What's wrong with Angela Gheorghiu?
Ygor Coelho
and I've noticed there's a lot of bashing about Angela Gheorghiu's
voice and/or technique here. I would ask you to explain that clearly,
because I can't still understand what's wrong about this great
soprano. I haven't heard her live, but I heard all the studio
recordings and lots of live recordings with her and her voice is
simply stunning, the vocal technique nearly perfect for her usual
repertoire. She has a creamy and full sound even if her voice is sweet
and melifluous like a typical lyric soprano, her low range is indeed
very good (come on, she's not a dramatic soprano!), her middle range
is warm and firm and her high notes soars above the other singers and
even the chorus. I'm sure that when she retires, as it's so usual in
the unfair world of Opera, everybody will say she's in the same league
as Freni, De los Angeles and Scotto.
By the way, I don't think her repertoire choices are wrong. Her stage
repertoire includes only about 20 roles that on the whole fit her
voice like a glove, like Mimě, Magda, Marguerite, Violetta and Adina,
and I do think she should be singing more roles at this stage of her
career (Manon, Thaďs, Mireille, Cio-Cio-San, for example). Besides,
most of her studio recordings are excelent and sometimes thrilling.
She has recorded Leonora, Tosca, Carmen and Charlotte, which are not
properly roles for a lyric soprano, but didn't Mirella Freni, Victoria
de los Angeles and many others record that roles successfully? Well,
her voice is darker and has more colours than De los Angeles's and
Freni's, so I think Tosca or Charlotte is not so inadequate for her.
Please tell your opinions about this controversial singer :-)
Ygor Coelho
Oliver H.
answer it.
I can think of two reasons, and both have nothing to do with the voice and
artistry of Miss G.
First, she has been known to make arrogant statements in interviews. She is not
the first one, but in her case it has caused some damage. She hasn't developed
the "umile ancella" schtick. Rightly or wrongly, she comes across as a full of
herself, and the PR was, for a while, overpowering.
Second, she has been very lucky (no matter how talented). People on RMO like to
feel they have "helped" by rooting for X, Y or Z. They remember when she was
just Ortlinde or Flora. Angela just popped out of nowhere to be Solti's
Violetta, and she never needed the internet backstage. The same thing happened
to Bartoli, and it took years to erase the noxious effect of that first album.
Just my take on this...
**************
O.H.
La Donna Mobile
'local heroes', native or visiting, and diss those that don't make a habit
of appearing in their locality. Bearing in mind that rmo tends has a fairly
high proportion of NY-based people, and Angela is barred from the Met, there
may be a, probably sub-conscious, slight bias.
This is not intended as an attack on NY-ers; I just think that it is human
nature and is pretty much replicated from location to location.
"Ygor Coelho" <ygor_...@hotmail.com> wrote in message
news:b5748cbf.04100...@posting.google.com...
Sergio H. da Silva
matter of fact she could be a major asset to the MET because there are few
like her.
There are two Gheorghiu opera singers, the live one and the recorded one. As
you pointed out live she has made no mistakes and sticks to roles that suit
her vocal range (it is usually called Fach - a german word). She is
basically a lyric soprano with some bottom extension but not a lot on the
top, by that I mean she is no lyric-coloratura.
The Gheorghiu recordings are another matter, some of her recordings
(Trovatore-Leonora,Carmen,Charlotte and the Bel Canto arias) are awful
(i.m.h.o) either because she lacks the proper technique (Leonora for one,
she is not very good at coloratura) or the range is too low for her (Carmen
and Charlotte). The Bel Canto CD is really embarassing, I do not understand
why she did that. Anyway these are all roles she has yet to sing on stage
and probably should never sing (I know she was going to sing Carmen and I
hope it does not damage her voice, Carmen is a tricky role because it lies
mostly in the middle of the voice and if you sing it too often it may cause
some damage). Some of her other recordings are excellent (the Verdi arias
CD, Tosca, Mimi, Magda, Violetta, ...) and those are the ones that either
fit her voice or because it is in the studio and she can make it happen. She
also seems to be more of a Verista (from Verismo) singer and has a closer
identification with Puccini than Verdi. Although she has recorded a lot in
the French repertoire, I do not specially like her in it, her French is not
very good, she is not that graceful (coloratura technique again) and she
makes it too heavy when it should be lightweight.
