128 thoughts on “TADW 17/18 season announcement RIGHT NOW”

  1. okay, they started 50 minutes ago and are nearly done and it is NOT YET on the webpage and I feel deprived and why was I not alerted.

    Like

    1. Dantone Cesare (but with whoooooom???)
      Jacobs Leonora with Peterson
      Antonini with Dasch Fidelio/Leonore
      Egmont with Equilbey half-scenically
      Armide Haydn
      Radamisto Handel
      PETIBON WILL BE THERE. with Schuldigkeit des ersten Gebots Mozart.

      Like

  2. Kammeroper doing:
    Porpora Arianna (Yay!)
    Don Pasquale in a re-imagined musical version
    Pelléas (also musically ‘reduced’)
    Così fan tutte

    Like

  3. Magic Flute conducted by Jacobs, with Karthäuser Pamina, staged by Torsten Fischer.
    Wozzeck staged by Carsen (this might be wild), with Lindstrom und Boesch.
    Gürbaca (Yay) blocking three productions with doing the Ring as a trilogy. Schönberg Choir included.
    Donizetti Maria Stuarda staged by Loy; revisting this year’s Elisabetta take: Reinhardt, Deshorties, and Petersen in the lead.
    Guth staging Saul (Handel Oratorio II) with Prohaska and Boesch… I am underwhelmed. BUT Cummings directing Freiburger Barock and Schönberg Choir
    Midsummer Night’s Dream with Mehta and Fritsch staged by Michieletto.

    Like

    1. ja, also another CT in there i saw… i’ll refrain from making more comment about them perhaps…

      Magic Flute, also with Schönberg Choir! and Jacobs, and the orchestra. super attractive!

      also saw Petibon, with more CTs… but with Bardon.

      Liked by 2 people

        1. i was so angry at that sigh of overwhelming CT counts.. but i’ll breath and calm down perhaps.. this is a good time no? didn’t i plan to escape for C.Rice’s Penelope around the same time?

          Like

          1. 24.01 – it would be great to catch that one together. If they want to add in more Greek: Nesi could take over for either of the two CTs. The other one for Theodora Baka: all set. They should ask us!

            and I am not calming down, I just combusted on Twitter. because there should be a BALANCE between CTS and mezzos, and best would be also between male and female roles. Cencic makes a great scheming seconda donna, Hallenberg makes a fantastic primo uomo (and sorry, but NO CT has her overtone spectrum) – why not go for this? Why not have a mezzo Radamisto next to a CT secondo uomo?!

            Mot of all: HOW CAN YOU HAVE HALLENBERG AND DO THE ZINGARELLI AND NOT SLATE HER FOR ROMEO. Have you ever even looked at this part. DOES. NOT. COMPUTE.

            Like

  4. reading teh annoucement for the Zingarelli Giulietta e Romeo:
    me, literally screaming “YES!!!”, the one seocnd later “NO!!”

    Like

  5. Handel “Radamisto”, wrongly advertised with Petibon while it has in fact Patricia Bardon:
    CisHet lead casting strikes again.

    Like

  6. Haydn Armida: Zorzi Giustiniani and Walker were fantastic in the recent Ulisee, so YES, plus it is Jacbos, so I’m in.

    Like

  7. So, Handel Ottone with Petrou, run by Cencic.
    CisCasting strikes again in the two male leads, but HALLENBERG and also POMO d’ORO, so count on me. And it’s not that I dislike Cencic, but I’m gay and if ALL the male leads in this repertory are sung by guys, where do my mezzos sleep, under the bridge? And where does my heart sleep, because my feeling of home is a mezzo male lead.

    Like

  8. okay, is there one Baroque/Belcanto male lead this season in the concert versions that Cencic, bless his heart, does NOT sing?!

    Like

  9. So,. The Zingarelli, or Ho To F*ck Up a Perfectly Queer Evening thorugh Ciscasting. Couldn’t they at least swap parts? That would be 100x more interesting, plus I would prefer Hallenberg to take on the Crescentini vocal line work. Cencic is a good singer, but against Hallenberg? Come ON.

    Like

  10. and the Handel Scipione:
    Double male lead cis-casting yet again. It is getting really old really fast.
    (but if course, there is Papatanasiu as the leading lady, so, yes, I will be there)

    Like

        1. well, other than being Greek, she is also an interesting and skilled voice in that repertory which I hope counts for some at least when it comes to casting.

          (ah well, I am just positviely elated I’ll get to listen to her with more Handel. I am canceling all conferences and travels, should there be any. Priorities, people!)

