Cher Public

On with the motley

In Issue #40 of parterre box, the queer opera zine, Our Own JJ nabs lengthy interviews with critic John Ardoin and tenor Richard Leech; the New York opera scene is dissected by Dawn Fatale, Little Stevie and Indiana Loiterer III; the inimitable Dick Johnson journeys to Pittsburgh for an early Sondra Radvanovsky Trovatore; and Richard and Peter sum up the Houston Grand Opera audience thusly: “…a peculiar mix [of] snarling Wagner queens in leather, bourgeois Europeans in black tie, and fat women in sweat pants and Nikes.” [Download Issue #40]

forty candles

Longtime friend of the ‘box Little Stevie returns to Adriana Lecouvreur:

I have always believed that as with La Gioconda, a great performance of Adriana Lecouvreur needs to serve up “the four greatest singers in the world”, and the Met seems to come close to doing just that. I have attended all of the performances thus far and Friday night was my third visit to this revival.

Placido Domingo‘s voice remains a steady and well produced instrument with a slight decline in volume and breadth of line and a somewhat more pronounced vibrato. What was once a silver sheen to the voice has bronzed, but by Act 4 when he allowed himself to sing out fully the sound made any of the current crop of rising tenors pale in comparison. Every note he sang was carefully measured and calibrated for maximum impact and it was a strong vocal showing, even in transposed keys.

Controversial to some, his transposition of large sections of music did not bother me. I did find it a bit cruel to make Maria Guleghina sing in an uncomfortably low register in their Act 1 scena, but my opinion is it’s better to have Domingo as Maurizio in a lower key than not to have him at all. The two of them make a very sexy couple and their was a serious passion between them.  Read more »