Renate Behle-s out NYCO

Soprano Renate Behle is jumping into the NYCO’s Ariane et
Barbe-Bleu
, replacing the “injured” Carol Vaness. And while you’re catching up on the company’s casting and repertory for the fall season, do make a point of checking out the NYCO’s site’s multimedia “trailers,” written and narrated by dramaturg Cori Ellison.

5 Responses to “Renate Behle-s out NYCO”

  1. The Interpolator Says:

    The Interpolator, in a rare moment of uncertainty, has displayed his ne-savoire-faire-pas by posting a comment in a forum that might be heard to better advantage right here. Therefore, the Interpolator will keep this comment on-topic by also discussing, albeit briefly, Frau Behle’s stimme and hoch-kunst abilities.

    The time: 11am
    The place: Hannover, Deutschland
    The address: Niedersächsiste Stadtstheater Opernhaus, 50 paces from the Hauptbahnhoff, Hannover.
    The gathering: The sitzprobe for a new production of Strauss’ Salome.

    Has the Interpolator appropriately painted the set for the reader? Then let’s go: Hausfrau Behle sang the FUCK out of that score, and she even made out with J.J.’s head (plaster-of-paris, in this case) after that luscious high B-flat during the stage run.

    So…Dukas? Keine problem, mein kinder. Frau Behle, with a stimme carved of silver and starlight, knows just how to employ her considerable vocal gifts and unfurl both caressing and assaulting sounds upon her listeners. But this is precisely as it should be for a hard-working Deutsches Hochdrammatisches Sopran. (The reader will gently forgive the Interpolator’s spelling).

    And now down to the (marginally) more interesting topic of La Vaness, her choices, her retractions, her vocal estate, and her whips. No this is not a carbon-copy of what was posted under Ariane, but rather it is amplified, which is one of the Interpolator’s greatest skills. He hopes, desperately perhaps, that La Cieca herself will take the time to read the posts. However, he understands the demands on La Cieca’s time, and that this may not oft be possible.

    So, what IS this Vaness non-appearance really saying about La Carol? That she can’t SING the role? (No, not that, because the Interpolator KNOWS she can sing it.) Was she merely HOPING she could pull it off, so she signed the contract and prayed like hell? Hmm…

    Well, the problem certainly is NOT intelligence: the Interpolator has sung with her, and she is smart as a whip (and she probably likes to use one, perhaps even on the Interpolator). Yet precisely what are these alleged “terrifying vocal hurdles?” Bullshit. Look at that score (if you can stand it), and now let’s be frank:

    The only “terrifying vocal hurdle” for La Vaness would be any actual, written, required pitch beyond a High C. If that sounds bitchy, allow me to disabuse the reader of such a characterization and remind the reader of Vaness’s D-less Manon (Mass, not Pooch) and E-flatless Trav (not required, but she’d kill to have it). And let’s hark back to that Met Clemenza and discuss (in hushed tones, of course) the way she approached – or did not approach – the WRITTEN high D in that score. We will omit, of course, all discussion of the Olympiatic non-aria attempt or Antonia’s off-stage off-D (a mordent from a trilled, but well trilled, A-natural-plus-turn to high B; creative, to be sure, and even well executed, but NOT an off-stage high D as required).

    So far, that’s Mass, Wolfy, and Jacques who each got slighted by a short-topped Californian. This is inexcusable considering such prodigious talent, skills honed on bel-canto for God’s sake, and a voice that can actually produce (when its possessor can be bothered to warm up) a refulgent and throbbing high C, full of Italianità, like it should be. But come on kids, it shouldn’t stop there for a true lyrico-spinto.

    So — why did she cancel on Monsieur Dukas? Maybe it really WAS the “injury.” The Interpolater, for one, figured she’d probably do a good job with this. But it’s back to Tosca in Austin. Not that there’s anything wrong with that. After all, Sills did the Konigin in Fort Worth (not Dallas, but Fort Worth).

    Even if we can’t have La Vaness in Ariane at Lincoln Center. (See…The Interpolator wrote “Lincoln Center,” allowing room for the uninformed to think this was to have happened at the Met, when it was not.)

    And a question posed simply from curiosity, not specific instance: Would there ever be a point in a soprano’s career at which, for instance, she were allowed to sing Donna Anna at NYCO but only Donna Elvira at the Met?

    The Interpolator

  2. Anonymous Says:

    A propos of the interpolator’s last question, Anna Netrebko has sung Donna Anna at Salzburg, Covent Garden, the Mariinsky and Vienna in the past couple of seasons, but to date she has only sung Zerlina at the Met.

  3. See Renata Behle as Brunnhilde in the Stuttgart DVD of Die Walkure.

    Done up as Gothick biker moll.
    Saw her as Frau Barak in Dresden.

    German provincial.

  4. Il Tenore di Grazia Says:

    Il Tenore di Grazia knows nothing about Dukas’ Arianne and he has never heard Mme Behle.

    With regard to Mme Vaness, he has heard her several times and thinks that she is an excellent bravura singer. Or was until recently, at least. Her performances in Rinaldo, La Clemenza, Idomeneo, etc. were stupendous.

    Il Tenore di Grazia, however, was never taken by Mme Vaness’ ventures into the 19th Century “romantic” repertoire. He has not been, should we say convinced, by her performances in operas like Traviata, Tosca, Faust and Les Contes d’Hoffman.

    He thinks her personality and vocal style are probably better fit for 2oth Centuy works. Arianne may have been just right for her.

    And since we are discussing Mme Vaness’ repertoire, Il Tenore di Grazia will suggest for her Der Rosenkavalier, Vanessa, Chrisothemis, The Makropoulos Affair, and Bluebeard’s Castle.

  5. Carlo Borromeo Says:

    Having been at the premiere of the Stuttgart Walküre and having come across Frau Behle at other times and other places, I’m with Yniold… To my mind Dukas’ heroine requires something warmer, more human – as the excellent Ellen Shade famously was in Geneva some years past

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