Category Archives: bellini

Sondra Radvanovsky recital or the triple queen of diminuendo takes London by giggle (Cadogan Hall, 16 March 2017)

It’s hard to believe this was Radvanovsky’s debut as recitalist in London, but I think there are two types of American singers: some who become household names there but rarely visit these shores/Europe and some who seem comfortable on both sides (those are the ones with Mozart/Strauss/Baroque in their rep and Radvanovsky seems to miss this).

Sondra Radvanovsky soprano
Anthony Manoli piano

VivaldiSposa son disprezzata from BajazetBelliniPer pietà, bell’idol mio; La Ricordanza; Ma rendi pur contento – she actually quizzed us about which one of his own arias Bellini ripped off in La Ricordanza 😉 do you know?StraussAllerseelen; Befreit; Morgen!; Heimliche Aufforderung

I don’t even know how well the event was advertised because I only learned about it via the Barbican newsletter last week, right around the time one of my shifts was moved from Thursday to Sunday. A time comes in an opera lover’s life when one doesn’t go to a show just because they worship a performer. Sometimes one goes because someone considered an important contemporary voice should be experienced live.

I’ve not been a fan and this performance did not make me one. But there’s no denying Radvanovsky’s qualities, regardless of what one wants in a performer. For fans though, this must’ve been one of those nights memory would return to often.

To begin with, she appeared very excited to be here. Enthusiasm always helps. Then there was the curiosity of American singers. There is something specific about their modus operandi, different from how the Europeans do it. The Europeans would mostly just toss together a bunch of songs/arias that show off their qualities, mix in their personal pizzaz – which quite often means throwing caution to the wind – and call it a day.

The Americans curate their shows – carefully. Everything has an explaination and is in place with the specific intent of winning the audience over. Hell, she even plugged her upcoming Met Norma! – though considering her encores, Casta diva was conspicuously absent. I can’t say it bothered me (it’s her space to entertain, and she was entertaining1) but this is not something I’ve ever heard from European singers. We also learned she will be debuting Andrea Chenier in Barcelona, so the places between songs functioned like chirpy tweeter moments.

This chattiness is another American thing. When speaking and walking about she constantly reminded me of Joyce DiDonato. I don’t know if they are friends, but I could easily imagine them have long convos over coffee (“… that time in Prague when-“, “Oh, but let me tell you what happened in Madrid! It was the weirdest thing!” etc.).

It is one of those weird things. Radvanovsky is one of those singers who is built, looks and sounds like a tragedian when singing but speaks like a soubrette (in content as well). After the dark or very covered sound (it’s one of her peculiarities so she probably doesn’t do it on purpose) during the songs/arias she just chimes in with a giggle.

When presenting the Vivaldi aria she made a face best represented by this ascii art:

¯_(ツ)_/¯

(she said: I just like it! which could be a candid moment of pure music joy or hey Baroque fans, don’t judge! – because the way she and Manoli attacked it was with a Liszt-type feel; possibly both – but it was not the gesture of a tragedian). Again, I didn’t mind it, but it was quite different than most of my previous recital experiences.

As I mentioned in the title, diminuendo – the woman knows how to tackle this (as well as crescendo, but one could argue that’s easier). Her technique seemed simply fabulous to me. From that angle this was a performance to take voice students to: watch and learn, this is the kind of solidity you need to aim for and you’re going to have a long and fruitful career. Her control of dynamics and projection was wonderful through the night and her flights to the top of her voice illuminating (metaphorically and literally). The voice has a very alluring opacity at the bottom – let’s say indigo, like her second dress of the night – and an interesting rock solid brightness without ping at the top but the middle (I’d guess right around the area where mezzos tend to have the passaggio) was occasionally marred by cloud.

On the other hand, I can’t tell you that I connected much on an emotional level, this side of the Barber set and Vissi d’arte. It might be due to a difference in personality or just that I constantly sensed her position herself for best technical results rather than letting go enough for my liking. Even when she let rip (often, especially after the interval) – something the size of her voice easily allows for – it seemed strangely contained.

