Idomeneo Jacket

La Cieca’s on vacation this week, but here’s something to watch until she returns.


116 Responses to “Idomeneo Jacket”

  1. celticpriestess Says:

    ROTFLMAO! I could do without the special effects person, but that fellow Wolfgang sure wrote some great music for the soundtrack! 🙂

  2. il stupendo Says:

    La Cieca: may we have Ms. Bette Davis’s ‘the star’ or ‘dead ringer’ set to the following music:

    1. Handel’s ‘tu, preparati a morire’ from ‘ariodante’ or,

    2. Madame Edda Moser’s ‘der holle rache’ or,

    3. La Bartoli’s singing of a fast Vivaldi aria?

    Ms. Crawford and Mozart -how extravagant!

  3. Baritenor Says:

    I didn’t recognize the Singer…does anyone know who it is?

  4. Cerquetti-Farrell Says:

    I believe its Edita Gruberova from the complete recording under Pritchard (his second, with VPO, Pavarotti, Baltsa, Popp et al)

  5. Baritenor Says:

    Compleatly unrelated, but did anyone else read the article about Rene Pape in the New York Times Today? Really Cool.

  6. la divina due Says:

    I thought it was Sutherland. Sometimes I think Gruberova has morphed into her.

  7. Baritenor Says:

    Did Sutherland ever record the aria? and for that matter, ever play it onstage? I know she never recorded the role compleate.

  8. il stupendo Says:

    Joanie sang Mozart’s Electra on July 4-28, 1979, at the Sydney Opera House.

    highlights of the live broadcast, including the aria ‘d’oreste, d’aiace’, is preserved on cd:

    i thought anyone can recognise Edita at once. she has this unmistakable sound of ‘despair’ in her timbre, no matter what she sings.

  9. papagenodz Says:

    and sutherland takes the so wanted and always denied high note at the end of d’oreste d’ajace … love it.

  10. marschallin Says:

    Completely unrelated, but did anyone else read A. Tommasini’s review about Debbie Void in the New York Times today? Really Uncool.














    LA LA








  11. Il Tenore di Grazia Says:

    Interesting, it never occurred to me that Sutherland’s and Gruberova’s voices were alike but at the beginning it surely sounded to me like a young Sutherland. My bet’s on Gruberova, though.

  12. Baritenor Says:

    Marshie, why do you feel the need to bash me for briefly bringing up something unrelated. You do it every time you post.

  13. Baritenor Says:

    Sorry about the triple post everyone.

    Oh, and speaking of Grubernova and a recent discussion on the high price on her recordings of the Three Queens operas, a copy of her Roberto Deveruax just became available on e-bay for about 5 bucks plus shipping.

  14. la divina due Says:

    Baritenor….Sutherland is in a dvd version of the opera from an Opera Australia production in 1983. She at least waited to the end of her career to tackle this role. As far as cd’s go…..she has recorded the arias and I’m pretty certain the entire role but I cannot remember the label. Probably Decca.

  15. il stupendo Says:

    it’s quite unmistakably Edita in the strait-jacket video. the ‘despair’ and ‘urgency’ in the timbre (especially when she sustains high notes), wonderful edgy tone, school-girl sounding lower register and the crazy sssssssss consonant sounds. hehehe.

    la divina due, which dvd ‘of the opera’ did you mean Joanie is in?

  16. Baritenor Says:

    I think she was talking about Idomeneo.

  17. Sorry but I don’t understand how anyone can mistake Sutherland for anyone else or vice versa- Joannie rules!!
    Today I turned on the radio to hear some hopeful attempting the Leibestodt – it was a reasonable attempt but no where near the class of a Birgit and others. I was interested to hear later it was actually one Cheryll Studer. With a lot more work I’m sure she’ll do very well one day. 🙂

  18. Baritenor Says:

    Well, no matter what one thinks of her artistry, it’s no secret that Cheryl Studer is no Isolde. Not that that’s a bad thing. Her’s is a basically lyric voice that she had to strech to sing the lyric Wagner roles…sing them very well in her prime, might I add. But a Cheryl Studer Isolde is like a Nathan Gunn Rigoletto, not going to happen

  19. il stupendo Says:

    daniel, if you listen to the strait-jacket clip without headphones, Edita really does sounds at least 85% like a very young Joanie. hehehe

    baritenor, Joanie sang Idomeneo in 1979 only.

  20. baryton francais Says:

    Yes, il stupendo, Joan only sang the role once, and it is preserved on a very hard to find live recording. And I know I come very late into this whole discussion, but there’s no way I would ever mistake Edita for Joan on that recording, but I am a long-time Joan fan. And yes, it is from the complete Pritchard recording with the great Popp and Pavarotti, and even Nucci singing all those high notes as Arbace (he sounds like young Domingo up there).

  21. papagenodz Says:

    not that hard to find … it’s on gala now.

  22. baryton francais Says:

    It is when it’s never in stock…

  23. Cute, but boring. Hurry back from vacation bitch!

  24. Thanks il stupendo – didn’t mean to take anything away from Edita of course- who does some excellent work.

    I think I’m just more than mildly coloured where la Joan is concerned – forgive my excesses 🙂

  25. hab mir's gelobt Says:

    i am wondering how cheryl studer creeps into every discussion?! after a while it gets a bit tiresome…

  26. marschallin Says:

    The reasons Studer creeps into every discussion are manifold.

    1 – Yours truly brings her up often

    2 – Yours truly brings her up as often as others bring their favorites, even when they have nothing at all to do with the node topic

    3 – The lady is an (needless to say) important artist unworthy of ignorance, let alone ignoring


  27. Baritenor Says:

    I agree, Marschallian. She’s not my favorite artist, but she’s a great one.

  28. il stupendo Says:

    daniel, you are welcome to rule jointly with me as Joanie Queens I & II here. 🙂

    verily, i’m also a Marilyn Horne queen. hehehe!

  29. il stupendo Says:

    i love her La Studer’s great coloratura and lustige witwe!

  30. julienned Says:

    I’m rather new to the parterre blogs, but can’t help but wonder about marschallin.

    Although clearly well informed, sometimes his(?) blogs sound like they are coming from someone on death row who has internet access….

  31. Mr. Wotan Says:

    I think I’ll find a way to play this clip in the club where I sling drinks. It would be a smashing (or chopping?) hit (whack?)! Reminds me of some of the other Frankensteined videos I’ve seen played in the clubs (Mommie Dearest set to Mama Mia or that fabulous Serial Mom patch-job).

    Il Stupendo: Love your idea regarding use of Mme. Davis’ “Dead Ringer” and “The Star”; and rather than Bartoli for the Vivaldi, I would cast my vote for Mr. Jaroussky. 🙂

    Hurry home, La Cieca!

  32. hab mir's gelobt Says:

    true studer is a good artist … within her ‘fach’ and she did make some great recordings. but i wonder why we need to have all those reviews of obscure spanish song recitals etc etc. i wont diminish her artistry but i think she doesnt need to be brought up in every other blog. ditto to renee bashing. but hey throw some opera fanatics together and the hanbags start flying….

  33. marschallin Says:

    Yours truly posted the Spanish review as a reminder that the artist is still very much with us. Just so you know, that recital was a rescheduled appearance after the original date in Nov. or Dec. of 2005 had to be cancelled following a minor stroke suffered by Studer a day or two prior to the performance. Had you known this detail you would have been happy to encounter the goddamn review, perhaps.

