Which diva, whose performance of the first act is admittedly note-perfect, is making management lose sleep because she's hasn't yet attempted the second or third? (Maybe they're worried she won't cancel.)
Which diva, whose performance of the first act is admittedly note-perfect, is making management lose sleep because she's hasn't yet attempted the second or third? (Maybe they're worried she won't cancel.)
28 comments:
On this blog, has to be Renee. Also why is Villazon in New York, saw him near Zabar's yesterday walking along in usual manic style????
Did anyone notice the page six article on Millo's concert, I am suprised no one has commented on all the "royalty" (but they don't mention all the opera queens who will be in attendance!!!
Is it really necessary to point out that Ms Fleming has already performed the role both on stage in Europe and in concert(OONY)in the United Utates? True, it has been a while but she's done it before and appears to be in excellent vocal shape currently.
The title of the post makes me think of Turandot. "What is born each night and dies each dawn?" So is it Guleghina?
Given the clue ( Si, la speranza che delude sempre) it must be TURANDOT, whose first act vocal demands would not have tested Minnie Pearl.
So I assume this refers to Maria Guleghina.
Why in NY? Better now than before the snow. "Out of sight is out of mind in these caverns of the dead. ... For idle hands and hearts and minds the Devil finds a work to do. A work, dear sir, fair madame... for you and you."
I could sing Altoum *tomorrow*- it's a question of being older than Charlie Anthony and dear Hughes Cuenod combined. Few people associate me with Puccini as he was not among the composers i sang at the Garden and during the Festwochen before coming home to face Marcellina, But I sang Musetta, Tosca and Butterfly with the Met opposite the likes of Bjoerling, Tucker, Peerce and Tagliavini.
I doubt that Guleghina would ever be pitch perfect... I'll see how she is in the open dress, only an hour away
Of course it has to be Ghuleghina. Turandot does not appear vocally in the first act. Did she bail on the dress rehearsal too?
NYC is not the center of the universe. She has sung the role before elsewhere and she has sung at the Met plenty of times and is acquainted with the venue. She will give her all as usual and will be trashed for her pitch being all over the place, which will be true, and some of us will enjoy it for what it is. Yes, I will admit to liking a big unruly voice now and then and thankfully I don't have to wait 40 years before I can appreciate it and collect her recordings and forgive the inadequacies and worship at her altar. I don't have to name the names of those who hold sacred cow status now who were quilty of the same or worse. I adore them also, but if you think they were always pitch-perfect you're in need of some serious tuning.
Good, maybe Lindstrom will get the whole run. She'd be a huge upgrade anyway.
Schweigundtanze, I hope Lindstrom gets the performances too.
An Anonymous poster said: "I doubt that Guleghina would ever be pitch perfect... I'll see how she is in the open dress, only an hour away."
Well, Guleghina's formidable decolletage is usually an open dress in itself.
With the post being called "Hope", it's gotta be Turandot. And calling Ghulegina's first act "note-perfect" does seem like something our doyenne would say.
I agree.
So if she doesn't decide to take herself out (highly unlikely) can the Met decide to replace her at this late date?
And if so, with whom?
Word from a friend who was there at today's dress of Turandot is that MG was in VERY poor vocal condition; everyone was appalled. But given that she appeared with Giordani to promote Turandot and her appearance in it during one of Renee's intermission interviews during Saturday's AIDA in HD, it's unlikely she will withdraw from the performances (including an HD of her own in November.)
The MET can buy out anyone it wishes to, and has done so in some fairly high profile cases--singers (Tebaldi, about which everybody felt dreadful but the time had come; Mara Zampieri), conductors (Simone Young, a total no-brainer), directors and designers (the entire production team originally hired for the current Manon Lescaut; Zeffirelli for Aida) et al.
I smell a Jennifer Wilson debut.
the dress rehearsal was closed I heard, people I know say audience was not admitted!
Thats a hilarious clue about the first act being note perfect, if it is Guleghina, but she has sung the complete role at Washington. By "attempted" I would assume cieca meant never sang it anywhere.
Lissssen, here, fools. Guleghina can act a storm in the role, and so what if her voice goes all over the place in the role? Its not like she needs the finesse of an Elvira (Puritani) or Lucia to sing Turandot, fer chrissakes, the opera is a scream fest for the two principles! Let her shred her vocal cords some more AND I'll be first in line to buy a ticket or watch the HD broadcast to watch her stare everyone on stage and in the audience intoto trembling wimps! Trema!
If true, it took them much too long to buy out Simone Young's contract!
Oh so that's acting what the Ghoul does? I thought she just hunched her shoulders and looked constipated while she screamed off pitch.
Lisssen anonymous fool, I go to the opera for singing not screaming.
Get the hook for her, it's been tooo long.
"Sì, la speranza che delude sempre!"
This has to be a Turandot reference.
Ghulegina isn't so bad. Right now her Lady Macbeth is actually my favorite. She can really act, which will make the HD transmissions interesting.
Turnodot isn't a long or difficult role. Deutekom sang Turandot! The soprano just needs to have a huge and loud voice for all of the shouting.
"...whose first act vocal demands would not have tested Minnie Pearl."
Simply the funniest words ever typed on this site by anyone not named La Cieca.
"NYC is not the center of the universe."
Said like a lip-gloss and Prada queen from Dallas.
"Ghulegina isn't so bad. Right now her Lady Macbeth is actually my favorite. She can really act, which will make the HD transmissions interesting."
Well, there's no accounting for bad taste, but she sure couldn't act or dance or pronounce Italian or sing very well at the premiere.
Go listen to Verrett or find the DVD of her Scala performances and maybe you'll learn that, actually, peopel have a point when they say that there are some roles that past interpreters handled better than the current crop.
I'm one of those who gets a kick out of Ghuleghina's performance while fully admitting to her imperfections. But I do think that people exaggerate her flaws. The parts of her Adriana that I heard weren't so bad (and I had been led to believe that it was "disastrous"). Not knowing her current vocal estate, I think she can scream her way through this role. It is mostly a lot of loud singing with a couple of high Cs thrown in. If she attacks those high Cs dead-on, they should be relatively in-tune. If she sings up to them as part of a phrase, they'll be flat. Let the fun begin!
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