Welcome to the Wednesday edition of Opera Daily, the best opera community on the internet. Today we’re excited to unveil a new look for Opera Daily. This new design celebrates opera’s legacy while pointing to a future filled with possibilities. We want to go deeper with you on operas, singers, and composers, and establishing this new design language is the first step on that journey. We are getting ready to announce a new offering next week, but what we want to share with you today remains the same: the chance to gain new insights, inspiration, and contentment through opera. We’re so glad you’re with us.
I welcomed Bizet's "Habanera" today. I now know this is the entrance aria of the title character in Act 1, Scene 5. Not only is the music wonderful, but you've given me permission to sample some of the many interpretations.
I ran the gauntlet of the divas you mentioned, and added a couple of my own choosing.
Here are my snap judgments on what I heard, after listening twice to each, and a third time to Maria Callas. Her interpretation was seductive, her French diction impeccable, her voice magnificent. What else can I do but praise her?
You honor the memory (by chance or intention) of George Jellinek on The Vocal Scene who was an encyclopedia about hundreds of great singers and his erudite program on WQXR in the 1970-80's. THANK YOU too.
Mr. Quinn, your comment here sent me to the internet in search of George Jellinek (https://en.wikipedia.org/wiki/George_Jellinek). I am a little know-nothing in comparison to him, you and Michele, but thank you. Now I know where to find some of his old programs ("the Lindy effect"). I am familiar with a few famous opera composers and singers, and I attended the occasional live performance until ticket prices went through the roof. Opera Daily is like discovering a treasure chest, from which to pull out one precious jewel after another, be it an aria, or a composer, or a production or just the incentive to keep exploring on my own. I sometimes feel as though we are all walking through the valley of the shadow of death, accompanied by fear, sorrow, and hope. The music, and prayer, enable me to keep my head to the sky.
Wonderful. Jellinek was terrific and he wrote a memoir on the Vocal Scene which I have in my collection. He also interviewed Norman Treigle in a broadcast I missed unfortunately. Not sure if his programs are archived elsewhere. My book: Exits + Entrances (Author House) has chapters on my time at LaScala and the Kennedy Center you also might enjoy..
I love how you essentially went through my thought process for who to profile for the title role. The story and the music demand so much of an individual....I found myself piecing together the best bits from many that you mentioned above...but we know that's not how it works! Another reminder of how demanding these roles can be and how our expectations can also be so incredibly high (speaking personally here). And also how when someone asks for your favorite "Carmen", "Gilda" or "Violetta it is often so hard to choose. So many factors go into someone rising above all the rest.
My fear when I first started was that I was going to run out of pieces to profile but that couldn't have been further from the truth. In many ways, I feel like we haven't even scratched the surface!
Michele, my fear is that you will find other, equally exciting projects to undertake and turn Opera Daily over to someone who might want to make it a bigger, flashier vehicle and possibly more impersonal and less interactive. That would be an understandable path, once the pandemic is behind us. I'm not asking about your plans beyond what you mentioned earlier. It's just clear to me that we here on the ground floor appreciate this gift. Now, it's back to Mirella Freni's awesome performance as Micaëla. I must pay close attention because she is one of my sister's favorite divas, and clearly one of yours, too. Class is back in session!
No need to fear - my goal is to actually make it this experience more intimate, allow for space for more conversations and to go deeper! And yes on Mirella! I am afraid I am not making it hard for people to know my favorites 🤦🏻♀️🤷🏻♀️😂
Thank you for that assurance. I hereby give myself permission to wallow in the artistic legacy of Mirella Freni, and to acquire Exits+Entrances by Daniel M. Quinn so I can vicariously experience what it's like behind the stages at La Scala and The Kennedy Center.
CARMEN is brilliant musically but the libretto, not so much. We sang CARMEN in a vapid English translation in high school. The Met version by Leonard Bernstein w Marilyn Horne was rough and ready. Callas brilliant but Bizet died before it premiered. De Los Angelas very late in her career sang CARMEN at City Opera that got scathing reviews. CARMEN still thrives,
I know I am biased but I have always been drawn to Micaëla and her music. It's truly one great melody after another and over time it shines bright. Going to talk today, about how Carmen, to me, is a great example of "the Lindy Effect".
"The Lindy Effect is a theory about the aging of non-perishable things, like technology or ideas (or music or books). Popularized by author Nicholas Nassim Taleb, the Lindy Effect states that non-perishable things like technology age – linearly – in reverse. Therefore, the older an idea or a technology, the same will be its life expectancy.
I think much of opera is a good example of the Lindy Effect - not just Carmen!
I welcomed Bizet's "Habanera" today. I now know this is the entrance aria of the title character in Act 1, Scene 5. Not only is the music wonderful, but you've given me permission to sample some of the many interpretations.
I ran the gauntlet of the divas you mentioned, and added a couple of my own choosing.
Here are my snap judgments on what I heard, after listening twice to each, and a third time to Maria Callas. Her interpretation was seductive, her French diction impeccable, her voice magnificent. What else can I do but praise her?
Victoria de Los Angeles, https://www.youtube.com/watch?v=RR9AWv5TMDg
I found her voice sweet, alluring and fortunately, not overwhelmed by the chorus or orchestra
Leontyne Price, https://www.youtube.com/watch?v=60xFeualnp8
She has a lovely voice, is technically excellent, but I found her delivery somewhat leaden.
