Werther with Rolando Villazon and Susan Graham continues on France Musique. (Broadcast began at 3:00 pm EDT.) Concert donné le 28 février 2009 à l’Opéra Bastille à Paris, en simultané avec l’Union européenne de radios. Rolando Villazon : Werther, poète; Ludovic Tézier : Albert, jeune homme; Alain Vernhes : Le Magistrat; Christian Jean : Schmidt,…
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La Cieca really, really doesn’t like to say this, but the truth seems to be staring us in the face, so here goes. We have seen the last of Rolando Villazón at the Met. Even though he’s announced as having canceled only the first two performances of Elisir, it’s pretty clear that he’s just not…
A source close to the Met whispers to La Cieca that Rolando Villazon “will cancel” the first performance of L’elisir d’amore at the house on March 31. This, La Cieca should mention, is based on an overheard conversation between Sarah Billinghurst and Angela Gheorghiu.
Peter Gelb has just announced that, due to the indisposition of Natalie Dessay, the role of Amina in La sonnambula will be sung tonight by Rolando Villazon. (Thanks to Opera Chic!)
La Cieca hears the distressing news from Paris that Rolando Villazon was advised by his current management to cancel his March appearances as Werther in order to “rest and refresh the voice,” but as of today is still planning to go on in the Massenet opera. Villazon’s appearances in Paris run through March 18, leaving…
[La Cieca’s old, old, old friend Camille attended Montserrat Caballe‘s Valentine’s Day duo recital earlier this month. Her reactions — which she admits it took her some days to sort out in her mind — follow.] After some reflection and reviewing Caballe’s Orange Festival Norma, once again, I can merely pipe up with my opinion…
This is from last night. La Cieca should note that she was not at this performance (1/29/2009), but a member of the cher public armed with an iPhone was. The clip is presented for the purposes of discussion. Tombe La Cieca will begin the discussion by noting that the scene is performed down a half…
The operatives were busy over the midnight hours: “Act 3 was a mixed bag. The opening showed Villazon in much better form, with solid phrasing. The Mad Scene started out beautiful, Netrebko spinning out haunting legato. She was completely involved and engaged. Then she fell apart at the flute solo, sounding under supported and wavering…
UPDATE: And now the reactions to Act 2: “Villazon continued to struggle. Pushed upper register and passaggio. High notes he seems to accomplish (or in some cases misses) by sheer will of force. Aside from a beautiful legato in the sextet, his voice is very worrisome. Netrebko has bloomed in this act, acuti seemingly in…
For those who are interested, the following clip will help establish the tonality of Rolando Villazòn‘s final aria last night. Rolando’s key (This clip was sent to La Cieca by a member of the cher public who prefers to remain anonymous. The clip is provided for discussion purposes only.)
At first La Cieca thought this next clip was an excerpt from the film version of La bohème lensed earlier this year in Vienna and currently in post-production. But the director of that film is Robert Dornhelm and (at least as credited) the director for this video is Vincent Paterson. Your doyenne is further not…
Premiere Opera Podcast has returned after a hiatus of several months, and, as always, Ed Rosen keeps us up to date with the latest tenor activities. Recent episodes include excerpts from a duo recital (Juan Diego Flòrez and Rolando Villazòn) and a Lucia scene from Stephen Costello.
In her never-ceasing quest to keep her cher public violently engaged in the operatic discussion process, La Cieca presents a couple of snippets from a recent opera performance at Covent Garden. The artist in question is heard in moments representing (your doyenne is informed) his worst and best singing of the evening.
New York-centric as she is, La Cieca cannot help but sulk when she hears that the Met is in line for Nicholas Hynter‘s “rather limited” staging of Don Carlo that opened last night at the Royal Opera House, Covent Garden.Â
Well, no, of course, there’s no such thing as too many tenors, but it’s good to know we have so many high male voices around these days. One from the present (Rolando Villazon) and one from the past (Beniamino Gigli) are featured in Ed Rosen’s recently-debuted podcast, and one for the future is parterre favorite…
Rolando Villazon not apparently in his very best form but La Cieca is very impressed with a) his willingness to sing out and take chances even when he is less than 100% and b) his well-supported legato that is the basis of even his most vehement singing. Anna Netrebko found a way to interpret Gilda…
La Cieca, ear to ground as always, has picked up some reliable-sounding scuttlebutt about the incoming Peter Gelb regime at the Met. The first decade will probably be known as “All Villazon All the Time” since (per our source), Rolando Villazon has inked a pledge to sing two operas a year at the Met for…
Rolando Villazon says he’s willing to do nudity, but only if it’s called for in the story of the opera. Might La Cieca hope that such a plot-driven rationale be found to get budding hunkentenor Stephen Costello to strip off during OONY’s Guglielmo Tell this Sunday? Well, perhaps not. But (so La Cieca heard at…
UPDATE: Not only are Gli Alagni scheduled for Aida at La Scala in 2006 (as noted yesterday), La Cieca has just heard that Peter Gelb has promised them a new production of Carmen at the Met in 2009-10. And, yes, Gheorghiu is the Carmen, not the Micaela. This is all at least four years in…
Anna Netrebko is Anne Welles! Rolando Villazon is Lyon Burke! On the silver screen, every thrill, every shock of the best-selling novel by Jacqueline Susann! Uh, make that “the best-selling opera by Giuseppe Verdi…
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