When you think about, she should be singing in the repertoire of her fellow
compatriot, Ileana Cotrubas, but Gheorghiu seems more ambitious and she
never had that "lightness" which Cotrubas had (plus Cotrubas was one of the
nicest singers, on stage and backstage as well).
De Los Angeles had a greater extension in the lower range (listen to some of
recording of Falla's songs) that is why she could sing Carmen and Charlotte,
and she was also a superb Lied singer with a keen ear for words, none of
which seems Gheorghiu's strongest suits.
Freni had a lot of years as light lyric and lyric coloratura before she made
the move and she never sang Carmen or Charlotte. She is a very cautious (and
hence intelligent) singer and never attempt Cio-Cio-San although she has
recorded it superbly twice. Even so, a lot of the "old timers" in Italy
heavily criticized Freni when she started singing heavier roles (even
Desdemona believe it or not). So, it is normal that Gheorghiu being in
evidence is heavily scrutinized. It is difficult to compare Freni to
Gheorghiu because although some of their roles intertwine they are very
different but Freni has a much better top and seems to project her voice
better and her voice is more beautiful (it is more "rounded" if you know
what I mean).
"Ygor Coelho" <ygor_...@hotmail.com> wrote in message
news:b5748cbf.04100...@posting.google.com...
J S
Forgive my ignorance of the circumstances, but why, specifically?
Thanks.
~ Roger
Mitchell Kaufman
> When you think about, she should be singing in the repertoire of her
> fellow compatriot, Ileana Cotrubas, but Gheorghiu seems more ambitious and
> she never had that "lightness" which Cotrubas had (plus Cotrubas was one
> of the nicest singers, on stage and backstage as well).
A *great* singer you don't read too much about on this forum.
MK
Ygor Coelho
> I've only heard Gheorghiu live once as Liu and she was excellent, as a
> matter of fact she could be a major asset to the MET because there are few
> like her.
> There are two Gheorghiu opera singers, the live one and the recorded one. As
> you pointed out live she has made no mistakes and sticks to roles that suit
> her vocal range (it is usually called Fach - a german word). She is
> basically a lyric soprano with some bottom extension but not a lot on the
> top, by that I mean she is no lyric-coloratura.
I don't think Gheorghiu has a short high range. I mean, she's
definitely no lyric coloratura soprano, and she doesn't seem to intend
to singcoloratura roles. However, her high notes are rounded and very
secure, I mean, she doesn't fit a High D or High E, but she can sing a
High C wonderfully. Besides, she has a very good control of her
vibrato. I'd consider her voice of a full lyric soprano, since her
timbre is basically lyric, but she has colours and a fullness of tone
that I don't find in typical lyric sopranos.
> The Gheorghiu recordings are another matter, some of her recordings
> (Trovatore-Leonora,Carmen,Charlotte and the Bel Canto arias) are awful
> (i.m.h.o) either because she lacks the proper technique (Leonora for one,
> she is not very good at coloratura) or the range is too low for her (Carmen
> and Charlotte). The Bel Canto CD is really embarassing, I do not understand
> why she did that. Anyway these are all roles she has yet to sing on stage
> and probably should never sing (I know she was going to sing Carmen and I
> hope it does not damage her voice, Carmen is a tricky role because it lies
> mostly in the middle of the voice and if you sing it too often it may cause
> some damage).
Well, I like her Charlotte a lot, her interpretation is one of the
deepest I ever heard, and though her lower range is not as good as a
mezzo's, she doesn't try to sound like a mezzo, just like Victoria de
los Angeles did (successfully) when she recorded the same role. I
didn't like Gheorghiu's Carmen much, but some time ago I heard it
again and now I think she's a more than acceptable interpreter,
sometimes even thrilling (especially in the Gipsy Song and in the
fourth act).
> Some of her other recordings are excellent (the Verdi arias
> CD, Tosca, Mimi, Magda, Violetta, ...) and those are the ones that either
> fit her voice or because it is in the studio and she can make it happen. She
> also seems to be more of a Verista (from Verismo) singer and has a closer
> identification with Puccini than Verdi. Although she has recorded a lot in
> the French repertoire, I do not specially like her in it, her French is not
> very good, she is not that graceful (coloratura technique again) and she
> makes it too heavy when it should be lightweight.
