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Subject: Re: Today's "Stars"
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Wed, 4 Oct 2017 14:44:47 -0400

text/plain (99 lines)

"Kardashians and Kanyes" -- How could  you forget to add vampires, zombies and werewolves to that list of television, internet and supermarket tabloid "personalities"?     



> On October 4, 2017 at 12:28 PM "G. Paul Padillo" <[log in to unmask]> wrote:
> The word “star” is always fraught with multiple meanings.  
> Opera was never really (at least in the past century) at the forefront of popular 
> entertainment, but whatever it was then, it certainly is not now.  Gone are the days when 
> an opera singer routinely made a news splash.  Instead, today we get Kardashians and 
> Kanyes.
> While this list has always (understandably) had a tendency toward being Metcentric, there 
> are other opera houses of note with many, if not necessarily all of them, doing far better 
> than Sybil’s Barn.  
> Stars there may not always do as well at the Met – for whatever reasons for which I won’t 
> even venture a guess, though some will tell us these singers have “no star quality.”
> One of the hardest working ladies in opera is Christine Goerke.  Anyone who’s “friends” with 
> her on Facebook or other social media can attest this woman manages a herculean feat of 
> balancing home, family and stardom.  “Star,” you say?, Yup.  While she lives near the Met, 
> but seldom sings there, elsewhere - Dallas, San Francisco, Seattle, Chicago, Canada, 
> London  . .  . she sells out houses and has fans cheering her to the rafters.  
> More than half the opera fan friends I have in the U.S. have never heard the name of – 
> much less the voice of – Anna Caterina Antonacci, who fills halls and houses throughout 
> Europe and has a following that is almost cultish.  
> Canadian soprano/conductor Barbara Hannigan is one of the planet’s most incandescent, 
> unique stars, specializing in difficult (and for some, difficult to love) music.  Her Lulu is one 
> of the most enthralling portrayals of the Bergian bad girl one is likely to encounter.  While 
> her name in Europe means “Sold Out” – she rarely is heard Stateside, but (lucky us) she 
> embarks on a short U.S. recital tour (on my birthday in Washington, DC – dammit).  Next 
> week she’s part of the New York Film Festival, before giving the U.S. premiere of Salvatore 
> Sciarrino’s “La nuova Euridice seconda Rilke” at Carnegie Hall, Antonio Papanno conducting. 
> Anja Harteros is a major star throughout Europe and a particularly sad absence on these 
> shores.  Every performance I’ve been fortunate to hear her in created a “forever” memory.  
> She was the one soprano who actually seemed to own Violetta in that last, garish, 
> overblown Zeffirelli confection. 
> Cecilia Bartoli:  See “Harteros” 
> Though routinely reviled on this list, Patricia Racette has one of the most challenging 
> repertoires of any soprano working today, embracing more 20th and 21st century roles than 
> any given handful of divas combined.  She’s been “composer approved” for a number of 
> world premieres, enjoys a successful "cabaret career" has appeared in several musicals, and 
> in an ever expanding role base, including recent additions of Katerina Ismailova, Marie 
> Antoinette, Elle, Minnie and Salome (everywhere) tosses Menotti’s Magda Sorel (“The 
> Consul”) and Weill’s Anna Maurant (“Street Scene”) into the party mix, not to mention as 
> makes her directorial debut in a new “Traviata.”
> Others who enjoy great successes at (but more frequently away from) the Met include:  
> Elina Garanca, Roberto Alagna, Bryn Terfel, Simon Keenlyside, René Pape, Gerald Finley, 
> Lawrence Brownlee, Vittorio Grigolo, Michael Fabiano, Charles Castronovo, Thomas 
> Hampson, Ailyn Pérez, Pretty Yende, Piotr Beczala, Joseph Calleja, Aleksandra Kurzak, Peter 
> Mattei, Luca Pisaroni, Jarmila Novotná . . . 
> Honestly, we’re blessed to live in an era where there are so many fine singers who, while 
> perhaps not possessing the unique stamp or level of fame as their predecessors, are, 
> nonetheless offering night after night of wonderful performances making audiences the 
> world over happy to have a ticket - and/or at the very least, internet access to thousands of 
> those performances.
> p.
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