Cher Public

Verse l’ivresse et l’oubli dans mon coeur!

Born on this day in 1825 librettist and playwright Jules Barbier. 

Born on this day in 1875 composer Franco Alfano.

Born on this day in 1914 tenor Franz Klarwein.

Born on this day in 1933 director Luca Ronconi.

Happy 78th birthday tenor Horst Laubenthal.

Born on this day in 1939 tenor Robert Tear.

Happy 56th birthday tenor Mark Padmore.

  • Camille

    Happy birthday to Mr. Padmore and, please — if you please — celebrate after your joint recital on Friday with Mr. Biss! I am particularly fond of Schwanengesang and am hoping for an A++ performance from you fine fellows.

  • Camille

    Today is International Celebration of Women’s Day, so get out those pink hats you all wore a month ago down in Washington, D.C., and dare to wear them again, girls, and you all know who you are.

    That means you, too, La Cieca! What good is sitting alone in your room, as life’s a cabaret they tell me, old chum

  • WindyCityOperaman
  • Amika

    Speaking of Hamlet, here is a link to Lisette Oropesa singing the mad scene.

    https://youtu.be/ZEDzab7Lb5k

    • Daniel Swick

      Such lovely and expressive French…She’s a very musical singer.

  • chicagoing

    I did not realize that there was a plural form of the word applause (applauses) until I received a mailing from the Grant Park Music Festival that used that word on it’s cover. In other brochure news, the SFO season booklet includes this quote from Michael Fabiano, “I’m so grateful to the San Francisco Opera. They put their belief in me as a young singer earlier than others.”

  • Pery

    Angela Gheorghiu drop out of Adriana Lecouvreur at Buenos Aires Teatro Colon. According to her Facebook page:

    “I am deeply upset and disappointed about the lack of professionalism and discourtesy I have encountered in the last days in Buenos Aires, while I was very much looking forward to perform Adriana Lecouvreur at Teatro Colón.
    Due to pre-contractual breaches and the failure of Teatro Colon to fulfil my contractual terms, which are unquestionably respected wherever I sing, in opera houses and concert halls all over the world, I find myself in the impossibility to perform for the Argentinian audiences, which I love and highly adore.
    I travelled to Buenos Aires, an extremely long journey, with this uncertainty, hoping that everything will get sorted out as soon as I am in Argentina.. It has been already a week since I am here and nothing has improved. I could not even attend any rehearsal without any valid contract signed, of course. I only experienced more disappointment, unprofessional behaviour and disrespect. I even tried to have a conversation with the General Director of the Teatro Colon, Maria Victoria Alcaraz, but, surprisingly, I was refused one. It is a very embarrassing and unpleasant situation for me.
    I interdict the Teatro Colon to sell tickets under my name and to use my name or my image in any of their promotional materials, it is illegitimate and unfair for the people who pay and who are not responsible for this unfortunate circumstances.
    I was extremely eager to reencounter with the wonderful, warm public in Buenos Aires, which I cherish a lot, and I can only hope that I will return some other time, under honourable conditions and under the righteous respect and admiration.
    Angela Gheorghiu”

    • southerndoc1

      “the failure of Teatro Colon to fulfil my contractual terms”

      Provide a 600 seat auditorium?

    • Yalma Cuder-Zicci

      I’ve been reading responses to the Teatro Colon facebook page and found this account (translated in Google translate):

      “On the other hand, sources close to the Colón Theater, assured that the singer arrived on March 1 and had problems with her stay from the outset. She asked to be changed from hotel, request that was granted, and then gave up going to rehearsal.

      “The second day accused a problem of stress and the third directly did not communicate nor was to rehearse,” revealed close friends to the directive of the Theater. Gheorghiu made some judgments about the contract but gave up on going to rehearsals she had scheduled. “She never stepped into the theater,” they told him.

      The soprano did not perform clothes or sound tests. Nor did she meet the cast members or the conductor. Faced with this situation, and six days until the premiere of the work, the direction of the Teatro Colón decided that the artist should not sing.

      The replacement of Romanian will be the Argentine soprano Virginia Tola. She will take the main role of the opera in the scheduled subscription functions. In the last two presentations will be the soprano Sabrina Cirera. Both will be accompanied by the Stable Orchestra of the Teatro Colón, which will be directed by maestro Mario Perusso, according to Colón Theater reported in an official statement.”

      • Armerjacquino

        Well, if ever there was an example of ‘the truth is somewhere in the middle,’ this is it.

        If the Colon didn’t honour Gheorghiu’s contract, she was of course totally within her rights to swerve the costume fittings, sound checks and even the rehearsals.

        And if they felt they had honoured the contract, they’re entitled to be upset that she didn’t turn up for them.

        Parterre always skews anti-singer on these things, especially when it’s Gheorghiu, but this looks to me like a situation where both parties are convinced they’re entirely right, which means both parties are probably a little bit in the wrong.

    • Batty Masetto

      Word from inside the house last time she was in San Francisco is that she was well nigh impossible to deal with here as well. And of course there was that famous dropout from Tosca after Act I, when Melody Moore went on instead. And she’s been blackballed from Chicago for not rehearsing. On that basis I’m much more inclined to believe the Teatro Colon side of the story.