  34. hab mir's gelobt Says:

    i knew she had suffered a stroke or a heart attack but there is no need for swearing, perhaps. end of discussion 😉

  35. You have excellent taste il stupendo – would be an honour to serve.

    I’ve been a Joannie groupie even before I found out the terrible news about Santa Claus. (Not being a name dropper – but) when I made the admission to la Joan, she laughed and said “oh there are quite a few of you, I can assure you…”

    You’ve probably seen the video of her and La Marilyn in the concert they did in the Sydney Opera House about 20 years ago – it was a stunning night! (Lord was it 20 years?) – and Marilyn was in great form – like you, I’d wash her feet and dry it with my hair!!
    Peace to you oh sister! 🙂

  36. IreneDAdler Says:

    At the risk of further derailing this topic… My first experience with Cheryl Studer was this DG recording of Le Nozze di Figaro with Bartoli as Cherubino. She sang the Countess in that recording, and I was not very impressed. Though, now I’ve come to realize that she probably made that recording past her prime, so it might not be fair to judge her by that. Also, I’ve been hearing many good things about her Straussian roles. I have to admit I’m skeptical about her, but is it worth giving her a chance? So many people praise her Salome, but I’m solidly in the Rysanek camp (I’m in the process of buying every recording with her name on it! — speaking of which, what do you guys think of her German Aida on Myto?). Thoughts?

  37. marschallin Says:

    The Studer Figaro Countess for Abbado and DGG is excellent and fascinating. She is wonderful in the role. In fact, a much underappreciated recording. She can also be seen as the Countess in the Sony video (on VHS, not available on CD), also w Abbado but with a different cast. Again, she is exceptional. As for Rysanek, well, no more flawed singer exists and she made an art of pandering to camp. And so a camp icon she remains. Rysanek was no aristocrat and, in fact, came from a hardcore blue/collar family. Her hardness reflects this and she never sought to overcome this. But she wasn’t stupid and she used all that crass working/class stuff to her advantage. After all, many if not most of her fans came from the same piece of cloth and there you have the strong bond/identity factor. On purely vocal and interpretive terms, she is not much other than the occasional and much valued (because so campy) Geschrei. The Rysanek Aida? Phooey. Avoid like the plague.

  38. marschallin Says:

    A little more about dear Leonie: the voice was like heavy wool mesh, the sound butt ugly and the intonation flat flat flat.

  39. il stupendo Says:

    daniel, it has been exactly 20 years since that gala concert was in 1986.

    you must have been blessed all over to hear Joanie’s school-girl laugh. 🙂 once, i dreamt of Joanie, Hornie, and Montsie (my top favourites) giving a 3 sopranos concert. it was just a dream but it was a fabulous one!

  40. Baritenor Says:


    Is it futial to bash every artist we on this board prefer in a certain role to Ms. Studer. I have no quarrel with fans of either the Rysanek or Studer Salomes, both of which are exceedingly fine. My favorite Salome: Ljuba Weltisch. I have a bootleg of a Met performance conducted by Fritz Reiner and starring Hans Hotter where she is just on fire.

  41. Baritenor Says:

    Oh. Please forgive the grammer mistakes. English is not my first languege.

  42. il stupendo I have wondered for years why there was no female counter performance to the 3 Tenors. Your suggested trio would have been wonderful indeed.

    Unfortunately with the retirements and passing of most of the greats of yesteryear it is hard to imagine any concert with any three of today’s female singers that could come anywhere near to generating the same excitement.

    I suppose I’d start a flame war if I suggested a threesome of Bartolli, Rennay and Jessye 🙂

  43. il stupendo Says:

    daniel, there was a real 3 Sopranos, comprising Cynthia Lawrence, Kathleen Cassello and Kallen Esperian.

    if i want to listen to a sopranos gala (or any gala opera), i’d choose dearest Rossini’s Il Viaggio A Reims.

  44. hab mir's gelobt Says:

    isnt it weird how marschallin can only praise studer while slagging another singer off?
    as i said before, studer was good and i do like her wagner and strauss (her senta is quite good indeed) but her singing per se i find not memorable (maybe her kaiserin in frosch and her salome apart), as it had a certain synthesized quality to it, which sometimes bothers me.
    i do know the figaro countess under abbado and as much as i tried, i just dont warm to it. the sound is a bit tremulous and even though i cant really fault her singing in that role as such, it does not touch me.

    on the salome count, welitsch indeed was from her voice and temperament the ideal salome…

  45. Welitsch and Rysanek were and still are the greatest interpreters of Salome ever. the Welitsch-Reiner performance from 1949 is still the standard that others hope to reach. Rysanek is the only other Salome to have the same intensity or understanding of the part. I also am very fond of the Stratas film, though I realize she probably could not have pulled it off in an opera house. Finally the best way to deal with some demented queen’s fetish for a mediocre studio voice form the nineties is to just ignore her rantings.

  46. marschallin Says:

    Yours truly deplores ignorance and loves reviews that support her cause. Oh well, I’m only human. With all the talk here about the off/topic Leonie Rysanek, why not go along on that same vein? At least yours truly writes about the living. I thought I’d share another review of dear Cheryl Studer’s last appearance in the USA, which I am sure so many of you knew about, right? In late 2003, Studer was heard in St. Louis singing Sieglinde (the whole of Act I) and Isolde’s Liebestod.

    “St. Louis Post-Dispatch”
    16 November 2003
    by Sarah Bryan Miller

    “St. Louis is a lovely place to live, but for some of us it has one
    severe drawback: There’s no grand opera. In particular, there is no
    Wagnerian opera. This is a hardship.

    That shortcoming was addressed this weekend at Powell Hall, when the
    St. Louis Symphony Orchestra imported three international-class
    Wagnerians, stoked up the orchestra and gave the audience a full
    measure of glorious music: the complete first act of Wagner’s “Die
    Walkure,” the Prelude and “Liebestod” from “Tristan und Isolde” and
    three instrumental selections from the “Ring,” all conducted by Asher

    To its credit, the Symphony’s administration didn’t stint on the
    singers. Chief among Friday evening’s pleasures was renowned soprano
    Cheryl Studer, doing double duty as Sieglinde and Isolde, and singing
    gloriously as both. Studer doesn’t perform often in this country,
    which made it a special treat to hear her as her big, burnished voice
    rose over the augmented orchestra. It was an exemplary performance,
    flawlessly sung.

    Tenor Mark Baker, although planted in an infelicitous spot (the sweet
    spot for singers at Powell is just to the house right side of the
    podium), was well matched as her Siegmund, singing heroically as
    required by the composer. Although he was occasionally swamped by the
    orchestra, particularly in the “Wintersturme,” he never pushed and
    never sounded strained.

    Bass Eric Halfvarson brought a voice as dark and rich as premium
    chocolate to the role of Hunding, and filled the hall effortlessly.
    Menacing from the moment he stepped on stage, he was an paradigm of
    effective, understated villainy, creating a complete character without
    any of the usual assists of wig, costume and makeup.

    Fisch, while not an ideal Wagnerian, did a creditable job. He rushed
    the beginnings of the lyrical passages in “Walkure,” and his “Ride of
    the Valkyries” had some trouble getting off the ground. The “Tristan,”
    on the other hand, was lovely. The “Ride” loses a lot musically
    without its singers, but one can hardly expect the Symphony to bring
    in a girls’ glee for one short piece.
    “Dawn and Siegfried’s Rhine Journey” (strangely missing the first part
    of its name on the title page and the first part of its story in the
    program notes) wasn’t as crisp in its final bars as it should have
    been but did benefit from principal horn Jennifer Montone’s offstage
    solo, the best live rendition I’ve ever heard.