          Liked by 2 people

          1. i don’t understand her workload yet next season.. but very happy to see Händel!! that’s really nice! maybe she did read our glowing comments on her singing Händel 😉 . Next up: perhaps more try-out with Monteverdi! 😀 , with her Greek colleagues, we’re fine with it, bring the whole band!

            Liked by 1 person

          2. yep. we’d be there, cheering and leaving our money at the ticket booth.

            (and, well, if I recall correctly, *someone* made an appearance in a personal ‘statistical work fiction’?)

            Liked by 1 person

          3. you know what i/we majorily need now: an announcement next season of Alcina (anywhere affordable) with MP in title role and C.Rice as Ruggiero. that’ll change all our moods. (Or M.Ernman! but i really like C.Rice *a lot* in that role, and her fine thin moustache 🙂 ).

            Liked by 1 person

          4. God yes, I’d take that. Or be taken by that (I don’t promote unflexible power hierarchies)

            I was so looking forward to the season announcement and now it’s sort of… Meeh. And the Dantone Cesare was apparently a slip-up?

            Like

          5. i guess the mezzos and contraltos are now organizing their own shows with their own mezzo-friendly conductors somewhere.. and soon perform on the sidewalks..

            in any case, breath Anik, i was already angry since yesterday’s announcement.. this is nothing new.. it has been like that over here in the US since 2011, when DtO first was fuming and i thought she was over-reacting a bit..

            just pathetic.

            in any case. i bid you a breathable afternoon.. bedtime here, as i finally managed to get the Bering Sea to behave.

            Like

          6. good night to you and the Bering Sea!

            I am still pondering the social influence of the bigger picture against individual decisions, and I completely agree with DtO.
            The infrastructure of Early Music is also male-dominated, so let’s see where we can eave our money with inclusive projects, and with managements who employ with a more mezzo-friendly ear.

            Like

          7. an Ernman/MP “Alcina”? – that would be an epic clash of stage energies, in the best possible sense.

            Like

    1. omg, Anik, i’m crying of joy, can’t not wait. this is what we’ll hear her sing. I don’t know if you know the piece? am deciding to explore.. ahhh, i can’t wait to hear her phrasing. woaaaah.

      7 – Aria Berenice
      Un caro amante
      Gentil costante,
      mi diede Amor,
      e un empio fato
      me ‘l tolse allor
      che amante amato
      venia fedele
      in braccio a me.

      Liked by 1 person

      1. omg, more magic ~min 41.40. they better not cut any of her arias.. i counted something like 6 or 7! and this 2nd one, full of recit and realllllly descriptive singing, voice + viola da gamba + harpsichord.. and if my hearing is somewhere vaguely correct (?), it sounds like aria of Cleopatre! *pinging* ..

        Liked by 1 person

          1. did you say PINING.

            (…will call Agathe beforehand about Barcellona cutouts to bring along. Or Mingardo. Or Nesi.)

            Liked by 1 person

        1. they better not cut any of her singing.

          we are so deprived this year, we need every line we can get by early 2018. 😉

          Like

          1. };->

            (it’s one thing if on two or three out of ten Baroque nights, you get the same lead (which you already saw in at least two leads the previous season). it’s another if you get them in five.)

            Like

  11. Okay, just for statistics: we have four operas in the castrato repertory (Ottone, Scipione, Radamisto (all three by Handel) and Zingarelli’s Giulietta e Romeo).

    OTTONE:
    2 high-voices male leads, both cis-cast with countertenors (Cencic, Xabata)
    entire remaining line-up: cis-cast

    GIULIETTA E ROMEO:
    of the so far announced 3 high-voiced leads:
    2 high-voiced male leads, both cis-cast with countertenors (Cencic, Xabata)
    1 female lead: cis-cast with Hallenberg, who would likely ace the Crescentini role of Romeo.
    entire annouced cast: cis-cast.

    RADAMISTO:
    1 high-voiced male lead (who, in the 1720 premiere version, was written for a female singer): cis-cast with a countertenor (Mena)
    2 secondary high-voiced male parts, 1 still n.n., 1 (the tiniest one, which is btw the only one that was written for a male singer in the world premiere) cast with soprano Valérie Vincent
    2 leading ladies: cis-cast (Karthäuser, Bardon)
    remaining cast, as far as announced: cis-cast

    Publio Cornelio SCIPIONE:
    2 high-voiced male leads: cis-cast with countertenors (Xabata, Mynenko)
    2 leading ladies: cis-cast (Papatanasiu, .
    Entire cast (one tenor still missing – feel free to surprise me, TADW): cis-cast

    let me summarize this as a queer academic: This is not was diversity in narration looks like. This is a constant performative re-institutionalization of cis-patriarchy, be it gay or straight, and this is a whole lot of missed chances.