The audience responded very warmly to her coaxing, though, even when I thought she was going a bit far with the please like me attitude. American singers are not shy about their ambitions. But, come on, you’re Radvanovsky, not a beginner, of course people will like you if you drop by. Now, like she said she would like to, she could start with some Strauss – perhaps Ariadne? – and call again.

INTERVAL

LisztS’il est un charmant gazon; Enfant, si j‘étais roi; Oh! Quand je dorsBarberHermit Songs – At Saint Patrick’s Purgatory; St Ita’s Vision; The Crucifixion; The Monk and His Cat; The Desire for HermitageGiordanoLa mamma morta from Andrea Chénier

The surprise of the night was the Barber set. I felt it was the best suited to her voice, like she had reached her true home – and made me love it in the process.

Seeing as Barber wrote it for Leontyne Price (check them both out here), she talked a bit about fangirling Price. Apparently she decided to pursue an opera career after listening to Price sing Verdi. I can’t blame her, I think Price does the phattest maledizione there is (but the whole thing is worth it):

Yes. That last note was held exactly as long as it should’ve been. Even if it’s an old recording, you can tell how well her voice holds against the orchestra.

So whilst Radvanovky isn’t the second coming of Price, she does inhabit a similar vocal space.

ENCORE:

Song to the Moon Rusalka
I could’ve danced all night My Fair Lady – and she could’ve!
Io son l’umile ancella… Adriana Lecouvreur
Vissi d’arte Tosca

4 encores after all that – Americans and their work ethic 😉 There’s never enough Adriana Lecouvreur in the recitals I attend, so I was right happy, but to be fair Vissi d’arte turned out to be surprisingly moving2. Perhaps because it was the last piece she dropped a bit of that control – and it was a good thing. What we learned tonight? Going out of your comfort zone can be surprisingly rewarding.


  1. I’d just finished a set of night shifts the morning before the performance and was afraid I’d doze off but I was far from it. Good job, SR! 
  2. Nice combo, two arias about living for art – prefaced by her comment that the world right now needs more music and less… all that stupid crap (she didn’t put it like that). 

Let’s look at ROH rumours 2017-2019

tl;dr: barely any Mozart, no Baroque (though some might trickle through nearer to the time) but some tempting things nonetheless. Here‘s your source.

New productions 2017-18

La Vestale (Spontini) La Gheorghiu continues her work to keep the rep traditional
Julia: Angela Gheorghiu

La Boheme (Puccini)
Conductor: Antonio Pappano
Production: Richard Jones
Mimi: ? keeping the suspense
Rodolfo: Michael Fabiano
Marcello: Mariusz Kwiecien

The Queen of Spades (Tchaikovsky) – Co-Production with De Nederlandse Opera   
Production: Stefan Herheim I like it, I’ll go

Der Freischutz (Weber) I don’t quite like it but I might go because how often does it come around?
Conductor: Edward Gardner
Production: Kasper Holten
Max: Jonas Kaufmann / Stuart Skelton

Semiramide (Rossini) bring it on! I might go twice
Production: David Alden
Semiramide: Joyce DiDonato
Assur: Ildebrando D’Arcangelo
Arsace: Daniela Barcellona

Katya Kabanova (Janacek) tempting
Production: Ivo van Hove
Kabanicha: Rosalind Plowright
Katya: Amanda Majeski

Lessons in Love and Violence (George Benjamin, World Premiere)
Director: Katie Mitchell
Stephane Degout
Barbara Hannigan ❤ I’ll take the chance with her
Peter Hoare

Revivals 2017-18

Les Vepres Siciliennes (Verdi) October – November 2017
Rachele Stanisci (Helene), two performances who’s she? I missed the Vepres the last time around, might go this time

Cavalleria Rusticana (Mascagni) / Pagliacci (Leoncavallo) Dec 2017
Nedda: Carmen Giannattasio
Silvio: Artur Rucinski
Santuzza: Elina Garanca I’d go for comparison purposes but it’s a bit soon

Tosca (Puccini) January 2018
Caravadossi: Vittorio Grigolo yes, but who is Tosca?

Lucia di Lammermor (Donizetti) November 2017? So soon?!
Lucia: Olga Peretyatko
Raimondo: Michele Pertusi
Edgardo: Juan Diego Flórez he doesn’t want to!

