A loyal member of the cher public writes: “Very nice performance of Fanciulla last evening. Although I still love Debbie, and am quite willing to see her in anything she does, I think this was the best of the three Fanciullas I’ve seen so far.”
Loyal M. continues:
Elisabete Matos — I had never seen or heard her — made her Met debut as Minnie. She was very good, and may have spurred her co-stars on to their best performances of the run.
Very impressive C.V. in the program. This season alone she’s singing everything from Isolde and La Voix Humaine to Tosca, Turandot and Lady Macbeth.
Audience (New Yorkers are always with any type of underdog, and there were many empty seats in what must have been am heavily papered house) loved her, and I suspect she felt heavily supported. I loved her voice, and found her very musical. Voice might be seen as a bit harsh by some, but there was plenty of sweetnes for those moments when it was required.
I’d see her again, but there will be no again. One never knows what “needs” or circumstances were in play, but it seems a shame she only had one show, and three days before Christmas to boot. On the other hand, it is nice to know that the Met can come up with such a good cover (which I am assuming she was) for such a demanding role.
Giordani and Gallo both gave their best performances of the run — with the exception of a few shaky moments in “Ch’ella mi creda,” which are hardly worth mentioning. (I mean he WAS about to be HANGED!)
Another correspondent, Paulo, informs La Cieca that he is looking forward to the first Matos Isolde (in late January at Ópera de Oviedo), and shares this video:
httpv://www.youtube.com/watch?v=gX2sKIvetlQ
A Baroque Valentine’s with Opera Lafayette | Feb | DC & NYC
Celebrate love in all its guises with tender ballads, amorous duets, cheeky verses, and bawdy drinking songs plus food, cocktails and wine.
