# Sondra Radvanovsky's Met Future



## Seattleoperafan (Mar 24, 2013)

Sondra Radvanovsky’s Met Future TBD Per New Report - OperaWire


After the Metropolitan Opera's opening night, Sondra Radvanvsky has no other contracts with the company.In an interview with the AP, General Manager Peter Gelb revealed that there are no contracts currently for the soprano. However, he said that after opening night, "he would be meeting with her...




operawire.com


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## Woodduck (Mar 17, 2014)

I do hope she'll be on future broadcasts. The last time I heard her - as a Donizetti queen, I believe - her voice was still in excellent shape (she's 53), and she's one of the few decent Verdi singers around.


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## BBSVK (10 mo ago)

I no expert on voices, but it seems to me, she is now trying to walk in the footsteps of Callas, by taking the role of Medea. It seems weird to get rid of her at this point.


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## Tsaraslondon (Nov 7, 2013)

Of course Callas herself had a less than harmonious relationship with the Met and its then intendant, Rudolf Bing. She appeared in only two seasons in 1956 and 1958, returning in 1965 for two performances of *Tosca. *Admittedly she was supposed to return in 1959, but he sacked her for refusing to accept his crazy schedule which required her to alternate performances of roles so disparate as Lady Macbeth and Violetta.


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## nina foresti (Mar 11, 2014)

As usual Peter Gelb has tripped over his own feet. He only had eyes for Netrebko to fill his seats and now he will have to get down on his knees and give Sondra her deserved due. 
Maybe there is a Minnie in her future? He'd better hurry!


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## SanAntone (May 10, 2020)

Of the two, Sondra Radvanovsky is still a good singer/actress whereas Netrebko is very much past her prime.


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## Seattleoperafan (Mar 24, 2013)

Radvanovsky and Goerke are the only two sopranos today I would get excited to hear. I did hear Goerke as Norma years ago but before her voice really got big. Her high D in the trio was jaw dropping, though. You would have to pay ME to hear Netrebko today, although she was delight 25 years ago.


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## BBSVK (10 mo ago)

Seattleoperafan said:


> Netrebko ... she was delight 25 years ago.


My teacher of operatic history hates even the records with young Netrebko. He says she did not sing the things as written or as expected. All his explanations were wasted on me, I did not hear it in the singing. Maybe it was about non- recognizable individual notes within the legato ? Who knows.


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## MAS (Apr 15, 2015)

I think Gelb always preferred more glamorous sounds & looks than Radvanovsky could provide, despite her successes. The Netrebkos, Flemings, Yonchevas and the like.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> I think Gelb always preferred more glamorous sounds & looks than Radvanovsky could provide, despite her successes. The Netrebkos, Flemings, Yonchevas and the like.


I am admittedly a homosexual but I think Sondra is very tall and grand looking onstage. Caballe and Traubel would never have stood a chance with him.


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## BBSVK (10 mo ago)

Seattleoperafan said:


> I am admittedly a homosexual but I think Sondra is very tall and grand looking onstage. Caballe and Traubel would never have stood a chance with him.


I am an an approximately straight woman, but I still prefer good looking divas. It usually makes the story more believable.

(It does not mean that I understand the decisions of the MET director from across the ocean. But I don't understand what's going on in the opera in my town either  Very obscure... )


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## Paw (4 mo ago)

She seems to focus on European side of opera world (yeeees!) Her future engagements are: 11 Oct Aida (Malaga), 22 Oct Medee (Budapest), 16 Nov Recital (Carnegie Hall), 15 Dec-4 Jan Tosca (Zurich), 4-21 Jan Tosca (Barcelona), 8 Jan-13 Apr Tosca (Berlin), 16 Feb-3 Mar Macbeth (Barcelona), 9-18 Mar Mabeth (Naples), 25 Apr-14 May Medee (Athens), 28 Apr-20 May Macbeth (Toronto), 18 Jun-8 Jul Turandot (Zurich), 1 Sep Mabeth (Philadelphia). Good for us, Europeans!


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## MAS (Apr 15, 2015)

Paw said:


> She seems to focus on European side of opera world (yeeees!) Her future engagements are: 11 Oct Aida (Malaga), 22 Oct Medee (Budapest), 16 Nov Recital (Carnegie Hall), 15 Dec-4 Jan Tosca (Zurich), 4-21 Jan Tosca (Barcelona), 8 Jan-13 Apr Tosca (Berlin), 16 Feb-3 Mar Macbeth (Barcelona), 9-18 Mar Mabeth (Naples), 25 Apr-14 May Medee (Athens), 28 Apr-20 May Macbeth (Toronto), 18 Jun-8 Jul Turandot (Zurich), 1 Sep Mabeth (Philadelphia). Good for us, Europeans!


