Cher Public

“I find that birds of a feather flock together”

Born on this day in 1921 actress Nancy Kulp

On this day in 1850 Wagner’s Lohengrin premiered at the Staatskapelle Weimar.

Born on this day in 1867 composer Umberto Giordano.

Born on this day in 1894 conductor Karl Böhm.

Born on this day in 1901 soprano Irene Jessner.

Born on this day in 1913 tenor Richard Tucker.

Born on this day in 1924 conductor Berislav Klobucar.

Born on this day in 1927 baritone Nicolae Herlea.

Born on this day in 1929 conductor István Kertész.

Born on this day in 1931 bass-baritone John Shirley-Quirk.

Happy 86th birthday opera director Tito Capobianco.

Born on this day in 1931 soprano Cristina Deutekom.

Happy 76th birthday bass Paul Plishka.

Happy 70th birthday conductor Gustav Kuhn.

Born on this day in 1948 mezzo-soprano Lucia Valentini-Terrani.

  • CCorwinNYC

    This was “Parterre in the Berkshires” weekend—Joel Rozen was at “Ariadne auf Naxos” by Berkshire Opera Festival and I was at Tanglewood as a civilian but ran into recent Parterre debutante Judith Malafronte who was reviewing “Bryn & Bess” for Opera News, a piece I’m looking forward to. A few thoughts on Saturday evening though—the Met is lucky to be rid of the Nelsons (no, not Ozzie and Harriet) for its new “Tosca” although Mr. drew sumptuous if often very slow playing from the BSO for a semi-staged act 2. The seemingly shell-shocked Mrs. was as beige as her gown and every high note squalled. Terfel seemed determined to embody the most repulsive Scarpia ever though he sang well. Russell Thomas was announced as ailing and if not at his best was still better than many recent Marios I could name (he was in excellent form the next day for the Beethoven 9). After intermission Terfel’s “Fliedermonolog” was nicely—and simply—done, while her unbeautiful “Rusalka” aria was ok. I didn’t cringe much during the concluding “Porgy & Bess” excerpts which surprised me although her soulful gesturing during “Summertime” was just bizarre. The encore of “La ci darem la mano” became a “hilarious” threesome with dorky hijinx involving the maestro combined with coy simpering and cooing by the soprano. Ugh.

    • Camille

      oh Lawdy, better you than I, better you than I.

      Ugh x 2.

    • Porgy Amor

      Thanks for that, CC. I’ve read a few places this morning that Opolais “triumphed” and that I’m supposed to be wistful about her detachment from the Tosca production. Not happening.

      “Repulsive” may be Terfel’s default for Scarpia. He is that way in the Kent production as well, and I think it is a good choice for him. It’s not a knock on him; he just isn’t the guy I’d want trying to pursue the “elegant/seductive menace” option. His villains tend to be nasty pieces of work, and he’s good at it.

    • Thanks, CC.

      I was very impressed Nelsons’s Elektra at Carnegie Hall with Goerke (which I heard on a broadcast recording, not in-house). But that’s a much different opera than Tosca.