    Addendum 2 horus later – added to the bill:

    GIULIO CESARE
    2 high-voiced male leads: cis-cast with 2 countertenors (Zanno, Mineccia)
    1 high-voiced secondary male in a part generally cast as pageboy-trouser role: crosscast (Boulianne)
    2 high-voiced female leads: cis-cast (Galou, Baráth)

    nope, this does not improve the spectrum by much.

    Like

    1. Yes, totally annoying. And I really would like to know what they base casting decisions on. Is it mostly men who prefer CTs in those parts or women and why? I guess I need to do a little unofficial study in my (straight) surroundings. Because, gender aside, seriously, I can’t name a single part sung even by very good CTs where I couldn’t name a mezzo/contralto take I like more. Combining colours and sensitivity and power the way a mezzo can does not seem possible for CTs, probably for physiological reasons. And if all about masculinity, sorry, voice-wise this point still goes to the mezzos.

      Liked by 1 person

      1. I mean I get that it is a question of being at a turning point of aesthetic value, but it reeks of placing a male cis body above vocal demands and abilities and that just makes it about something else entirely.

        Like

        1. Turning point of aesthetics, maybe, but I guess CTs have substantially contributed to forming those aesthetics? So maybe to a certain degree it was “Oh , how cool, now we can cast those roles with real men, we just have to adapt to the voices”.

          Like

          1. The “we are comfortable with male bodies in male parts” will be the actual reason behind a shift of sound aesthetics that, perhaps, will prize thinner overtone ranges or a slimmer tone production. CT asethetics in itself have already changed so much from the white English-tradition voices of. The70s/80s, to the more senusal, sweet timbres of a Jaroussky or Sabadus, to then the more dramatic, operatic voices – stating probably with Daniels, and including singers such as Mehta, Cencic, to a lesser degree Zazzo, all the way to Fagioli. And it is the invented narrative of “this is what castrati sounded like”, or “this is the closest thing to castrati we have today” because if you look at the sources, that is a NO on both cases. Castrati were precisely there to replace “countertenor” voices, and the only interchange in between parts did not happen between castrati and CTs, but between castrati and mezzos. So how the history is positioned today, it’s fabricated to cover up a discomfort with cross-gender casting that is, if you want to be traditional, much closer to that, and that also fits more easily into an established sound aesthetic (rounded, voluminous sound, no high-pressure tone production…)

            >

            Liked by 1 person

          2. Yes, interesting, and that narrative of CTs being the historically correct choice is very strong, I’ve often read reviews, mostly non-professional but professional as well, where recordings without CTs were accused of being outdated because „not historically informed“.
            Regarding peoples discomfort, I don’t really get why a man with a high, female-ranged voice should seem less queer than a woman in trousers (although I think it is more stuff like beards some people can’t cope with, hence the pageboy aesthetics).

            Like

          3. of course I’d be the first one to say that a high voice isn’t necessarily feminine, and that it historically has not always been linked. but the “this is more authentic” argument drives me absolutely nuts.

            Like

  12. a bit related perhaps.. i was searching for new sched and came across this quite pleasant casting lineup for Poppea, not with singers we know, but still, the line up, i’d have loved to hear! It seems in the future that might happen more often that we have to find hidden events away from these main houses..

    Liked by 1 person

        1. it is a development thing, now that they are hired everywhere the mezzo development will be pushed into the back. a generation going backward, compared to the late 90’s and 2000’s where you could see the wave of strong mezzos whose performances we have been loveblogging on… so i really see it as damage in much longer term

          Like

          1. “loveblogging” 😀 ❤
            I still don't get who makes these decisions and why, it seems a bit of a hype thing. But such a development can also just as well change again, we might just have to be a bit patient and hope they don't proceed taking over Mozart, Bellini, Rossini…(Fagioli is already singing Rossini). Maybe this hype also has to do with CTs (as a voice form) having a bit of a male gay touch and that is regarded as arty and stylish by many?

            Like

          2. CTs being read as a queer chiffre, too, deifnitely has to do with queer (male) opera audiences responding to them, and probably also queer-male casting departments prefering them at times?

            Cencic is singing Malcolm next season… hold onto your kilts (or, as it were, DB’s kilts).

            Like

          3. Rossini, btw, written expressively for the lower female voice range with ties into chest register. Which doesn’t mean that you always have to cast it that way, but it say something about the vocal demands of a part – however your take on that part (and a lighter approach might work well, or be an interesting new perspective).