    At the conclusion of the three instrumental pieces, Fisch gave solo
    bows to a number of the principals, including, most deservedly,
    trumpet Susan Slaughter. But principal timpani Richard Holmes should
    have received one, too; his part is crucial. Oboist Lisa Lalev’s solos
    in “Tristan” were lovely.

    The bass trumpet seemed (to judge by evidence both audible and
    visible) to be giving principal trombone Timothy Myers a hard time.
    But the augmented orchestra (complete with Wagner tubas) played
    outstandingly overall, from the sweetest moments to the biggest. It
    was an evening to cherish.”

  47. Mr. Wotan Says:

    Bravo, Paddypig. Ich stimme zu.

  48. Thanks Il Stupendo – we somehow missed that trio “downunder” but I have the Reims Rossini on video and of course love it.

    Paddypig- re “feral demented queens” of course you are right. As my old Grandad used to say- “You wouldn’t go into an assylum to argue with them would you?” 🙂

    I’m also glad you mentioned the Stratas Salome film. It has to be one of the best opera films ever- everything’s good about it and Stratas is nothing short of sensational. Her physical “change” throughout from “girl to demon”
    I’ve never seen done better. As for the Dance of the Seven Veils, it is utterly convincing- a great change from the awkward gyrations so often a feature of stage productions. In fact, once you’ve seen this production- it is almost impossible to watch any other presentation and be totally satisfied. To my mind it’s almost definitive.

    Of course I wish I had been around to see Lubja Welitsch, who was by all accounts a sensational Salome. With the recordings of her, it is not hard to imagine why- that steely tone, once heard, cannot easily be forgotten.

    Peace to all.

  49. hab mir's gelobt Says:

    isnt there a way for la cieca to limit blogs to lets say 100 words? at least that would save us ranting for hours and hours and reviews from 2003… 😉

  50. marschallin Says:

    Paddypig, to call Studer a “mediocre studio voice” is the classic stuff of demented American fags. And it is tiresome because so unfair and untrue. Off with you.

  51. marschallin Says:

    I see that a certain Mr. Wotan of Kansas City, Missouri slobbered about a pig called paddy. If Mr. Wotan was in the vicinity of St. Louis in mid November of 2003, would he care to comment about the two Studer concerts at Powell Hall? Or maybe he knows someone who was there?

  52. marschallin Says:

    There are certain personalities for which 100 words is just not enough. Let us begin a discussion, if you will, about “mediocre studio voice”.

    * Title role in Donizetti’s Lucia di Lammermoor, rec 8/90, London SO,
    Marin, Lucifer Classics

    * Hanna Glawari in Lehar’s Lustige Witwe, rec 1/94, Vienna PO,
    Gardiner, Lucifer Classics

    * Countess in Mozart’s Nozze di Figaro, rec 1-2/94, Vienna PO,
    Abbado, Lucifer Classics

    * Countess in Mozart’s Nozze di Figaro, rec 5/91, Vienna PO, Abbado,
    Lucifer Classics

    * Title role in Rossini’s Semiramide, rec 7/92, London SO, Marin,
    Lucifer Classics

    * Florinda in Schubert’s Fierrabras, rec 5/88, Chamber Orch of
    Europe, Abbado, Lucifer Classics

    * Title role in R. Strauss’ Salome, rec 12/90, Deutsche Oper Berlin,
    Sinopoli, Lucifer Classics

    * Gilda in Verdi’s Rigoletto, rec 6/93, Metropolitan Opera, Levine,
    Lucifer Classics

    * Gilda in Verdi’s Rigoletto Act III, rec 9/91, Metropolitan Opera,
    Levine, Lucifer Classics

    * Desdemona in Verdi’s Otello, rec 5/93, Opéra Bastille, Chung,
    Lucifer Classics

    * Violetta in Verdi’s Traviata, rec 1/91, Metropolitan Opera, Levine,
    Lucifer Classics

    * Elisabeth in Wagner’s Tannhñuser, rec ’88, Philharmonia, Sinopoli,
    Lucifer Classics

    * Elisabeth in Wagner’s Tannhñuser, rec ’89, Bayreuth, Sinopoli,
    Lucifer Classics

    * Senta in Wagner’s fliegende Hollñnder, rec 1/91, Deutsche Oper
    Berlin, Sinopoli, Lucifer Classics

    * Gutrune in Wagner’s Götterdñmmerung, rec 5/89, Metropolitan Opera,
    Levine, Lucifer Classics

    * Title role in Floyd’s Susannah, rec 3/94, Opéra de Lyon, Nagano,
    Lucifer Classics

    * Marguerite in Gounod’s Faust, rec 2/91, Toulouse, Plasson, Lucifer

    * Salomé in Massenet’s Hérodiade, rec 11-12/94, Toulouse, Plasson,
    Lucifer Classics

    * Donna Anna in Mozart’s Don Giovanni, rec 9/90, Vienna PO, Muti,
    Lucifer Classics

    * Konstanze in Mozart’s Entführung aus dem Serail, rec 4/91, Vienna
    Symphony, Weil, Lucifer Classics

    * Queen of the Night in Mozart’s Zauberflöte, rec 7/89, ASMF,
    Marriner, Lucifer Classics

    * Giulietta in Offenbach’s Contes d’Hoffmann, rec 87/88/89, Dresden
    Staatskapelle, Tate, Lucifer Classics

    * Matilde in Rossini’s Guglielmo Tell, rec 12/88, La Scala, Muti,
    Lucifer Classics

    * Madama Cortese in Rossini’s Viaggio a Reims, rec 10/92, Berlin PO,
    Abbado, Lucifer Classics

    * Title role in Spohr’s Jessonda, rec ’84, ORF Orchestra, Albrecht,
    Lucifer Classics

    * Chrysothemis in R. Strauss’ Elektra, rec 1/90, Bavarian RSO,
    Sawallisch, Lucifer Classics

    * Chrysothemis in R. Strauss’ Elektra, rec 6/89, Vienna PO, Abbado,
    Lucifer Classics

    * Empress in R. Strauss’ Frau ohne Schatten, rec 2-12/87, Bavarian
    RSO, Sawallisch, Lucifer Classics

    * Empress in R. Strauss’ Frau ohne Schatten, rec ’92, Vienna PO,
    Solti, Lucifer Classics

    * Title role in Verdi’s Aida, rec 6/94, Covent Garden, Downes,
    Lucifer Classics

    * Odabella in Verdi’s Attila, rec 6-7/89, La Scala, Muti, Lucifer

    * Odabella in Verdi’s Attila, rec 6/90, La Scala, Muti, Lucifer

    * Elena in Verdi’s Vespri Siciliani, rec 12/89-1/90, La Scala, Muti,
    Lucifer Classics

    * Drolla in Wagner’s Die Feen, rec 7/83, Bavarian RSO, Sawallisch,
    Lucifer Classics

    * Elsa in Wagner’s Lohengrin, rec 6/90, Bayreuth, Schneider, Lucifer

    * Elsa in Wagner’s Lohengrin, rec ’90, Vienna PO, Abbado, Lucifer

    * Eva in Wagner’s Meistersinger, rec 4/93, Bavarian State Opera,
    Sawallisch, Lucifer Classics

    * Irene in Wagner’s Rienzi, rec 7/83, Bavarian State Opera,
    Sawallisch, Lucifer Classics

