Cyrano-show?

La Cieca can’t, at this stage, direct her questions to the source of this item, but at least one Met insider at the Met is whispering that Placido Domingo will cancel some (if not all) of his performances in Alfano’s Cyrano de Bergerac beginning Thursday.

UPDATE: The cover (who sang the closed dress rehearsal on Monday) is Antonio Barasorda. At this moment, the Met’s website still lists Domingo for all performances.

SECOND UPDATE (1/26, 12:15 PM): Barasorda is now listed on the cast page for tonight’s Cyrano.

13 Responses to “Cyrano-show?”

  1. O Ciel!

    What is wrong with him? I have tickets for the Royal Opera run in May when the whole show moves over to London. Completely sold out which it would never be for such an obscure piece without Domingo.

    Who is the alternative? Roberto is not in the running as we know at the moment?

  2. Il Tenore di Grazia Says:

    Domingo has been usually a quite reliable singer. He keeps scheduling future performances and I tend to think that he knows what he’s doing. On the other hand, at his age, I imagine the voice could go very quickly. I guess we’ll have to wait and see.

    How about Gheourghiu? Is she at the Met rehearsing Traviata?

  3. Il Tenore di Grazia Says:

    My comment reminded me of Elizabeth Scharzkopf who was having an active career and then came to the Met in the spring of 1966 where she was scheduled to sing a series of Donna Elviras and Mistress Fords. The first Elvira was so bad that she cancelled the rest of the season and pretty much ended her stage career.

    She was also a smart cookie and I understand that she was dumbfounded when her voice just went away, essentially overnight.

  4. Chalkenteros Says:

    I thought it was interesting that Domingo’s name was nowhere to be seen in the Met’s ad for Cyrano in today’s NY Times.

  5. LaRondine1 Says:

    I was at the dress rehearsal and he did not sing. It was announced that he was ill but he was there. So was Licia Albanese!
    I did not catch the name of his cover. Can anyone tell me?
    Caterina

  6. Il Tenore di Coloratura Superba Says:

    larondine…I too was at the dress rehearsal – Miss Albanese is such a sweet thing! I was saying to my friend afterwards that I really commend her, especially at her age, for being so actively involved in the current opera scene – staying abrest of the contemporary goings-on in at the Met and being devoted to helping and encouraging young singers. I have to be honest, I get rather teary eyed when in her presence just to think that this was a woman who worked closely with the great Toscanini – who is one of my musical idols and heros along with Beethoven. I wish more musicians in todays world would share in many of his musical philosophies and his constant attention to research and trying to understand and convey a composers intention. I’m not saying the man was perfect when it came to social or tyrannical matters, but he had alot more good to offer than many others who have followed.

    At any rate, sadly, I also did not catch the tenors name who sang. I think he had some nice moments – overall I was unimpressed with the singing. May I preceed by saying that I am not casting my opinions in stone since it was a working rehearsal and I certainly didn’t and won’t ever expect singers to ‘give everything’ at 11am in a rehearsal, so I leave plenty of room to be convinced otherwise.

    That said, I would like to impart that I felt the casting was rather off in terms of vocal timbres and qualities and dramatic abilities. I have always been very iffy about Radsvanovsky – having seen her as Elisabetta in Don Carlo – and she was FANTASTIC in that production. She has a wonderful instrument, a beautiful visage and body, but I’m afraid she reminded me far too much of Mara Zampieri in the ways my ears do not like. She has such an enormous voice and that tongue and vibrato just get in the way of what is essentially a huge, beautiful sound. I guess I would have preferred a much darker, rounder voice for the role of Roxane – something more like Leontyne Price at the time of Anthony and Cleopatra or Martina Arroyo. Sondra did, however, have some extremely fierce high notes that pealed forth over the orchestra and some very tender moments of vocalisms – other times, I was left rather disappointed. I hope that it was a consequence of the time and function and I wish her success in the performances as I do admire her in some ways.

    I was, at the time, unphased by the rest of the cast – alot of bleating and pushing from various individuals. I think the role of Cyrano would suit Domingo extremely well and I was sad that he cancelled the rehearsal. Nancy Milnes always said that Domingo’s greatest stregnth as a singer was his health and numerous individuals have said that the largest factor of his major success was the fact that he almost never cancelled his performances.

    At any rate, I think the opera was a decent one – it is so hard to judge a piece of music on one hearing and especially when all the performers are not necessarily ‘on point’ for one reason or another. I was quite taken by the third and fourth acts and would advise anyone to see the opera solely for the second half. The first half, I felt given the libretto and the situations, would have been better suited to opera-comique rather than such overly dramatic and thick orchestrations and vocal lines. Sort of like how Verdi, in his most serious of operas (Ballo, Vespri, Rigoletto, Trav, Don Carlos) was able to provide a musical balance between ‘happy upbeat’ music and ‘heart-wrenching, soul-stirring’ dramaticism. Then again, Verdi was Verdi, Alfano was Alfano. I just found that the first half all sounded so much alike with the exception of the balcony scene which was quite moving.

