Cher Public

Broadcast: Requiem

The Met’s 2017-2018 Saturday afternoon broadcast season begins today at 1:00 PM.

  • gryphone

    Oh, dear…not that dreadful cutsie Ira Siff.

    • gryphone

      Although I will admit it may not be Ira’s fault for coming across that way. It’s the person who writes the scripts.

  • Herb Fontecilla

    Memories of late Ramey.

  • grimoaldo2

    Instead of listening to what by all accounts is a mediocre performance of the Requiem I am going to enjoy Auber’s “Fra Diavolo” from Rome with the wonderful John Osborn and Sonia Ganassi now on Austrian Radio
    http://oe1.orf.at/player/live

    • Bill

      grimoaldo2 -- wise decision. on the Met Broadcast the tenor sounds unwieldy, the chorus is wretched and amateurish compared to almost all Opera choruses in Germany, Austria and the East Bloc.and some of the other large choruses in NYC. Stoyanova is quite fine though not in her best voice, the Mezzo is strong -- rather gutsy voice. (I would prefer a Garanca type voice) However these performances of the Verdi Requiem seem to have sold much better than say Thais. and this broadcast garnered warm applause from the audience.

      • grimoaldo2

        Fra Diavolo is delightful and Osborn phenomenal.What a tenor! I LURVES him!

        • Willym

          Love the man -- saw him in Der Vampyr, Otello (Rossin), Norma and Guillaume Tell -- join the fan club with you.

      • Rowna Sutin

        Bill I completely disagree re the Met Chorus. In fact I can’t imagine why you would write something like that.

        • PCally

          I myself was really stunned by the comment. The met chorus is probably the best part of this performance IMO and they sound a hell of a lot better these days than they did a decade ago. There are enough things to criticize the met for without having to start grasping at straws. Frankly at this point Bill almost never has nice things to say about the met anyway. The Garanca comment is also silly. She’s a great singer and I’m sure she sings this music well but at no point in time was a voice like hers ever the norm for this music. So that statement seems rather fanciful.

          • Pirelli

            Agreed about the chorus -- they are first rate. As is the orchestra. Levine seemed more on his game than he was at the prima (heard on Sirius), and the odd moments of lax ensemble from that night were considerably tighter today. I enjoyed Stoyanova and Semenchuk quite a bit -- and again, moreso than than at the prima, where they were also quite good. Much as I love Furlanetto, he is sounding way past his prime -- though I still enjoy his energy and his attention to text. And though Antonenko did sound in better health than he sounded at the prima, I can’t help but think that this is just not a piece he should sing. His best asset is in the big ensembles, when he can “can belto” to his heart’s content, but he’s just not at all at ease with the quieter lyricism this piece also requires of the tenor.

          • Ivy Lin

            If it didn’t happen in Vienna it didn’t happen in the World of Bill.

    • Willym

      Thanks for the tip Grimoaldo2 -- a far better choice

      • grimoaldo2

        You are very welcome, glad you enjoyed it and share my enthusiam for Osborn! I saw him in Munich in La Juive as the Prince, such beautiful singing.

        • manou

          Completely agree that Osborn in wonderful -- plus I have met him and he is quite charming.

          • I’ve always been impressed by Osborn, too.

            • Cicciabella

              NPW, are you planning on popping over to Amsterdam to hear Osborn sing Hoffmann in June?

            • manou

              I might well do so -- are the tickets already on sale? A bis bonus is that his French is impeccable.

            • Cicciabella

              Yes, he’s at his very best in French rep. Tickets go on sale on the 6th of February at noon CET. Dutch National Opera have announced that they are assembling their own version of the opera, so this one will not be for musicological purists.

            • manou

              Thanks -- will definitely try to be there.

            • I replied -- basically saying no -- but don’t know where the reply has gone…

              Hmm: it was held up as “spam”. Here it is:

              No. I am an almost unconditional fan of Offenbach, but that doesn’t extend to Hoffmann, which I don’t get at all, really not at all.

              But it’s rare I make a trip specifically for a singer, though I do it occasionally (e.g. to hear Kaufmann in Les Troyens in London…). As you know, subscribing in your own town is expensive enough. My forays beyond Paris and Brussels are mostly “opportunistic” in that I’m travelling somewhere for work and manage to fit an opera in. I could have gone to one here in Houston called “The House Without A Christmas Tree” but nobody I consulted seemed to know much about it and when I found some stuff on YT by the same composer I decided against it. So I spent the afternoon a the Museum of Fine Arts and found it stuffed full of good things (including my new profile pic) -- enough to leave me no time to see the Menil Collection.

            • Cicciabella

              Yes, I got your reply by email, but it didn’t show up on the site. Hoffmann is a strange opera, but I guess that makes it interesting. But I see what you mean.

            • Lord, that Kleinzach thing for a start…

            • Cicciabella

              Yes. Cringe, cringe, cringe…

  • CKurwenal

    In the UK we have the Salzburg Aida on Radio 3. I’m really enjoying it, Netrebko is very exciting, Semenchuk is very good, and actually so is Meli, I’m not sure why people were so equivocal about him. On the lyrical side for Radames but I think that’s quite refreshing.

    • Cicciabella

      I think some people who are on the fence about Meli haven’t heard him live. It’s not that his voice doesn’t record well, but it has much more body live. His colour palette is not as varied as it could be, but he is a very well-schooled singer with a beautiful timbre. What’s not to like? I love Meli’s voice.

  • Ivy Lin
    • Lohenfal

      It also looks like the Zauberflöte I went to on October 14 was his last opera performance. Little did I realize when I made that choice of opera that I would be at such an occasion.

      • Ivy Lin

        Ryan McKinny has come out saying he knew about this before it ever aired:
        https://www.facebook.com/rmckinny/posts/10212345044755934

        • Lohenfal

          His statement is quite forceful, and rightfully so. I had heard these rumors as far back as the 1980’s, but the actual revelation of the details is beyond what I expected. What can follow this? Only time will tell.

          • grimoaldo2

            ” No music is sublime enough to atone for the particularly horrible aspect of these stories that are emerging. Like you, I have heard these abuse of power” Ryan says and that is a rumours since the 1980’s but I did not imagine the gross abuse of a position of power, trust and influence to prey on vulnerable aspiring underage musicians.
            Foul, vile, despicable,makes me sick to read it.

            • Lohenfal

              I fully agree. Now comes the question: did he have enablers? We may not have yet seen the full extent of this upheaval.

            • Donna Annina

              Of course he did. There are stories of him being caught or arrested elsewhere (in his hometown, for one) and the incidents being quietly settled. Who could these victims have turned to back in the 80s or 90s or at any time?

  • CwbyLA

    Why don’t we have a seperate thread about the Levine news? Isn’t it woth its own thread?