    * Ortlinde in Wagner’s Walküre, rec 8/81, Dresden Staatskapelle,
    Janowski, Lucifer Classics

    * Sieglinde in Wagner’s Walküre, rec 2-3/88, Bavarian RSO, Haitink,
    Lucifer Classics

    * Zemlinsky’s Der Geburtstagder Infantin, rec 83, Berlin RSO,
    Albrecht, Lucifer Classics

    * Coloratura Arias by Bellini (Sonnambula/Norma), Verdi
    (Traviata/Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini
    (Barbiere/Semiramide), rec 4/89, Munich RSO, Ferro, Lucifer Classics

    * Mozart Arias
    (Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/Clemenza/Cosi), rec
    9/89, ASMF, Marriner, Lucifer Classics

    * R. Strauss’ Vier Letzte Lieder/Wagner’s Wesendonck-Lieder/Isolde’s
    Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli, Lucifer

    * Isolde’s Liebestod, rec 1/88, Bavarian RSO, Tate, Lucifer Classics

    * Wagner Gala (Tannhñuser/Lohengrin/Meistersinger/Walküre), rec
    12/93, Berlin PO, Abbado, Lucifer Classics

    * First Europakonzert – in Prague (Mozart: “Non mi dir”/”Ch’io mi
    scordi di te-Non temer amato bene”), rec 5/91, Berlin PO, Abbado,
    Lucifer Classics

    * Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
    Garden, Barker, Lucifer Classics

    * Sacred Works

    n/Bruch), rec 3/91, London SO, Marin, Lucifer Classics

    * Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
    Quartet, Lucifer Classics

    * Beethoven’s Missa Solemnis, rec 8/91, Vienna PO, Levine, Lucifer

    * Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
    Berlin PO, Abbado, Lucifer Classics

    * Brahms’ German Requiem, rec 10/92, Berlin PO, Abbado, Lucifer

    * Schubert Lieder, rec 1/90, Gage, Lucifer Classics

    * Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage,
    Lucifer Classics

    * Mahler’s Klagende Lied, rec 11/90, Philharmonia, Sinopoli, Lucifer

    * Mahler’s Symphony No. 2, rec 11/92, Vienna PO, Abbado, Lucifer

    * Mahler’s Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli,
    Lucifer Classics

    * Mahler’s Symphony No. 8, rec 1/94, Berlin PO, Abbado, Lucifer

    * Verdi’s Requiem, rec 6/87, La Scala, Muti, Lucifer Classics

    * Verdi’s Requiem, rec 11/91, Vienna PO, Abbado, Lucifer Classics

    * Beethoven’s Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti,
    Lucifer Classics

    * Bruckner’s Mass in F Min/Mozart’s Vespers, rec 3/77, MIT Choral
    Society, Oliver, Lucifer Classics

    * Donizetti’s Requiem, rec 1/84, Bamberg SO, Gómez-Martínez, Lucifer

    * von Schweinitz’s Messe Op. 21, rec 7/84, RSO Berlin, Albrecht,
    Lucifer Classics

    * R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
    Creed, Lucifer Classics

  53. paddypig Says:

    Incidently there is a short video clip of Welitsch’s final scene (probably news footage) at the MET on the I LIVE FOR ART video about Tosca and the different divas who have performed Tosca- it is a fun video, includes clips of Rysanek, Tebaldi, Vishnevskaya, Bumbry, Caballe, Turner, Te kanawa and Crespin.

  54. Baritenor Says:

    Yes, Marschallian! We know Madame Studer has an extensive discography! Now let it be! Do we going around posting every recording Renata Scotto ever made?

    Oh, and I seem to remember a three sopranos concert in the mid eightes with Renata Scotto, Elena Obratzova (Yes, I know she wasn’t a soprano, but she was there) and I think Kathy Battle. Its on Video.

  55. paddypig Says:

    If you want to explore more of Welitsch her AIDA from the MET (1950) is quite good and you can also find a complete BALLO from the UK and DonGiovanni with her. A very short career, but WOW.Incidently the 1952 Salome is not quite in the same league as the 1949 performance, there is a reason this performance is legendary. It was available on Melodram years ago, is currently available on GUILD out of Canada with the Gianni Schicchi with Tajo and Albanese that was performed with it that evening. Salome was usually presented as part of a double bill with Gianni Schicchi

  56. julienned Says:

    I said before that I thought that marschallin came off as someone on death row who had internet access, but I’ve changed my mind. I’m now sure she is suffering from OCD and needs to have her meds adjusted.

    The sad part is, I have a few Studer recordings which I used to enjoy. But, it’s a little hard for me to approach them now since I’ve had her crammed down my throat.

  57. paddypig Says:

    irenedadler-the rysanek AIDA from germany is wonderful as is the early TOSCA from germany with Hopf. If you are looking for great Rysanek performances some of the following are my favorites:
    FIDELIO -met 1970 with Vickers and Bohm (Melodram) (identified as San Francisco
    Elektra with VARNAY from 53 (GALA)
    AIDA from SF with Vickers and Dalis
    any and all Salome’s (I have 6)
    Cavalleria with Domingo ( a real hot performance)
    Any and all FRAU performances –
    The first MET Ariadne or the Chicago ARIADNE, the studio recording is wonderful also
    Bohm and Nilsson -the scream is famous.
    MACBETH from the MET 59
    Don CARLO with Corelli, 1964
    Don Carlo from the MET with Gari- I am sure others can add their favorites to this list. The only performance not worth getting is the house tape of TOSCA from the MET with Tucker (on MELODRAM), the sound is so awful it is hard to appreciate the performance
    Rysanek was originally suppose to be in the Solti AIDA with Vickers and Rita Gorr, but an argument with Solti led to her withdrawal and Leontyne Price replaced her.

  58. scifisci Says:

    This is making me sick….how can marschallin even begin to say that studer is superior to rysanek???? In almost every way, rysanek is superior: acting, power, interpretation, timbre etc. I’m not even that big a fan of rysanek, but i can certainly appreciate her greatness as leonore, salome, lady macbeth, etc. Studer, i’m sorry, is just plain awful in many of her recordings. I have tried hard to like her, but after hearing her gilda, lucia and la traviata, i feel that there is no hope. I can’t help but feeling bored to death by what i can only call the most sterile voice i have ever heard. She seems much more credible and comfortable within her fach (strauss, wagner), however there are about half a dozen sopranos i would place before her even in her most notable roles.

  59. paddypig Says:

    SCIFISCI-Right on!!!!

  60. paddypig Says:

    baritenor- the three “sopranos” was Scotto, Obratsova, and Cotrubas, three grand old dames toward the end of their singing careers in great form. I think it is from 1989. It is available on DVD. We don’t have to push Scotto down peoples throats, she, like Rysanek (two of my all time favorites) was a great artist and her artistry speaks for itself, she doesn’t need a blog terrorist pushing her wares.You have to do the hardsell on a mediocre product!

  61. Mr. Wotan Says:

    What entertainment this all is (at risk of “slobbering”)!

    Listening to a most impressive “celebration” of Janet Baker on BBC 3 right now – anyone else listening?

    Regarding Rysanek (nice little bit of alliteration that), I would love to obtain a complete video/DVD of the Rysanek/Jones Elektra from which a clip was posted by our La Cieca on the Google Video site: Elektra Clip Anyone know whether or not it is available? Can’t seem to find info. on its existence. Also – anyone know the details regarding this performance (venue, year, conductor, etc.)?

  62. “…and the intonation flat flat flat.”

    Further evidence of a completely untrustworthy ear. Rysanek nearly always went sharp.