Don Giovanni (Mozart) July 2018
Donna Anna: Chen Reiss
Don Ottavio: Pavol Breslik

Andrea Chenier (Giordano) ?2018 never too soon 😉
Andrea Chenier: Jonas Kaufmann

Salome (Strauss) Yay! Hope it’s good.

Peter Grimes (Britten)
Peter Grimes: Stuart Skelton
Ellen Orford: Emma Bell

New Productions 2018-19

Königskinder (Humperdinck) 13, 17, 21, 27, December 2018, 1 January 2019
Production: David Bosch
Der Königssohn: Daniel Behle ❤

Fedora (Giordano)
Fedora: Angela Gheorghiu

From the House of the Dead (Janacek) I’ll go
Production: Krzysztof Warlikowski

Through the Looking Glass (Unsuk Chin) World Premiere (?)

Don Pasquale (Donizetti) I really don’t see the appeal of this one
Production: Damiano Michieletto

La Forza Del Destino (Verdi) – 2019 not unless we get Harteros
Conductor: Antonio Pappano

Death in Venice (Britten) I like the story, I might go
Conductor: Mark Elder
Production: David McVicar

Revivals 2018-19

Der Ring des Nibelungen (Wagner)
Brunnhilde: Nina Stemme should yours truly make an effort?
Siegfried: Stefan Vinke
Siegmund: Stuart Skelton

Carmen November- December 2018
Micaela: Eleonora Buratto

Faust (Gounod) should go this time

Revisiting the Bechdel test for opera

A while ago I put some of my favourite operas to this test, with various results. But on re-reading it today, an idea about how perception complicates matters came to me. Let’s first see what happened when I Capuleti e i Montecchi’s turn came:

  1. There are two women in it, whose names are known; ooops, not enough women in this, fail
  2. they talk to each other; N/A, fail
  3. they talk about something other than a man: ok, given that Giulietta has a long monologue, she ends up talking about how much she hates her life and would rather die than marry the man imposed on her by her father. Not really check but at least something. Still fail.

It’s a 19th century opera, what did you expect? The libretto is textbook woman oppressed by the patriarchy. You do want to cry during her first duet (or first part of the long duet) with Romeo and not just because the music is so damn beautiful (snif, snif).

Right, it fails spectacularly, in grand Victorian tradition, which is unsurprising. But there is one interesting thing about it: namely that Romeo is specifically written for a woman1. So in a sense, there are two women in it and they do talk about quite a few things. They are also trying – with tragic results – to get away from “patriarchy”. It’s almost like a classic lesbian twist, which needs to end badly for all involved. I think nowadays that subtext is there even though it wasn’t always so.

The case of Der Rosenkavalier is somewhat similar, for the same reason. Octavian is supposed to be sung/played by a woman. You know that point where Octavian says “the Field Marshall is hunting in the Croatian forest and I’m here… hunting for… hehe…” – that always makes me imagine the Field Marshall as this big, forged in the heat of battle chap with large, black whiskers; and his wife prefers this giggly kid after all. I know it’s Strauss’s version of Le nozze but still2, the Field Marshall hunts for bears and boars for a reason. And we know they’ve been married since she came out of the convent – which was probably around age 16-18 – and they still don’t have any children. Maybe they couldn’t conceive but maybe she’s just not into black-whiskered boar hunters. Maybe he isn’t into women. Hofmannsthal was gay after all, can’t put this thought beyond him.

How Mozart/Bellini/Strauss intended it is one thing but how we see it today is almost always different.


  1. I know there are musical reasons why that is so – Bellini wanted the lovers to sound more alike so as to make a strong contrast to those who are opposing them. 
  2. I guess we could discuss Le nozze as well. Beaumarchais himself wanted Cherubino to be played by a girl and he still went on with the third part of the trilogy. You could say the kid had to be very pretty, that’s the point. You could also say, with the third part in place you know he meant for the Countess and Cherubino to really be getting it on, no ifs and buts there. What I’m getting at is you can’t get away from subtext, it’s just not possible, the way we think these days. 

