Here’s another fluff post from the vault, after which I promise to take a break from snide remarks regarding a certain mezzo 😉 at least in this case they were not mine!
I spent the last week+ of August 2016 on holiday at my mum’s doing very little. The last couple of days mum and I hit Mezzo TV with rather unexpected results. First we watched Met’s Romeo et Juliette (Gounod), with Netrebko and Alagna, which I had never seen in its entirety before so I was quite surprised by the large amount of sexxiness (TM). Wish Bellini’s had half as much! Mum decreed AN’s voice was too heavy for Juliette and Alagna didn’t look romantic enough for Romeo. Then we – disingenuously, I admit – speculated on the amount of distress this production could’ve caused Angela Gheorghiu.
Today we watched the last act of La cenerentola (also from the Met) with Garanca and Brownlee. It turned out to be very amusing for the both of us. First off, on seeing that the mezzo was a blonde, mum wanted to know if she was “the mezzo with the D”. Good start, mum! Alas, as soon as the blonde opened her mouth it was clear the voice was very different. I don’t know how long it’s been since I’ve sat down to listen to Garanca. She didn’t miss any note. But throughout mum thought she carried the exact same expression, which was mild discomfort. The most exciting thing she did on stage was to give out the coffee cups before Non piu mesta. Mum thought she was rather cold but not very cold: ice cube rather than iceberg. I told her the coloratura in Non piu mesta suggests Cenerentola’s great joy and relief. Mum thought she looked preoccupied not to drop her tiara.
I don’t know if it’s TV’s lack of audio capacity (which I’d suspected before, especially when it comes to how voices come through) or something else but my first – non-malicious – thought was that the voices were rather flat (as if they were not singing on the breath) and lacking in Italianate style.
It just (by which I mean in September last year, but blog-time can be stretched according to needs) occurred to me that L’italiana is funnier and has the better arias (especially for the title role) but it seems to me – maybe it is just me – that La cenerentola gets more attention. Anyone have a theory one way or another?
I don’t talk enough about Rossini (and even less so about La cenerentola), so le’t rectify this a bit today:
Considering I think JDD owns this role, I was very, very impressed with Semmingsen’s extra playful approach here. Wonderful handling of that hair curling coloratura 🙂
So now let’s have Non piu mesta again, also in outdoors conditions:
edit: but since I’m of the moar mezzos mindset, how about Bartoli for the final?