June Anderson
Sergio Henrique Monteiro da Silva
I attended a concert with June Anderson two weeks ago and here are my
impressions : she has a "large" voice for a colaratura that projects
extremely well. She sang many french and italian songs, and though she
sang them well I thought she lacked that special gift a recitalist
singer can bring to a song (for instance, she sang "O quand je dors"
from Lizt and though she sang it well, I also heard Kathleen Battle live
on this same song and Battle was much more responsive).
But in opera, she really excelled. She sang an aria from La Fille du
Regiment and Bel raggio from Semiramide and I was really impressed how
her voice can soar up to an E and still retain its robustness.
The best was still to come : in the encore, she sang "Che il bel
sogno di Doretta" from La Rondine and I was impressed because I never
thought her voice was adequate for Puccini (she can't sing Tosca, mind
you !), but it was beautiful and this is a difficult aria. She is a
rather serious singer on stage but she couldn't help laughing when
during the encore someone from the audience asked her to sing Lucia, I
Puritani after one our and a half !
I went backstage, got her autograph and she was very nice. One
curiosity : she told the press she is single (still !!!) and she came
here looking for a prince (she was joking, of course).
Anyway, anyone over the net applies for June Anderson's prince ?
Best regards,
Sergio
Lis K. Froding
In <32565D...@embratel.net.br> Sergio Henrique Monteiro da Silva
No, I'm not applying for the 'prince' role ;-) but I have certainly
enjoyed her performances, specifically at OONY, and also some years ago
in Semiramide with Marilyn Horne at the Met. Always look forward to
hearing her.
Lis
Emo Furfori
Sergio Henrique Monteiro da Silva wrote:
>
> I attended a concert with June Anderson two weeks ago and here are my
> impressions : she has a "large" voice for a colaratura that projects
> extremely well. She sang many french and italian songs, and though she
> sang them well I thought she lacked that special gift a recitalist
> singer can bring to a song (for instance, she sang "O quand je dors"
> from Lizt and though she sang it well, I also heard Kathleen Battle live
> on this same song and Battle was much more responsive).
> But in opera, she really excelled. She sang an aria from La Fille du
> Regiment and Bel raggio from Semiramide and I was really impressed how
> her voice can soar up to an E and still retain its robustness.
> The best was still to come : in the encore, she sang "Che il bel
> sogno di Doretta" from La Rondine and I was impressed because I never
> thought her voice was adequate for Puccini (she can't sing Tosca, mind
> you !), but it was beautiful and this is a difficult aria. She is a
> rather serious singer on stage but she couldn't help laughing when
> during the encore someone from the audience asked her to sing Lucia, I
> Puritani after one our and a half !
> I went backstage, got her autograph and she was very nice. One
> curiosity : she told the press she is single (still !!!) and she came
> here looking for a prince (she was joking, of course).
> Anyway, anyone over the net applies for June Anderson's prince ?
> Best regards,
> Sergio
I've had the pleasure of seeing Anderson in Chicago in her most famous
roles. Lucia in 1986 with Domingo for just two performances was
astonishing! I'd love a pirate of that one! Lucia again in '82 I think
with Alfredo Kraus, Puritani in '93, Traviata in '94 I think she's a
lotta fun - and a pretty good actress as well. I too am impressed with
the largeness of the voice in alt - just like Joan. But what's the deal
with the lack of commercial recordings? Studer as Semiramide ? With
Anderson available? what gives?
addio
Emo
Ann E Puckett
>a pretty good actress as well. I too am impressed with
>the largeness of the voice in alt - just like Joan. But what's the
>Anderson available? what gives?
There is a video of June Anderson's performance of Semiramide at the
Met available. It's terrific. (Also w/super performances by Sam Ramey
and Marilyn Horne). Haven't heard Studer in the role, so no comment
there.
You're right on about the size of her voice. I agree that she's also a
very good actress - she was Lucia in that notorious Met production and
did an outstanding job, regardless of what one thought of the
production itself. I'm an ardent fan after that Semiramide, believe
me!
Victor De La Fuente
> the largeness of the voice in alt - just like Joan. But what's the deal
> with the lack of commercial recordings? Studer as Semiramide ? With
> Anderson available? what gives?
>
> Emo
I was lucky enough to see Ms. Anderson with Pavarotti last November at the Met in La
Fille du Regiment. Let me just say it was an experience to treasure. Her coloratura is
immaculate and her voice gains strength climbing the register, sailing effortlessly up
to the Family Circle ( unfortunately the only seat I could get!). However her voice
does not record well - sounding rather bland and uninteresting (Decca's Rigoletto).
Another great coloratura, Edita Gruberova sounds rather thin and sometimes harsh on
record when in actuality she sounds incredible in the opera house . Studer as
Semiramide you say? Well her runs are technically imperfect but not glaringly so and
you can't expect any scorching high E's of F's from her but the voice is intrinsically
more beautiful and dramatically more convincing ( just my opinion).
Who you should be looking out for is Ruth Ann Swenson -- the true succesor to Dame
Joan's legacy!
Victor de la Fuente
Email: bo...@netvigator.com
CLewis2666
Taste is an odd thing. I really dislike her voice. It sounds (now) like a
fork on glass (eg as in Foscari and in Giovanna here recently) -- no
richness or centre.
Karin Andersen
I heard her in Lucia at the opera in Oslo
two years ago and I very much liked what I heard!