Ekaterina Siurina/Luis Gomes (Wigmore Hall, 16 March 2016)

Siurina’s partner, Charles Castronovo, was scheduled to perform but once again he eludes me. Instead we got to hear a young singer which we (I) remember from the 2014 JPYA at Royal Opera House Summer Show, in which he was (o mio) Fernando. Siurina is quite well known as for instance Adina in L’elisir d’amore, or Ilia in that Salzburg Idomeneo where Harteros chews scenery, but readers with similar tastes to mine might remember this image even better:

Servilia and Annio (image lifted from operaramblings – click to read the review)

Indeed, I first came across her as dreamboat Servilia in the famous Paris “Potato” production of Tito. I looked up her Askonas Holt profile and it seems a Morgana and a Cleopatra are the works. Bring them on, I say.

Ekaterina Siurina soprano
Luis Gomes tenor
Iain Burnside piano

Pietro Mascagni
Suzel, buon di (L’amico Fritz)

Paolo Tosti
L’ultima canzone
Ideale
L’alba separa dalla luce l’ombra (Quattro canzoni d’Amaranta)

Gioachino Rossini
La pastorella dell’Alpi (Les soirees musicales)

Vincenzo Bellini
Malinconia, ninfa gentile

Gaetano Donizetti
A mezzanotte

Giacomo Puccini (La Boheme)
Che gelida manina
Mi chiamano Mimi
O soave fanciulla

INTERVAL

Temperamentally Siurina and Gomes are very different. He earnest and impetuous, she playful and cute as a button. If he came into his own with Che gelida manina, for which he has the passion and Italianate tone, her most memorable point before the interval was Rossini’s La pastorella dell’Alpi. Siurina’s gift for comedy and witty phrasing of the (very silly) coloratura were pure delight.

Georges Bizet
Me voila seule dans la nuit… Comme autrefois (Les pecheurs de perles)

Sergey Rachmaninov 1

Sing not to me, beautiful maiden/Ne poy, krasavitsa, pri mne (6 Songs Op. 4 No. 4)
In my Garden at Night/Noch’yu v sadu u menya Op. 38 No. 1
To Her/K ney Op. 38 No. 2
How fair this spot/Zdes’ khorosho Op. 21 No. 7
They Answered/Oni otvechali Op. 21 No. 4
A Dream/Son Op. 38 No. 5
Spring Waters/Vesenniye vodï Op. 14 No. 11

Charles Gounod (Romeo et Juliette)
Ah, leve toi soleil!
Va, je t’ai pardonne… Nuit d’hymenee

In terms of skill it was hard not to notice Gomes was the junior partner in this joint. Both of them have large enough voices to make your ears ring even when sat at the back of the hall. Driven by youthful enthusiasm, Gomes took every opportunity to soar as Italian tenor in full cry. There’s no doubt this is his path, a path that allows a good deal of shouting, but when he chose to sing one of the Russian songs entirely below full power it wasn’t unpleasant at all. A bit of variation in volume dynamics is a good thing even for his preferred repertoire. When in duets the both of them turned up the volume to the max the sounds became harder to distinguish, let alone the words. That’s a shame, because he has a beautiful, manly tone up and down the range which we want to hear and bask into.

For her part, Siurina showed a variety of dynamic approaches. Though not a small voice, hers it’s remarkably vibrato-less and still wonderfully flexible. I’m not sure whether the Russian songs were more uplifting than usual or it’s just her light hearted personality as she breezed through them. I’d say she doesn’t sound like the typical Russian soprano. In the Italian songs she balanced between a “relaxed” manner and a full on operatic one, which I thought was rather interesting and reminded me of Antonacci’s way of singing them.

Burnside accompanied but I have to say between each of the singers’ pizzazz I lost him. In any case, this was an interesting break into my Handel-fest. Will definitely make time for Siurina’s recitals in the future and perhaps I’ll catch Gomes when I venture into his repertoire.