I don't agree with you. I think she's the best soprano in French
repertoire we have today. Her diction is not the best of all, but she
has the right voice and the right technique. Besides, her coloratura
is excelent, particularly her trills. I'm not going to say she's the
new Sayão, but she's a wonderful singer in French operas. About
Verdian repertoire, I think her voice suits very well the younger and
the older Verdian operas, which includes Stiffelio, Luisa Miller
(later in her career, of course) Simon Boccanegra, Otello and
Falstaff, as well as Elisabetta in Don Carlo (not to sing now, maybe
in 5 or 10 years...).
> Freni had a lot of years as light lyric and lyric coloratura before she made
> the move and she never sang Carmen or Charlotte. She is a very cautious (and
> hence intelligent) singer and never attempt Cio-Cio-San although she has
> recorded it superbly twice. Even so, a lot of the "old timers" in Italy
> heavily criticized Freni when she started singing heavier roles (even
> Desdemona believe it or not). So, it is normal that Gheorghiu being in
> evidence is heavily scrutinized. It is difficult to compare Freni to
> Gheorghiu because although some of their roles intertwine they are very
> different but Freni has a much better top and seems to project her voice
> better and her voice is more beautiful (it is more "rounded" if you know
> what I mean).
I understand and respect your opinion, but IMHO Gheorghiu's voice is
one of (at least) the ten prettiest voices I ever heard. Her sound is
not as rounded as Freni or as exuberant as Sutherland, but it has a
particular quality, it's deep, expressive, creamy and melifluous. It's
almost like a mix of Janowitz and Callas :-)
LeonardTillman
Sergio H. da Silva wrote:
>Freni had a lot of years as light lyric and lyric
> coloratura before she made the move and
> she never sang Carmen or Charlotte. She is a
> very cautious (and hence intelligent) singer
> and never attempt Cio-Cio-San although she
> has recorded it superbly twice.
She also did the latter role in the HvK film with Domingo, albeit not
onstage. One of her audio recordings of Butterfly had the same cast as
the film, except for Pav as Pinkerton.
Leonard Tillman
>"Credibility means the ability to tell
>lies which most people will believe." -- JD
Too danged true, that.
LeonardTillman
>IMHO Gheorghiu's voice is one of (at least)
> the ten prettiest voices I ever heard. Her
> sound is not as rounded as Freni or as
> exuberant as Sutherland, but it has a
> particular quality, it's deep, expressive,
> creamy and melifluous. It's almost like a mix
> of Janowitz and Callas :-)
I hadn't previously considered that comparison, but now that you mention
it, it seems quite accurate!
alex
I'm not positive, but I'm guessing that it has something to do with a
tiff a couple years ago involving (I think) Maestro Levine, Angela
Gheorgiu, and then-husband Alagna, resulting in a firing (I think?).
Not sure.
-alex
Dan
being good?
Dan
"Mitchell Kaufman" <forg...@iaint.disclosinit> wrote in message
news:1gle7gt.1ycwege1ra5xifN%forg...@iaint.disclosinit...
LeonardTillman
Mitchell Kaufman
> I'm not sure where this is aimed at. Are you being sarcastic about Cotrubas
> being good?
Can't you praise anyone on this forum without being accused of something
nefarious?
I saw Cotrubas at the Met, own most of her recordings, and feel she was
a great and underrated singer who isn't discussed much here.
Did I do something wrong (other than have the temerity to post on this
newsgroup)?
It's a simple declarative statement. There's no diabolical subtext.
MK
Charlie Handelman
fabulous amazing friend Virginia Zeani have the MORBIDEZZA in the voice...Maybe
it is a "Roumanian thing."I LOVE their art...their approach is so tender..so
emotionally affecting....The tone is "covered'..you know like that of
MUZIO.....I coul not be without them...Charlie
My best, Charlie.
My Website dedicated to the vocal art and information for
ordering free live opera catalog located at:
Dan
difficult and that they can't stand her cloying voice, blah, blah. I don't
remember who dislikes each singer, so I was just wondering if your statement
was sarcastic. Sorry.
I adore Cotrubas, and think her Gilda, Mimi and Violetta are absolute
treasures. It's too bad we don't have a commercial Mimi. I find that
everything she sings sound gorgeous even later in her career when her voice
was in decline. Her vocal timbre just gets me every time.