I also have the Semiramide video which I have watched and
enjoyed several times .I bought La donna del Lago whith her,
Chris Merrit and Rockwell Blake
from La Scala in Italy two weeks ago,have
not had the time to see it yet.
Karin
DavidGDIF
We've been lucky enough to have JA in Puritani, Foscari + Giovanna in the
last few years at Covent Garden. I really respect her hunger for
challenging new repertory rather than just cruising through the same few
roles like so many singers. Her voice is clearly a matter of opinion but
I love it. She also comes over in interviews as really interesting and
not afraid to give her opinions, even some quite controversial ones.
As a previous correspondent noted, her successor surely must be Ruth Ann
Swenson. Last season she simply blew us away with the title role of
Handel's 'Semele'. Beautiful note perfect singing allied to real heart
and soul! Also a fine gift for comedy - she got the sly humour of
"Myself I shall adore" spot on.
BK220
bo...@netvigator.com,UseNetNews writes:
> I was lucky enough to see Ms. Anderson with Pavarotti last November
>at the Met in La
>Fille du Regiment. Let me just say it was an experience to treasure.
I also was lucky enough to see Ms Anderson (from the Family Circle as
well) in last seasons *Fille du Regiment* at the Met. I agree that
hers was a most winning performance.
I found her a bit cold in the OONY *Giovanna D'Arco* at Carnegie in
the spring.
Who you should be looking out for is Ruth Ann Swenson
Very much agreed.
kent
CCHW
June Anderson has an amazingly loud and clear voice, and at times she
is brilliant. But too often I find her singing quickly becomes
monotonous, without any colors or shadings or variegations. But she's
definitely got the equipment.
John Posch
she was absolutely breathtaking. This year she's doing her first ever
Norma here (starting February 6th), with Olga Brodina as Adalgisa.
Ann E Puckett
>she was absolutely breathtaking. This year she's doing her first ever
>Norma here (starting February 6th), with Olga Brodina as Adalgisa.
I will be travelling over 800 miles to see that Norma mostly because of
June's presence. Hope the weather cooperates! Hope she doesn't cancel,
either! Does anyone know if she cancels her performances with any
regularity?
Ann
James G. Jorden
In <53eg6g$a...@sjx-ixn6.ix.netcom.com> apuc...@ix.netcom.com(Ann E
Puckett) writes:
Does anyone know if she cancels her performances with any
>regularity?
>
Dr. Repertoire
Terrymelin
She's appeared at Lyric many times over the last eight years and I can't
recall her canceling any performances.
T Ellsworth
David Barron
In article <53gans$o...@newsbf02.news.aol.com>, terry...@aol.com
(Terrymelin) wrote:
I was looking forward to June Anderson as the successor to Sutherland, but
have been disappointed. I've never heard her live, but recordings,
broadcasts, etc. have been a let down. She recently did a recital in
Toronto that was not well reviewed... I'll try and find it and post it
here, just to give some balance to the flavour of the posts so far.
Emo Furfori
Terrymelin wrote:
>
> She's appeared at Lyric many times over the last eight years and I can't
> recall her canceling any performances.
>
> T Ellsworth
A friend of mine attended a Traviata performance in Chicago a few years
ago that June had to cancel because of illness. In fact, she was a
little under the weather on opening night if I remember. Anyhow, she
doesn't cancel often for illness but will, on occassion, cancel out of
an opera if she doesn't get what she was promised. That's why I think
she's been so loyal to Lyric.
Emo
David Barron
________________________________________________________________________________As
promised, a newspaper review of Anderson's recent recital in Toronto.
"AN underwhelming diva is, by definition, a non-starter. June Anderson's
return to North York on Thursday was a dull and dry business. Last year,
she had substituted, stirringly, for an indisposed soprano, Mirella Freni,
but this year, it was Anderson who was indisposed and in a perfect world,
Mirella Freni would have flown in to replace her. As it was, Anderson was
fighting a cold which forced her to truncate her program; she was able to
show only a few traces of the mettlesome performer she seemed last
season. Working painstakingly (and sometimes painfully) to get through
the evening, she had little inclination left to interpret or nuance the
music she sang. Technique she had down cold, but it was hardly ever warmed
by expressive energy. June Anderson has many of the makings of a glamorous
star, but she's missing an essential one: a following. The rows of empty
seats, which couldn't have helped her spirits any, may indicate that even
at her best, somehow she doesn't connect; she lacks some element of
communicative generosity. June Anderson is imposing without being
enticing. At considerably less than her best, as on Thursday, she puts
her music through an artistic blender, from which it comes out bland, with
neither texture nor differentiation. Thus, her Liszt songs, like her
Turina, her Bizet, her Delibes were all monochromatic, avoiding sparkle
and charm. They were brought low by Anderson's brittle tone, hooty upper
register and passive diction. She was at her most persuasive, briefly,
with Cleopatra's Piangero la sorte mia from Handel's Giulio Cesare in
Egitto, in which she at least managed to evoke a character; and with
Bernstein's Dream With Me, a song cut from On the Town, which was graced
with her empathy for the Broadway idiom. In the circumstances, her
accompanist Jeff Cohen played nursemaid as much as he played the piano.
Aspirins all around, please. At the George Weston Recital Hall, Ford
Centre, in North York on
Thursday."
