Generation gap

Astute Anne Midgette (glimpsed earlier this week among the faithful throngs at the Millo Tosca) wonders today in the Times whatever happened to singers like Richard Leech, Sharon Sweet, Susan Dunn, Francisco Araiza, June Anderson, Cheryl Studer, Carol Vaness, Aprile Millo and Dawn Upshaw. All these artists were mainstays of the Joseph Volpe 1990s at the Met, and yet not one of them is appearing in Uncle Joe’s farewell gala on Saturday. Midgette points out that these singers are in their late 40s and early 50s now, certainly not elderly in their field. Ironically, the gala does feature a number of stuperstar singers of the previous generation, including Placido Domingo, Luciano Pavarotti, Mirella Freni, Kiri te Kanawa and Frederica von Stade.


10 Responses to “Generation gap”

  1. paddypig Says:

    sadly some of these singers (Dunn, Anderson, Ariaza,Hadley, Vaness and Studer all crashed and burned for the most part way to early in their careers. Sweet retired, claiming she couldn’t get work because of her size-I think her attitude and laziness might have had more to do with it!-and Millo went through a major vocal crisis some years ago and has only in the past five years really come back strong.what did happen to Leech, he was always a dependable singer and often very good. you could include La Battle in this list also of people who crashed and burned.Remember what a hot new star Bartoli was or Jennifer Laramore or Vladimir Chernov, yet their names do not appear very often on Met Rosters, Zajick,Dwayne Croft, Alagna and Gheorghiu seems to be the few who has thrived from that era.It seems to have been a weak era in operatic history when all is said and done.

  2. Maury D'annato Says:

    Speculation on my part, but I think Bartoli’s name doesn’t appear so often in part because she had a fight with that old stick Dr. Miller and in part because she hates flying and doesn’t jump the pond much. You could hardly say she hasn’t thrived.

  3. Khaleem Says:

    Midgette reported that Pavarotti might withdraw because of illness. Well, he is no longer on the cast list; see the Met’s site.

  4. paddypig Says:

    I think the only opera house Bartoli now appears in with any regularity is Zurich, hardly the high profile career that she started out with.

  5. marschallin Says:

    For your delightful info, piggyboy, I don’t know about the others but Cheryl Studer is alive and well and performing. Where have you been? Haven’t you noticed the reviews I copy and paste here so often? Crash and burn may apply to, say, Sweet, Dunn and Araiza but you CANNOT (I repeat, CANNOT) include Studer or Bartoli or Larmore on that list. Not sure about Chernov. Sorry, boy. Am I not clear?

  6. paddypig Says:

    yes her delightful performances in Paraguay and outer mongolia have all been duly noted.and like many others I ignore your rantings

  7. ffoperabitch Says:

    Vaness had some stunning reviews for her recent role debut as Santuzza so I don’t think she’s burned out. Never been an Anderson fan but her recent recording of Daphne isn’t bad (bearing in mind my near pathological aversion to her tone – reminds me that I do need to wash the windows this weekend). Upshaw is still going strong (can’t stand that voice myself but there you go). I’m feeling unusually crabby: this damned nicotine withdrawal is REALLY getting to me!

  8. michael Says:

    Oh,when is la diva Renee going to add a new role to her rep? I would suggest Cleopatra -Handel or Barber-, Lulu, Ermione and of course Semiramide and Salome. As for dear Cheryl, I feel so sorry for her! She wasn’t so bad at the beggining. Have u heard the lp of Spohr’s Jessonda with her? Not bad at all.

  9. opera80221 Says:

    NOW I get it…Marshallin actually comes from the leather daddy school in his attempt at operatic opinions!!!!Do as I SAY, boy!???
    I wish I could exhume Freud to handle THIS situation…

  10. Early in her career June Anderson had a lovely voice, at least as far as I was concerned. Her recording with Sam Ramey and Alain Vanzo of Meyerbeer’s “Robert le Diable” is brilliant, despite that particular version at Paris Opera suffering its usual unkind cuts.

    And even though she rarely if ever performed at the Met, I’m tempted to add Elizabeth Holleque to the “whatever became of…” list from that era. In 1994 she sang Butterfly in Denver to great acclaim (even for the hinterlands) as well as a more-than credible Tosca in ’95.

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