Garancas Aren’t The Only Fruit: Encore

sestoxenamashup13.JPG[Elīna Garanča as Sesto in Mozart’s “La clemenza di Tito”, New York/MET 2012.]

Sesto does some Über singing.

(play along and guess all 15 operas/characters)


“Lament al factotum della città” (preceded by the recitativo accompagnato, “Why am I wearing an 80s mullet?” Or is this the operatic Cagney and Lacey?!)


“Vesti la giubba…” (“e le poofy sleeves…”)


“De-he-serto su-hu-hulla te-he-he-he-rra…”


“Siegmund! Sieh auf mich!” (“And please line up at the end of the queue behind all the lesbians!”)


“E lucevan le stelle…”


“Se quel guerrier io fossi…”


“Di’, cor mio…”


“Che gelida manina…”


“E poi… mamma… sentite…
S’io… non tornassi…”


“…al tuo piè morir io vo’ d’amor.”


“Pitie! Pardon pour la femme coupable!”

(I’ve always thought that the answer to that should be, “of course, dear, and why don’t we cut out the middle man?” And then they sing an epic make-out duet and get invited as best (wo)men to the weddng of C. & R.)


“Willst Du mit Worten mich von Dir stoßen…”


“…io ducati, e vezzi hai tu.” (not an ideal pick-up line – or is it?)


“Vedrai, carino…”


“Un seul de tes regards…”

19 thoughts on “Garancas Aren’t The Only Fruit: Encore”

  1. Did you stay up all night doing this? Its absolutely brilliant, especially the clue to Il Trovatore. I did get a few, but you did throw a few curves I didn’t see coming: that’s how women are, I guess!


    1. I had to put in a few more challenging ones, we’ve got readers who know the entire repertory by heart 😉 other than writing, this doesn’t take all night. It was fun!


  2. Love the pictures! I didn’t see the production but it looks kind of boring to be honest…
    Turning to another Sesto: I saw Kasarova in Leipzig on Saturday! She looked super super gorgeous and sounded absolutely fantastic. The audience loved her and she seemed to have a really good connection with the orchestra. And guess what? I got to talk to her after the concert when she signed stuff, we talked about the masterclass last year which I attended, I thanked her for all the things I learned and she wished me all the best.


    1. Yes, thank you for this account! It’s somewhat reassuring since I had a very vivid dream last night that Kasarova was dead. There was a full spread in the newspaper which ought to have alerted me I was dreaming since in reality I doubt there would even be a tiny paragraph. Then I went to this blog which was full of condoleances. I thought of how good it was I went to Bergen to see her since I would never get another chance, and how sad it was that there would be no Rosenkavalier revival. I woke up all disoriented and intending to tell my girlfriend the sad news.


      1. now there’s a scary thought! And a sad truth about that tiny paragraph. Well, this blog would be in mourning like a widow, or rather a court in loss of its Empress (we have the wonderful German term “Hoftrauer” for it, which usually meant the cease of all operatic activity for weeks or even months) but I hope that will not happen for quite a few decades yet. There are still Rosenkavaliers and Ebolis and Masterclasses to come – there have to be!


        1. “hoftrauer” – ah, that must be the Swedish “landssorg”, that is, when the whole country is in mourning (for example after the death of royalty). Though I guess the German word has something to do with “court” not “country”? Either way, that’s definitely what would happen to the white shirt community!


          1. yes, it’s court, not country – “landssorg” is a beautiful term and would then apply to the Kasarovian Republic!


      2. i’m impressed by the imagination and details of your dream! i guess it’s good influence that VK is even in it ;-), perhaps a bit influenced by her last Romeo scene? she’s after all very good at making us blurring between the character and real-life person!


    2. congrats, Laura! – and I imagine that Kasarova and the Gewandhaus would go very well together, with the focus on intense musicality. Glad to hear that everyone seemed to love it!


  3. Oh, and for completeness’ sake, here the quote sources in order:

    Figaro – Barbiere di Siviglia (Rossini)
    Canio – I Pagliacci (Leoncavallo)
    Manrico – Il trovatore (Verdi)
    Brünnhilde – Die Walküre (Wagner)
    Cavaradossi – Tosca (Puccini)
    Rhadamès – Aida (Verdi)
    Alcina – Alcina (Handel)
    Rodolfo – La Bohème (Puccini)
    Turridù – Cavalleria rusticana (MAscagni)
    Don Carlo – Don Carlo (Italian version) (Verdi)
    Eboli – Don Carlos (French version) (Verdi)
    Octavian – Der Rosenkavalier (Strauss)
    Dulcamara – L’Elisir d’amore (Donizetti)
    Zerlina – Don Giovanni (Mozart)
    Eurydice – Orphée (Gluck, Berlioz version)


    1. wow, I didn’t know that had happened!
      It seems being poofy and dusty and a little pompous as a production gets you (almost) all the first-class mezzo action…


        1. …and let’s not forget that Troyanos/Graham were singing it at some point, too. Hm, seems that keeping the old Dusty McPompous in the repertory DOES serve a mezzo purpose!


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