Andrew Park
The reviewer mentions repeatedly that Anderson was indisposed, so I
don't know why s/he kept reviewing her as if she was running at 100%.
This might not be the best barometer for how she might normally sound.
All that aside, when I watched the Levine gala I thought she came across
as cold and icy.
Andrew Park
James G. Jorden
>The reviewer mentions repeatedly that Anderson was indisposed, so I
>don't know why s/he kept reviewing her as if she was running at 100%.
>This might not be the best barometer for how she might normally sound.
>
the reviewer mostly commented on Anderson's bland interpretation,
"passive diction" and chilly presence. Since when are these qualities
adversely affected by a mild cold? If she's too sick to sing well, she
should cancel.
PS I heard Anderson in shockingly bad voice at the OONY "Giovanna
d'Arco"-- excruciatingly out of tune, whiny tone, and not clue how to
phrase. She was not announced as ill but even from family circle we
could see she looked ghastly. I think she's done for.
Dr. Repertoire
James G. Jorden
Remember what happened to that other ex-carpenter who thought he was
God.
Dr. Repertoire
Sara Freeman
In <53jvm7$p...@dfw-ixnews11.ix.netcom.com> jjo...@ix.netcom.com(James
What did Mr. Volpe do to so upset you? During the summertime, I think
just about anything that could take place takes place on Lincoln Center
Plaza, but I don't think there has been a crucifixion yet.
--
"If you think of reality as the software for the universe,
all it would take is for someone to change a comma in the
program, and the chair you are sitting on wouldn't be a
chair at all."--Jacques Vallee
James G. Jorden
In <53k0ol$b...@dfw-ixnews12.ix.netcom.com> fre...@ix.netcom.com(Sara
Freeman) writes:
>What did Mr. Volpe do to so upset you? During the summertime, I think
>just about anything that could take place takes place on Lincoln
Center Plaza, but I don't think there has been a crucifixion yet.
>--
with pleasure.
Last season at the Met was the worst in living memory. **Disastrous**
productions of Forza, Chenier and Makropulos. Well-sung but chichi
Queen of Spades. Creditable Cosi, especially Vaness and Croft. But the
Levine gala was a *massive* disappointment-- eight hours of singing,
but how many singers under the age of sixty can *you* remember?
This is a general manager whose management style consists of not just
firing but *publicly humiliating* recalcitrant divas (Battle, Studer).
Whose idea of damage control is to attack Licia Albanese in print for
her poor opinion of the delMonaco "Butterfly", then, two years later,
dish delMonaco in the same mag. (Either the production is lousy or
not...)
Whose idea of diplomacy is to bitch on live TV that a gravely ill
Luciano Pavarotti just doesn't feel like hobbling out on stage to tell
people no, he's not singing tonight, but just wanted to endure
excuciating pain just wave hello to Jimmy?
Who thinks it's cute to say that when he's finished with his real job
it might be fun to run the City Opera.
Sure he gets Pavarotti & Domingo to sing every season, but at what
cost? Domingo has major egg on his face from Forza and Pavarotti's
getting mixed (at best) response to Chenier.
And God help a standee who tries to nab an empty seat....
Forgive my rant, but I think the Met's in *big* trouble...
James Jorden
jjo...@ix.netcom.com
www.anaserve.com/~parterre
since you asked...
Last season at the Met was the worst in living memory. **Disastrous**
productions of Forza, Chenier and Makropulos. Well-sung but chichi
Queen of Spades. Worst of all, the Levine gala was a *massive*
disappointment-- eight hours of singing, but how many singers under the
age of sixty can *you* remember?
This is a general manager whose management style consists of not just
firing but *publicly humiliating* recalcitrant divas (Battle, Studer).
Whose idea of damage control is to attack Licia Albanese in print for
her poor opinion of the delMonaco "Butterfly", then, two years later,
dish delMonaco in the same mag. (Either the production is lousy or
not...)
Whose idea of diplomacy is to bitch on live TV that a gravely ill
Luciano Pavarotti just doesn't feel like hobbling out on stage to tell
people no, he's not singing tonight, but just wanted to endure
excuciating pain just to wave hello to Jimmy?
Who thinks it's cute to say that when he's finished with his real job
it might be fun to run the City Opera.
Sure he gets Pavarotti & Domingo to sing every season, but at what
cost? Domingo has egg on his face from Forza and Pavarotti's
got a whole dozen from the Fille "9 High B's" scandale.
And God help a standee who tries to nab an empty seat....
I think the Met's in *big* trouble...
James Jorden
jjo...@ix.netcom.com
www.anaserve.com/~parterre
Tina Kasimer
James G. Jorden wrote:
> Last season at the Met was the worst in living memory. **Disastrous**
> productions of Forza, Chenier and Makropulos. Well-sung but chichi
> Queen of Spades.
What did you find "chichi" about Queen of Spades? If there was anything chichi about
the performance I saw last December, I didn't notice.
> This is a general manager whose management style consists of not just
> firing but *publicly humiliating* recalcitrant divas (Battle, Studer).
Studer's firing was not particularly public. And Ms. Battle, of course, was in the
process of publicly humiliating the rest of the cast of "Daughter of the Regiment". She
got just what she deserved.
> Whose idea of damage control is to attack Licia Albanese in print for
> her poor opinion of the delMonaco "Butterfly", then, two years later,
> dish delMonaco in the same mag. (Either the production is lousy or
> not...)
