The MET's new season: off to a terrible start

[operalover21]

Definitely so, even if that aria is a show-stopper in ANY way! I just experienced another young singer of the current generation of Rossini tenors of Juan Diego Florez league, Mexican Javier Camarena. Actually I am on that stage too, quite close to him

In this particular (last) performance (taped by someone in the audience at Bellas Artes Theatre in Mexico City) at the end of the aria the audience was SO wildly responding that he had to repeat the fast section (I doubt it happens many times!) to another thunderous applause!

 

 

http://www.youtube.com/watch?v=IJwdp_rYybA

 

I have to admit that I find Camarena quite mediocre. His tone is not pleasing and I don't think he really gets this right. Sorry.

[whipped guy]

ol21... Regarding the Barbiere vs. Cenerentola versions of the big aria", the Almaviva version is definitely the more interesting compared to the Cenerentola. There are also two other versions of the piece. One written for Isabella Colbran for a Neapolitan cantata... and the other as the first two sections for a grand aria for Adelaida di Borgogna where the final section is totally different... and a real coloratura showpiece.

 

Still the great news is Florez as Ramiro in Cenerentola! Who gets the title role??

 

One quick comment. Figaro may drive the action of the opera, but in vocal terms the tenor is still the main focus. Also while the Paisiello version is not any more political, it is MUCH closer to the original play than is Rossini's version, which which is more grandiose from a musical point of view.

[operalover21]

ol21... Regarding the Barbiere vs. Cenerentola versions of the big aria", the Almaviva version is definitely the more interesting compared to the Cenerentola. There are also two other versions of the piece. One written for Isabella Colbran for a Neapolitan cantata... and the other as the first two sections for a grand aria for Adelaida di Borgogna where the final section is totally different... and a real coloratura showpiece.

 

Still the great news is Florez as Ramiro in Cenerentola! Who gets the title role??

 

One quick comment. Figaro may drive the action of the opera, but in vocal terms the tenor is still the main focus. Also while the Paisiello version is not any more political, it is MUCH closer to the original play than is Rossini's version, which which is more grandiose from a musical point of view.

 

I have to check my notes but I believe that Joyce di Donato is singing Cenerentola.

[whipped guy]

I have to check my notes but I believe that Joyce di Donato is singing Cenerentola.

Thanks! If so that would be a dream cast with JDF and JDD as the leads. Unfortunately I hate the production with the blue wallpaper, derby hats, and silly wedding cake. However it is the singing that ultimately matters... and especially in Rossini!

[operalover21]

Thanks! If so that would be a dream cast with JDF and JDD as the leads. Unfortunately I hate the production with the blue wallpaper, derby hats, and silly wedding cake. However it is the singing that ultimately matters... and especially in Rossini!

 

See, and I love that production because it removes so much kitsch that existed in other productions I saw! Of course, it was hilarious when Borodina and Brownlee did it. He's about munchkin size (picture the mayor of Munchkinland and you'll see what he looks like) so when he stood on top of the cake with Borodina it was hilarious!

[whipped guy]

There is the video on the MET's website with Garanca and he looks like a mini Mayor Quimby on the cake there as well! In any event, I will try to view the production in a fresh light. I have not seem it in person since it was new.

[+ Italiano]

I have to admit that I find Camarena quite mediocre. His tone is not pleasing and I don't think he really gets this right. Sorry.

 

Don't be sorry. That's the beauty and magic of Music and Art.

I didn't particularly like what I heard of him on youtube before meeting him, I found him live quite exceptional. I find Netrebko mediocre, some think she is fabulous. I love diDonato, some think she is so-so. Many think Florez sounds like a mosquito, I like him a lot. The Met audience the other day greeted Zajick as Azucena and Amneris like they were watching Cossotto in 1972 or Simionato in 1958, I found her frankly quite unpleasant and I felt the same 10 years ago.

And let's not talk about the fact that still some people think that Callas' voice is "ugly" )

 

C'est la vie!

[operalover21]

Don't be sorry. That's the beauty and magic of Music and Art.

I didn't particularly like what I heard of him on youtube before meeting him, I found him live quite exceptional. I find Netrebko mediocre, some think she is fabulous. I love diDonato, some think she is so-so. Many think Florez sounds like a mosquito, I like him a lot. The Met audience the other day greeted Zajick as Azucena and Amneris like they were watching Cossotto in 1972 or Simionato in 1958, I found her frankly quite unpleasant and I felt the same 10 years ago.

And let's not talk about the fact that still some people think that Callas' voice is "ugly" )

 

C'est la vie!