    “Saying she sang sharp is like saying she sang Strauss.”

    And who the f*** is marschallin to complain about Rysanek’s intonation when Studer goes all over the place? Just listen to the first few phrases of her “Der Hölle Rache” or any of “Caro nome.” And butt-ugly sound? Just consult “Caro nome” again. Holy goat vibrato, Batman!

  63. hab mir's gelobt Says:

    as marschallin wants to make every blog about studer … why dont we all just diregard it and only refer to her as ‘the american soprano’ … similar as actors only refer to shakespeares macbeth as the scottish play as there lies a curse on it! that would save us some grieve…

    similar to julienned i have some recordings of the american soprano that i dont think are bad but with all of marschallins ranting i dont want to listen to them again. and i agree with scifisci as well.

    so lets put the topic to rest and not mention the american soprano again, unless there is reason for it

  64. hab mir's gelobt Says:

    and as we were talking rysanek recordings … there is a live ELEKTRA from the met (25 march 1961) with her and inge borkh. and boy, that is what i call drama! incidently the rest of the cast is more than worth mentioning as well (jean madeira, hermann uhde and ramon vinay).

    incidently the solti aida wasnt the only recording that rysanek dropped out of or was associated with for a while. she was supposed to be donna anna under krips (danco took over) – in any case rysanek never considered herself a good mozart singer, claiming she neither had the voice nor the singing style for his roles – sieglinde under leinsdorf (brouwenstijn stepped in) and rosalinde under karajan (in the end the role went to gueden).

    what about her desdemona under serafin, paddypig? it is not a typical desdemona voice but she makes so much of the role – i have always been very partial to that recording….

  65. marschallin Says:

    brett wrote “Rysanek nearly always went sharp.”

    Fuck me! Ok, Leonie was nearly always flat or sharp. Ok? It’s too late in the day to be bitching and moaning about a pitch-deficient corpse with a vocal crisis. Ain’t it?

  66. IreneDAdler Says:

    Thanks for the recommendations 🙂
    I recently got Bohm’s 1977 FroSch with Rysanek/Nilsson (the one that’s pieced together from a bunch of radio broadcasts of live performances). I’m not really satisfied with it, so I was thinking about getting either the 1955 live version on Orfeo or the studio recording on Decca. Does anyone know these recordings and could offer me some insight? I can’t find any sound clips or anything on either recording 😦

    In a similar vein, does anyone have her Aegyptische Helena on Opera d’Oro and Orfeo? The Amazon reviews say that the d’Oro version is actually has better sound than the Orfeo, but god only knows how reliable those are :\ Again, I can’t find any sound clips 😛

    btw, paddypig, I can’t find any studio Ariadnes that have Rysanek… In fact, I can’t find any recordings of Ariadne with her at all! Are they out of print? Or only available in Europe? If you could post a link to one, that would be awesome, b/c I really like that opera and would love to have a recording with Rysanek 🙂 (also, how on earth do you have 6 Salomes? I only know of 2 recorded performances with her in the title role — one with Bohm and one with Kempe).

  67. julienned Says:

    I too admire Rysanek. I can’t say she has a sound that I instantly took to, but God, you just can’t help but be moved by the intensity, the integrity and the committment of her performances. I am always moved beyond belief at the way she truely inhabits a character.

    As far as Electra, I also like Inge Borkh. I have a recording from a concert at Carnegie Hall with her, Frances Yeend, Madiera, and Metropolous conduction. It is a concert version and just terrific. I especially like Frances Yeend. It’s so good to hear that part sung by someone with an unending top.

  68. julienned Says:

    Hey, I just had an insight….

    Marschallin is Cheryl Studer!!!!!

    That explains it.

  69. IreneDAdler Says:

    At the risk of becoming tiresome with my questions: anyone know anything about Rysanek’s Tannhauser on Melodram?

    anyway, picking up on Daniel’s suggestion of “The 3 Sopranos” and pretending that Tibor Ruda’s pathetic attempt in the 90s never took place… I’d have to say, based on hype, the 3 Sopranos of today would be Fleming, Netrebko, and Gheorghiu. They seem to be the 3 “hottest” sopranos of this generation (discounting Bartoli since she’s technically a mezzo). Though, I have to say, none of them deserve the distinction quite to the degree that the 3 Tenors did (whatever their merits now, they all were beyond amazing in their prime).

  70. Baritenor Says:

    To whoever Asked (I think it was Mr. Wotan), the Jones-Rysanek Elektra is available on DVD(-R) from House of Opera.(

    The Video has French Subtitles and the production is a bit stark for my taste, but It’s great to have evidence of the three great singers in the roles (Anne Evans is the Chrysothemis and burns up the stage). And, with this video, I now own Ms. Rysanek singing all three of the leading roles on Video. My Favorite: Her Elektra in the Friedrich film. Fantastic. Why the hell was that Soundtrack never realesed as an Audio Recording? Rysanek and Varnay are fantastic, and Catarina Liegendza, the Chrysothemis,sings beautifully. And, of course, It’s extremely valuable to hear Bohm’s last thoughts on the score.

  71. julienned Says:

    I love that Elektra of Rysanek’s on video. The scene with Varnay is too much to be believed.

    I also own the Elektra you mentioned from House of Opera. I haven’t watched it for a while, but remember really liking it. Rysanek is of course quite good, and Jones is very exciting, although in a few places, she is singing at the very limits of what her voice can deliver (if you can imagine it.)

  72. paddypig- isn’t that Tosca video wonderful? Unfortunately of late it’s almost become a “dead file” as there are only a few left standing – but I never tire of watching it.

    With regard to Leonie Rysanek- to me she is one who was always so darn real in voice and hystionics! Love the Salome clip of her banging her fists in frustration.

    To anyone who doubts her abilities I can only refer them to the recording of her and Leonard Warren in Macbeth – exceptionally good.

    The charges that she “always sang sharp” is crap – but I must mention that years ago I bought a record of Monstie doing Verdi and Puccini arias. When I played it I couldn’t believe she seemed to be under every note so I put the record away. Some time later a friend of mind who is a bit of a techno head discovered my turntable belt was ever so slightly stretched/worn and was thereby distorting the sound ever so slightly. When a new belt was put on – Montsie sounded as awesome as I expected her to be.

    I also have a recording of Debbie Reynolds in concert on video and on it she sounds as flat as a tack all the way through. Sure no turntable belt is at fault here but its very clear that something technical is certainly at fault. in the recording.

    These examples have brought home to me, particularly where sound technics and technology of yesteryear is concerned, that sometimes something was amiss that made it seem like the artist was at fault. It may not always be so!

  73. True enough, daniel–particularly with as powerful a voice as Rysaneks. Oh, and I must mention–I’m a fan. I love her Desdemona, and she’s my second favorite Salome (my favorite is Mattila–that broadcast was staggering!). And Salome’s one of my very favorite operas–when asked, it’s what I pick, at least.

