Wednesday, May 03, 2006

Possente amor

Far be it from me to fan the flames of opera faggotry*, but y'all are gonna wet your pants over this one. I mean, everyone's already kind of having kittens about Stephen Costello, but I think I just joined up, myself. Check the link. Mr. Costello, who really is infuriatingly good looking on top of the rest of the sundae, sings the big Rigoletto scena 'til it begs for mercy. For my money, the performance lacks only Villazon's nervous energy. Meanwhile, someone with a score or a pitchpipe tell me what the high note is, k? My guitar thought it was an e flat, but my guitar has not been tuned to an external source in quite a while. And I mean, it couldn't be an e-flat, because that just wouldn't be fair.

[Almost forgot to tip the hat to Nick von Trrill who put me onto it.]

*The lies we tell, really.

You were expecting, maybe, a Rodelinda review? Aw, heck, I just cannot get up the steam to go see it. I think I've already spilled a few words too many about Fleming la belle and Fleming la bete, but without further dissertation, Fleming in Handel makes my teeth hurt. I'm absolutely thrilled, on the other hand, that she's singing Tacea la Notte at the Volpedammerung. If she goes that direction in the next few years, I'm quite prepared to become her cheerleader once again, pom-poms and all. Gimme an R!

9 comments:

Brett said...

Volpedämmerung? I love it! That's the only way I'll refer to the Gala from now on!

Greg said...

Stephen Costello sang a high D at the end of "Possente amor". I was thrilled.

Ariadne said...

LOL! "Fleming in Handel makes my teeth hurt" indeed.

OperaGuyNY said...

Yup. It's a D. I normally like CS but this performance made me nervous. He's awfully pushy, it seemed like too much work. It doesn't sound very free, but he's working so what the hell do I know...

Spizz said...

He sure sounds purty. The lack of freedom noted by operaguyny may be tension in anticipation of those exposed high notes. A little Gigli-esque lachrymose catch in places, too. How old is this guy? 16?

Clare said...

My score tells me it's a D, but my ear tells me it's a Db. Anyone know if this was transposed down?

Ariadne said...

"Tacea la Notte - Gimme an R!" I love it.

Tell us more about why you say that, Maury, would you please?

Maury D'annato said...

'adne: call it a hunch. I loved her Desdemona, found it pretty much perfect. In her Carnegie concert she did a lot less of her now customary futzing in the Berg songs than the other stuff. My guess about this is in rep that is challenging to her either because it's crazy high modernism without a cantilena line or because it's more on the spinto side, she has less free time to micromanage. Also just the Desdemona was really, really good. It's one of those roles I consider retired: I'm not waiting to hear it sung better.

rysanekfreak said...

I caught a webcast of the Philly "Rigoletto" with tallboy tenor James Valenti as the Duke. He sang both verses of the cabaletta with a short go at a final high note.

I hope this is a new trend--tenors singing both verses of cabalettas.

I still haven't recovered from the Shicoff "La Juive" when he didn't get to sing even ONE NOTE of his cabaletta.

And I hope James Valenti progresses smoothly toward a major career. Next big stop: "Boheme" at NYCO. (But it's time for a Met Alfredo. Or at least brunch at my place.)