Presumably because those places want to hear and see her!


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## The Conte (May 31, 2015)

BBSVK said:


> My teacher of operatic history hates even the records with young Netrebko. He says she did not sing the things as written or as expected. All his explanations were wasted on me, I did not hear it in the singing. Maybe it was about non- recognizable individual notes within the legato ? Who knows.


Phew! I generally don't like her in anything other than Russian rep. She never had a good sense of bel canto style and I really didn't like that first disc of hers 'Sempre Libera'.

N.


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## Admiral (Dec 27, 2014)

Met Opera has a nice little clip of her Medea. 
Medea will be the Met in HD broadcast on, IIRC, October 22, so mark your calendars.
And she looks GREAT in that dress


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> Radvanovsky and Goerke are the only two sopranos today I would get excited to hear. I did hear Goerke as Norma years ago but before her voice really got big. Her high D in the trio was jaw dropping, though. You would have to pay ME to hear Netrebko today, although she was delight 25 years ago.


Gheorghiu!!


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## Verdilover (4 mo ago)

nina foresti said:


> As usual Peter Gelb has tripped over his own feet. He only had eyes for Netrebko to fill his seats and now he will have to get down on his knees and give Sondra her deserved due.
> Maybe there is a Minnie in her future? He'd better hurry!


I have always felt the same way — I've never understood why Gelb seemed to love Netrebko so much more than Sondra when Sondra is far better. I am baffled by the fact that Netrebko is (or at least was) so much more popular. Now that Netrebko is persona non grata at the Met, I hope Gelb will realize Sondra's value. Only now is he beginning to understand how grievous an error he made in not recognizing Sondra for the amazing artist that she is earlier.


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## Woodduck (Mar 17, 2014)

Verdilover said:


> I have always felt the same way — I've never understood why Gelb seemed to love Netrebko so much more than Sondra when Sondra is far better. I am baffled by the fact that Netrebko is (or at least was) so much more popular. Now that Netrebko is persona non grata at the Met, I hope Gelb will realize Sondra's value. Only now is he beginning to understand how grievous an error he made in not recognizing Sondra for the amazing artist that she is earlier.


Sex appeal.

What else?


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## MAS (Apr 15, 2015)

The Conte said:


> Phew! I generally don't like her in anything other than Russian rep. She never had a good sense of bel canto style and I really didn't like that first disc of hers 'Sempre Libera'.
> 
> N.


She is one singer that needs to be seen to understand her appeal. She is extremely personable and, when younger, beautiful.


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## ColdGenius (9 mo ago)

I've seen her live three times. The first was about ten years ago, it was a charming recital by various singers dedicated to one concertmaster's jubilee. She was among other singers, to the date excessively famous, beloved by TV, already jumping off her heels but before dramatic soprano experiment. She sounded well, showed necessary collaboration with colleagues and was on the top of her Carmen-styled beauty. She sang some romances and a duet from L'elisir.
The second time was Giovanna D'Arco in La Scala, when I had a vacation in Italy. Then she was still alike herself vocally. I have a little to compare in this opera. She isn't Montserrat, of course, but was good enough. And her stage presence means much, she has a certain gift to inspire the audience. 
After that the repertoire extension began. I never considered her as an artist to go, her rare shows in Mariinsky were extremely expensive. Third time was accidental. I had tickets for Don Carlo with Tatiana Serjan as Elisabetta, but the cast was changed a couple weeks before the evening. Semenchuk as Eboli and Markov as Posa remained, Abdrazakov as Felipe joined, Netrebko changed Serjan and closed a tenor gap with her Mr. It wasn't a fair change. I wouldn't mind the former three. But the rest... I wouldn't say it were pretty awful, but why does she need to treat her voice like that, I hope she understands herself.