  1. I don’t know if the Russian is correct, I copied it off Wigmore Hall’s site. 

Customary Beatrice di Tenda on Bellini’s birthday

the journalistic storm over Beatrice di Tenda [which evolved] into the bitterest, most convoluted, and—at our distance from it—most amusing polemic in the annals of early nineteenth-century Italian opera (Herbert Weinstock)

Bellini: whose fault is that? that of my usual and original poet, the God of Sloth!
Romani: my melodramma was touched up in a thousand ways, in order to make it acceptable to the Milords of the Thames [who] await him…

When I first started this blog I marked Vincenzo Bellini’s birthday with a quip about Romani’s libretto for Beatrice di Tenda. Seems fitting to be talking again about this opera on his birthday.

After having not listened to it in ages I was reminded about it when I went to see Nucci. Finally, I gave it a spin (literally, I played a CD for once!) yesterday. Well, hello there gorgeous – it’s more beautiful that I remembered it. You can also feel his maturity here, in spite of its overly complicated birthing process it’s still good stuff. It sounds a bit like a patchwork of his favourite chord progressions – nicely put together. I’m enjoying it so much I find it hard to tear myself away! There’s something very attractive about it I can’t put in words yet (less flourish than usual in this repertoire?), after so much Baroque and so little belcanto. Here’s a good taster:

Operalia final (ROH, 19 July 2015)

This year Placido Domingo’s singing competition reached London town on a pleasantly balmy afternoon. I’d never attended a singing competition before so I was way curious. As the evening wore on it became clear that the standard was very high.

But first the evening kicked off without much ado (save for a congenial introduction by the world’s most famous baritenor/MC/conductor/accompanist etc.) with Largo al factotum. Now if you’re going to start that famous intro coloratura off stage in a high profile competition you should be able to project like a pro. Sadly, US baritone Edward Parks did not. Likewise his stage antics remained within the confines of stretched arms a la the ’50s.

Listen, this is one of the most famous baritone arias out there – probably all baritones have sung it at one point or another. It comes down to a simple question: how are you going to stand out? I always think back to JDD’s deconstruction of it: you are supposed to be showing off. Come on, show off! For once it’s allowed to behave like a divo on skates. The aria is basically an advert for Figaro inc. Be funny, be silly, be a dude. Just don’t stand there stretching your arms at regular intervals.

Nonetheless, the public was determined to have fun and clapped.

Next up was US soprano Andrea Carroll who sang Qui la voce…/Vien diletto. It was soon obvious that she was a straight up lyric soprano, with a rather beautiful (super plaintive – give her all the consumptive/hard done by damsel roles there are, please), well schooled voice. However the extreme plaintiveness of her tone undermined the Vien diletto bit of the aria. We all know it’s a mini mad scene of unadulterated joy – Elvira is horny as a kitten. That sexy delirium did not come through in her rendition. On top of it, maybe due to nerves, maybe because of her temperament, she went very carefully about it. It’s Bellini, it’s going to be hard to sing – long lines, legato, requires a free top capable of ornaments in the attic of the voice. But if you’re going to sing it, come on! step on the pedal, live a little.

The public was nice to her too, or maybe some really enjoyed it.

French tenor Julien Behr was next. I thought, hey, Julien Behr already has a career, he’s sung here at ROH as well as at other big houses, why is he in this competition with the kids? He was indeed the oldest. But I guess it’s never too late to propel yourself further. He took advantage of the fact French is well represented in the repertoire and sang Faust’s aria Salut! Demeure chaste et pure. I’ve already gone over my attitude to Gounod (bit boring) yesterday, so all I’m going to say is that at this point he was the best. He floated a pianissimo quite nicely at a pivotal point.

Kiandra Howarth, our Australian acquaintance from yesterday and other dates, came in to sing Juliette’s Amour, reanime mon courage – that is to say, the aria she sang yesterday in the JPYA Summer Performance. It’s not often you get to hear a singer sing the same thing two days in a row. But since this aria fits her voice nicely I wasn’t going to complain. This was the first time of the evening when someone projected enough so that us in the Upper Slips could hear properly. Though I enjoyed her creamy tone, I still felt underwhelmed by Gounod’s writing. I thought: all of them are very capable, good technique and all but so far she’s ahead of the others.

