“Katarina Dalayman will sing the role of Brünnhilde in this evening’s performance of Wagner’s Siegfried, replacing Deborah Voigt, who is ill…. Siegfried, conducted by Derrick Inouye…” Read more »
“Nathan Gunn Replaces Deborah Voigt” [TheaterJones] (Photo: Ken Howard)
Soprano Amber Wagner will sing all the performances of Ariadne auf Naxos at Lyric Opera of Chicago in 2011-2012, replacing Deborah Voigt, who “is focusing increasingly on dramatic soprano roles and has made the decision to remove the role of Ariadne from her repertoire for the time being.” Performances run November 19-December 11.
An “unbelievably honest narrative of a woman caught in a dangerous cycle of addiction and illness who overcame her demons in an utterly triumphant way” — that’s what publisher Harper Collins is calling the forthcoming memoir by Deborah Voigt, tentatively titled “True Confessions of a Down to Earth Diva.” The tome is scheduled for publication in 2013. [New York Times]
At long last, the most closely guarded secret of 2011 (besides, you know, everything about what’s going to happen to City Opera) is about to be revealed. Ladies and public, the Second Annual Parterre Cher Public Choice Awards!
The annual Richard Tucker gala came and went at Avery Fisher Hall with the usual quota of gaffes, wardrobe malfunctions, no-shows, too-much-shows, substitutions and surprise guests (well, guest). And sandwiched between the routine, the egocentric and the just plain dull were moments of true dementia, the moments that we melomanes live and die for. Most of those moments were due to the antics of a certain well-known Slavic diva (of whom more later). But first, the specs.
Richard Strauss’s brilliantly disturbing Elektra was first performed at the Dresden State Opera in 1909, and arrived in America in 1910 at the Manhattan Opera House. A second American premiere, this time in the original German, was in Philadelphia in 1931 with – and this will kill you – Nelson Eddy as Orestes. Along with Salome it represents Strauss at his most dissonant and chromatic. After Elektra, the composer would retreat to a more tonal, neo-romantic compositional style that while still harmonically complex, would never push the envelope like Elektra. This 1994 Metropolitan Opera performance has never been commercially available [...]
The dramatic soprano (and soon to be belter!) celebrates her golden birthday today.
Cher Public