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## BBSVK (10 mo ago)

ColdGenius said:


> I've seen her live three times. The first was about ten years ago, it was a charming recital by various singers dedicated to one concertmaster's jubilee. She was among other singers, to the date excessively famous, beloved by TV, already jumping off her heels but before dramatic soprano experiment. She sounded well, showed necessary collaboration with colleagues and was on the top of her Carmen-styled beauty. She sang some romances and a duet from L'elisir.
> The second time was Giovanna D'Arco in La Scala, when I had a vacation in Italy. Then she was still alike herself vocally. I have a little to compare in this opera. She isn't Montserrat, of course, but was good enough. And her stage presence means much, she has a certain gift to inspire the audience.
> After that the repertoire extension began. I never considered her as an artist to go, her rare shows in Mariinsky were extremely expensive. Third time was accidental. I had tickets for Don Carlo with Tatiana Serjan as Elisabetta, but the cast was changed a couple weeks before the evening. Semenchuk as Eboli and Markov as Posa remained, Abdrazakov as Felipe joined, Netrebko changed Serjan and closed a tenor gap with her Mr. It wasn't a fair change. I wouldn't mind the former three. But the rest... I wouldn't say it were pretty awful, but why does she need to treat her voice like that, I hope she understands herself.


I have watched her video of I Puritani from MET. That opera is just idiotic as the story. I dimly recollect seeing Gruberova in it and found the character of Elvira really obnoxious. People praise the stage presence of Netrebko, but her charisma was not enough to overcome the absurdity of Elvira either. I am avoiding her ever since, but my reasons are unjust, I guess.


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## ColdGenius (9 mo ago)

BBSVK said:


> I have watched her video of I Puritani from MET. That opera is just idiotic as the story. I dimly recollect seeing Gruberova in it and found the character of Elvira really obnoxious. People praise the stage presence of Netrebko, but her charisma was not enough to overcome the absurdity of Elvira either. I am avoiding her ever since, but my reasons are unjust, I guess.


I'm avoiding this video, at least full, because I've watched Sutherland's one immediately after Netrebko's piece. I know that she sagaciously refused Norma. Generally, I wouldn't mind to watch her live again, but in more appropriate repertoire and for reasonable money.


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## The Conte (May 31, 2015)

If you want to see Netrebko at her best go with her Lyudmila in Ruslan and Lyudmila from '94/'95 or her Tatiana in Eugene Onegin.

She is at her worst in Lucia and Puritani IMO.

I like the drama of her Lady Macbeth and she was a surprsingly witty Norina in Don Pasquale. I tend to avoid her nowadays though.

N.


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## nina foresti (Mar 11, 2014)

Sondra Radvanovsky just made a stupendous hit last evening at the Met Opener with her "Medea". There was whispered talk of positive similarities to "the-one-who-can't-be-mentioned!"


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Sondra Radvanovsky just made a stupendous hit last evening at the Met Opener with her "Medea". There was whispered talk of positive similarities to "the-one-who-can't-be-mentioned!"


I don't think many have taken it on due to the benchmark set by Callas. It is a role Sondra could get her teeth in I think. I am happy for her success.


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## BBSVK (10 mo ago)

ColdGenius said:


> I know that she sagaciously refused Norma.


That is a virtue, isn't it ? Fleming refused it too. It is better not to sing it, if the singer is not ready.


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## Woodduck (Mar 17, 2014)

nina foresti said:


> Sondra Radvanovsky just made a stupendous hit last evening at the Met Opener with her "Medea". There was whispered talk of positive similarities to "the-one-who-can't-be-mentioned!"


Is she singing the same edition Callas sang - in Italian, with recitatives by Lachner?


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## MAS (Apr 15, 2015)

Woodduck said:


> Is she singing the same edition Callas sang - in Italian, with recitatives by Lachner?


From the snippets on YouTube, it seems like it.


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## nina foresti (Mar 11, 2014)

MAS said:


> From the snippets on YouTube, it seems like it.


Exactly.


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## Woodduck (Mar 17, 2014)

From the Met's web site: "The opera is set in the Greek city of Corinth, a wealthy and sophisticated locale already ancient by the time of the events in the opera. Medea herself is a foreigner from *Colchis, a land thought by Greeks to be wealthy but primitive and which was associated with overly empowered women.*"

That last sentence cracked me up. Does anyone have any relevant knowledge or insights? Who were those women? It reminds me of my conservative brother talking about Kamala Harris and Nancy Pelosi.


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## ColdGenius (9 mo ago)

Woodduck said:


> From the Met's web site: "The opera is set in the Greek city of Corinth, a wealthy and sophisticated locale already ancient by the time of the events in the opera. Medea herself is a foreigner from *Colchis, a land thought by Greeks to be wealthy but primitive and which was associated with overly empowered women.*"
> 
> That last sentence cracked me up. Does anyone have any relevant knowledge or insights? Who were those women? It reminds me of my conservative brother talking about Kamala Harris and Nancy Pelosi.


