Calleja cancels
wagnerfan
also sick but went on. Wagner fan
edo...@gmail.com
> He cancelled again today at with two hours notice and the cover (Pomeroy) is
> also sick but went on. Wagner fan
I was there and thought Pomeroy was excellent in every way. They did
make an annoucement that the Hoffmann, David Pomeroy, had a slight
cold, but would sing. Most folks didn't know that Pomeroy was even
singing, because there was no slip in the programs. There was a small
sign at the entrance, street level, but that's easy to overlook. I
always look there, and I saw it.
Ed
Count of Warwick
> He cancelled again today at with two hours notice and the cover (Pomeroy) is
> also sick but went on. Wagner fan
============
If the stand in is sick as well, one has to assume there is a bug
doing the rounds
Stoned
during one performance last week there were 3 cancellations during the
same performance. A bug indeed...
On Jan 3, 6:01 pm, Count of Warwick <raff_martin...@yahoo.co.uk>
wrote:
stefano
I was not impressed with Pomeroy at all when I heard him on the Sirus
broadcast last week. So I was curious when you judged him "excellent
in every way," while earlier you always wrote negatively about
Calleja. Does this mean you really think Pomeroy is a better tenor
than Calleja? Or perhaps that Pomeroy might have been "excellent" as
a cover? Do you find the timbre of his voice beautiful or otherwise
interesting? Most importantly, does he have owillo?
Frank A.
edo...@gmail.com
Yes, plenty of owillo, of course!! I don't think he is a "better"
tenor than Calleja, but I do think he was a better Hoffmann. He was
very impressive live, and the size was a pleasant surprise. Calleja
may have a bigger voice, but Pomeroy had more "point" IMO. His top
bloomed, where Calleja's stayed the same size as his lower, passaggio
notes, which was big, but not pointed, as I have written. Pomeroy's
finest really difficult note, ironically, was the high B in the first
act that Calleja omitted in every performance, for reasons that elude
me. First I thought that for some strange reason Levine asked him not
to sing this note, but since Pomeroy sang it last night under Levine,
that can't be the reason. It probably doesn't come in a way that
Calleja feels comfortable.
Best,
Ed
stefano
Why do you think that high B is so difficult, as in Hoffmann and in
other operas Calleja has faced far more difficult high notes? I am a
bit mystified by this myself, thinking maybe Levine asked him to sing
the note as written. Did Levine really conduct the last performance?
I thought it was John Keenen, no? He conducted Pomeroy's debut as
well, and maybe he let Pomeroy do what he wanted. All in all, I
really liked the new Hoffmann, especially after having seen the HD
telecast. As a matter of fact, I am thinking of going to the encore
performance
Wed. night, although the temperatures here in the Twin Cities have
been plunging to minus 15-20 and no one really feels like going
outside for anything.
Frank A.
rich...@gmail.com
month if I can swing it, to see Caroline Worra in Screw in Madison,
and I believe a Roberto Devereux with Brenda Harris, about whom I have
heard a lot. at the Ordway within a couple of days of each other. I
was going to drive from Madison to Minneapolis.
I suppose I should bring long underwear!
> Frank A.- Hide quoted text -
>
> - Show quoted text -
stefano
wrote:
You never know what to expect in the Twin Cites that time of year. On
the news this morning, they spoke about a thaw in the second part of
January (meaning temps in the twenties and thirties). Let me know if
you come to town, maybe we can go for coffee or a drink. As you
probably know, the Minnesota Opera, although one of the better
regional opera companies, has been uneven in terms of vocal quality
and stage productions (some downright stupid....). I have seen truly
wonderful performances there (e.g., Calleja in Lucia at the beginning
of his career, Sumi Jo in I Mont.& Cap) and many mediocre efforts
(e.g., the recent Pearfishers, Hoffmann, etc.). What irritates me a
bit is that ticket prices have been jacked up to almost those of the
Met, and many of the performances don't seem worth it. Then again, I
suppose it is important to support the local arts. Living here, I
have found it helpful to plan trips to New York and Chicago to see the
real thing.