            Like

          4. Yes, a bit of variety including lighter approaches is not bad, still I think in repertoire written for women there have to be really good reasons to justify CT casting, like a rare, exceptional talent, and Fagioli may be just that. And that’s fine (I would probably go to hear him having the chance), but it could also bear the danger, that, once this repertoire is mastered by some, it gets acknowledged as CT repertoire, also sung by others who don’t excel in talent but have the “right” body.

            Like

          5. but that’s the point, isn’t it? A variety of interpretations within the same range of musical quality – and a thinner, sharper sound with less carrying projection is in many cases a downside, on any singer – should be happening,
            I love the work of Jaroussky (though I don’t like him on the opera stage that much) or Dumaux or Fagioli. But if that repertory than gets taken over by candidates just as male, but not as good vocally only by virtue of their maleness, it annoys me. Especially if that is about 95% of what’s out there next seaon.

            Liked by 1 person

        2. Great opportunity for Chenez, who keeps posting photos of his Nutrice gigs… But again, on a systematic scale, this is another worrisome drop to the overflowing glass – it’s like the cute imported ladybug erasing the cute homeland ladybug.
          Of course there will always be aesthetic changes, and, yes, there should be the same chances for everyone in that voice range, but this not “widening the field” any longer and casting 50/50 (despite the fact that from a POV of currently established sound aesthetics, CT voices have, as Agathe pointed out, generally less overtone resonance and projection), this is systematically driving out female singers with a construed, fake narrative of “CTs are closer to the original”. And it is, in my impression, not done for sound reasons, but for reasons of tying representation of masculinity, specifically hegemonic masculinity, to (cis) male bodies, without admitting to it.
          And it is tied very closely to established patriarchal structures. CTs are singer trying for jobs (and getting them), but who casts them? Casting departments in the majority are led by men of privilege (beyond the privileged position of maleness per se), who are in turn – and they are generally not gender theorists – continuing to write a history of hegemonic masculinity that adheres to maleness as bestowed by a cis male body, even when a voice is inferior by established standards. And it is not just the casting level – I see it in (mostly male) musicologists, in reviewers, and finally in opera crowds where (again, mostly men, and that specifically includes gay men) a more heteronormative take on masculinity is embraced with relief.
          The voice as writing gender, independent of a body, is cast out, killing a slice of the magic possibilities opera has.

          Liked by 2 people

          1. a bit related, i have been thinking about the in-equality of hiring. They removed this in orchestras by having blind auditions. I was first thinking if it’s blind audition for voices the mezzos would get a strong show of hiring.. but then i thought again, because, as we can all hear, the CT’s sound can easily be identified, such that the “based on talent” criterion can be twisted based on how this is re-defined (e.g., our criteria are that we want slender voice, less overtone resonance, it is now the “standard” because it’s more authentic, blah blah…). In the end, it is still a competition where the female workforce is being discriminated for whatever reasons they can cook up to justify their believes/actions.

            i’m seeing this as a loss of a whole generation due to systematic suppression.

            Liked by 1 person

          2. RE blinded auditions: This could work out with some rare Mezzo voices like Stutzmann or Mijanovic who go for the same sound aesthetic, would be fun to get them into a blinded “competition”…. I have repeatedly been fooled from listening only, thinking “Wow, what a great CT” with them.

            Like

          3. yes – and that is exactly the point where you can se the aesthetic change take hold, when in female voice, the same paramters are suddenly prized: Mijanovic is a perfect example there, in how she was educated and also in that she then got a break in this repertory. Of course, she still has the advantage of lower-register tie-in and a richer overtone spectrum, but the overall timbre? Very CT.

            Like

          4. i was looking at the dates.. possibly i’d come for 3 performances, so the 2nd week would make sense for me b/c i can make the whole trip within 1 week covering the last 3. But i’d wait until more houses releasing their sched in case i can catch MP elsewhere around the same time and / or combine trip 🙂 . there’s also the annoying annual very important conference taking place during first week of Nov.. will see if i can find excuse to avoid going there…

            Like

          5. Good plan – there are a few singer schedules to be checked first! I’m still waiting to see when my intense-lecture month will be. I depend on a colleague with higher faculty standing who likes to make date choices not based on class content, but on the chance for diva entrances.

            >

            Like

          6. That would be super nice if we could all catch it together. So you two just figure out your schedules first, I’m relatively flexible reg. dates.

