OONY thing goes

UPDATE/CORRECTION: La Cieca has just been informed that Mark Risinger (the scheduled Marco) was ill yesterday and his cover, Brian Kontes, sang in his place. There was no announcement made.

La Cieca’s spy at the dress rehearsal of L’arlesiana whispers:

Mr. Filianoti muffed the interpolated high note in the famous aria but it was 11:30 a.m. Other than that he used his sweet, compact voice to give a lesson in Italianate singing and in the use of every penny of the vocal interest and not a cent of the principal. And Ms. Cornetti is the real deal — plenty of molten sound to get past that verismo orchestra on stage with her and the use of a Simionato-like mix on the bottom to score many points, indulging in full chest only occasionally. Too bad there is nothing to equal “Acerba volutta” to get her a more proper response during the opera itself. The Baldassare and Metifio were interesting studies in vocal production. Weston Hurt as the old shepherd owns an attractive sound with an easy top with a lot of “fly” but not enough presence in the middle for a versimo part of this sort. The Metifio, Ihn-Kyu Lee, resorts to a lot of grab to try to cut through the orchestra but then has a top with very little freedom, though he is big on sneering malice. The Vivetta, Latonia Moore, has a voice best described charitably as “dusky…” If she can leap to the top or pick it out of the air she does have a nice party-trick pianissimo (because the sound is so far back). In the brief role of Uncle Marco, bass Mark Risinger Brian Kontes contributes four minutes of pure professionalism and geniality. Ms. Queler is her usual self and the orchestra plays fairly well if not subtly.

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