 

Of all the singers who have come along in the last 20 years, I think the one "historical" singer among them is Juan Diego Florez. There is simply no one out there who can do what he does and, in some case, there is no one who has in our lifetime. He is a miracle. I'd go watch him sing the phone book.

[bostonman]

Don't be sorry. That's the beauty and magic of Music and Art.

And let's not talk about the fact that still some people think that Callas' voice is "ugly" )

 

Well. sometimes she did sound less than pretty. But I admire that - it seemed to me always to be in the spirit of the drama. What's the point of sounding pretty when you're singing about ugly things? She knew exactly what she was doing, and it worked.

[whipped guy]

Well. sometimes she did sound less than pretty. But I admire that - it seemed to me always to be in the spirit of the drama. What's the point of sounding pretty when you're singing about ugly things? She knew exactly what she was doing, and it worked.

Not only did she know exactly what she was doing, but she always was able to turn her shortcomings into assets. One quick example: in the 1955 RAI Norma there is a point during "Teneri figli" where the voice cracks... But this only adds to the drama. Also the slightly unsteady and acidulous high D at the conclusion of the second act of the Berlin Lucia only underscores Lucia's plight

 

Also, zaf is totally correct regarding Zajick... Compared to Simionato or Cossotto in their prime she is not exactly in their class... Still she always stole the show ever time that I saw her...

 

Also, while JDF is indeed special... I still don't think that is what tenors sounded like in Rossini's day. I want even more of a mixed voice... a "strong falsetto" sound. Still he is the perfect compromise for 21st Century ears.

[JamesNYC]

...but as someone on the "inside"...

 

ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha.

[+ WilliamM]

Of all the singers who have come along in the last 20 years' date=' I think the one "historical" singer among them is Juan Diego Florez. There is simply no one out there who can do what he does and, in some case, there is no one who has in our lifetime. He is a miracle. I'd go watch him sing the phone book.[/quote']

 

I totally agree with you about JDF. Florez is very well represented on DVDs, not always in sensational productions. But, several of his Rossini opera DVDs are wonderful. Question: Has he ever gotten the opening night slot at the Met? Hasn't that recently gone to Fleming or Netrebko?

[whipped guy]

I don't recall JDF getting a season opening night... Netrebko is the current "diva del giorno" for such occasions. Too bad JDF did not get to join her in the opening L'Elisir d'Amore... Still Polenzani was slated to be part of the deal... and he was quite good. Could it be that Netrebko didn't want to be overly upstaged in what is already considered to be a tenor opera? Still JDF has gotten at least a couple of new Rossinian productions.

[operalover21]

ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha.

 

I see Apprentice James is starting another vendetta. Why don't you just get lost? You're really amusing no one, not even yourself.

[operalover21]

I don't recall JDF getting a season opening night... Netrebko is the current "diva del giorno" for such occasions. Too bad JDF did not get to join her in the opening L'Elisir d'Amore... Still Polenzani was slated to be part of the deal... and he was quite good. Could it be that Netrebko didn't want to be overly upstaged in what is already considered to be a tenor opera? Still JDF has gotten at least a couple of new Rossinian productions.

 

He doesn't sing the kind of operas that the MET would probably use for an opening night but I doubt he really cares. He's so in demand ....

[operalover21]

Not only did she know exactly what she was doing, but she always was able to turn her shortcomings into assets. One quick example: in the 1955 RAI Norma there is a point during "Teneri figli" where the voice cracks... But this only adds to the drama. Also the slightly unsteady and acidulous high D at the conclusion of the second act of the Berlin Lucia only underscores Lucia's plight

 

Also, zaf is totally correct regarding Zajick... Compared to Simionato or Cossotto in their prime she is not exactly in their class... Still she always stole the show ever time that I saw her...

 

Also, while JDF is indeed special... I still don't think that is what tenors sounded like in Rossini's day. I want even more of a mixed voice... a "strong falsetto" sound. Still he is the perfect compromise for 21st Century ears.

 

Thank god for that kind of compromise!

[+ Italiano]

I have to check my notes but I believe that Joyce di Donato is singing Cenerentola.

 

She was DYING to sing Cenerentola at the Met, I DO hope you are right.

[whipped guy]

She was DYING to sing Cenerentola at the Met, I DO hope you are right.

A few years ago DiDonato was the "cover"... and at a time when she had already recorded the role for Naxos... Certainly a unique situation where the cover had recorded the part, but not the artist who was actually engaged to perform the role! I also hope ol21 is correct. In fact I have that recording loaded in my iPod and just listened to the rondo finale "Non piu' mesta" just to remind myself just how good she is!

