Cher Public

Broadcast: Norma

Summertime, and the canto is bel from Lyric Opera of Chicago, starting at 1:00 PM EDT.

  • La Cieca

    End of the first strophe of “Casta diva” and Radvanovsky is already out of tune.

    • ER

      may be she’s not warmed up fully yet. The cabaletta was sloppier than I recall at the MET- but we’re only getting started.

      • La Cieca

        Maybe she’s on her period. Or maybe she watched a scary movie on TCM the night before and didn’t sleep well.

        • ER

          she’s better now…. (rimembranza scene). one too many vocal effects slapped on, but still thrilling singing.

  • Curt Degroat

    Is she really a castrato?

  • Camille

    Who is singing the Adalgisa? Is it Barton?

    I just returned from the market as I’d thought I’d give this a miss but curiosity killed the cat.

  • Camille

    sounds tired. Stiff.

    • ER

      italian is mushy but that D was solid.

  • La Cieca

    https://uploads.disquscdn.com/images/8eca306e42025e8df0a263b2141619a4a9bca2d784d874d6dfd3f9fce7afcdc0.jpg

    “And that brutally flat high D signals the end of the first act of Norma from Lyric Opera of Chicago.”

    • Camille

      Is this Cats or the Cunninglingus Vixen? Don’t know one from the other? Or The Merry Widow, perhaps?

      Teneri, teneri figli….

      Bellini had a thing about offing little chirrens. It happens in Pirate, and in his earlier opera as well, Bianca e F(G)Fernando. Strange complex to have.

  • Cicciabella

    Norma stream is choppy for me, so I’ve switched to Gatti and the Concertgebouw Orchestra kicking Salome ass in Amsterdam: http://radioplayer.npo.nl/radio4/

    • Camille

      Hey Dank U, CicciaB., for the link even if we missed the kickass Salome, it’s nice to hear the netherlandse sprache once in a while and lots of good stuff as well.

      • Cicciabella

        You’re welcome, Camille. The Salome will probably available on demand here: http://www.radio4.nl/ntroperalive/uitzendingen. I now there are many Salome fans on parterre. This one was very good in the theatre. Malin Byström is singing the role for the first time and was very convincing on stage, surmounting the fact that the size and range of her voice are both small for the role. As an actress she was ideal. Gatti is, as he often is, idiosyncratic with tempi, often slow and unabashedly lyrical. The slow tension build-up worked in the theatre, the production by Ivo van Hove was simple and well-crafted. Today I enjoyed the musicians the most: they played so beautifully!

  • Niel Rishoi

    Norma sounds so calm and peaceful in contemplating killing her children. Norma Il sociopatico?

    • Camille

      Thinking of the headlines…
      “Priestress and illicit mother attempts dual infanticide now in custody and awaiting her pyre.”

      DeShong sounding a lot better than her substitute did last fall, sorry to have lost her Italiana. Oh, that is a C she sang just now and she did not falter, so this is done in key. Very respectable and healthy C for a mezzo, well done.

  • Niel Rishoi

    For the soft molded phrase, Radvanovsky has no fears: the *a piacere* “come del primo amore al di,” with its exposed high C, done pianissimo, is mind-blowingly good. But moments later, the “Strage! Guerra! Sterminio!” is really lame and lacking in authority.

    • Camille

      That for sure.

      It’s as if she is giving a collection of her best points in what she is able to do of the score and has to, per forza, ignore the rest. Who knows or cares anyway, right? Oh well, not looking forward to this in September now.

      • Niel Rishoi

        Dragging drag.

  • manou

    Just logged on -- can someone be kind enough to give me a link to the broadcast -- I hope I am in time to hear “In mia man”

  • Camille

    manou,
    juste go to http://www.wfmt.com

    live link for Norma. Yes, you are in time.
    “Lyric Opera of Chicago” Live Link, that is.

    • manou

      Thank you Camille -- I missed it all as life intervened and five people and a week-old baby turned up for a surprise visit….Will look out for a possible repeat and return the courtesy!

      • Camille

        Don’t trouble yourself too much about it as it was not an exceptional performance by any means.

        Life intervening is much more important. Especially a brand new little life.

  • Niel Rishoi

    This is my abschied to this Norma. It is the 5th or 6th over a half dozen years, beginning in Oviedo, 2011. So much promise on that first outing. The role was learned, and was locked into one generalized way of singing it, one way of arms-length interpretation. It hasn’t evolved, deepened or gained perspective. It is efficient, competent and tidy, and NORMA is rife with the messiest and most profound of emotions. It is almost an affront to the opera that a singer can’t make a connection with this, the greatest of soprano roles, encompassing the widest range of moods and contrasts of emotional responses.

    • Antikitschychick

      I don’t want to listen to this precisely because I’d like to hear her in the fall at the Met, as well as Marina Rebecca and Angela Meade because I love this opera and can’t get enough of it, but based on what I have heard of her (La Rad) in the part I tend to agree with you. She just doesn’t connect the way you’d expect her to. A waste imho given her vocal talent and the fact that she is an real assoluta that can do justice to the music. There’s no doubt in my mind about that at this point. I agree that working with an Italian conductor like Muti would be great for her. I’m really looking forward AN’s collaboration with him soon for Aida. That should be thrilling. I wish he’d convince her try Norma.

      • Satisfied

        You and me both! I’m more excited about this collaboration than I am about Anna taking on the role (which, of course, makes me shudda with excitement).

        • Antikitschychick

          I agree! I want to FEEL something next time I listen to Aida. The story she tells in O Patria Mia of missing her homeland, missing the gentle breezes, the green hills and blue skies, and how she might never see any of that again resonates with me personally, as it does with many others I’m sure, and while I love that opera, I haven’t been truly moved by any performance of it since the 2012 Met HD when I first heard Mo. Not even when I saw it live two years later. Don’t get me wrong, it was definitely exciting and a great performance we all enjoyed, but I was sitting too far up to establish any meaningful emotional connection to what was happening on stage and there were constant distractions from other audience members.

          Of course when I listen to Leontyne Price and Callas and Aprile Millo that’s a different story. Bottom line is, I think most sopranos who attempt that role these days fall short in some way, either vocally or dramatically, both, though it tends to be one or the other. Let’s hope AN gives us an Aida for the ages. She’s definitely at the peak of her vocal and artistic capabilities atm so I am optimistic, although Semenchuk who will be the Amneris needs to bring her A game too.

  • Camille

    WELL—--that certainly settles my idea about the possibility of attending opening night this fall, for it’s a no now. Much rather go in for the new/old/new Tosca with the new Tosca, Mme Yoncheva. That ought to be loads of fun!

    • Niel Rishoi

      Unless she works with someone like Muti, who demands more than the perfunctory…

      • Camille

        She, who? Either one of the two divæ would profit from a strong wakeup call from Muti, I’d think.

        I’m really wondering what made her sang as she did today. Not feeling well--BORED--off-night? By this point in her evolution I expected a lot more and was willing to cut her my usual slack about the language issues, but I think that is at the crux of what the problem would be.

        At any rate, now I look forward to Marina Rebekah, even if she may be a size too small in amplitude in the middle/lower voice, I am warming up to her singing, gradually, and maybe she will really take it to the hilt, what with only having the two official performances and god only knows who will end up singing whom and when.