They might think of queen Tamara, but were wrong for a couple thousand years.


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## The Conte (May 31, 2015)

ColdGenius said:


> They might think of queen Tamara, but were wrong for a couple thousand years.


It sounds like a mangling of stereotypes around Georgian women. I'm left wondering 'who writes this stuff?' - What does overly empowered even mean?

N.


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## Woodduck (Mar 17, 2014)

The Conte said:


> It sounds like a mangling of stereotypes around Georgian women. I'm left wondering 'who writes this stuff?' - What does overly empowered even mean?
> 
> N.


I wonder that about much of what I read.


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## Op.123 (Mar 25, 2013)

Radvanovsky has never been a favourite but I've never hated her either. That said, after seeing some clips of her Medea on YouTube... it's truly horrible. In fairness, it's an exceptionally difficult role and few have sung it well, and only one has sung it masterfully, but Radvanovsky's voice is uncentered and unclear in the middle and practically inaudible at the bottom. How can anyone think to sing Medea without chest voice? Hard pass on this one.


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## Woodduck (Mar 17, 2014)

Op.123 said:


> Radvanovsky has never been a favourite but I've never hated her either. That said, after seeing some clips of her Medea on YouTube... it's truly horrible. In fairness, it's an exceptionally difficult role and few have sung it well, and only one has sung it masterfully, but Radvanovsky's voice is uncentered and unclear in the middle and practically inaudible at the bottom. How can anyone think to sing Medea without chest voice? Hard pass on this one.


Uh oh.... I guess I need to check this out. 

(20 minutes later)
Done. You're right about the condition of the voice. "Uncentered and unclear" decribes it well. Line and expression suffer. I might say "mediocre and disappointing" rather than "truly horrible," but in this role the difference is probably academic. She's musically intelligent, and so we can hear the unrealized intention. Too bad. She's aging.

I wonder why the Met chose Matthew Polenzani for Giasone. He's a good Mozart tenor, but sounds wimpy in this opera.
Well, I hope the staging is effective.


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## ColdGenius (9 mo ago)

nina foresti said:


> Exactly.


Have you been there?


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> Radvanovsky has never been a favourite but I've never hated her either. That said, after seeing some clips of her Medea on YouTube... it's truly horrible. In fairness, it's an exceptionally difficult role and few have sung it well, and only one has sung it masterfully, but Radvanovsky's voice is uncentered and unclear in the middle and practically inaudible at the bottom. How can anyone think to sing Medea without chest voice? Hard pass on this one.


Is this a description of her voice in general or just now in your opinion? I've really enjoyed some of her stuff from past years but I may look for something different than you. Her glory has been her gigantic top voice but this role if I remember is centered a bit lower. Callas had a huge success with this even late in her career when her top notes weren't her glory anymore.


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## Op.123 (Mar 25, 2013)

Seattleoperafan said:


> Is this a description of her voice in general or just now in your opinion? I've really enjoyed some of her stuff from past years but I may look for something different than you. Her glory has been her gigantic top voice but this role if I remember is centered a bit lower. Callas had a huge success with this even late in her career when her top notes weren't her glory anymore.


She's never had a perfect technique but I've heard her sound a great deal better than in those Medea clips. I don't think she's ever had much of a bottom register but that's just the standard these days.


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## Verdilover (4 mo ago)

Woodduck said:


> Uh oh.... I guess I need to check this out.
> 
> (20 minutes later)
> Done. You're right about the condition of the voice. "Uncentered and unclear" decribes it well. Line and expression suffer. I might say "mediocre and disappointing" rather than "truly horrible," but in this role the difference is probably academic. She's musically intelligent, and so we can hear the unrealized intention. Too bad. She's aging.
> ...


While I still think she sounds good as Medea, I do agree that there are several noticeable problems.

We also have to remember that this isn't exactly her strong suit. Give her Aida, Leonora, Amelia, Tosca, Elvira, Norma, the Three Queens, etc. and she is amazing. I saw her in Tosca at the Met in December, and she was divine. She has a precedent of incredible performances and absolutely superb singing. I've seen some people say that recordings don't capture her voice well. I've only seen her once, so I can't say that with certainty, but I believe it. She probably sounded at least slightly better than this in person.

Also, like you said, she's aging. She's 53. There have been few sopranos who still sound amazing at that age. Even Callas (famously) didn't. When I think of sopranos who sounded truly exquisite at that age, only two come to mind: Leontyne Price and Joan Sutherland.