Dan
"Mitchell Kaufman" <forg...@iaint.disclosinit> wrote in message
news:1glf5ls.eizyas1deike3N%forg...@iaint.disclosinit...
Dan
tender lyric voice. She, unfortunately, has experienced some vocal decline,
on an already not particularily rock-steady voice. I thought she was great
in the Pappano Boheme with Alagna and in the Covent Garden DVD of Romeo et
Juliette though.
Dan
"Charlie Handelman" <plac...@aol.comnojunk> wrote in message
news:20041010104231...@mb-m21.aol.com...
alex
> From: lundqv...@yahoo.com (alex)
>
> somer...@webtv.net (J S) wrote in message
> news:<27746-416...@storefull-3233.bay.webtv.net>...
>
> <<Angela is barred from the Met>>
>
> >Forgive my ignorance of the circumstances,
> > but why, specifically? Thanks.
> >~ Roger
>
> >I'm not positive, but I'm guessing that it has
> > something to do with a tiff a couple years ago
> > involving (I think) Maestro Levine, Angela
> > Gheorgiu, and then-husband Alagna,
> > resulting in a firing (I think?).
> >Not sure.
> >-alex
>
> "then-husband"? Are they now divorced?
>
> Leonard Tillman
>
I was under the impression that they were. Maybe the correct term
might be "separated" but I believe they are no longer together. could
be wrong though.
-alex
Stephen Jay-Taylor
Well, who knows ? Now that Kleiber's shuffled off, DG may finally release
the half-hour or so they recorded in Milan in 1979 with Cotrubas and
Domingo, before the conductor, exasperated by the tenor's verboten score in
which his head was always buried, threw the full orchestra score straight at
him. End of sessions ( turned over to Abbado, then in charge of the band,
for an ad hoc Verdi Requiem with Ricciarelli )
SJT, who had this from one of the horses' mouths.
LeonardTillman
>"It's too bad we don't have a commercial
> Mimi." Dan
There is the excellent, virtually flawless video with
Cotrubas/Shicoff/Allen/ and Schau.
Wonderful performance on all counts.
Andrew T. Kay
>"It's too bad we don't have a commercial Mimi." Dan
>
>Well, who knows ? Now that Kleiber's shuffled off, DG may finally release
>the half-hour or so they recorded in Milan in 1979 with Cotrubas and
>Domingo, before the conductor, exasperated by the tenor's verboten score in
>which his head was always buried, threw the full orchestra score straight at
>him. End of sessions
Interesting. Domingo has such kind words to say about Kleiber in "My First 40
Years," published not long after.
>( turned over to Abbado, then in charge of the band,
>for an ad hoc Verdi Requiem with Ricciarelli )
Coincidentally, I just listened to that last week. Domingo is spectacular on
that recording -- the best reason to have it. Since no one ever talks about
that recording when the Verdi Requiem comes up (approximately monthly) on
r.m.c.r., I'm planning to write a longer post about it there, so I'll cut
myself off without getting into Verrett, Ghiaurov, Ricciarelli, and Abbado.
--Todd K
Andrew T. Kay
[Cotrubas]
>A *great* singer you don't read too much about on this forum.
Mitchell, do you like her performance on the recently released Met _Rigoletto_
DVD? I was glad to be able to have her and Domingo without having to buy back
Giulini's recording, which I sold off some time ago; but I found her strained
and consistently under pitch in the first act in which she appears. She does
make a nice recovery later in the evening, so my overall impression was mixed.
--Todd K
Mitchell Kaufman
I haven't seen that performance since it was first aired, but I remember
finding MacNeil, even at less than his best, the most enjoyable of the
principals.
Domingo, though in his prime, was miscast--the voice was too heavy and
"slow" for me--I like something a bit more lyrical and graceful in the
role; I'd even prefer Kraus, though Bergonzi and Björling are close to
ideal.
As for Cotrubas, my recollection--which may be flawed-- is that she
began to decline not long after her Met debut. The Traviata was the best
of her performances, and even that had to have some minor allowances
made vis-a-vis her studio recording of just a few years earlier (though
the experience of seeing her live outweighed any vocal loss for me).
The Gilda in the video performance wasn't perfectly sung as I recall,
but her stylishness, phrasing and characterization did compensate to
some degree. I *am* familiar with her performance on the Giulini
recording. Again, though the recording is very, very good, she doesn't
always stand up well to microscopic analysis; a lot of her artistry is
lost by not seeing and hearing it live.
