When I was living in Milan during my season at LaScala I made a special trip to see Verdi's grave. Verdi can be done with a modern perspective but not like a circus act alla Vegas. And I also saw the juke box version at City Opera. An earlier faithful production rang out with staggering intensity; those do not.
The voice was an OK Gilda. Even lovely. As long as one kept eyes firmly shut. The setting was like only a Baz Luhrmann could dream up. Hubristic overestimation of self importance. Versus that of the composer set in his time. The gum chewing shiela in the elevator said it all!
My favourite is by Ileana Cotrubas. Unfortunately it is on vinyl. 1980. D. Grammophon. I found it at huge record mart in Paris circa 1984(?). No DVD versions I have compare. I think of this opera that the balance between orchestra/conductor (Vienna P; Giuliani) and singers is everything. Ironically, it was not Domingo at his best. Can’t have it all I suppose.
thank you for sharing your thoughts Jack! And for reminding us that we are humans making art (that is subjective) and that no, it's never "everything or perfect" (in the traditional sense).
Yes, yes, yes. And I should correct my comments on P. D. not at his best. What I meant was not stand-out memorable like Cortrubas. This opera is not one to highlight the tenor voice anyway. And on the subjectivity note. My Dutch parents opined that Rigoletto & Trovatore had plots too sinister (te donker) for young ears. So I only ever heard highlights. Which might also explain my fondness for this recording of the whole. With libretto!!
These are my first impressions of Nadine Sierra, based on listening to her performances in the interview here and a second one with Fred Plotkin (Conversation with Nadine Sierra-February 22, 2019; https://www.youtube.com/watch?v=EOvKiNRF-a4)
Nadine Sierra radiates the beauty, sunshine and warmth of her Floridian and Puerto Rican roots. She exuded such vivaciousness and youthful charm that I knew I couldn't help but like her personality. After seeing her perform “Caro nome che il mio cor" and "Mio padre... Tutte le feste... Sì, vendetta", I understood why her biography has a trail of wins in prestigious, international competitions and praiseworthy performances at leading opera houses. It's amazing to think that at 6 and 11, she was already moving toward her destiny, which blossomed into a career at 19. Now, at the age of only 35, she is an acclaimed lyric soprano and a favorite at The Met. This is the life of a prodigy.
I want to spend more time listening to this artist. My first impressions are not always to be trusted. Nadine Sierra has found her own voice, even as she has stands alongside divas considered the world’s greatest opera, past and present.
There were moments in the two arias when I felt Nadine Sierra compared favorably to Beverly Sills, Joan Sutherland or Marilyn Horne, especially that thrilling trilling! There were a couple of times, though, when I felt those impossibly difficult high notes, sometimes seemed a little brittle and lacking a certain fullness. Then again, what do I know!?!
I listened to Lisette Oropesa and Edita Gruberova just to check on my feelings about this. The training that goes into rendering this challenging composition so sweetly must be grueling. If not done correctly, I’ll bet “Caro nome” could ruin many a good voice. I will definitely revisit Nadine Sierra and listen to the full opera version of "Rigoletto" soon.
I just have a couple of questions. I feel that I have a better idea of the pathways to opera stardom now - studying with a renowned teacher (Nadine Sierra, Sondra Radvanovsky both studied with Ruth Falcon), entering competitions and winning prizes, attending a prestigious music school like Juilliard or Mannes, auditioning, maybe even entering a talent show like "The Voice". Are we still waiting for the first unknown opera star to emerge from social media? I'm curious about these multiple roads to opera celebrity.
I've gotten off topic here, but suffice it to say, Nadine Sierra is beautiful, gifted and wise beyond her years. She's one to watch and to hear, hopefully for a very long time.
I mean, maybe?!? There are so many challenges with social media but overall the internet has made a very big world feel smaller, so, this is very possible! As they say, “talent is equally distributed, opportunity is not”.
Coloratura is a word I never knew existed but I love it!
Yes! Such an excellent word! (And fun to say too!)
Thank You! I love it!!
Thank YOU for being here - so nice to have you!
The inane Met Vegas Rigoletto is a desecration to Verdi. A really bad choice that can confuse the public if not the listener if their eyes are closed.
Tell us how you really feel Daniel! 😂😂
When I was living in Milan during my season at LaScala I made a special trip to see Verdi's grave. Verdi can be done with a modern perspective but not like a circus act alla Vegas. And I also saw the juke box version at City Opera. An earlier faithful production rang out with staggering intensity; those do not.
If you have a favorite public recording of Caro nome - would love for you to share!
The voice was an OK Gilda. Even lovely. As long as one kept eyes firmly shut. The setting was like only a Baz Luhrmann could dream up. Hubristic overestimation of self importance. Versus that of the composer set in his time. The gum chewing shiela in the elevator said it all!
Jack Broerse.
Thanks Jack----if The Met was wildly brave they could use real mikes (a rock orchestration) and send it to Broadway. Non aspetta troppo !!!
If you have a favorite public recording of Caro nome - would love for you to share!
My favourite is by Ileana Cotrubas. Unfortunately it is on vinyl. 1980. D. Grammophon. I found it at huge record mart in Paris circa 1984(?). No DVD versions I have compare. I think of this opera that the balance between orchestra/conductor (Vienna P; Giuliani) and singers is everything. Ironically, it was not Domingo at his best. Can’t have it all I suppose.
thank you for sharing your thoughts Jack! And for reminding us that we are humans making art (that is subjective) and that no, it's never "everything or perfect" (in the traditional sense).