            Like

          7. (ps- a tiny bit unrelated, but dropping a message for Agathe, because now you have mplayer: in the case you need to capture rai radio3 when Barcellona or Prina are singing, (or in this case Mingardo & Galou 🙂 ), you get the direct link (below), then syntax :
            mplayer -dumpstream http://icestreaming.rai.it/3.mp3 , and that dumps a file calls streamdump on your computer, then you rename it to whatever.mp3 )

            Liked by 1 person

          8. (coming back to this. if i can come, i ‘ll try to make it the front end of the trip.. we now will have a very big meeting in Los Angeles 6-8/Nov . Why do they always set up meetings at these times… argh.)

            Like

          9. Would be so cool if you could make it!
            And, thematically not connected, but since you are the right person to rant about it with: I just got hopefully excited about seeing an announcement of Bicket and The English Concert doing Rinaldo in 2018, then saw he has cast a CT as Rinaldo, grr:*?-x!- 😦 why, why?

            Like

          10. ja, i tell you, i simply dont understand any more how the connection works and whether these PR machines for the CTs are shoving their ways … or these conductors whether they are aware that they are also squeezing out the mezzos/contraltos.

            Like

          11. male PR, male networks, male (and queer-male) directed venues preferring gender normativity for easier marketing…

            Liked by 1 person

          12. Just listening to „Dover, Giusticia“, maybe Bicket was annoyed at the way SP is taking over the band here, like just taking a deeeep breath as she likes, slowing down the the continuo in mid-air. I don’t think many CTs can bring up that much power in this.

            Liked by 1 person

          13. darn it, that’s in the middle of teaching season. But otherwise: yes, Hamburg it is!
            (Luks helmed the recent touring Arsnoozilda which I still need to heck out more closely musically, but which scenically was a bore AND LOOKED STRAIGHT which is crazy given the libretto and all its subtexts)

            Like

          14. yes, it is beginning to look like that. And that’s exactly what I meant with aesthetic changes happening to justify non-artisitc casting choices!

            Again, I don’t blame CTs for wanting jobs and going after them, I blame a system who favors them on claims of “originality” that are simply untrue (though we know the actual favoring is likely cis bodies…) – if we had a 50/50 split now, fine. But the overwhelming majority of CTs compared to mezzos is worrisome.

            Like

        3. i wouldn’t say “sneaking”, they’re specifically sought out. the various music schools i’ve seen here in the US, they’re being developed at all levels . So are the mezzos. except for the in-equivalence when it comes to preference in casting.

          Like

          1. …it rmeinds me of something Geyer said in his presentaiton, an offhanded comment on how the opera studio is supposed to be 6 voices, soprano-mezzo-tenor-baritone-bass-counter… In the current reiteration, the studio has 2 sopranos and no counter, altos, for whom there is little opera reptertory out of early music, don’t even make the cut.
            It’s great that CTs are accepted as just another fach, but of course their job opportunities impact on other singers (which, again, if it were BALANCED somehow, but it isn’t)

            Like

  13. Teatro Real’s season announcement is now out, a great program again, and including Petibon in Lucio Silla, DiDonato in Dead man walking, Barcellona in Aida. But no MP, ACC, Mingardo as far as I could see on my first quick glimpse.

    Like

    1. furthermore, a concert Devereux with Alice Coote as Sara. Yes please.

      and while I don’t care much about MEyerberr#s Africaine, I care about anything staged by Kratzer. Also: SPYRES! And Claudia Mahnke!

      Like

      1. though if we look at the set-up for next season’s Baroque production (Handel’s Rinaldo):
        you had ONE JOB, Frankfurt. *sigh*

        (…that job being to hire Prina or else for this 😉 )

        Like

        1. WHY, WHY, Prina has sung in Frankfurt before and was apparently the audience’s favourite (of course that had to happen shortly after I left) so why go for the CT, I don’t get it.

          Like

          1. Yes, seems the Devereux is a concert performance.
            But L’Africaine sounds really good as well, I’d love to hear Spyres live in this (his YT clips of Hugenots are soo good) and especially if the staging can be expected to be interesting.

            Like

          2. I have no idea about this opera but would love to hear Mahnke! I’m still trying to figure out whether I have heard her in Frankfurt before, unfortunately I can’t remember.

            Like

          3. she made some waves as Fricka and Brangäne in recent years, and she has been doing several guest stints in Frankfurt, but I’ll always remember her as Awkward Oberto from THE Alcina.

            Like

          4. “heart-stopping trouser mezzos who go Fricka/soprano in the end”: I think I wrote the monograph on that one. 😉

            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