Monday
Mar282011
OperaNow! #130: There Goes Our Chances of Being On The Radio
Monday, March 28, 2011 at 11:18AM
James Levine slowly cuts back on his Met work load...Peter Gelb writes an open letter to the NY Times answering his critics...Chicago Opera Theater announces 2012 season (containing a piece they were going to do last season)...The 5 Browns father sentenced for child sexual abuse (yikes).
Oliver's Corner looks at the mezzo aria Se Romeo from I Capuletti e i Montecchi by Bellini, with examples by Marilyn Horne, Agnes Baltsa, Vesselina Kasarova, Janet Baker, Brigitte Faesbaender, Tatiana Troyanos, and Joyce DiDonato.
Reader Comments (19)
Giuditta Grisi was the creator of the role of Romeo. She was a mezzo-soprano.
Her sister Giulia Grisi was a soprano and sang Adalgisa and the other soprano roles mentioned.
My bad. Thanks to Brad S. for the correction.
A follow-up question: Netrebko and Garanca recently recorded this opera (studio production, I think). Why didn't you include Garanca's take, as it's the most recently recorded?
Second follow-up: your comment about the sound of two women singing together was more romantic to listeners in Bellini's time struck me as very interesting. For myself, I'd like a trouser role sung with the beauty and grace of a Rivera with the "swagger of a big-dicked gorilla" (to take up a phrase you used). It might beyond the scope of Oliver's Corner, but can you share a little more about the history of trouser roles and specifically singing these roles so that they sound like women (as opposed to "a dude")? I'll do my own research, but I'm curious about your thoughts -- and the thoughts of all the panelists -- on this topic.
I really LIKED Garanca earlier in her career, let's say up to 2006. I just feel that the voice is getting thicker and less flexible. She is still singing well, but the version she recorded with Netrebko is not one I wanted to show as an example because of it's overly dark, albeit beautiful, monochromaticism. She recorded the aria before she made it big, around 2002 for the Ondine label. I like that version better.
As far as Lady-Sounds-Like-A-Dude-ism, I think we can credit that to Horne. Even a singer like Fiorenza Cossotto who could have a very masculine tone quality sounds feminine in Bel Canto repertoire.
http://www.youtube.com/watch?v=ExQ7WSV5Ic4
Male treble voices, the castrati, are the origin of this vocal range as romantic/heroic lead characters and continued all the way to Classical-era Opera Seria. Females in trouser roles could be traced back to Handel (probably earlier). Durastanti, one of Handel's favorites, created heroic mezzo-soprano roles en travesti. The history of trouser roles as romantic lead characters ends with Bellini and Meyerbeyer. Meaning to say, it ends when the Bel Canto ends. By the time we get to Verdi, we have Page Boys like Oscar in Ballo and Tebaldo in Don Carlos.
there is a longer answer, but that is the condensed version.
Re: Horne: how I wished I'd been around to see her live in all of her masculine splendor. At least we have the recordings...
http://www.youtube.com/watch?v=GXP21ULV85Q
I haven't heard the episode yet, but I will listen right away to hear what you have to say about the rest.
She does sound amazing in the clip you included. I am not a Hater.
I am just concerned with her own attitude toward florid belcanto/baroque rep a mere decade after she really came onto the scene. The interview she gave backstage @ the HD Cenerentola was disheartening, and that awful Habanera concept-album shows her (or her handlers) longing to step into the bigger stuff -a temptation of many singers who had to kiss their virtuosic singing days goodbye.
My 2 cents.
I liked how Michael made a point of distinguishing between the current perceived "lookism" in casting opera VERSUS good acting. It's been said here and elsewhere before, but come on, there was good acting in opera way before the MET HD/Gelb years. I get tired of hearing Gelb harping on about how he's brought new dramatic values (so-called "hot" theatre directors etc) to the MET. Yes, some of what he's done has been very good, but there were amazing actor/singers and incredible productions (the Dexter Dialogues of the Carmelites springs to mind) before Gelb, that's for sure. Just because a singer is slim, photogenic etc. doesn't mean the quality of their acting is going to be great. I think a case in point is Netrebko - yes, beautiful voice, good looks, but IMO, only OK acting ability. Much preferred Dessay's Lucia in the same Zimmerman production to Netrebko's portrayal a couple seasons ago.
Loved the detail analysis of the Romeo aria - Oliver, you said some very interesting things about the singer's stance, and how subtle it can/should be. Wish Jennifer could have said a few more words about singing this aria, especially as she'd just been working on it! Oliver - I realize I only have Judith Forst's rendition of the aria on cassette tape (from my earliest days of buying recordings). I should have picked up the CD at the second-hand shop a couple of years ago. If I get my hands on it, I'll send you the track - it's really amazing!
@Zach - I've actually been enjoying Woolf's reviews - at least he seems not to be afraid to make his opinions known, and they're intelligently conveyed. It was interesting to read what he thought about Dessay's Lucia [i.e. that her acting was a bit too small to project at the big MET] - can't say I agreed with that when I saw her in the HD transmission, but granted, that was very close-up!
@cebristow - I think that the dynamic between music director and general director *is* different at each company, so maybe you're correct in thinking that the situation at the MET isn't universal. Actually what would be interesting to hear is if anyone knows of a company where the *music* director is currently in the driver's seat.
Thanks for characterizing what I do as "just listening to recordings"
I will go hang myself now
You can listen to the Anna Nicole Smith opera here for the next few days:
http://www.bbc.co.uk/programmes/b006tnpy
You guys should talk about this in the next episode.