  74. marschallin Says:

    Say what you will, cry as you might, bitch all you want but dear beloved Leonie’s career was riddled with severe pitch problems. This is a well-known FACT. No number of campy Geschreis or fistings can redeem this sad aspect of her high/camp art. Now, if you’d like to watch a staggering video of Elektra you may do so while witnessing extraordinary living singers. For instance

    Chrysothemis: Cheryl Studer
    Elektra: Eva Marton
    Klytämnestra: Brigitte Fassbaender
    Aegisth: James King
    Orest: Franz Grundheber
    Orestes’ Tutor: Goran Simio
    The Confidante: Waltraud Winsauer
    The Train-bearer: Noriko Sasaki
    A young serving man: Wilfried Gahmlich
    An old serving man: Claudio Otelli
    The Overseer: Gabriele Lechner
    1st serving woman: Margarita Lilowa
    2nd serving woman: Gabriele Sima
    3rd serving woman: Margaretha Hintermeier
    4th serving woman: Brigitte Poschner-Klebel
    5th serving woman: Joanna Borowska

    Vienna State Opera Chorus and Orchestra
    Conductor: Claudio Abbado

    Live recording: Vienna Staatsoper Saturday 10 June 1989
    Stage Director: Harry Kupfer
    Video Director: Brian Large

  75. paddypig Says:

    Don’t buy the house of opera version of Elektra, both Encore (available through Berkshire music outlet, and Premiere do much better jobs with these videos) I used to buy alot from House of Opera but have found the quality is much better from Premiere or Berkshire’s ENCORE line.
    rysanek recorded Ariadne for RCA with Jurinac, Peerce and Roberta Peters, It is available on DECCA, If you are in NEW YORK, Academy had a live ARIADNE available. The Chicago performance I taped off the radio myself in 1981 when it was broadcast.
    I also like the Desdemona, she and Vickers were replacements for De Los Angeles and Bjorling. Vickers had not sung Otello yet.

  76. paddypig Says:

    There is also a Rysanek Tanhauser on the CD ROM of San Francisco Operas, Jess Thomas is the Tanhauser.The Salome on this CD rom is also good

  77. paddypig Says:

    Also forgot to mention the BALLO with Rysanek, Bergonzi and Merrill from the MET, available on numerous labels. It is a real hot performance also. Many of these performances that are not avialable for sale in the USA can be purchased from Crotchet Music Service in the UK or through GUILD in Canada (Crotchet is best, when You subtract the VAT from the price, the shipping is reasonable and I have received most orders wtih two weeks.)

  78. marschallin Says:

    A few items. No, Marschallin is not Cheryl Studer. The latter has more class than anything yours truly could ever summon.

    The only recording by Leonie that yours truly enjoys is her early one of Verdi arias for RCA. She was stunning. But this is before her well/known vocal crisis crept in, I believe.

    As for Leonie’s Desdemona, well, it is an inglorious match and one has to wonder what in heavens was the casting department thinking of. Avoid as you would the avian virus.

    Now, for you urban, open/minded, international prissies out there, be grateful that a really nice Otello exists from a German conglomerate with a French orchestra, a Korean conductor, a Spanish tenor and an American soprano. It is awesome.

  79. marschallin Says:

    Oh and a Slavic baritone, afaik.

  80. Hi Brett- I haven’t heard the recording you mention, and haven’t heard much about that lady yet- but she must be good to get your five stars.

    Where Salome is concerned I’m afraid I’m a bit stuck in a Birgit Groove there – although I also love Leonie (of course) and Montsie is also awesome.

    I agree with you though – Salome’s a great opera, in every sense, yet it remains in a class of its own.

    The only thing that is similar is Elektra – (although I think it leaves Elektra for dead).

    Its also hard to think of any other opera where the orchetration features so strongly and so expressively, it almost becomes an entity as one of the leading characters, all by itself!

    An inspired piece to be sure and for my money, the music of Salome is as good and as great as anything Wagner ever wrote.

  81. I’ve heard Birgit’s studio recording with Solti, but I’m not a fan. I’m not sure she sounds quite right for the role. The main problem I have is with her final scene: “Ach, ich habe deinen Mund geküßt, Jokanaan!” The first time she utters these famous lines (and then the following ones, talking about the bitter taste, and all), she does the whispery / scared voice. Now, Nilsson is trying to show how the character is terrified of what she’s become (or…kind of already was), but I don’t think this is how Salome operates. What Salome does is puts on a façade and acts tough and bratty–which exposes her vulnerability most truly. Well, that’s my take, anyway. I won’t say Nilsson’s interpretation isn’t valid–it’s just not my view of the character.

  82. baryton francais Says:

    La Cieca goes away for a week, leaving the “reviewed before posting” switch off, and marschallin comes back to haunt the blogs… So much for actually reading something enjoyable…

  83. IreneDAdler Says:

    Paddy — I’ve done some more investigation and I’ve found that Decca recording… sort of. Apparently it’s been out of print for ages, and the only copies of that recording I’ve found are old LPs 😦

    I just got her Lohengrin in the mail yesterday and it was just stupendous. I was really lucky there was a used copy up for sale on Amazon 🙂 And I really lucked out with her Elektra with Nilsson, Resnik, and Bohm on Standing Room Only, another recording that has been out of print for ages.

    P.S. Baryton, if marschallin annoys you, just don’t read her posts. Luckily, you see the poster’s username before you see what they said, so just stay away from posts that begin with “marschallin said…”

  84. Leontyneluvr Says:

    Brett- as cute as you are I would like to say one thing to you- as wonderful as Salome is on records it is a theatre peice and until you hear these artists in the theatre you cannot make a judgement. The reason Nilsson is so RIGHT is because she could sing it in the theatre. If you have ever sat through a performance of Salome with an artist who couldn’t cut the mustard the you would understand whatI mean. The stage and the microphone are two totally different mediums.

  85. marschallin Says:

    “The stage and the microphone are two totally different mediums.”

    Leontyne Price should be the first one to tell you that. Ya know, a lyric hyper/advertised as a Verdi soprano blah blah blah. In the house, though, it was different story. She sounds good on records, sometimes. But how dull.

  86. Leontyneluvr Says:

    Marschallin- you are messing with the wrong damn drag queen now!Go back to Leonie bashing you tired bitch!

  87. Uh…
    I saw Ms. Studer in St. Louis when she sang Act 1 of “Die Walkure” (was that really three years ago?).

    I must say that she was really fantastic. She seems to have gotten over her “vocal crisis” or whatever it was. I must say that I really do appreciate her singing. Her “Faust” was my first operatic love affair!

    The only thing that marred her performance was the fact that she was as big as a house, and dressed in what La Cieca would certainly refer to as a “No Gay Friends” outfit.

    But really, I was extremely pleased that she sang so well.

  88. Point taken, leontyneluvr. Being the young’n I am, I must unfortunately rely heavily on recordings. So, lamentably enough, that’s what I have to go by. I will never hear Birgit Nilsson live. Still, I don’t see why her interpretation would have to be different with a microphone in front of her face–unless Solti was really wanting to show off the recorded sound quality. Oh, and incidentally, Birgit’s my top pick for Elektra. I *shields self* like it better than most of her Wagner. But yes, the recorded voice (for dramatics, especially) is an entirely different animal. So there’s only so much I can trust…

  89. scifisci Says:

    apparently in the solti/nilsson recording of salome, they used the whisper as an effect….its different in her live recording, i.e. buenos aires. but for some singers its true that recordings and stage interpretation were two very different things, such as rysanek, and dare i say…studer. rysanek’s voice was not only too big to capture, but she apparently was incredibly nervous in recordings and thus did relatively few. anyhoo, what exactly does marschallin mean by calling leontyne a “hyped up lyric” or whateveR? I would say leontyne was a SOLID verdian soprano with an unusually lyric beauty. Sure she had difficulty pulling off voice-wrecking roles such as minnie from fanciulla, but **almost** NO ONE sings Aida and either Leonoras like she does…especially not a certain american soprano.