Without a break, South African bass-baritone Bongani Justice Kubheka came in with Basilio’s La calunnia. He started rather quietly but then this is an aria where the singer needs to pace himself very carefully: it’s all about the crescendo. His was a more characterful voice than Parks’ and he put on the – dramatically – most exciting performance thus far. He stomped, he chuckled, he used colour (woohoo!) to vary his lines. He obviously knew what he was saying and he seemed to have a ball doing it. I wish him luck and I hope to see him in buffo roles. Here’s a singer who can capture your attention when he’s on stage. At this point I was sure I was going to vote for him in the Male Voice section.

Korean soprano Hyesang Park‘s name appeared on screen but there were a few moments until she herself showed up. Did she get cold feet? Did she have a last minute costume malfunction? People were obviously wondering.

Then she showed up, in a very pretty white/red dress and we learned she was going to sing Lucia’s Il dolce suono. 20min later 😉 we were all at her feet. Hells yea. You don’t have to be a coloratura soprano fanatic to appreciate the work and talent that went into that performance. Unsurprisingly, her mind-boggingly deft maneuvering of acuti stopped the show short, with people unable to contain themselves – mad clapping, hollering, the works. Later she continued with the last 5minutes of the behemoth. More clapping, stomping, swooning.

Lest you think she’s all about acuti (though a bit of foray below showed she still needs to work on the bottom of her voice), the tone itself is exquisite. I don’t throw that around easily; it had quicksilver personality. Just when I – of all people – was starting to crave a bright voice, here she came with the kind of crystal clear top that you so want for belcanto coloratura. And you know there’s very little that Donizetti denied us in this proper belcanto extravaganza: super exposed singing – check, duet with the flute – check. If you can get through this you can probably solve world peace too 😉 Just remembering all the notes is probably a few months’ work. Then you need to make it flow and possibly, show some drama kookiness. Let me tell you, quicksilver can do kooky. I knew who I was going to vote for in the Female Voice section.

US baritone Tobias Greenhalgh was slotted to follow. I felt for him. He gave us the second Largo al factotum of the night. His Figaro ‘tude was superior to Parks’ and he had some original moves. It wasn’t bad at all, he even elicited some laughs, but as baritones go Kubheka had been funnier. You need to marshal out your inner extrovert with this aria. And you need to sing well. And hopefully have a voice that sticks out. I thought Domingo could’ve sped up the tempo a bit but as he had been supportive with his singers thus far maybe this was the tempo Greenhalgh was comfortable with. You don’t want to fub the patter in this one.

From New Zealand we had tenor Darren Pene Pati, who sang Edgardo’s Tombe degli avi miei. Here we had a bit of Pavarotti feel, not unpleasant at all. Quite the contrary. Beautifully, soulfully sung, with good projection and better than average diction.

We stayed in the Southern hemisphere with South African soprano Noluvuyiso Mfopu for Violetta’s E strano…/Sempre libera. Lovely tone as well, lyric but not overwhelmingly plaintive, elegant and perhaps a bit introverted. This introversion marred Sempre libera some, as there wasn’t a marked difference in moods between the two sections. Too elegant; more abandon would’ve given it an extra oomph. Showman Domingo made us all sigh by joining in for Alfredo’s echoes (which, just between you and me, I like a lot better than what Violetta has to sing and thus stayed with for the rest of the night. If I could sing, I’d break into Amor è palpito dell´universo intero,/misterioso, altero,/croce e delizia al cor at any given time 😀 ).

Switch to Eastern Europe for Romanian tenor Ioan Hotea‘s Ah, mes amis. Well, well, well, thought I, let’s count his high Cs. Though I’m hardly an OMG, high C! type of opera fan, I appreciate a good one when I hear it. And this aria has 9 of them. Well, well, well, indeed – he nailed them and looked cute doing so. La fille du regiment is a bit of a turkey of an opera, hardly high on realism but good-natured fun, so it takes a lovable Tonio to pull off the starry eyed boyfriend. Slight built Hotea’s got that – and you know what? (Every once in a while) it’s nice to hear a tenor hit some plump high Cs and project them too. I don’t think his voice is quite as recognisable as JDF’s but it’s endearingly healthy and fresh. After this performance I started to wonder if Kubheka’s sense of humour was enough to get my vote.