Elīna Garanča, https://www.youtube.com/watch?v=sHjnVz7Ayyw&feature=youtu.be
I felt her lighter, prettier soprano captured the spirit of the wild, free-spirited gypsy Carmen.
Grace Bumbry, https://www.youtube.com/watch?v=ByFMbyQJhgs
She sounded, to me, a tad overwrought and her rendition a bit too grand for the character.
Denyce Graves, https://www.youtube.com/watch?v=2V9woZuVIO4J
Her mezzo soprano voice has grown richer, fuller and more beautiful with time and experience.
Curiosity about Madeleine Mathieu led me to the source of the image in "Forgotten opera singers" http://forgottenoperasingers.blogspot.com/2014/02/madeleine-mathieu-soprano.html
I enjoyed the "Sesame Street" whimsy. It brought an old Bugs Bunny cartoon spoof to mind:
https://www.youtube.com/watch?v=BX1ljYx3g3k
I will return to "Rinaldo" soon because Handel is always a good choice for the holiday season. Happy Hanukkah, everyone!
P.S. So much great opera throughout these past months has made 2020 bearable. I look forward to seeing what else you have up your sleeve. 🎶🎵
You honor the memory (by chance or intention) of George Jellinek on The Vocal Scene who was an encyclopedia about hundreds of great singers and his erudite program on WQXR in the 1970-80's. THANK YOU too.
Mr. Quinn, your comment here sent me to the internet in search of George Jellinek (https://en.wikipedia.org/wiki/George_Jellinek). I am a little know-nothing in comparison to him, you and Michele, but thank you. Now I know where to find some of his old programs ("the Lindy effect"). I am familiar with a few famous opera composers and singers, and I attended the occasional live performance until ticket prices went through the roof. Opera Daily is like discovering a treasure chest, from which to pull out one precious jewel after another, be it an aria, or a composer, or a production or just the incentive to keep exploring on my own. I sometimes feel as though we are all walking through the valley of the shadow of death, accompanied by fear, sorrow, and hope. The music, and prayer, enable me to keep my head to the sky.
Your ears and curious nature are instructor level! I learn something from your comments every time!
🤐♥
Wonderful. Jellinek was terrific and he wrote a memoir on the Vocal Scene which I have in my collection. He also interviewed Norman Treigle in a broadcast I missed unfortunately. Not sure if his programs are archived elsewhere. My book: Exits + Entrances (Author House) has chapters on my time at LaScala and the Kennedy Center you also might enjoy..
I love how you essentially went through my thought process for who to profile for the title role. The story and the music demand so much of an individual....I found myself piecing together the best bits from many that you mentioned above...but we know that's not how it works! Another reminder of how demanding these roles can be and how our expectations can also be so incredibly high (speaking personally here). And also how when someone asks for your favorite "Carmen", "Gilda" or "Violetta it is often so hard to choose. So many factors go into someone rising above all the rest.
My fear when I first started was that I was going to run out of pieces to profile but that couldn't have been further from the truth. In many ways, I feel like we haven't even scratched the surface!
Michele, my fear is that you will find other, equally exciting projects to undertake and turn Opera Daily over to someone who might want to make it a bigger, flashier vehicle and possibly more impersonal and less interactive. That would be an understandable path, once the pandemic is behind us. I'm not asking about your plans beyond what you mentioned earlier. It's just clear to me that we here on the ground floor appreciate this gift. Now, it's back to Mirella Freni's awesome performance as Micaëla. I must pay close attention because she is one of my sister's favorite divas, and clearly one of yours, too. Class is back in session!
No need to fear - my goal is to actually make it this experience more intimate, allow for space for more conversations and to go deeper! And yes on Mirella! I am afraid I am not making it hard for people to know my favorites 🤦🏻♀️🤷🏻♀️😂
Thank you for that assurance. I hereby give myself permission to wallow in the artistic legacy of Mirella Freni, and to acquire Exits+Entrances by Daniel M. Quinn so I can vicariously experience what it's like behind the stages at La Scala and The Kennedy Center.
CARMEN is brilliant musically but the libretto, not so much. We sang CARMEN in a vapid English translation in high school. The Met version by Leonard Bernstein w Marilyn Horne was rough and ready. Callas brilliant but Bizet died before it premiered. De Los Angelas very late in her career sang CARMEN at City Opera that got scathing reviews. CARMEN still thrives,
I know I am biased but I have always been drawn to Micaëla and her music. It's truly one great melody after another and over time it shines bright. Going to talk today, about how Carmen, to me, is a great example of "the Lindy Effect".
Thank you Michele. Carmen is one of my favourites.
❤️
Do you mean Charles Lindberg ? or the Lindy Hop ?
When I talk about The Lindy Effect, I am referring to this heuristic:
https://en.wikipedia.org/wiki/Lindy_effect
"The Lindy Effect is a theory about the aging of non-perishable things, like technology or ideas (or music or books). Popularized by author Nicholas Nassim Taleb, the Lindy Effect states that non-perishable things like technology age – linearly – in reverse. Therefore, the older an idea or a technology, the same will be its life expectancy.
I think much of opera is a good example of the Lindy Effect - not just Carmen!