I don't feel she was beyond criticism vocally, even in her better
recordings; for me. she was a touching artist but a flawed vocalist.
I'm sorry we didn't get to hear Cotrubas a few years earlier (at least I
didn't). I would've liked to have heard more of her in her prime--the
tail end of which was captured by her Met performances--and in a wider
variety of roles.
MK
Dan
of the supporting cast was late to rehearsal and stormed out.
It's surprising that Domingo would still praise him so much if this actually
had happened.
I wish they would release what they recorded. Who knows, maybe they even
have a full rehearsal on tape? I didn't realize they had even taped half an
hour. Would that mean that it's the whole of the first act? I don't really
know the running time. But I guess it depends if they ran through it, or did
it in patches.
Dan
"Stephen Jay-Taylor" <sjayt...@btinternet.com> wrote in message
news:ckbtlo$qhs$1...@hercules.btinternet.com...
David7Gable
>the half-hour or so they recorded in Milan in 1979 with Cotrubas and
>Domingo, before the conductor, exasperated by the tenor's verboten score in
>which his head was always buried, threw the full orchestra score straight at
>him.
And for some reason, this kind of pathetic and childish behavior has
contributed to Kleiber's mystique.
-david gable
R Kayser
Carlos Kleiber was an enormously gifted conductor whom I happen
to like while you apparently don't. But till this day I didn't
know about this incident, and neither did hundreds of thousands
of others. So don't act as though his reputation depended upon
stories like that!
BTW, who cares if you have a heart and for whom and for what. The
heart is a very private affair.
--
Roland
mailto: vortumnus at gmx dot de
Commspkmn
<< Carlos Kleiber was an enormously gifted conductor whom I happen
to like while you apparently don't. But till this day I didn't
know about this incident, and neither did hundreds of thousands
of others.>>
Count me among them.
I did see Kleiber conduct twice at the Met-Otello and Traviata. They were
among the best-conducted performances I've ever heard.
Best,
Ken
La Donna Mobile
"J S" <somer...@webtv.net> wrote in message
news:27746-416...@storefull-3233.bay.webtv.net...
Sorry for the delay in replying - I had hoped a NYer might have more
details. It was to do with a blonde wig. The director insisted that she wore
a blonde wig in a particular production. She said no. Joe Volpe she must,
he's the boss round here, and he's having no prima donna spoiling a
production. She said "Joes, it's the wig or me." He said "It's the wig."
Which is slightly ironic because she wore a blonde wig in Faust at Covent
Garden in June.
I've just come back from the revival of Faust, and, despite the relative
lack of star names (John Tomlinson was the sole big name), I just loved it.
And even though I had a few misgivings about some of the singers, I don't
care - it was greater than the sum of its parts.
La Donna Mobile
"alex" <lundqv...@yahoo.com> wrote in message
news:45982911.04101...@posting.google.com...
Well, if you believe everything you read (and I do, because I'm a sucker for
celebrity gossip), he's had a divorce lawyer on a retainer for the past five
years, but they were lovey-dovey loved-up, acording to many accounts, as
recently as June. I have the feeling that they have a fairly open
relationship...
AnMeinKlav
details. It was to do with a blonde wig. The director insisted that she wore
a blonde wig in a particular production.>>
It was a new Traviata mounted especially for her, I believe. When she withdrew
Alagna went with her. Then Renee Fleming agreed to star in it but decided she
wasn't ready then to sing Violetta in New York. I think Patricia Racette
finally opened that production.
Stephen Jay-Taylor
withdrew Alagna went with her. Then Renee Fleming agreed to star in it but
decided she wasn't ready then to sing Violetta in New York. I think Patricia
Nope ( have you ever seen a blonde Violetta ? ) It was the new Zeffirelli
"Carmen", where La Gorge was due on as Micaela and Lasagna Don José. When
she refused to wear the wig, Volpe told her - as quoted in the British
press - "That wig is going on, with or without you!" and she walked. Then
he formally sacked her, and Lasagna walked out too ( moral : never employ
couples in the same opera.) Fleming's (would-have-been-first) Violetta, for
which, like the "Carmen", I flew 3,500 miles, fell victim to the diva's
then-overwhelming matrimonial difficulties and the poisonous custody battle
with Rick Ross : she told Levine she couldn't face the emotional stress of
singing the role at that time. So we got Racette, (and Alvarez, both
regulars at Covent Garden anyway) who did a perfectly respectable job in an
overblown bore of a production ( I shall not readily forget - or
orgive - the "cow" ballet at Flora's )
Gheorghiu has subsequently made up with Volpe ( not best pleased when the
pair of them fled New York mid-"Faust" rehearsals after September 11th,
either ) and, IIRC, is due to sing at the Met later this season ( or perhaps
next ) Until the next bust-up....