    The production itself is quite good – I loved the sets and some of the staging was very creative and well thought out – the opening duel however was extremely unbelievable and looked kinda wimpy to me.

    I am rather glad that the Met was willing to do such an obscure work. I think it’s important to try and bring more literature into the category of “standard operatic repertoire” and do less Boheme’s and Carmens (as much as I adore them!!). I’ve never understood how there were composers – GREAT composers of their times – who wrote opera after opera after opera – Donizetti, Salieri, Boieldieu, Adam, Thomas, Massenet, Mascagni, Leoncavallo, Piccini, Cimarosa, Rossini, Gluck, Respighi, Meyerbeer, Strauss, and the list goes on and on – people who wrote 40, 60, 80 operas!!!! and all but a small percent if any are known!

    The acceptance and performance of more ‘rare’ literature into the operatic scenes is two fold – not only does it bring forth fresh music to our stages and ears and eyes, but by having a much larger array of vocal/operatic styles and roles consistently in performance, it would allow MOST singers to select repertoire more suitable for themselves rather than always trying to shove themselves into the “standard repertoire” which is the main reason why so many singers – seasoned and green – end up destroying or overworking their voices. In this way, light lyic coloratura sopranos wouldn’t be limited to singing the same 6 or 7 -ina/etta roles over and over and over again and not be tempted to add unneccesary weight to their voices to try and fit into the Mimi’s and Micaela’s and Nedda’s, etc.

    Well anyway, I recommend people to see Cyrano even if Domingo doesn’t sing – the gentleman who sang last night was far from detestable and he really had some very lovely moments. – plus, you should see it just to give your ears something new to feast on! Act III really has a brilliant score!

  7. LaRondine1 Says:

    I agree with whay you say about the tenor but it seems unfair that his name was not published on the playbill. They still listed Domingo. I also agree with your comments about Rodvanosky. I think she is inconsistant. I’ve seen her in the last three or four performances at the Met. I thought she seemed a bit shrill at times at the rehearsal.
    I have the dvd of Cyrano from Montpellier with Alagna and I think the Met did a much better job with sets and costumes.
    I think you have to listen several times to this opera because it only seems to have one recognizable motif.
    Oh, and Albanese is just the sweetest thing. My mother played her records over and over while I was growing up which is how I got turned on to opera in the first place.

  8. Chalkenteros Says:

    And does this mean anything for his scheduled performances in Samon et Dalila?

  9. We saw the Cyrano opening last Spring and it is certainly worth seeing. At the time we also saw Alagna in Faust and I felt sure at the time that he would be stepping in to the Cyrano when they repeated. To bad it is not going to happen; look forward to finding out who the cover is. Yes, lets expand the repertory. We are looking forward to seeing Mazzepa in March along with Luisa Miller, Don Pasquale, Fidelio and Manon. Will be in NYC March 28-April 6.

  10. vittelio scarpia Says:

    It is Antonio Barasorda

  11. Just Another Tenor Says:

    The buzz backstage at the Met tonight was that Placido will be a no-show for the opening night of Cyrano – for sure.
    The buzz extended his absence to the first half of the run, meaning he would only appear starting March 8th. I am skeptical about that, because I doubt he would miss the broadcast…

  12. Il Tenore di Grazia Says:

    Domingo to Sit Out of Met ‘Cyrano’ Opener 16 minutes ago

    Placido Domingo canceled his Thursday night performance in the opener of the Metropolitan Opera’s revival of Alfano’s “Cyrano de Bergerac” because of tracheitis.

    Domingo has been bothered by the windpipe inflammation since it caused him to cancel appearances in Wagner’s “Parsifal” at the Los Angeles Opera on Dec. 14 and Dec. 17. The Met said he would be replaced Thursday by Antonio Barasorda, who was to sing opposite Sondra Radvanovsky’s Roxane.

    The 65-year-old tenor still hopes to sing at the performances on Jan. 31 and Feb. 4 and at the three performances in March. The production, with Domingo and Radvanovsky, is to travel to London’s Royal Opera for six performances from May 8-27.

    Domingo plans to conduct “Rigoletto” at the Met on Saturday.

    Copyright © 2006 The Associated Press. All rights reserved. The information contained in the AP News report may not be published, broadcast, rewritten or redistributed without the prior written authority of The Associated Press.

  13. Just Another Tenor Says:

    He has now officially cancelled the broadcast as well as all of the Samsons he was supposed to sing

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