Just to set the record straight. Volpe took Albanese to task NOT for disliking the
production - but for the way that she expressed it. She booed the SINGERS - did she
really think that was the way to express disapproval?
> Whose idea of diplomacy is to bitch on live TV that a gravely ill
> Luciano Pavarotti just doesn't feel like hobbling out on stage to tell
> people no, he's not singing tonight, but just wanted to endure
> excuciating pain just wave hello to Jimmy?
Huh? He's been hobbling around the stage the past couple of weeks for Chenier. He had
a cold for the Gala. And that unctuous twit Utley asked the question, didn't he?
Bill
William D. Kasimer
wk...@juno.com
Sara Freeman
In <53k47d$r...@sjx-ixn6.ix.netcom.com> jjo...@ix.netcom.com(James G.
Jorden) writes:
>
>In <53k0ol$b...@dfw-ixnews12.ix.netcom.com> fre...@ix.netcom.com(Sara
>Freeman) writes:
>
>>What did Mr. Volpe do to so upset you? During the summertime, I think
>>just about anything that could take place takes place on Lincoln
>Center Plaza, but I don't think there has been a crucifixion yet.
>>--
>with pleasure.
>
>productions of Forza, Chenier and Makropulos.
Forza and Chenier could have been better, but I commend him for the
Makropoulous although that humungous chair has got to go.
Well-sung but chichi
>Queen of Spades.
I loved it.
Creditable Cosi, especially Vaness and Croft. But the
>Levine gala was a *massive* disappointment-- eight hours of singing,
>but how many singers under the age of sixty can *you* remember?
>
Although I didn't attend the gala, I think I have at one time or
another seen every singer there on stage at the Met. There wasn't
anybody I didn't know.
>This is a general manager whose management style consists of not just
>firing but *publicly humiliating* recalcitrant divas (Battle, Studer).
>
Yep, Kathy finally got what she well-deserved. i haven't heard anything
about what he did to Studer.
>Whose idea of damage control is to attack Licia Albanese in print for
>her poor opinion of the delMonaco "Butterfly", then, two years later,
>dish delMonaco in the same mag. (Either the production is lousy or
>not...)
>
>Whose idea of diplomacy is to bitch on live TV that a gravely ill
>Luciano Pavarotti just doesn't feel like hobbling out on stage to tell
>people no, he's not singing tonight, but just wanted to endure
>excuciating pain just wave hello to Jimmy?
>
Was he really that ill and in that much pain. Does anybody really know.
That whole incident could have been avoided if Garrick Utley had tried
to keep in mind that he was playing the part of a host, not a news
reporter. It's a news reporter's job to report all sides of the news
good and bad. It is a host's job to keep his guests from unpleasant
news.
>Who thinks it's cute to say that when he's finished with his real job
>it might be fun to run the City Opera.
>
>Sure he gets Pavarotti & Domingo to sing every season, but at what
>cost? Domingo has major egg on his face from Forza and Pavarotti's
>getting mixed (at best) response to Chenier.
>
>And God help a standee who tries to nab an empty seat....
>
>Forgive my rant, but I think the Met's in *big* trouble...
>
>James Jorden
>jjo...@ix.netcom.com
>www.anaserve.com/~parterre
>
>since you asked...
>
>Last season at the Met was the worst in living memory. **Disastrous**
>productions of Forza, Chenier and Makropulos. Well-sung but chichi
>Queen of Spades. Worst of all, the Levine gala was a *massive*
>disappointment-- eight hours of singing, but how many singers under
the
>age of sixty can *you* remember?
>
>This is a general manager whose management style consists of not just
>firing but *publicly humiliating* recalcitrant divas (Battle, Studer).
>
>Whose idea of damage control is to attack Licia Albanese in print for
>her poor opinion of the delMonaco "Butterfly", then, two years later,
>dish delMonaco in the same mag. (Either the production is lousy or
>not...)
>
>Whose idea of diplomacy is to bitch on live TV that a gravely ill
>Luciano Pavarotti just doesn't feel like hobbling out on stage to tell
>people no, he's not singing tonight, but just wanted to endure
>excuciating pain just to wave hello to Jimmy?
>
>Who thinks it's cute to say that when he's finished with his real job
>it might be fun to run the City Opera.
>
>Sure he gets Pavarotti & Domingo to sing every season, but at what
>cost? Domingo has egg on his face from Forza and Pavarotti's
>got a whole dozen from the Fille "9 High B's" scandale.
>
>And God help a standee who tries to nab an empty seat....
>
>I think the Met's in *big* trouble...
>
Volpe may be lacking in "couthe", but he makes up for it in fortitude,
hard work, focus and just plain strength. I think the Met is much
better off now that it has a real focus in management.
>James Jorden
>jjo...@ix.netcom.com
>www.anaserve.com/~parterre
James G. Jorden
In <53mps5$4...@sjx-ixn3.ix.netcom.com> fre...@ix.netcom.com(Sara
Freeman) writes:
....I commend him for the Makropoulous although that humungous chair
has got to go.
>
You *liked* Jessye Norman singing brutally out of tune? You *liked* all
those "MTV" lighting effects that left the performers' faces in shadow?
You *liked* Krista in that RuPaul outfit? You *liked* that idiotic
joke of Hauk entering covered in cobwebs? You *liked* missing all the
dramatic points in Act 2 because the set was moving around so much?