[operalover21]

She was DYING to sing Cenerentola at the Met, I DO hope you are right.

 

Let me check my next season's notes and ....

[operalover21]

Okay, I checked, the Cenerentola is JDF, di Donato, Luca Pisaroni, Alessandro Corbelli, conducted by Fabio Luisi.

 

I'm most looking forward that and the revival of Frau Ohne Schatten and the new production of Prince Igor.

[leigh.bess.toad]

operalover21... I was able to find the exact date via the MET archives. Corelli was still quite good... even though he was not the Corelli of the previous decade... It was the only time that I saw him so I was still quite impressed and glad to have experienced him in the flesh. I don't remember the Turandot as being bad at all... acceptable if a bit strident... It is curious to note that I clearly recall the conductor as being Otvos, but did not remember Ross. Of course the most interesting part of the performance concerned the fact that Moffo as Liu was heckled after her first act solo... There was silence after her shrieked final note and then someone yelled out "You stink!" from the Family Circle. I am sure she was mortified. After a long first intermission Lucine Amara replaced her and sang like an angel. So a fascinating experience to say the least! Incidentally I was also at the infamous 1969 MET Lucia broadcast where Moffo almost self distructed... though a recording of the event is perhaps not as bad as the tales told would make one to believe... again another unique Moffo experience! Incidentally Gedda was the Edgardo and for once the final scene did not sound like a tacked on epilog... but rather the highlight of the performance.

 

Metropolitan Opera House

June 14, 1974

 

 

TURANDOT {115}

 

Turandot................Elinor Ross

Calàf...................Franco Corelli

Liù.....................Anna Moffo [Act I]

Liù.....................Lucine Amara [Acts II, III]

Timur...................John Macurdy

Ping....................Robert Goodloe

Pang....................Andrea Velis

Pong....................Nico Castel

Emperor Altoum..........Robert Schmorr

Mandarin................David Holloway

Prince of Persia........Jacques Cesbron

Servant.................Ivan Allen

Servant.................Jack Hertzog

Servant.................Marc Verzatt

Executioner.............Edilio Ferraro

Executioner.............Jeremy Ives

Executioner.............Donald Mahler

 

Conductor...............Gabor Ötvös

[Moffo cancelled after Act I and was replaced as Liù by Amara.]

 

WG - been away from a while and just catching up. Funny you mentioned this performance because I saw the two leads in the Turandot 5 days later when it was on tour at Wolf Trap Farm Park in Virginia. It still was something to see and hearing Corelli as Calaf was something to remember.

 

Of course I was lucky enough to see Corelli one more time in person. A Saturday matinee performance at Wolf Trap, almost one year later Just another Boheme. Of course anytime I could see Scotto was always a treat for me (she is one of my two divas, along with Price). But what we didn't realize at the time was that was to be Corelli's final performance with the Metroplitan Opera company. Had we known it was his last performance ever with the company, we still might be cheering even now.

 

What I wouldn't give to be able to go back in time to one performance: Corelli's debut. Of course it was also Price's debut. One of the most amazing evenings in Met history, I think.

 

And then there are the Moffo stories. She did a performance of Boheme with Pavarotti at the Connecticut Opera when I was in school in 1975. I couldn't get tickets (I was a student, poor, and they sold out in like 3 nanoseconds). But because of the demand, the local public radio station broadcast it. Pavarotti was great in one of his best roles. but I swear that someone was squeezing a goose whenever Mimi was supposed to be singing. It was some of the most gawd awful sounds I have ever heard out of a human. I would prefer to hear someone screaming in agony in an ER -- that would be more pleasing to the ear. The term train wreck doesn't even begin to do justice to what Moffo did to her voice. I heard early recordings and she was incredible. What I heard that night defied human comprehension.

[bostonman]

 

And then there are the Moffo stories. She did a performance of Boheme with Pavarotti at the Connecticut Opera when I was in school in 1975. I couldn't get tickets (I was a student, poor, and they sold out in like 3 nanoseconds). But because of the demand, the local public radio station broadcast it. Pavarotti was great in one of his best roles. but I swear that someone was squeezing a goose whenever Mimi was supposed to be singing. It was some of the most gawd awful sounds I have ever heard out of a human. I would prefer to hear someone screaming in agony in an ER -- that would be more pleasing to the ear. The term train wreck doesn't even begin to do justice to what Moffo did to her voice. I heard early recordings and she was incredible. What I heard that night defied human comprehension.

