Cher Public

Doge day afternoon

On this day in 1857 Verdi’s Simon Boccanegra premiered in Venice. 

Born on this day in 1710 composer Thomas Augustine Arne.

Born on this day in 1863 writer Gabriele D’Annunzio.

Born on this day in 1888 conductor Hans Knappertsbusch.

Born on this day in 1925 soprano Helga Pilarczyk.

Born on this day in 1926 bass-baritone Zoltán Kelemen.

Happy 82nd birthday director John Cox.

Happy 80th birthday soprano Elizabeth Vaughan.

Born on this day in 1939 tenor Veriano Luchetti.

Happy 58th birthday soprano Catherine Dubosc.

  • Just a reminder that at 1pm EST there will be a livestream of Andrea Chenier from the BSO with Kaufmann and Harteros.

    • ines

      I think the livestream is next Saturday, but you can hear tonight’s première live on BR klassik- radio
      at 2 pm EST, I think

      • Oops you’re right.

      • hai lui

        The trailer is thrilling, esp Harteros

  • Listening now. Jonas and Anja sound wonderful so far.

  • cielo e mar

    Loud boos at end of Chenier. Kaufmann sounded like himself. I didn’t care for the rest. Must be quite a production.

    • The production team was booed even more loudly after all the curtain calls of the singers.

      • cielo e mar

        Yes! I thought they were more tolerant of regie productions.
        I started only with Act III. Thought Kaufmann sounded tight at first, but “Come un bel di” much better (smattering of applause regardless).

        • Porgy Amor

          I thought the advance word on this was that Stölzl was not doing a Regietheater Chénier. “You have to take the opera as it is” (his comment in a recent interview); it’s in the prescribed period, historical dress, and even AMOP was celebrating over it. Maybe that’s what the Munich audience did not like?

          • cielo e mar

            Thanks. I should have looked up the preview trailer:

            Maybe the audience didn’t care for the final duet set subterranean a la Aida? That’s a pretty serious guillotine at the end!

            • I also thought the applause was rather cool for Kaufmann (oddly). Luca Salsi got more applause.

            • DonCarloFanatic

              Kaufmann sounded…old…in the first act. It was the first time I’ve heard the Improviso and not felt moved by it. No warmth.

              From the trailer, it looks as if despite the period dress there were some transgressive elements, such as the Joker-inspired face makeup. Maybe the booers didn’t like the mix or old and new?

            • Porgy Amor

              That reminds me that there is on DVD an Otto Schenk Chénier with Domingo, Be?a?ková, and Cappuccilli. The production team really gets a lot of boos at the end of that one. That was in 1981, at the Vienna State Opera, so I’m thinking, “What did they want it to be more of? What did they want it to be less of?” It certainly isn’t anything that would shake anyone up, even at that time.

            • Armerjacquino

              Serendipitous that this CHENIER conversation should happen in a thread which also commemorates Elizabeth Vaughan’s birthday. I can’t remember who on here drew my attention to this paint-stripping version of the duet (was it grimoaldo?) but it’s beyond exciting. I’d never heard her before.


            • grimoaldo2

              It could well have been me, although I would probably have posted this more in relation to the utterly wondrous tenor Kenneth Collins, (began his career in G&S with D’Oyly Carte!) who I saw and loved many times at ENO in Italian rep, than with Elizabeth Vaughn (she is excellent also here).
              Collins was a magnificent Manrico, I saw him many times and he always did the FULL “Di quella pira”, both verses, no drop outs to get ready for an added high note at the end, unforgettable as Arrigo in Sicilian Vespers, lots of others. I could never understand why he wasn’t as in demand worldwide as more famous tenors who were not as good, imo.

  • WindyCityOperaman

    Happy 71st birthday Liza Minnelli! Did anyone ever hear that Franco Zeffirelli wanted to direct her in a remake of Camille?

  • steveac10

    Did a bit of YouTube exploration on this years Met Council finalists. Richard “Trey” Smagur needs to find a tailor but his student performance of the tomb scene is better than any I’ve heard at the Met since Domingo became a baritone.

    • QuantoPainyFakor

      Real hope for the future from both of them! According to another one of his videos, he pronounces his last
      name SMAY-ger.

      • Donna Annina

        No kidding--we heard him sing Peter Grimes two weeks ago in Bloomington. Absolutely spellbinding and no audible strain. During intermission Carol Vaness was overheard telling people “this one’s going to have a BIG career.”

    • Rowna Sutin

      so first rate -- I was mightily impressed. Looking forward to hearing him again. Thanks Steveac!