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Subject: Re: Francisco Araiza
From: Braden Mechley <[log in to unmask]>
Reply-To:Braden Mechley <[log in to unmask]>
Date:Wed, 2 Jul 1997 09:43:38 -0700

TEXT/PLAIN (43 lines)

On Tue, 1 Jul 1997, Michael Black wrote:
> I think, but am not for certain, that he has moved on to heavier
> repertoire.

Absolutely -- LOHENGRIN, FORZA, all these bad ideas.  He's virtually
wrecked what was once a gorgeous voice.

> I know that he made a recording of Tosca with Vaness and Muti a few
> years back.

No, that was Giuseppe Giacomini (though maybe Araiza was originally

> He was also supposed to do Romeo last season at the Met, but backed
> out for some reason and my bud Richard Leech stepped in.

"For some reason" turns out to be that he was fired, as I recall, though
perhaps the official account is that they "mutually agreed" he should
withdraw or something.  Evidently he was disastrous in rehearsals or some

Mr. Araiza has made a real fool out of himself, not least since he very
vocally criticized several of his fellow tenors in a big, controversial
interview in OPERA MONTHLY a few years back.  They're still holding it
together; how's he doing?

** Braden Mechley ** [log in to unmask] ** Department of Classics **

     [James Spader's] wife is played by an actress called Deborah
     Kara Unger, which somehow sounds like a batch of Winnie the
     Pooh's friends.  Deborah is the only person in the movie to
     achieve the perfect CRASH facial expression: She always looks
     monumentally bored and slightly aroused, like a nymphomaniac
     on a coffee break; she's always staring moodily off into the
     distance while the wind swirls her Viking-blond hair, as if
     she's already had violent sex with everyone in North America
     and is trying to choose her next continent.
                                        -- Libby Gelman-Waxner on CRASH


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