Is this the performance!?
https://www.youtube.com/watch?v=SwZQUvDCtr8
Yes, yes, yes. And I should correct my comments on P. D. not at his best. What I meant was not stand-out memorable like Cortrubas. This opera is not one to highlight the tenor voice anyway. And on the subjectivity note. My Dutch parents opined that Rigoletto & Trovatore had plots too sinister (te donker) for young ears. So I only ever heard highlights. Which might also explain my fondness for this recording of the whole. With libretto!!
Thanks for the excerpt.
Cortrubas was tremendous but The Met fired her.
Politics in general is already brutal. I shudder at the thought of what it must be like in the performing arts Daniel.
Jack
Brutal as well. Here is a link for our Award winning work. ArtsPRunlimited Inc is affiliated with http://www.fracturedatlas.org/site/fiscal/profile?id=11419
These are my first impressions of Nadine Sierra, based on listening to her performances in the interview here and a second one with Fred Plotkin (Conversation with Nadine Sierra-February 22, 2019; https://www.youtube.com/watch?v=EOvKiNRF-a4)
Nadine Sierra radiates the beauty, sunshine and warmth of her Floridian and Puerto Rican roots. She exuded such vivaciousness and youthful charm that I knew I couldn't help but like her personality. After seeing her perform “Caro nome che il mio cor" and "Mio padre... Tutte le feste... Sì, vendetta", I understood why her biography has a trail of wins in prestigious, international competitions and praiseworthy performances at leading opera houses. It's amazing to think that at 6 and 11, she was already moving toward her destiny, which blossomed into a career at 19. Now, at the age of only 35, she is an acclaimed lyric soprano and a favorite at The Met. This is the life of a prodigy.
I want to spend more time listening to this artist. My first impressions are not always to be trusted. Nadine Sierra has found her own voice, even as she has stands alongside divas considered the world’s greatest opera, past and present.
There were moments in the two arias when I felt Nadine Sierra compared favorably to Beverly Sills, Joan Sutherland or Marilyn Horne, especially that thrilling trilling! There were a couple of times, though, when I felt those impossibly difficult high notes, sometimes seemed a little brittle and lacking a certain fullness. Then again, what do I know!?!
I listened to Lisette Oropesa and Edita Gruberova just to check on my feelings about this. The training that goes into rendering this challenging composition so sweetly must be grueling. If not done correctly, I’ll bet “Caro nome” could ruin many a good voice. I will definitely revisit Nadine Sierra and listen to the full opera version of "Rigoletto" soon.
I just have a couple of questions. I feel that I have a better idea of the pathways to opera stardom now - studying with a renowned teacher (Nadine Sierra, Sondra Radvanovsky both studied with Ruth Falcon), entering competitions and winning prizes, attending a prestigious music school like Juilliard or Mannes, auditioning, maybe even entering a talent show like "The Voice". Are we still waiting for the first unknown opera star to emerge from social media? I'm curious about these multiple roads to opera celebrity.
I've gotten off topic here, but suffice it to say, Nadine Sierra is beautiful, gifted and wise beyond her years. She's one to watch and to hear, hopefully for a very long time.
THE EXTRA STUFF
Rising Star Making History circa 2017
(https://www.nbcnews.com/news/latino/young-soprano-nadine-sierra-making-history-opera-world-n827021
Nadine Sierra
(https://en.wikipedia.org/wiki/Nadine_Sierra)
Ruth Falcon (Sierra's coach and teacher) Obituary (https://www.nytimes.com/2020/10/21/arts/music/ruth-falcon-dead.html)
"Caro nome" Nadine Sierra as Gilda in Maschpark, Hannover, 2017 (https://www.youtube.com/watch?v=T7M4_xZyZH8)
[(1) Giuseppe Verdi, Rigoletto - Caro nome (Nadine Sierra) - YouTube]
Lisette Oropesa
(1) Caro Nome, Rigoletto, Teatro Real, Lisette Oropesa - YouTube
Edita Gruberova
(1) Rigoletto - Caro nome (Gruberova) - YouTube
“Rigoletto”, full opera in two acts, Russian State Ballet and Opera House (2021)
https://www.youtube.com/watch?v=MbJ5l0m3rMk
“Rigoletto”, full opera , English subtitles
(1) Giuseppe Verdi - Rigoletto - Pavarotti, Gruberova, Wixell - Chailly - YouTube (1982)
Borsa-Remi Corazza, Ceprano-RolandBracht, Countess Ceprano-Kathleen Kuhlmann, Duke of Mantua-Luciano Pavarotti, Gilda-Edita Gruberova, Giovanna-Fedora Barbieri, Maddalena-Victoria Vergara, Marullo-Louis Otey, Marullo-Bernd Weikl, Monterone-Ingvar Wixell, Rigoletto- Ingvar Wixell, Sparafucile-Ferruccio Furlanetto.
Happy Fourth of July 🧨
(1) The Stars and Stripes Forever (1929, Sousa Conducting and Speaking!) - YouTube
I mean, maybe?!? There are so many challenges with social media but overall the internet has made a very big world feel smaller, so, this is very possible! As they say, “talent is equally distributed, opportunity is not”.