You *liked* the denouement of the opera changed into a sight-gag about
a billboard blowing up? You *liked* that lethal climb up the ladder
that no *responsible* director would ever ask a 60-year-old overweight
man to do?
>Queen of Spades. I loved it.
No accounting for taste. I thought it looked like a Bloomingdale's
Christmas window.
>Although I didn't attend the gala, I think I have at one time or
>another seen every singer there on stage at the Met. There wasn't
>anybody I didn't know.
>
what I *meant* was the performances of these younger "stars" were
mostly unmemorable: the Alagnas, Fleming, Swenson, Hampson, Sweet,
Anderson, Eaglen-- bland bland bland. And a lot of it *badly sung*
besides.
>Kathy finally got what she well-deserved.
And she always speaks so highly of you! How do *you* know what she
deserves? As in so many cases, this history was written by the victor.
Volpe and his cohorts turned the firing into a media circus designed to
demonize Battle. I don't defend Battle's tantrums. And I *detest* her
singing. But even an impossible artist deserves to exit with a certain
dignity. Why not just shave the poor woman's head and march her down
Amsterdam Avenue?
>
>Was [Pavarotti] really that ill and in that much pain. Does anybody
>really know. That whole incident could have been avoided if Garrick
>Utley had tried to keep in mind that he was playing the part of a
>host, not a news reporter. It's a news reporter's job to report all
>sides of the news good and bad. It is a host's job to keep his guests
>from unpleasant news.
>
So now it's Garrick Utley's fault! Let's kill the messenger!
Pavarotti was seen leaving the theater earlier that week in a
wheelchair after singing a "Chenier" wincing with pain and supporting
himself on the arms of choristers. He cancelled a number of other
performances as well, including a "Pavarotti Plus" telecast. Mr. Utley
merely asked the question that was on everyone's mind, and gave Volpe
plenty of space for damage control. Volpe blew it. How long will
singers trust a management that ready and willing to stab them in the
back? By the way, if Utley had *not* asked this question, how would
the TV audience at large have known about the cancellation? No
official on-air announcement was made.
>Volpe may be lacking in "couthe", but he makes up for it in fortitude,
>hard work, focus and just plain strength. I think the Met is much
>better off now that it has a real focus in management.
And Mussolini made the trains run on time.
>>James Jorden
>>jjo...@ix.netcom.com
>>www.anaserve.com/~parterre
Dan Ford
Certainly Volpe's appearance on The Jimmy Thing was a disaster. He came
across like a union boss, more accustomed to breaking legs on the
waterfront than handling divas. (I love Battle's voice, but then I've
never claimed to have a good ear.)
It was my assumption that evening that Volpe was hired precisely for his
ability to work with unions, while Jimmy Levine as artistic director
handled the serious stuff. From what's been posted here, I gather that's
not the case, and that he really is the general director.
If so, then the first task of a Met public relations officer should be to
keep the man off the air. You can hardly put the blame on Garrick Utley.
As I recall the moment, Volpe was just rattling on in answer to a
question about who was there that night; I may be wrong, but his slam at
Pavarotti seemed gratuitous to me, somebody out of his depth putting his
foot in his mouth, as he did repeatedly.
(Utley, in what seemed to me something like desperation, remarked that
this must be the first time that great singers were in the audience
listening to their colleagues, and Volpe replied in effect: Whaddayamean,
they don't get free tickets, any performance they wanto to go to? It was
really pretty bad. Not much that happens on tv makes me cringe, but Volpe
did.)
On the other hand, I suppose, he helps defuse opera's reputation for being
elitist, which seems to disturb some posters.
- Dan
"Duffy's Tavern: Where the Elite Meet to Eat Meat" (George Burns &
Gracie Allen Show, c. 1943)
Carmen Z. Catoni
James G. Jorden wrote:
>
> In <53k0ol$b...@dfw-ixnews12.ix.netcom.com> fre...@ix.netcom.com(Sara
> Freeman) writes:
>
> >What did Mr. Volpe do to so upset you? During the summertime, I think
> >just about anything that could take place takes place on Lincoln
> Center Plaza, but I don't think there has been a crucifixion yet.
As pointed by other posters, last season was a disaster. I could scarcely
save five or six of the twenty broadcasts. When you listen to the same
Tosca for the umpteenth time, You experct some quality at least in the
new productions. Now a most interesting telecast of Billy Budd has been
cancelled. There is a new production of Carmen (as if they didn't learn
from the last one) with a singer that is not exactly at home in this
repertoire. Both Waltraute Meier and Chryl Studer began careers in a
repertory that suited them like a glove. Both have been adventuring into
foreign terrain with IMHO very little fortune. Luckily, the Met got rid
of Studer. Why should they now bow to Meier. Meanwhile there is another
Meier starring in the heavy Wagner roles around the world and the Met
hasn't cared for her in that repertoire.
The Met lives kind of alienated from the rest of the opera world. Why was
there never a Tancredi for Marilyn Horne (she got her Arsace only in her
very last years singing Rossini). There was never a Donizetti for Caballe
(you can bet she would never have cancelled for that, stars like to be
pampered that way). And it's about time the Met joins in the mainstream
opera and starts offering uncut versions. It is still shameful to hear
traditional Italian repertoire heavilly cut.