  90. julienned Says:

    I can echo the opinion of Paddypig. The House of Opera recordings are not as well done as those from Premiere.

    As for Elektra, I have to say I really hate the recording with Eva Marton. At the risk of bringing down an Eva Marton fan on my head, I find it absolutely paiinful to listen (or watch) her. I heard her in the house (Met) a few times when she was Ok. I liked the timbre of the voice and she seemed secure, if a little wooden on stage (In her defence, she was with a really third rate cast.) However, she developed (to me) a thing that’s a little hard to describe…It’s like she had a top note and whever the line went above that note (which looked painful to produce, judging from her face), you just got her top note…with a terrific wobble. That Elektra is a prime example of it to me. Given all the great recordings (Varnay, Rysanek, Welitsch, Borkh), I don’t see any reason to go to endure Marton’s.

  91. marschallin Says:

    Not 3 years but 2.5. But one is not expected to make mention of performances so ancient.

    “St. Louis Post-Dispatch”
    16 November 2003
    by Sarah Bryan Miller

    …”To its credit, the Symphony’s administration didn’t stint on the
    singers. Chief among Friday evening’s pleasures was renowned soprano Cheryl Studer, doing double duty as Sieglinde and Isolde, and singing gloriously as both. Studer doesn’t perform often in this country, which made it a special treat to hear her as her big, burnished voice rose over the augmented orchestra. It was an exemplary performance, flawlessly sung.”…

  92. rysanekfreak Says:

    Here’s a Met Opera gala I would love to attend:

    Act One of “Turandot” — Studer in the title role.

    Act Three of “Parsifal” — Studer as Kundry.

    Act Two of “Turandot” — Studer as Liu.

  93. hab mir's gelobt Says:

    as we are not getting reviews twice everytime an american soprano is mentioned let me be mean for once, cos as i share the same operatic character as marschallin (though i do retain my dignity!) for once i will let myself be pulled into sarcasm of a cheap sort: quote -> “Studer doesn’t perform often in this country…” – well actually, she doesnt perform often anywhere anymore!!!

    but i shall end on a nice note. mattila was absolutely fabulous on yesterdays met broadcast. pity though that heppners top notes have become such a trial nowadays…

  94. hab mir's gelobt Says:

    spelling mistake and wrong word order: i meant ‘as we are NOW getting reviews twice’ and not not!!! (i wish we werent getting them though!)

  95. Hi Brett- re Salome- while I respect your right to have a different view, I would suggest there is a lot more going on with that gal than her merely being “bratty and acting tough” – and it might be worth taking a closer look.

    Indeed, the whole opera is about her transition into becoming evil personifiedf- that’s why I love the Stratas video so much (because you can see it happening)and it is done so well.

    As leontynelover so rightly said- it is one opera you’ve really got to see, perhaps, to appreciate. Funny you should mention Birgit’s “whispery aside”. I have always thought that to be particularly brilliant about her interpretation, because even she senses she has “crossed a significant line”. Don’t forget, early in the piece Herod even offers to make her his queen – 90 minutes later he is so revolted he has her squashed!

    Yes my friend- she’s way more than just bratty! 🙂 Take another look at it sometime, or better still- take a look at the Stratas video and you’ll actually see her change before your eyes, from awkward but sexy young gal to demented personification of evil.

    When/if this makes more sense to you, I’m sure you’ll see Birgit’s interpretation in a much more positive light. Good luck to you!

  96. julienned Says:

    Like Hab Mir’s Gelobt, I heard the broadcast, and Mattila did sound fabulous. I feel so sorry for Ben Hepner though. It’s gotten so difficult to listen to him sing. His voice has gotten so unreliable, I’m constantly holding my breath whenever he opens his mouth. The bad part (and I’m not a singer, so I don’t know the technical reason for it), is that the cracking (gurgling) seems to come out of nowhere and is completely unpredictable. When I’ve heard him in the house, it was the same. I really like him as an artist and a singer, and so it’s sad. I can’t imagine how he’s going to be able to the roles he’s in line to do over the next few seasons.

    I guess the question is (and maybe one of the singers can answer this), is this the end of the road for his voice?

  97. rysanekfreak Says:

    I agree with the above about the “Lohengrin,” or “LohinnGREEEN” as the announcer kept telling us.

    Mattila was great. Pape was great. But after the first cracked note from Heppner, I didn’t want him to sing anymore. After the second cracked note, I was shocked and just wanted the performance over with. And this man is going to sing Siegfried in a few years? Fink and DeVol were merely serviceable. The final curtain calls were certainly enthusiastic.

  98. marschallin Says:

    Nothing we heard yesterday, nothing, comes remotely close to the following legendary performances of this work. Not the aging/sagging/flat/dull/colorless/mediocre/anonymous-sounding but blonde aryan Mattila, not the disastrous Heppner, not the vile DeVol. Remember the Alamo.

    Elsa von Brabant: Cheryl Studer
    Heinrich der Vogler, King of the Germans: Manfred Schenk
    Lohengrin: Paul Frey
    Friedrich von Telramund: Ekkehard Wlaschiha
    Ortrud: Gabriele Schnaut
    The King’s Herald: Eike Wilm Schulte
    Four Brabantian nobles: Clemens Bieber, Peter Maus,
    Robert Riener, Heinz-Klaus Ecker
    Four pages: Rachel Robins, Natsue von Stegmann,
    Katalin Benei, Akiko Makiyama
    Noblewomen: Sarah Fulgoni, Helen Lawson, Martina Beier,
    Kristina Gloge, Kriemhild Strettner, Isolde
    Claassen, Yehudit Silcher, Philippa Thomson
    Bayreuth Festival Orchestra & Chorus
    Chorus Master: Norbert Balatsch
    Conductor: Peter Schneider
    Recording: Festspielhaus, Bayreuth, June 1990
    Philips 434 602-2


    Elsa von Brabant: Cheryl Studer
    Heinrich der Vogler, King of the Germans: Kurt Moll
    Lohengrin: Siegfried Jerusalem
    Friedrich von Telramund: Hartmut Welker
    Ortrud: Waltraud Meier
    The King’s Herald: Andreas Schmidt
    Four Brabantian nobles: Bojidar Nikolov, Franz
    Kasemann, Claudio Otelli, Peter Köves
    Four pages: Amy-Linda Domaracki, Ingrid Sieghart,
    Senta Fischer, Elisabeth Mach
    Four Ladies-in-waiting: Renate Hasler, Gretchen Eder,
    Ulrike Erfurt, Marianne Sattmann
    Konzertvereinigung Wiener Staatsoperchor
    Wiener Philharmoniker, Conductor: Claudio Abbado
    Recording: Vienna, Musikverein, Großer Saal
    November 1991, May-June 1992
    DG 437 808-2


    Elsa: Cheryl Studer
    Lohengrin: Plácido Domingo
    Telramund: Hartmut Welker
    Ortrud: Dunja Vejzovic
    King Heinrich: Robert Lloyd
    Herald: Georg Tichy
    Vienna State Opera, Conductor: Claudio Abbado
    Virgins Classics
    VVD 841 (VHS Hi-Fi) (220 mins.)
    Home Vision
    833-9659, VHS 2 cass., 219 mins.
    Hi-Fi stereo. In German, subtitled (1990)
    Video Opera House
    LOH 02V (2 VHS) (USA)
    PLMCD 00011 (Laserdisc) (219 mins.)
    079 258-3 VHS (04/1996)

  99. hab mir's gelobt Says:

    oh there we go again. speaking of ‘aging’ though … mattila is still at least 25 years younger than a certain american soprano (we could also call her botox voice – as for the lack of personality – for whomever the term american soprano is too broad) and probably about a quarter of her weight as well…

    see … as i said before, marschallin can only praise botox voice when slagging other singers off. what a pity! 😉 and i wonder what his (i assume marschallin is a him … though i might be wrong) idea of ‘legendary’ is?

    right now i have been nasty twice in a day. i do apologize and promise that my next blog will be a positive one again!

