manou
  • Scott

    I saw DEAR WORLD at its final matinee performance at the Mark Hellinger Theater in NYC. It had been slated to run another week, but it closed that night. I totally loved it. A wonderful score. Later I saw Lansbury as MAME at the Valley Forge Music Fair and mentioned how much I had loved DW. She said the cast all loved it too, but the public and critics were expecting another MAME, and it never found its audience.