Sunday, October 23, 2005

Caught a few moments of the Liceu (I think) Gioconda as webcast. Actually my timing was horrendous and what I mostly caught was about two hours of intermission features as I waited first for the second act of the Covent Garden Fanciulla. Then I noticed the Gioconda was on, and switched over to that, cathing about thirty seconds of singing that informed me I had missed some of the best music. And then another forty five minutes of intermission features. For what it's worth, consolation-wise, I am told that "The Note" did not work out all that happily for Voigt, who nonetheless sounded swell in the screaming match with Laura. It's a bit hard to know, though. Broadcasts don't give an entirely fair picture of how a soprano whose many glories do not include a booming chest register ("totenreich!" was always a little bit of a compromise) is doing with a lowish role. Mostly, of course, I was reduced to gnashing my teeth over having missed "Voce di Donna," the Italian text of which translates to: I am Ewa Podles and I am yet again stealing the goddamn show in a five minute role. You'll note a certain similarity if you read my singing translation of Rheingold's Erda scene, but what of it? Anyway I'm promised a gigantor email containing said scene, so for the moment you can picture me pacing about like some internet-addled version of Amneris, long about the judgment scene. I suppose in some updated version she's perfectly likely to keep googling "Radames" to see if the Drudge Report has any advanced word on his sentence, instead of the whole "the stage director told me to look anguished and I am going to lose some weight while I do it" routine.
Meahwhile, the Laura, who at first impressed me as a bit loud, as the act wore on began to seem rather exemplary. I think her name was Fiorello. Wonder who's to sing it when Urmana takes her turn at the Metropolitan. Urmana has what sounds like a really healthy technique, to me, and ought to make good work of The Note, though I'm not sure she has a wrenching Suicidio in her yet, in terms of acting.
I mean to create some links soon to people who are actually knowledgeable and not just blowing smoke like me. My friend with the unamplified voice (see auv at this same site) has given me a bit of advice on how to do this.

8 comments:

MovieDude said...
This comment has been removed by a blog administrator.
Greg said...

You may also want to turn on the anti-spam feature. Next time I catch you online I'll walk you through some of these things.

Maury D'annato said...

Yeah, I'd love for moviedude to shut the fuck up.

Greg said...

You can erase it if you want. Click on the little trash can under the comment while you're logged in...

Anonymous said...

I was at the Liceu last Saturday, and I rather concur with your diagnosis: in fact, Poddlés stole the show not only because she is a great singer, but mainly because she had no competition whatsoever. Miss Voight was severly misscast, and her "suicidio" was not even applauded (it was THAT flat). Her italian diction is atrocious, and the voice, although large and healthy, lacks the lower notes, the squillo and chest needed for dramatic effect in this quasi-verismo role. Margison, singing Enzo in some sort of obscure Canadian dialect, butchering the music and making rather strange sounds all the way, was an appropriate partner for la Voight, as by comparison her vocal and stylistic faults were somewhat disguised when he was on stage with her. She should stick to Strauss.

Maury D'annato said...

Hi anonymous friend, and thanks for the report from in-house, much appreciated. Sorry to hear this was not a Voigt sternstunde...the Italian stuff has never worked out entirely as well, though I liked Ballo last year a lot. Anyway welcome by my bloglet.

Anonymous said...

Oh, and by the way: in 3 weeks time we have Poddlés again at the Liceu, "doing" Semiramide, with Barcellona and Flórez. THAT will be a show a tad more difficult to steal!

Anonymous said...

^^ nice blog!! ^@^

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