Norway’s Lise Davidsen brought something completely different to the competition: Wagner. It’s kinda weird hearing Elisabeth’s Dich, teure Halle among all the belcanto, but good to hear something else for a change. I don’t think I’m a competent judge when it comes to Wagner singing, but one thing I know – a dramatic soprano should be big voiced/able to project. She did, she walked all over that orchestra no problem. In fact, if she was in any way cautious I am thankful, as a couple of times I was afraid she was going to send my toupee flying. The public was glad for a change of feel too, and clapped lots.

There was no time for faffing, so the zarzuela part of the competition came next.

Andrea Carroll started things off with a very fun piece, Al pensar en el dueno de mis amores. I’ll be upfront and say I know nada about zarzuela. After this outing, though, I will be sure to investigate because it was lots of fun, quite possibly more fun than lieder, which took a while to endear itself to me. As much as I like to think of myself as rational, I’m very attracted to the Southern European fire in the belly. I think this piece suited Carroll better than Qui la voce. The lyricism of her voice went quite nicely with it. But as earlier I was dying for some fire, especially in the repeated ay! cries, which she sang surprisingly even.

Darren Pene Pati was next with La roca fria del calvario, which, considering the title, sounded like it was going to be sombre and quite possibly heartbreaking. I’ve established that Pene Pati is in possession of a gorgeous tone but, midway through it, I started wondering if he wasn’t going too operatic. I know that can be a pitfall with lieder but I’m clueless when it comes to zarzuela. Still, there was a niggling doubt in my heart. (edit: I now see I was wrong but even so, I’m still standing by my later decision).

Kiandra Howarth sang Tres horas ante del dia, a temperamental piece which went well with her full soprano.

Ioan Hotea “challenged” Pene Pati with the same piece. There is a bit later in the song where the tune returns and it’s a tune that made me think this is sadness the Spanish way. Hotea didn’t overdo it in volume but went for the pain and then intensified the feeling without losing beauty of sound. That’s when I knew I was going to vote for him. A singer should make you feel; if it’s a sad piece, they should bring you to the brink of tears.

Hyesang Park wrapped things up with the coquettish No se que siento aqui. This song was surprisingly operatic and not just in how she presented it; the orchestration – or what Domingo asked from the orchestra – felt very grand. I’ll have to trust Domingo since he’s been around zarzuela from the womb. As I heard someone comment on the way out, this choice played to Park’s strengths, which are of the classic diva variety. I appreciated her very coordinated and fluent stage movement and it’s not like I had any doubt that the woman could sing. But I was a bit baffled and not 100% convinced; it felt like the pizzazz overshadowed the feeling. A quick check to the ROH site tells me zarzuela is rather the Spanish equivalent to operetta, so, yes, the pizzazz was the feeling. I’ll need a bit of immersion before I put together the many sides of it all. I still voted for her in the Female Voice section. The woman is the complete package. Please do come to London for the belcanto roles.

Err, since I had to dash off right after casting my votes for Park and Hotea, I did not catch the winner(s) and the results do not appear to be posted online yet. Please post if you know, I’m writing this at work since I’m internet-less at home due to some fault with my landline I had no time to fix what with the overly busy weekend…

Miscellaneous:

  • The house was full and the public more varied than the regular over 50s pearl necklace brigade – lots of young people for once, different backgrounds. The atmosphere was enthusiastic and encouraging, very generous clapping, open laughter etc. It was lovely sharing the evening with people so glad to be there.
  • Upon checking the Operalia site I was pleased to note that Nutthaporn Thammathi, the lovely Tito from the Fiesole Clemenza, made it to the Quarterfinals. I wish him better luck in future competitions.
  • I was also glad to see a few mezzos and even a countertenor in the running. Let’s hope in the near future we’ll get to hear a larger variety of repertoire and voice types. Until then, this was quite a ball!

I Capuleti e i Montecchi – Act II (Horne, 1977)

Recently I noticed some unexpected interest in my post on Act I of Horne’s I Capuleti e i Montecchi, which caused me to feel bad about never finishing talking about that boot. At long last, here is Act II.

