Sì, cor mio. Or something much like that.

Bildschirmfoto 2016-04-07 um 10.29.03.png

[“After a season or more of absence, the following singers will appear again at Wiener Staatsoper for the 16/17 season.” – Oh, look! It’s screaming fangirl Bingo! (although for some of them, I’d wander across the square to TADW where I can keep my eyes open.]

While Theater an der Wien still has not revealed their 16/17 season line-up (I will likely be flailing for days on end in excitement when that finally happens), the Wiener Warhorse Opera has deigned itself to annouce the new productions for 2016/17.

And some returning all-stars. *bites fist*

Bildschirmfoto 2016-04-07 um 10.40.52.png

So… Minkowski conducting “Armide”, YES PLEASE.
(Can we have Gaëlle Arquez in pants and sneakers again? Ah, I forgot. That only happens across the street.)

“Falstaff” for Gianattanasio and Lemieux, probably.

Keenlyside? Yay!

(stagings: oh look! It’s the Underwhelmed Fangirl Bingo!)

But back to Screaming Fangirl Bingo:

Bildschirmfoto 2016-04-07 um 10.45.01.png

#UrgentlyPagingDrT
#bookyourflights

Also of interest: Westbroek in “Lady Macbeth of Mzensk” (April ’17) and possibly “Fanciulla del West” (November ’16) at which I would squint imagining a Wagner Western with a gunslinger Valkyrie.
Pieczonka in Jan/Feb ’17 for two Toscas (couldn’t it have been something like the Kaiserin?!). Around the same date: Iris Vermillion as Herodias (though whom am I kidding, I’d go to an evening called “Vermillion reads the Vienna phone book”) and Marlis Petersen in the Massenet “Manon” in November ’16 (why are the smart sopranos tempting me into “Manon” at the moment? Universe, what are you trying to tell me?!) and the Reimann “Medea” in April 17 (God YES please).

Also, why is this a soprano list? Do I need to admit myself to a certain hillside place?

(Kate Lindsey as Cherubino (spring ’17). kind-of-mezzo: Waltraud Meier als Klytämnestra in “Elektra” , June ’17, but why couldn’t it have been the Chéreau? OTHER Staatsopern manage that)

12 thoughts on “Sì, cor mio. Or something much like that.”

  1. here, let me migrate my subtle reply over here…
    🙂 🙂 🙂 !!!!
    That’s a *very* difficult time because it’s always proposal deadline PLUS big meeting.. but let me go check when those deadlines are for this year, because I *want* to see this live!
    (ok, deadline 18/Oct/2016, and meeting is planned for 1/Nov/2016: would you *just* look at that, the god is finally smiling at me 😀 😀 )

    Like

      1. Sounds very nice, but then, the finances…(has the cheap flights era come to en end I wonder?). But I’ll still think about it.
        MP as Rusalka: When you mentioned that I directly thought that this should fit her voice perfectly and just listening to it, yes, it’s great, comes near my favourite Rusalka of A. Netrebko (she may be a commercialized superstar but I still really like her timbre)

        Like

      1. ps- i give up, after hearing lots and lots of Hamlet, and now on and on about Traviata.. but i heard orchestra insula? and some mentions of Händel, best to wait for your summary 🙂 (back to MP’s Rusalka, quite fascinating..)

        Like

      2. yes, very very fascinating is the right word! just done watching/listening the 2nd round, after i found out what the story is about 🙂 . i didn’t know the work at all (only have heard the title and 2 phrases from VK’s masterclass some 5 yrs ago..) but there was something about the clip of MP on tube that got me very curious: combination of interesting set of dark lonely street and the “edge” of her voice that gives a window into the inner vulnerability to the character (who i also didn’t know anything about). In any case, after 1st round i read up the staging + the backstory (the mermaid!) and the re-watch was even much more fascinating. Indeed it’s the sort of staging (and acting) that gets you to crank your brain thinking about the character and seeing perspectives. And i have to say i’m very impressed with her phrasing of the music as well as the conducting – at least this version since i haven’t heard yet any other take. The range is quite deep for sopranos i find and was already very *enjoying* her low notes at the end of “se viver non degg’io”, so here i thought it was really at her strength.. Her takes on the high notes are quite interesting though: in that sometimes when taken “soft” ascending it sounds truly fantastic (and very moving) and yet at other times (when loud) quite strained.. would be very curious to hear live!

        speaking of “live”, her acting in Rusalka got me thinking about the same arm movements in the Alcina clip: that i’m not sure the arm angles are always as “natural”.. but i think it will depend on how her Ruggiero can “absorb” the angles and reflect back 🙂 . Those same arm angles apparently work just fine for Sifare on the other hand!

        Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s