  100. julienned Says:

    I think we need to coin a phrase….Studered

    That’s what happens whenever ANY topic is discussed on this blog….We all get Studered.

    I know Marschallin denies being Cheryl Studer, but has anyone seen them together? Or maybe marschallin is in solitary confinement in some eastern European prison and the only thing she has for company is a worn, torn picture of Cheryl Studer glued to the wall above his bed.

  101. Baritenor Says:

    I really liked the broadcast. Loved the Intermission features, thought the conducting was excellent. Pape was phenominal, DeVol good, Fink more than servicable, and Mattilia exceeding all expectations. Heppner had some issues, but I loved his phrasing.

  102. Baritenor Says:

    Paddypig-Can you provde a link to the Encore and Premire websites you recomended?

  103. Strange. I saw Ben Heppner in Madison this January, and he was fabulous. I couldn’t hear any real problems with his high range. His masterful Prize Song had the necessary ringing high notes–no cracks or evident strain. However, that was in a theater of modest size with a piano; I’m sure contending with a full Romantic orchestra at the cavernous Met is quite another challenge…

    And daniel, I didn’t give my entire interpretation of the final scene in two descriptive phrases (which unquestionably play a part in her character and I don’t think are exactly dropped). There is certainly a change after she kisses the head of Jokanaan–an extra layer, if you will. Yes, I may have been slightly rash in saying that’s exactly how she reacts. Still, the libretto supports she still thinks pretty highly of herself, though that could have changed back from how she initially felt after the kissing. There is so much at work in the text and music my claims can carry only so much weight, as I haven’t performed a full-blown holistic analysis (not that I haven’t done any at all). But, to clarify, I never thought the beginning of the final scene was just a bratty façade. I just don’t think she is quite so scareable–or, more accurately, that she expresses any fear so directly.

  104. Leontyneluvr Says:

    I know it is a turn of subject but I LOVED Pape’s voice!!! Gorgeous golden age sound- like chocolate!And I usually don’t thrill over male voices- but damn he turned me on!

  105. Leontyneluvr Says:

    Anybody have the details on that intermission clip of Caballe? It’s the first time I have heard it- damn she showed out ridiculous-that’s what opera is all about!

  106. paddypig Says:

    premiere opera recordings, are usually linked by parterre, but the addresse is and encore can be found at the website. (berkshire record outlet) I don’t buy any house of opera recordings anymore, both encore and premiere have been consistently better with premiere edging out encore slightly.
    I also agree that Marton’s Elektra was nothing memorable compared to say Nilsson, Varnay or Borkh. One of the hottest performance at the MET in recent years was Jones and Rysanek. after Behrens very variable performances (some nights were good others were awful) with Fassbander’s drag queen rendition of Klytemnestra, the fire on stage between Jones and Rysanek was amazing. They both were in great voice.
    Leontyne was probably the greatest Verdi spinto of her generation, in the tradition of Milanov, someone who could sing the two verdi Leonoras and Aida with style and abundance of voice. They were her best roles.
    To Brett, get the live Nilsson Salome from the MET 65, you will see a difference. She may not have been a subtle actress, but that voice was incredible. I saw her in the concert she did at the MET in the early eighties and with the orchestra onstage, she still drowned them out at the end of the love duet from Gotterdammerung. (with Mandfred Jung)

  107. paddypig Says:

    THE studio ARIADNE with
    Rysanek was on CD for a short period of time on London in the states and DECCA in Europe.


    paddypig, I DO love the Marton/ (dare i say?) Studer Electra with Fassbinder, as moms and Abbado conducting. Marton swinging from ropes and all–I LOVE it

  109. paddypig Says:

    I guess the problem is that while I liked Marton and always thought she gave good performances, she never really gave me that sense of electricity that the others do. I saw her give many solid performances but while I always enjoyed them at the time, I rarely listen to her recordings (though I have many). There always seems to be someone else I would rather listen to. While her Turandot was wonderful, I still prefer to listen to any Nilsson recording, or Sutherland’s studio performance or Caballe (live) or Jones (with Stratas), same with Salome, prefer, Rysanek or Welitsch and so on and so forth. She was a great voice but not as memorable as many others for me. I guess, while she was a vocal heavyweight, she rarely brought much refinement or insight into her performances, they could be fun but always a little on the crude side. I felt sorry for her when she came back to the MET several years ago, She did a TURANDOT and there was simply no voice left. She was never strong on the artistic side and really could not cover the lack of voice. She had a major voice but when it was gone she had nothing to offer, unlike singers like soderstrom, or Scotto, or Rysanek who were able to add ten years to their careers doing roles that did not require voices in their prime but relied on artistry to give a great performance. I am really not trying to knock her, but there was always some other singer I felt did the job better.


    paddypig, I have the same prblem with (gasp!!)- Nilsson. That Elktra from the Met with ticker-tape and all I can’t (gasps galore) can’t stand–o.k. whip me and beat me into the ground but that is the TRUTH!! God I feel so much better that I’ve told the truth (for me)

  111. Il Tenore di Grazia Says:

    One role in which I find Marton quite exciting: Ortrud. I saw her live and enjoy listening to the tape of that broadcast Lohengrin with Domingo and Tomowa-Sintow.


    Yes indeed she could sing the shit out of my favorite gal Otrud!! She really knew how to tell poor dumb Elsa to shove it!!

  113. Il Tenore di Grazia Says:

    Leontyneluvr, that never-ending high b by Caballe was from the last broadcast of the Bing era back in the spring of 1972. Don Carlo with Corelli, Bumbry, Milnes, Siepi and Amara as the Celestial Voice. I have a tape of it and it’s the sort of thing to hear again and again. Unbelievable. I guess it’s not the sort of thing that Mme La Cieca can post here for everyone to enjoy, is it?

  114. Il Tenore di Grazia Says:

    Having been at the Met for the Lohengrin matinee, I’ll say that yes, Pape was terrific. What a gorgeous and solid voice.

    It was my first viewing of this production and it was uglier and more boring than anything I had anticipated. I’m all for symbolism and playing with lights, etc., but what I saw hit me as neither pretty, nor interesting, nor meaningful. I just have no idea what it was supposed to mean.

    Someone seeing Lohengrin for the first time and not reading the Met titles would have had no idea whatsoever of what the opera was about. Probably could not have even told who the characters were.

    Interestingly, I heard quite a few people around me say that they loved it. Whey I asked a couple if they knew what it meant, they said that they didn’t know, they just liked it.

    At one point, the stage is rather dark and only the hands of the soloists are spotlighted. Afterwards, I asked someone about it and was told that the bad people had their right hands spotlighted and the good people their left hands. That was the most he could figure out. Oh well.

  115. leontyneschiava Says:

    Thanks for the Caballe note- that’s what I miss these days. Just a note on a Price appearance at the Met- word from her camp has it that she has removed herself from all things Metropolitan at this time- not sure if it is a statement on current standards or what but I would be very surprised to see her appearing at any official function

  116. leontyneschiava Says:

    Sorry posted this on the wrong blog

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