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Bad night for Roschmann?

(it’s one of those old news chez dehggi moments)

From Serenade‘s account of a 2017 performance of Le Nozze at Wiener Staatsoper (the other opera house in Vienna 😉 ):

The Countess was played by Dorothea Roschmann herself an erstwhile Susanna. In my opinion she has not quite graduated yet to the bigger role and she would do well to limit her appearances as the Countess. Her Porgi amor at the beginning of Act Two was sung with beauty of tone and a quick vibrato. But her Act Three Aria Dove sono was disappointing as it lacked breath control and a sense of line. She was unable to take any of the long phrases in a single breath and there were times when the voice just did not carry forward.

She has not quite graduated?! Ehehehe. I think I’d still like to see her as the Countess even on a so-so day. Then again, I’d rather see my fave singers on their good days.


Fountains of Vienna


click to enlarge

Since that soprano-tenor debacle happened just before I travelled to Vienna in April, I made it a point to snap a few pictures of fountains. Clearly there’s ample reason to step out of the hall for a glass of water.

Don’t give into confusion – that was last year. But since this year the same participants had another close encouter of the operatic kind (which means they didn’t meet at all, though they were supposed to) in the same opera, a unique chance to post my hitherto neglected draft appeared.

Bonus: here’s a fountain of Vienna from 2017, to belatedly celebrate this year’s no show/operatic tradition renewal:

Operatic traditions valiantly upheald

When operatic traditions are being so heroically fought for, we all let out a sigh of relief and perhaps a bit of envy:

By now, you’ve likely read some [] posts about what turned into an historical night at Wiener Staatsoper on Saturday while you were listening to or watching Roberto Devereux, maybe even listened to a sound clip.

Ah, I forgot, diva behaviour trumps honest performance as far as opera history goes. Maybe we should have more of that, it seems to have gone out of fashion a teensy bit. But did our soprano (who else?) mean to upstage/take revenge at her tenor (who else?)? According to NYT:

André Comploi, a spokesman for the opera house, said in an email that it did not appear to be an intentional slight. 

Ok, cynics, she meant to grab a glass of water 😀 How about next time this happens (it will, somewhere in a tradition loving opera house) we get Tosca side with Scarpia and stab Cavaradossi instead? Then Scarpia throws her off the window at the end in the interest of closure. And the star baritone gets to encore an aria of his own choice (freestyle aria insertion, another opera tradition).