Cher Public

“I hate to be alone”

Born on this day in 1912 conductor Georg Solti

To honor the anniversary of the maestro’s birth, our friends at Opera Depot are offering free download of Wagner highlights.

Born on this day in 1822 librettist Michel Carré.

Born on this day in 1879 composer Joseph Canteloube.

Born on this day in 1923 tenor John Alexander.

Born on this day in 1847 librettist Giuseppe Giacosa.

Happy 92nd birthday soprano Virginia Zeani.

Born on this day in 1935 tenor Kenneth Collins.

Happy 70th birthday bass and teacher Richard Crist.

  • fletcher

    Wonderful performance of The Consul in Long Beach (actually Inglewood) last night, with Racette. She was in good voice, and I think very suited to the role, which calls for a lot of grim determination with outbursts of despair, that sort of thing. Very good design, especially the secretary’s office, with its towering desk and a long, angled fluorescent light raking over the stage. It’s a moving portrayal of stateless people, and those caught in an impersonal, sclerotic system, effectively topical, and as someone who’s spent countless hours at the préfecture in Clignacourt waiting for appointments to make appointments and shuffling countless notarized documents, there was a lot to relate to in the waiting room scenes.

    • So your situation called for a lot of grim determination with outbursts of despair, that sort of thing, I imagine.

      With Brexit and its unknown consequences looming, I’m gathering with grim determination the sheaves of documents necessary to ask for French citizenship. This coming Wednesday I have an official French test…

    • Nelly della Vittoria

      But tell us, did she fling post-its about in the “Papers, papers!” section?

      • fletcher

        They were real 8.5x11 sheets, but yes, that goes without saying.

        • Nelly della Vittoria

          Glad they weren’t stingy!
          I don’t want to raise the angry shades of Mrs JC by over-praising Menotti, and have my doubts about the suggestive thrills of this sort of red-scare-but-not-quite mid-century piece, but nonetheless I enjoy it and find it effective. It works well even (especially?) on that 1960 telecast, and I can understand how it had a life on Broadway too.

          A thousand years ago when I was in graduate school in the Old Country we used to joke about waiting in the university admin offices and screaming YOU, YOU TOO SHALL WEEP and TELL ME SECRETARY TELL ME etc etc.

    • Rosina Leckermaul

      She’ll be singing it here in Chicago in a couple of weeks.

  • Get out of the Cocina
    When I would review a performance, as we all innocently do, I never thought one of those sneeeeeaaky singers would read the review, and actually write me back sarcastically or have another artist tell someone I happen to know, “Why does Handelman hate me?” I also once wrote a review on a forum where one of the artists,under a fake name, did not like a criticism I made of her performance. (I actually came to like this artist very much, by the way.)

    From Caruso to the present day, every artist gets bad reviews, and if they act like Harry Truman and threaten to punch the guy in the face because he didn’t like his daughter (who was no Ponselle,by the way), they will just not accept the fact that when you open your big mouth on stage, you are subjected to various opinions.

    I have seen some negative reviews on Facebook of members and get a bit upset that the member will read the review. I will myself NEVER write a bad review of someone I know is a member here, but some might say that this is cowardly, but that is me. Therefore if a singer i know cracks on a note or someone else is boring, I will refrain from any negativity. Gee, what if my beloved DFD was alive and Julia Varady was a member (she might be) and told her hubby to send me a bomb!!!!

    Do you think anyone here, whether or not they know the singer is a member, has the God-given right (nerve??) to tell the truth in his/her opinion.?

    Also, any singer who gets on a stage knows full well that a newspaper critic might have something to say. This reminds me of the review of I believe Olin Downs or someone of that nature, criticized Rise’ Stevens’ German as Octavian, and they met at a party. Rise proceeded to speak German, and the critic remarked, “I don’t speak German.” and Rise said, “WELL,I DO!!”

    So now, I am going to tell you, Marianne Cornetti, that your chest voice sounds like a foghorn, that Signor Hymel is inaudible past the first row, that Lauren Flanigan should have replaced Meryl Streep in the Florence Foster Jenkins Film, that Piotr Beczala cannot hold any candles to Paul Potts, and especially that Sam Ramey’s videos are dubbed in by Ezio Pinza!!!!

    Let’s face it, singers are MIRACLES…. but if they find critics too mean, as they say, “If it’s too hot…get out of the cocina!!”

    P.S. Someone once told me my Abigaille sucked, and I hit him with my pocketbook!!!!!

    • DonCarloFanatic

      Made me laugh. Go get ’em, Zinka.

  • Apulia
    • grimoaldo2

      From that review: ” McDermott weakens the tension of the judgment scene by having Hughes Jones tried in full view of Michelle DeYoung’s Amneris rather than offstage.”
      Yes, that is the same thing Zambelllo’s production at Washington National Opera, previously seen at SF, did and I hated it.
      Radames’ trial is supposed to be offstage and we only see Amneris but hear his and the priests’ voices. It is a coup de theatre, why do these directors think they know better than Verdi? Spoils that scene for me.
      “(Moore’s) is one of the finest performances of the role to be heard in London for many years.”
      How nice, yes, brava Latonia!

      • Apulia

        yes, and it also spoils it when we DO get to see Radames in the last scene after just hearing him in the Amneris scene…..

        • Resitopiu

          Latonia Moore was indeed fabulous, certainly the best Aida I have heard since LP.