SJT, hoarder of frequent-flyer miles
AnMeinKlav
"Carmen", where La Gorge was due on as Micaela and Lasagna Don José.>>
Thanks for the correction. I suspected I had conflated two stories. Had
forgotten they'd also walked out of the Faust. Are you _sure_ she's coming back
to the Met :-)?
Stephen Jay-Taylor
Actually, no, I'm not : I just thought I'd heard she was.........
In any case, she's due back here at Covent Garden next month for a re-run of
"Rondine" (zzzzzzzzzzzzzzzzzzzzzzzzzz) so I'll set my little spies to find
out from the horse's - or rather diva's - mouth. In fact, if she's
returned to IMG after getting the heave-ho from M. Sayan, I bet I know
who'll inherit her there : an old friend of mine. Hmmmm. Watch this space
( but don't hold your breath ! ) SJT, arch-fixer.
OmbraRecds
>"Rondine" (zzzzzzzzzzzzzzzzzzzzzzzzzz) so I'll set my little spies to find
>out from the horse's - or rather diva's - mouth
Glad someone agrees on this dullest of dull operas.I cannot imagine Miss G.
doing this opera. Le Villi is so much better.
Headless Hopper
Daniel Kessler
substantial sum as a deposit against cancelling.
Stephen Jay-Taylor
Whoah!! I like the way Americans handle this kind of thing. In other words,
the diva cannot sing at the Met unless SHE pays THEM. All opera houses
should try this approach, whilst resigning themselves to the fact that
before long the only work any US house will be able to play is "Billy Budd"
SJT, buffing his mizzen.
LeonardTillman
SJT wrote:
>(have you ever seen a blonde Violetta ?)
Hmm...not very many, but a few come to mind (whether or not bewigged in
performance):
Ruth Ann Swenson
Renee Fleming
Eleanor Steber (who I consider to resemble Fleming)
Grace Moore (?)
Hilde Gueden
- Any number of Violettas in the Germanic and Scandinavian countries,
-- And the well-known Marni Nixon (dubbed voice of various Hollywood
heroines):
http://www.metguild.org/operanews/issue/article.aspx?id=891&issueID=40
Leonard Tillman
"A spoon cannot not know the taste of soup,
nor a learned fool the taste of wisdom"
-- 'twas ever so.
*
"Few things can better validate a point
than a troll's attempt to dispute it"
-- Alexei Pope-ovitch
La Donna Mobile
Opera-L who refers to 'the Solti Traviata recording with Alagna's
wife'. Quite what he is trying to demonstrate, other than petty
spite, is beyond me.
gerberk
his balls and gunned down by apache helicopters.
"La Donna Mobile" <donna...@brixton.fsworld.co.uk> schreef in bericht
news:2671a62d.0410...@posting.google.com...
EvelynVogtGamble(Divamanque)
LeonardTillman wrote:
> SJT wrote:
>
>
>>(have you ever seen a blonde Violetta ?)
>
>
> Hmm...not very many, but a few come to mind (whether or not bewigged in
> performance):
>
> Ruth Ann Swenson
> Renee Fleming
> Eleanor Steber (who I consider to resemble Fleming)
> Grace Moore (?)
> Hilde Gueden
> - Any number of Violettas in the Germanic and Scandinavian countries,
>
> -- And the well-known Marni Nixon (dubbed voice of various Hollywood
> heroines):
And speaking of blondes, there's always Dorothy Kirsten's
blonde Tosca (which, I confess, is one of the reasons I
never thought much of her musicianship).
OmbraRecds
>Opera-L who refers to 'the Solti Traviata recording with Alagna's
>wife'
I'd probably do the same. I can never remember her name.
Headless Hopper