Cher Public

Mémoires en fuite

Happy 90th birthday actress Genevieve Page.

Born on this day in 1720 playwright Carlo Gozzi.

Born on this day in 1797 poet Heinrich Heine.

Born on this day in 1898 soprano Iva Pacetti.

Born on this day in 1900 conductor Jonel Perlea.

Happy 87th birthday soprano Rosanna Carteri.

Happy 82nd birthday baritone George Fortune.

Happy 77th birthday soprano Urszula Koszut.

Born on this day in 1943 tenor Gosta Winbergh.
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  • Camille
    • Rowna Sutin

      Another singer I didn’t know, Iva Pacetti. Thank you, Miss C for this. Thrilling vocalism. I see there are other youtubes which I will investigate later.

  • Ivy Lin

    So some major shit is also going down at NYCB and I caught 6 Nutcracker performances during the whole Peter Martins investigation:
    http://poisonivywalloftext.blogspot.com/2017/12/nutcracker-season-sweets-amid-turmoil.html

    • cielo e mar

      Another fabulous review, Ivy. I paused at your observation, “I also revisit my favorite dancers. …
      These are portrayals I know and love, and returning to them year after
      year is soothing and thrilling at the same time. It’s remarkable how
      these dancers know how to transmit their magic in every performance.” That’s something we used to be able to say about favorite singers — Pav’s Nemorino or Rodolfo, Freni’s Mimi, MacNeil’s Rigoletto (I go back a ways), Scotto’s Butterfly, Sutherland’s Lucia, Nilsson’s Turandot, Vickers’ Grimes, etc, etc. I can’t think of an equivalent for Kaufmann or Netrebko or others. Maybe Hvorostovsky’s Onegin (sad to say now). Surely a result of the director-centric approach. I do miss the “magic” so many singers transmitted (whatever the production) with their individual command of and identification with certain roles.

      • Ivy Lin

        I think it’s also that nowadays the big stars want to branch out and do all sorts of roles. They will often take a certain role, go on a “journey” with it (their words) and retire it after the “journey” is over. Some rare exceptions: Angela Gheorghiu had a very small, consistent repertoire over many years, Renee Fleming kept roles like Rusalka and Marschallin with her for years, Joseph Calleja also seems to go for consistency in a small number of roles rather than singing everything.

        • Kullervo

          I don’t think those are ‘rare exceptions;’ Beczala, Harteros, Alagna, Racette, Damrau, Grigolo, Radvanovsky, to only name a half dozen or so, have all managed to add new repertoire while keeping certain signature roles in regular rotation.

          • Armerjacquino

            Mezzos too, maybe even more so with their smaller core rep- Graham did it, and DiDonato, Barcellona, Garanca, Koch, Leonard…

          • fletcher

            In regular rotation maybe, but how often again in the same place? I know I live on at the edge of the known universe, but I’ve never heard a singer sing the same role live more than once.

            • Nelly della Vittoria

              Well, we just saw Joyce and John Osborn sing Donna Del Lago in 2014-15 and 15-16, for instance. Having said which, @disqus_sY44DodHVx:disqus surely lyric-mezzo repertoire has never been larger than now? JDD would’ve had only half as much to sing some decades ago, and even in this life she might’ve done more if she’d stayed in Europe and sung all the early-music, Baroque and 18th-century roles she often sings in part or in concert (had had a career more like Cecilia’s* or something)?

              *a bit sui generis, I know…

            • Kullervo

              Well…it does depend where you live then, doesn’t it? Certainly the Met has had a lot of repeats by major artists in their big roles. Zajick sang 60 Azucenas at the Met over a 17 year period. For a more recent example, Monastyrska did three separate Aida runs at the Met since 2012 At least in big crowd-pleaser operas the Met has kept somewhat close to tradition in that they present multiple casts per production, with audience favorites returning to their signature roles.

              This is only really the case with houses that have massive repertory seasons. Besides NYC, if you lived in say, Berlin, you would probably have ample opportunities to see the same singer in the same role, season after season.

            • fletcher

              Right, I think it’s a generally NYC or maybe Vienna sort of thing.

        • There was a time when it seemed that Béatrice Uria-Monzon would spend her life singing Carmen.

          • Ivy Lin

            Well I think many singers are afraid of being typecast and the more star power/leverage they have the more they want to branch out and explore new repertory. And it’s not an unwarranted fear. Latonia Moore and Ludmila Monastyrska are two excellent singers who have probably sang more Aidas than any soprano needs to sing in a lifetime.