One thing to praise Mr. Volpe. Battle's firing. I am a great fan of her
singing, but no artist has the right to treat colleagues that way. And
when Pandora's box was opened, Miss Battle had quite a history in this
kind of behavior.
HAPPY LISTENING!!!
Luis A. Catoni
cat...@shadow.net
Ho da fare un dramma buffo e non trovo l'argomento.
James G. Jorden
Just though ya'll would like to know that, in reprimanding me for poor
"nettiquette", a member of another usegroup suggested I should send my
"tedious" postings to REC.MUSIC.OPERA, because "it's a more appropriate
forum for things that most people don't want to read."
I have to say I find practically everything on REC.MUSIC.OPERA
interesting. Am I wrong?
james jorden
ix.netcom.com
www.anaserve.com/~parterre
James G. Jorden
In <32609C...@shadow.net> "Carmen Z. Catoni" <cat...@shadow.net>
writes:
>The Met lives kind of alienated from the rest of the opera world. Why
>was there never a Tancredi for Marilyn Horne (she got her Arsace only
>in her very last years singing Rossini). There was never a Donizetti
>for Caba
lle (you can bet she would never have cancelled for that, >stars like
to be pampered that way). And it's about time the Met joins >in the
mainstream opera and starts offering uncut versions. It is >still
shameful to hear
traditional Italian repertoire heavilly cut.
On a different level, look at Lauren Flanigan, the talented young
soprano who saved the day a few years ago by subbing for Millo in
Lombardi. She did the Met a huge favor and they've never forgiven her
for it. With her s
trong voice and committed acting, she could fill the gap left by Cheryl
Studer's absence: the big Mozart roles, Strauss, the lighter Wagner as
well as modern operas. She was super in the NYCO's Turn of the Screw
and las
t year there in Mathis der Maler. Does she have to go to Europe for 10
years, make a dozen CDs, or what, before she's invited back to the Met?
>One thing to praise Mr. Volpe. Battle's firing. I am a great fan of
>her singing, but no artist has the right to treat colleagues that way.
>And when Pandora's box was opened, Miss Battle had quite a history in
>this kind of behavior.
Agreed. She should have been fired years before. What upsets me is
the way it was done. No class. The Met is the greatest opera house in
the world; they can afford to take the high road.
James Jorden
jjo...@ix.netcom.com
www.anaserve.com/~parterre
Jessica Schein
Carmen Z. Catoni wrote:
>
> James G. Jorden wrote:
> >
> > In <53k0ol$b...@dfw-ixnews12.ix.netcom.com> fre...@ix.netcom.com(Sara
> > Freeman) writes:
> >
> > >--As a broadcast follower here are some of the complaints.
> As pointed by other posters, last season was a disaster. I could scarcely save five or six of the twenty broadcasts. When you listen to the same Tosca for the umpteenth time, You experct some quality at least in the new productions. Now a most interesting telecast of Billy Budd has been cancelled. There is a new production of Carmen (as if they didn't learn from the last one) with a singer that is not exactly at home in this repertoire...
> The Met lives kind of alienated from the rest of the opera world. Why was there never a Tancredi for Marilyn Horne (she got her Arsace only in her very last years singing Rossini). There was never a Donizetti for Caballe (you can bet she would never have cancelled for that, stars like to be pampered that way). And it's about time the Met joins in the mainstream opera and starts offering uncut versions. It is still shameful to hear traditional Italian repertoire heavilly cut.
>
> One thing to praise Mr. Volpe. Battle's firing. I am a great fan of her singing, but no artist has the right to treat colleagues that way. And when Pandora's box was opened, Miss Battle had quite a history in this kind of behavior.
>
> HAPPY LISTENING!!!
> Luis A. Catoni
> cat...@shadow.net
> Ho da fare un dramma buffo e non trovo l'argomento.
As a new person to this list and someone who thinks of the Met as the
building down the block, I am amused by all these posts. Talking about
the Met from Broadcasts. Please... When you have seen the stuff live,
then you can start attacking management.
Now, I am not saying that I disagree with many of the comments. I agree
with many of them, but knowing an opera company only through broadcasts
is ludicrous.
Among other things, you have to understand the local audience before you
can comment on Met mgmt. There are a lot of things the fanatics would
like to see, but it doesn't always make good financial sense and in a
house as big as the Met, financial sense is important.
The Met is a big space and not every opera can be successful there.
Tancredi, for example, would never have worked at the Met, the opera
needs a more intimate house.
Also, remember that it is very rare indeed that the Met does a
production for one singer. Just about every production the Met does is
done with the idea that it will outlast a season, which means that you
need to be able to have more than one cast. The most recent time that a
production is done to showcase a singer the Met actually borrowed a
production. (Marilyn Horne may have the had the most showcase
productions in recent memory.)
So, maybe a little more knowldge about the real world the Met inhabits
not recordings, broadcasts and state-subsidized houses would give
everyone a better perspective.
