Cher Public

Now the milkman’s on his way

Born on this day in 1896 composer Nacio Herb Brown

Born on this day in 1903 baritone Robert Weede.

Born on this day in 1904 tenor José Soler.

Born on this day in 1910 bass Hervey Alan.

Happy 88th birthday soprano/mezzo-soprano Anny Schlemm.

Born on this day in 1930 soprano and Hollywood “ghost” singer Marni Nixon.

Happy 78th birthday baritone Silvano Carroli.

Happy 34th birthday Unison Media maven Andrew Ousley.

  • Donna Annina

    Felices compleanos, Rolando Villazon.
    Not perfect, but when I first saw/heard this, I was very moved by his performance. And Netrebko’s wordless anguish was equally powerful.

  • Camille

    Urgent Request!
    Has anyone in D. C. been to hear Opera Lafayette’s presentation of Léonore a few days ago and have any impressions of this arcana and its representation???

    Reason I’m asking is, even if I was very impressed by their presentation last year and am interested in the chain of operas that ended in Fidelio, I’m uncertain as to whether I want to spend the time, $$$, and energy on this obscurity.

    If anyone could make a case for it, that would be Opera Lafayette, so it might be worth the gamble…?

  • Camille

    As well, was anyone else there for “The Crowning of Poppy” at Carnegie Hall last night, (hopefully that would be Cristoforo Corvino)???

    I have a lot of questions for Monteverdi scholars, should there be such hiding here amidst the other courtiers of the Gonzaga.

    • Nelly della Vittoria

      I was there! But know nothing and am too circumspect for opinions.

      • manou
      • Camille

        Thanks anyway Nelly. It’s also always nice to see and hear circumspection.

        The point being: we’ve been told already that Monteverdi did NOT write his last in “Pur ti miro”, and Mr. Taruskin writes in his magnum oopus The Oxford History of Western Music, that it could be either Francesco Cavalli, Benedetto Ferari or Francesco Sacrati, the latest most likely culprit.

        Now, what I was wondering, and maybe a reviewer will address this issue, is how MUCH else was written by all and sundry in this opera? A guesstimate in the program gives Monteverdi a good 60% of the writing, but—after listening again last night, I wonder, I really wonder about that.

        Poppea was first mounted(!) at Carnivale and Monteverdi died in November of that same year,
        1643. As I am largely unfamiliar with Cavalli (CM’s student) I’d be hard pressed to recognize his voice in the midst. As his student, did he contribute substantially more than is usually attributed
        to him? I am very familiar with l’Orfeo, as well as the Arianna excerpt in both its settings, but those both come from 1607 and 1608, respectively. It is possible that, in the intervening thirty years, his style evolved substantially, but it sounded to me as if either CM’s style had radically changed, or that, as this was written specifically for a teatro there were modifications to adjust to this new type of audience, the opera-paying Publikum.

        Poppea sounds to me a little like a Venetian Ziegfeld show, a little of this, a little of that. I don’t know, though, I just don’t know.

  • Benrenki

    Before her day passes otherwise unremarked, I have to praise Anny Schlemm. I only saw her once, when she sang Boulotte in the Felsenstein production of Offenbach’s [i]Ritter Blaubart[/i] at the Theater an der Wien during the Wiener Festwochen. It’s an idiosyncratic but very funny production, and Schlemm was brilliantly funny as the peasant of somewhat dubious morality who outwits Bluebeard. There’s a DVD of the production that’s well worth seeking out.