 

Funny you should mention Moffo and Connecticut Opera. 5 yeas later, in 1980 (when I was a mere 15 going on 16 and already a huge opera buff), Moffo came back to the Bushnell to star in a production of The Merry Widow. I had some adult opera buff friends who had told me not to expect much from the aging diva. I confess I remember almost nothing of the performance, but I'm pretty sure i was rather underwhelmed by Moffo. (Though that's not saying much in this context - the Connecticut Opera performances I remember seeing, from '77-'82 or so, could be very uneven - sometimes very good, but sometimes seeming very underrehearsed, or with at least one role rather miscast, etc - and the production values were generally nonexistent.)

 

But, I don't think Moffo or Connecticut Opera are to blame for the fact that I really don't think much of The Merry Widow - some nice tunes, yes, but the piece as a whole generally bores the hell out of me.

[whipped guy]

Regarding Connecticut Opera in that time period the performances were indeed uneven. Still they attracted big stars in those days... Caballe, Sills, Sutherland, Tucker, etc. However, the chorus was really a hoot. There was one old geezer who sang out in full voice and always seemed to overact and be front and center as well. In Trovatore he was the guy weilding the hammer to strike the anvil. Of course he was never quite in tune... Not that the rest of the chorus was in tune! Recordings from that era play almost like party records at least as far as the chorus is concerned!

[bostonman]

Regarding Connecticut Opera in that time period the performances were indeed uneven. Still they attracted big stars in those days... Caballe, Sills, Sutherland, Tucker, etc. However, the chorus was really a hoot. There was one old geezer who sang out in full voice and always seemed to overact and be front and center as well. In Trovatore he was the guy weilding the hammer to strike the anvil. Of course he was never quite in tune... Not that the rest of the chorus was in tune! Recordings from that era play almost like party records at least as far as the chorus is concerned!

 

I only have vague memories of actual performances, but yeah, they were interesting, lol. I do remember a Trovatore. I also remember Caballe singing in Mimi in Boheme. I remember a Rigoletto where the last act was lit very poorly (yes, this is supposed to be at midnight, but that was ridiculous), and an Otello with a really bad tenor. And then I remember when they started doing huge "arena" performances at the Civic Center - and that the poster for the first production, Aida, advertised all the animals that would be onstage, before mentioning the singers!

 

I also used to go regularly to the Hartt opera productions, and ironically enough they were usually much more solid than the Connecticut Opera. And sometimes more experimental - I remember, for instance, a Bluebeard's Castle done completely to a filmed background (that must have been hell keeping the synchronization together). And I remember a marvelous Falstaff and also a Fledermaus that even got filmed and shown on the local PBS station. On the down side was a Pagliacci with one of the faculty playing Canio - I remember he wasn't very good.

[leigh.bess.toad]

Regarding Connecticut Opera in that time period the performances were indeed uneven. Still they attracted big stars in those days... Caballe, Sills, Sutherland, Tucker, etc. However, the chorus was really a hoot. There was one old geezer who sang out in full voice and always seemed to overact and be front and center as well. In Trovatore he was the guy weilding the hammer to strike the anvil. Of course he was never quite in tune... Not that the rest of the chorus was in tune! Recordings from that era play almost like party records at least as far as the chorus is concerned!

 

The chorus did have quite a few of the Hartt opera majors so there was some talent there, but the "community" members did make it interesting. I know of at least one who was in there who has gone on to the Met (and is still on their roster) - Robert Brubaker. Of course Robert is the sort you never would have pictured who would have made it to the Met but he has, and has been there off and on for about 20 years.

 

I only have vague memories of actual performances, but yeah, they were interesting, lol. I do remember a Trovatore. I also remember Caballe singing in Mimi in Boheme. I remember a Rigoletto where the last act was lit very poorly (yes, this is supposed to be at midnight, but that was ridiculous), and an Otello with a really bad tenor. And then I remember when they started doing huge "arena" performances at the Civic Center - and that the poster for the first production, Aida, advertised all the animals that would be onstage, before mentioning the singers!

 

I also used to go regularly to the Hartt opera productions, and ironically enough they were usually much more solid than the Connecticut Opera. And sometimes more experimental - I remember, for instance, a Bluebeard's Castle done completely to a filmed background (that must have been hell keeping the synchronization together). And I remember a marvelous Falstaff and also a Fledermaus that even got filmed and shown on the local PBS station. On the down side was a Pagliacci with one of the faculty playing Canio - I remember he wasn't very good.

 

I remember the Bluebeard's Castle very well. That was my freshman year.

 

And it was not in my time but if I could wager a guess, the Canio was probably William Diard. Hartt always had a shortage of lead tenors when I was there so he frequently did the leads.