Mike Richter
In Article<53q2kf$b...@sjx-ixn4.ix.netcom.com>, <jjo...@ix.netcom.com> writes:
> Path: interramp.com!psinntp!psinntp!howland.erols.net!netnews.com!news.enteract.com!ix.netcom.com!news
> From: jjo...@ix.netcom.com(James G. Jorden)
> Newsgroups: rec.music.opera
> Subject: Re: REC.MUSIC.OPERA
> Date: 13 Oct 1996 06:35:59 GMT
> Organization: Netcom
> Lines: 11
> Message-ID: <53q2kf$b...@sjx-ixn4.ix.netcom.com>
> References: <53eg6g$a...@sjx-ixn6.ix.netcom.com> <53gans$o...@newsbf02.news.aol.com> <325C06...@lannert.com> <jdbarron-101...@ott-on1-15.netcom.ca> <53jg0e$9...@qualcomm.com> <53jvm7$p...@dfw-ixnews11.ix.netcom.com> <53k0ol$b...@dfw-ixnews12.ix.netcom.com> <53k47d$r...@sjx-ixn6.ix.netcom
com> <32609C...@shadow.net>
> NNTP-Posting-Host: nyc-ny30-56.ix.netcom.com
> X-NETCOM-Date: Sat Oct 12 11:35:59 PM PDT 1996
>
> Just though ya'll would like to know that, in reprimanding me for poor
> "nettiquette", a member of another usegroup suggested I should send my
> "tedious" postings to REC.MUSIC.OPERA, because "it's a more appropriate
> forum for things that most people don't want to read."
>
> I have to say I find practically everything on REC.MUSIC.OPERA
> interesting. Am I wrong?
You can't be wrong - in what *you* find interesting. For my taste, it's about
one in twenty postings (or so), which is a good result for a newsgroup though
low for a mailing list. Of course, many will find my postings among the
majority to be discarded based on author or subject, so my taste should not be
a guide for anyone else.
Mike
Trat Colins
Jessica before you go jumping to conclusions, you should do some
checking before you make statements like you have. I think you will
find, that many of the people that subscribe to this newsgroup do indeed
attend the Met performances on a regular basis, although, unfortunately
I am not one of those people. So therefore, I will not make any
statements about the Met management.
Jessica Schein
Trat Colins wrote:
>
> Jessica Schein wrote:
> > As a new person to this list and someone who thinks of the Met as the
> > building down the block, I am amused by all these posts.
>
> checking before you make statements like you have. I think you will
> find, that many of the people that subscribe to this newsgroup do indeed
> attend the Met performances on a regular basis, although, unfortunately I am not one of those people. So therefore, I will not make any statements about the Met management.
Before you go jumping to conclusions, read the mail in context. I said
these postings as in "Re:Memo to Joseph Volpe." Lots of other posting
do show that people do attend performances. If I wanted to make it
general, I would have started a new thread.
In any event fanatics tend to look at programming and casting as they
would them to be, not as makes sense for the opera companies.
Andrew Park
In article <53msv2$s...@dfw-ixnews10.ix.netcom.com>, jjo...@ix.netcom.com(James G. Jorden) says:
>
>In <53mps5$4...@sjx-ixn3.ix.netcom.com> fre...@ix.netcom.com(Sara
>Freeman) writes:
>
>....I commend him for the Makropoulous although that humungous chair
>has got to go.
>>
>You *liked* Jessye Norman singing brutally out of tune? You *liked* all
>those "MTV" lighting effects that left the performers' faces in shadow?
>You *liked* Krista in that RuPaul outfit? You *liked* that idiotic
>joke of Hauk entering covered in cobwebs? You *liked* missing all the
>dramatic points in Act 2 because the set was moving around so much?
>You *liked* the denouement of the opera changed into a sight-gag about
>a billboard blowing up? You *liked* that lethal climb up the ladder
>that no *responsible* director would ever ask a 60-year-old overweight
>man to do?
>
>>Queen of Spades. I loved it.
>
>No accounting for taste. I thought it looked like a Bloomingdale's
>Christmas window.
>
>>Although I didn't attend the gala, I think I have at one time or
>>another seen every singer there on stage at the Met. There wasn't
>>anybody I didn't know.
>>
>what I *meant* was the performances of these younger "stars" were
>mostly unmemorable: the Alagnas, Fleming, Swenson, Hampson, Sweet,
>Anderson, Eaglen-- bland bland bland. And a lot of it *badly sung*
>besides.
The singers are responsible for how they sing, not Volpe.
>>Kathy finally got what she well-deserved.
>
>And she always speaks so highly of you! How do *you* know what she
>deserves? As in so many cases, this history was written by the victor.
>Volpe and his cohorts turned the firing into a media circus designed to
>demonize Battle. I don't defend Battle's tantrums. And I *detest* her
>singing. But even an impossible artist deserves to exit with a certain
>dignity.
Why?
>Why not just shave the poor woman's head and march her down
>Amsterdam Avenue?
Be careful what you wish for!
>>
>>Was [Pavarotti] really that ill and in that much pain. Does anybody
>>really know. That whole incident could have been avoided if Garrick
>>Utley had tried to keep in mind that he was playing the part of a
>>host, not a news reporter. It's a news reporter's job to report all
>>sides of the news good and bad. It is a host's job to keep his guests
>>from unpleasant news.
>>
>So now it's Garrick Utley's fault! Let's kill the messenger!
>
>Pavarotti was seen leaving the theater earlier that week in a
>wheelchair after singing a "Chenier" wincing with pain and supporting
>himself on the arms of choristers. He cancelled a number of other
>performances as well, including a "Pavarotti Plus" telecast. Mr. Utley
>merely asked the question that was on everyone's mind, and gave Volpe
>plenty of space for damage control. Volpe blew it. How long will
>singers trust a management that ready and willing to stab them in the
>back? By the way, if Utley had *not* asked this question, how would
>the TV audience at large have known about the cancellation? No
>official on-air announcement was made.
