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Subject: Verrett; Met's Verdi Highlights
From: Kaonohi <[log in to unmask]>
Reply-To:Kaonohi <[log in to unmask]>
Date:Thu, 31 May 2001 10:43:04 -0700

text/plain (115 lines)

charlie handelman wrote:

>      When Mme.Verrett decided to turn toward the
> soprano repertory, I found
> some "holes" in the voice emerging, and she did have
> a funny way of
> pronouncing some "e" vowels (i.e. "Bene" sounded
> like "beanie") but the
> luscious voice remained, although I still would have
> preferred she remain in
> the mezzo repertory entirely.

oh please, charlie.  i'm sure verrett (along with
bumbry and a few others) are SOOOO TIRED of hearing
the old conservatives going on and on about how they
should have stayed mezzo...  oh how malfitano should
have stayed a lyric...  how norman should have done
this or that...  and maybe domingo should not conduct
and just sing?

if verrett had stayed a mezzo, would the world have
seen such an exciting norma?  amelia?  cassandre?
let's give her some credit for being daring,
courageous and following her heart.  SHE WAS A GREAT
SOPRANO in addition to being a great mezzo.  how many
run-of-the-mill sopranos would have killed for her

finally, can we all believe she's 70 and still looks
like such a babe?  :-)

bob kingston wrote:

> Thankfully, the evening's highlights (Troyanos' "O
> don fatale," that great
> "O patria mia" from 1985, the 1977 "Rigoletto" with
> MacNeil--in spectacular
> voice, thank you!--and--be still my heart--Ileana
> Cotrubas, Vickers and
> Scotto locking horns in "Otello") more than made up
> for the run of the mill
> stuff we got from Millo (for goodness sakes, Aprile,
> if you're going resort
> to all of those hand gestures, at least make them
> look CONVINCING!) and
> Pavarotti.

agree!  millo was a big disappointment.  couldn't they
find a better met verdi moment to show?

howard said:

> Price's voice sounded less gleaming than on records,
> but the tone was steady
> and she nailed the high C, even if forte rather than
> piano.

you realize that was her farewell performance, when
she was past her peak.

christopher purdy said:

> I found three revelations: Scotto, MacNeil and
> Vickers. If you went to the
> Met often in the 80s you heard a lot of Scotto. I
> was one who despaired of
> her voice, got tired of her mannerisms and basically
> didn't know my ass
> from my elbow. She had me riveted in the Don Carlo
> scene.  Being paired
> with Tatiana Troyanos didn't hurt. (I suspect
> Troyanos too, was taken for
> granted during her best years--I don't have
> sufficient words for her Eboli.

i did find scotto's vocal acting too exaggerated as if
she was trying to blow eboli out of the stage by
screaming her lines...  and her face contortions...
too much...

i was annoyed at the camera work in that scene.  while
troyanos was singing, the camera was glued on scotto's
contorting face, and then when she was singing 'o don
fatale', it only showed her face in profile, and from
the eyepatch side!!!!  fire that director!

vera vipera spat:

> Ballo, Blackwell Pavarotti, Nucci
> ok here we go. What the f**k were they thinking.
> Affirmative action?
> Blackwell's Italian is AWFUL. No one likes this
> Oscar scene....what a waste
> of video and airtime..the icing on the cake with
> this segment is the moron
> audience applauding in the middle of it...I hated
> this scene even more last
> night than in the theater.

who is this everybody you refer to?  no one likes this
scene?  didn't realize you SPOKE FOR THE WORLD, great
sybill.  and what's this about affirmative action?
because blackwell is black?  you mean, there are no
white singers who can stink in this role?  in my
opinion, she was fine, and did nothing to deserve such
obnoxious crap that comes out of your gutter mouth.
you are an evil vile serpent...


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