Miss Fleming’s wooden performance…

Early reports from the Ann Arbor edition of the Renee Fleming Daphne Show (additional music by R. Strauss) might have been written by La Cieca herself: “”two hours of excruciating agony,” and “a snooze . . . . high register from back in throat, spread notes.”

Well, at least La Fleming won’t the the only one getting wood that night. (via Sieglinde’s Diaries)

Update: The guy proffering the Fleming/fellatio gift pack has updated his ad a couple of times today — his latest effort (“Free Opera at Carnegie + Sex!”) ups the ante by including photos of frontal nudity (warning NSFW!) to go along with the million-dollar gams we all saw earlier today. La Cieca is frankly surprised nobody in classical music has thought of this before — counteracting soft ticket sales by throwing in a free blowjob. (And it certainly suggests a new punchline to the old joke about “how do you get to Carnegie Hall?)

Another update: La Cieca’s mentions of “wood” in this item should not by any means be construed as a veiled allusion to her dear little sister (“I call her little, even though she is somewhat older than myself…”) the NYC Opera Fanatic. Everyone knows NYCOF is a natural strawberry blonde!

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9 Responses to “Miss Fleming’s wooden performance…”

  1. Il Tenore di Grazia Says:

    I guess there’s no end to the way some people like to be a pain.

  2. rysanekfreak Says:

    I have no idea what the 3 previous comments have to do with Renee and “Daphne,” but….

    I wish she would stick to Mozart and other Strauss (Arabella, Marschillin). I kind of like the “Lucrezia Borgia” from La Scala CD I heard, but lately, I have lost a lot of tolerance for her mannerisms. The Houston “Traviata” was bad. The “Pirata” Met broadcast was bizarre. The “Rodelinda” made me wish for Sutherland.

    I guess I will stick with my Hilda Gueden “Daphne” for a while longer.

  3. Wilhelmenia Getchurassen-Gier Says:

    Vat for how komm vy not zis melody muffin not stickink mit ze works of Jerome Kern und Gershwin where she’s belonkink? Even Dreary Kiri is make sound more excitink Strauss… und zat schtudio bunny has sight-read every note in her recordingk career, Mein Gott in Himmel! Giff me Gueden, giff me Lorengar, und giff me Lisa della Casa, or giff me death.

  4. Maury D'annato Says:

    Me, I am intensely creeped out by the way Sieglinde posts people’s personal ads to ridicule them. I tried to post as much on opera-l (interestingly Sieglinde herself does not allow comments on her site) but it seems not to have met with the approval of the powers that be. Seems to me trolling around where people are looking for whatever they’re looking for and then broadcasting it to others who may get a laugh out of it is pretty low. Someone maybe took a page from Laud Humphries, following men into tea rooms for “research.” I mean, all else aside, it seems a bit hypocrytical for someone who is clearly spending as much time on craigslist as Sieglinde to make sport of others for being there.

  5. Il Tenore di Grazia Says:

    Met Maniac has listed Norma as planned for the 2007-08 Met season. Hmmm.., who could the Met be featuring as Norma ?

    Why is it that Renee Fleming came to my mind right away? Guleghina and Gruber are just about the only other choices that I can think of. Please tell me that Jane Eaglen will not try it again.

  6. I attended the Ann Arbor Daphne performance. Now, first off, I admit I am an admirer of Renee. I often look to her for inspiration in my own singing. However, I found little to inspire me while listening on Thursday evening. I watched Renee with my binoculars and she looked like she would rather have been anywhere but inside Hill Auditorium. She kept herself physically separated from the audience, spending as much time as she could sitting down, and when she did stand up to sing she kept herself well back from the front of the stage, noticeably farther than the other singers. Speaking of whom, Johan Botha was the most emotionally invested of the ensemble, and his big late-in-the-performance solo was stupendous. Renee…well, it was satisfying to hear her live (I also saw her at Hill in her 1999 recital concert) despite her lack of enthusiasm.

  7. rysanekfreak Says:

    I suppose Renee will do Norma… sooner rather than later. And she will do it at the Met.

    But she will have to try it out out-of-town first, and I can’t imagine where.

    As much as I like Guleghina in certain roles, I do NOT even want to think about her as Norma in 2008. Gruber? Maybe. Papian, maybe. Nelly M…it’s too late, but if the Met could discover Magda’s Tosca so late in her career, I guess they could discover Nelly’s Norma.

    The West Coasters will be championing Nagelstad, since she is about to open as Norma in San Francisco. She has a big following there after her Alcina and Rodelinda.

    Of course, by 2008, some current Julliard student will probably be pushed into Aida, Norma, and Gioconda before her 24th birthday.

    And while we’re speculating, why not have Bartoli return as the Adalgisa? And Giordani as Pollione?

  8. Il Tenore di Grazia Says:

    We’ll have to wait and see, I guess.

    Miriciou sang several roles, including Norma, in Washington a few years back. She was a favorite here but I don’t know what the state or her voice is these days. Singing Norma at the Met is no kid’s affair.

    I saw Zajick as Adalgisa at the Met last time they did Norma and would love to have her back. Need to have her in a broadcast so I can tape her. I bet Borodina can also do a mean Adalgisa.

  9. ffoperabitch Says:

    In reply to il tenore di grazia, Mme Miriciou is a sort of cult diva in the UK. The last time I heard her was in a concert version of Norma at Covent Garden about 2 years (or perhaps less) ago (age is tending to wither my date recall). She may have been having an off night but any sustained note above F was distinctly flat. She went full out in the trio towards the end of the First Act (the Bflat major one) and was very vehement. Perhaps too vehement as she decided to interpolate a high (dominant) D at the end of the act and whilst the note started off in tune, it quickly slipped to just below C sharp by the time she resolved it down to the G. She was overshadowed, completely, by the Adalgisa of the evening, who, if my faulty memory serves me correctly, was Suzanne Mentzner.

    Miriciou also had very bad reviews for last year’s Normas at Holland Park.

    The general critical consensus (as in Gramophone) is that Miriciou’s voice is not what it was. Certainly mixing bel canto with Tosca doesn’t seem to have done her voice any favours.

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