I always thought people were overreacting to this. I thought Volpe
simply answered the question. He didn't make Pavarotti look like a
capricious cancellation artist.
Andrew Park
Daniel Kessler
Maybe there wasn't a Donizetti opera revived for Caballe but they did do
LUISA MILLER for her, I believe and the role fit her like a glove.
Remember, Caballe wanted to do Strauss and they even pampered her with
ARIADNE but she was so slothful about it, not really taking care to learn
the role well. When she exited that 'cave' on stage as Ariadne to appear
before the audience, I fully expected to see her to position herself
before a music stand with full score beneath her, opened, ready to
support her, such was the uninspired nature of her ARIADNE!
Judging the Met by broadcast or telecasts is misleading, as someone has
commented. Say what you will, but there has been such a demand by the
pubic to get into the House the past few weeks with both 'glamour' tenors
on the roster simoultaneously with CHENIER and FEDORA. What other opera
house in the world can boast this?
James G. Jorden
Andrew Park wrote:
>>Singers are responsible for how they sing, not Volpe.
What, doesn't he get a chance to hear them before they sign the
contract? Couldn't they at least send him a cassette?
>>>Even an impossible artist deserves to exit with a certain
>>>dignity.
>
>Why?
Because:
1) her artistic contributions to the Met over 15 years are hardly
negligible.
2) disrespect for her can easily be perceived as disrespect for the art
of opera as well
3) showing her some respect would be proof of restraint on Volpe's
part; that he is not firing her out of personal anger but for
professional reasons of broken contracts.
>I always thought people were overreacting to [Volpe's comments on
>Pavarotti's cancellation]. Volpe simply answered the question. He
>didn't make Pavarotti look like a capricious cancellation artist.
Yeah, but he sure did it in whiny way, like Pav could have been at the
gala had he *really really* wanted to. Calling someone's bluff in
private is good management; calling the same bluff in public is just
plain rude.
james jorden
jjo...@ix.netcom.com
Carmen Z. Catoni
Tina Kasimer wrote:
>
> James G. Jorden wrote:
>
> > "nettiquette",
>
> reprimand was in reference to Mr. Jordan's posting of one of my notes from
> rec.music.opera on opera-l, without permission. As I told him, if I wanted to reply
> to him there, I'd have done so.
>
> >a member of another usegroup suggested I should send my
> > "tedious" postings to REC.MUSIC.OPERA, because "it's a more appropriate
> > forum for things that most people don't want to read."
>
> wishes to ignore a topic or poster on a newsgroup, it's very easy. On a mailing list,
> you receive these postings whether you whether or not you want to. The entire thread,
> including my response, was the sort of thing that most people probably don't want to
> read.
>
> Reminder to those not reading signature lines - private responses to me at
> wk...@juno.com, NOT the address from which this is posted.
I always regarded Bill Kasimer a wise and ponderate poster. But it seems
that some of the atmosphere of opera-l is contagious and he catched a
little bit of the virus. I hope he overcomes it soon, as I am almost sure
his intention was not offending anybody.
But this phrase is offensive. Just like the kind that it seems are
frequent in opera-l and made me leave after very few weeks there. There
are many wonderful people there and I regularly correspond with a few of
them. But it seems the few rotten apples can spoil the barrel. And the
inability of the list moderator to keep order makes it worse. The most
offensive insults go by without notice, Yet if somebody asks a question
with only one line the person is promptly and conveniently reprimanded
(it seems one liners are forbidden, so if you need to ask a recomendation
on a recording or the birthdate of an artist, better make it long...!)
But what is worse is the bigotist attitude frequently on line there. The
flame wars are constant, and seem to involve the same individuals. They
insult you, both publicly and privately. What's more, if you are a
newcomer of a novice they look to you over the shoulder and defy your
right to post.
The treatment given to REC.MUSIC.OPERA posters by Bill Kasimer, dumping
all members of a group in the same cathegory, stereotyping and judging
collectively is bigotist. What's more, it is the same attitude fascist
groups use against certain sections of the population, giving way to
events like the Holocaust or the burning of Black Churches, for example.
I am very sure his intention was not offending. And I, like him, find
some popstings and some posters more interestying than others. The reader
learns to be selective. But on the whole our collective batting average
is not bad. It may not reach the intellectual level of opera-l, but then
only a handful of people post there, the rest are just lurkers many times
intimidated by the regulars. Here everybody posts without any
prudishness. You can openly come out of the opera nut closet and
recognize that you love opera, but know little and would like to learn
more. Almost always the hand from many other posters is there to help.
It would be better if certain attitudes would be reconsidered.
HAPPY LISTENING!!!
Luis A. Catoni
cat...@shadow.net
Ho da fare un dramma buffo e non trovo l'argomento.
.
Alberich
Anderson sang a competent Giovanna at ROH this summer, but I felt she
was low on emotion - no anger, little sadness. She seems to do one
act, 'resigned and suffering' - and applies it to all her parts.
Chernov and O'Neill in the other major parts easily upstaged her as
creatures of real feeling and character - despite the fact that
Chernov subscribed to the Sutherland school of diction (i.e. no
consonants).
Alberich
http://ourworld.compuserve.com/homepages/andreak/