  • Romeo: Marilyn Horne capmonte
  • Giulietta: Linda Zoghby
  • Capellio: Nicola Zaccaria
  • Tebaldo: Antonio Savastano
  • Lorenzo: John West

Conductor: Nicola Rescigno | Dallas Symphony Orchestra, 21/11/1977

o, tosco fatal…

Ernani…

…is one of Verdi’s works I like a lot. It’s silly as all getout but the music…! I recently became aware that Bellini and Felice Romani had thought about setting it to music 14 years before papa Verdi. It would’ve been really cool to have Ernani sung by a mezzo, as projected, but apparently the censors were harsh on the subject and we got La sonnambula instead. Gives a bit of perspective on the why of that opera. Verdi’s was supposed to have a contralto in the title role but the green man changed his mind, which makes sense for him. Ernani is the good guy, innit?

The surviving bits are more interesting for a glimpse into the way Bellini wrote than in themselves, although the Ernani-Elvira duet sounds promising already (he was good at this kind of heart-breaking thing). More reason to work on that time machine. I also like the breezy overture sketch; nothing out of the ordinary but lively and rather pastoral. Makes you want to hang out with the brigands. 

The don’t bother with it I Capuleti (Abbado, 1966)

  • Romeo: Jaume Aragall
  • Giulietta: Margherita Rinaldi
  • Tebaldo: Luciano Pavarotti
  • Capellio: Nicola Zaccaria
  • Lorenzo: Walter Monachesi

Conductor: Claudio Abbado | Residentie Orchestra, Den Haag (1966) | Coro del Teatro comunale di Bologna, 30 June 1966

Wow. This was dire. I couldn’t make it past a ghastly rendition of the Ah, mia Giulietta!… Si, fuggire! duet which I love dearly. You couldn’t find a more bored-sounding Romeo or a more sugary Giulietta. Dear god, what was everybody thinking, especially the public who actually clapped generously…? Delete bin.

Aragall’s Se Romeo… La tremenda ultrice spada

  • Romeo: Jaume Aragall
  • Giulietta: Margherita Rinaldi
  • Tebaldo: Luciano Pavarotti
  • Capellio: Nicola Zaccaria
  • Lorenzo: Walter Monachesi

Conductor: Claudio Abbado | Residentie Orchestra, Den Haag | Coro del Teatro comunale di Bologna, 30 June 1966

Curiosity got the better of me and I finally attempted to listen to this recording boasting a male Romeo. Sacrilege, I know, but I really wanted to see how it would sound. Two minor things first: Pavarotti is a pretty neat Tebaldo1 and Nicola Zaccaria fares better as Capellio2 than as Argirio, before I get to the matter at hand: Aragall’s Romeo.

Aragall certainly has a beautiful, soulful voice, I’ll give him that; he might be quite pleasant in other roles. He fares nicely during the Se Romeo…3 bit but err, where is the fire, man – ma su voi vi cada il SANGUE!the fire, during La tremenda ultrice spada? Yo! You’re supposed to be vicious, foaming at the mouth with fury and hatred and he’s sort of regal, waltzy even and taking his time (or was that Abbado? Whoever it was, bloody bad decision4 – there goes the momentum…) and really melancholic. No wonder Romeo accomplishes fuckall by the end of the opera. Holy cow, that cabaletta came off so bad I had to cleanse my ears with the proper rendition. See what I mean? No fuckin’ comparison. But because I’m still curious – I like this opera too much – and because I want to hear Rinaldi’s Giulietta, I will get around to listening to it in entirety at some point, when I’m doing housework or something.


  1. He must’ve been at the very beginning of his career, can’t imagine him singing such a thankless role ever again. Whilst we’re on Pav, why not have him as Romeo, he seems better suited to it if we’re to have a tenor sing it. 
  2. Although not a great Capellio, but that’s another thankless role that won’t get people buying CDs. 
  3. If you like your Romeo overly sentimental and gentle as a sleepy teddy-bear. 
  4. Must’ve been Abbado, E serbata a questo acciaro gets the same treatment but there it makes sense.