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## Woodduck (Mar 17, 2014)

Verdilover said:


> While I still think she sounds good as Medea, I do agree that there are several noticeable problems.
> 
> We also have to remember that this isn't exactly her strong suit. Give her Aida, Leonora, Amelia, Tosca, Elvira, Norma, the Three Queens, etc. and she is amazing. I saw her in Tosca at the Met in December, and she was divine. She has a precedent of incredible performances and absolutely superb singing. I've seen some people say that recordings don't capture her voice well. I've only seen her once, so I can't say that with certainty, but I believe it. She probably sounded at least slightly better than this in person.
> 
> Also, like you said, she's aging. She's 53. There have been few sopranos who still sound amazing at that age. Even Callas (famously) didn't. When I think of sopranos who sounded truly exquisite at that age, only two come to mind: Leontyne Price and Joan Sutherland.


Well, I do wish her the best. Somebody needs to be able to manage Verdi and Donizetti tolerably well while we're waiting for the next Golden Age.


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## Seattleoperafan (Mar 24, 2013)

I inherited a pristine LP of Farrell doing it. Callas of course is peerless, but Farrell is on fire, sings with great beauty and is very effective in the role. Her voice is like a volcano at times. It really requires a real dramatic soprano to do the part justice. It is like Norma without the coloratura. There is a lot of beautiful music in it and that "De tuoi figli" ( sp?) that Medea sings early on is so beautifully written- I could listen to it over and over. Farrell handles the low passages well, though I am sure Callas takes them to another level. You must be secure down low for maximum impact in this role I think. It just doesn't appear to be done much at all after Maria sang it.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> I inherited a pristine LP of Farrell doing it. Callas of course is peerless, but Farrell is on fire, sings with great beauty and is very effective in the role. Her voice is like a volcano at times. It really requires a real dramatic soprano to do the part justice. It is like Norma without the coloratura. There is a lot of beautiful music in it and that "De tuoi figli" ( sp?) that Medea sings early on is so beautifully written- I could listen to it over and over. Farrell handles the low passages well, though I am sure Callas takes them to another level. You must be secure down low for maximum impact in this role I think. It just doesn't appear to be done much at all after Maria sang it.


There's a complete (?) Farrell performance on YT:






Someon says Callas was in attendance. Should be worth a listen.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> There's a complete (?) Farrell performance on YT:
> 
> 
> 
> ...


I have excerpts from a studio recording centering just on Medea. I really love the music. I'll check this out. That was a good year.... I was born that year! Callas was very impressed with Farrell. To hear her on vinyl is a revelation.


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## Dogville (Dec 28, 2021)

Op.123 said:


> Radvanovsky has never been a favourite but I've never hated her either. That said, after seeing some clips of her Medea on YouTube... it's truly horrible. In fairness, it's an exceptionally difficult role and few have sung it well, and only one has sung it masterfully, but Radvanovsky's voice is uncentered and unclear in the middle and practically inaudible at the bottom. How can anyone think to sing Medea without chest voice? Hard pass on this one.


!

I just watched a clip of her sing the last few moments of the finale and whew. She-who-must-not-be-named sounded more focused and solid down low even when her voice was in shreds in 1961. What bothers me even more than the lack of chest voice though is the pervasive gnattish (her words) quality of Sondra's voice that utterly destroys any sort of grace, elegance, and vocal coloring she might otherwise have access to. In an effort to shed some positivity, I will say she's the best we can hope for in this role nowadays.


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## MAS (Apr 15, 2015)

Dogville said:


> !
> 
> I just watched a clip of her sing the last few moments of the finale and whew. She-who-must-not-be-named sounded more focused and solid down low even when her voice was in shreds in 1961. What bothers me even more than the lack of chest voice though is the pervasive gnattish (her words) quality of Sondra's voice that utterly destroys any sort of grace, elegance, and vocal coloring she might otherwise have access to. In an effort to shed some positivity, I will say she's the best we can hope for in this role nowadays.


I would say that she is not suited to this role, nor to *Macbeth*, which she’s recently attempted - it’s just not (yet?) in her voice. But given her weak lower register, it may never get there.


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## Op.123 (Mar 25, 2013)

Verdilover said:


> While I still think she sounds good as Medea, I do agree that there are several noticeable problems.
> 
> We also have to remember that this isn't exactly her strong suit. Give her Aida, Leonora, Amelia, Tosca, Elvira, Norma, the Three Queens, etc. and she is amazing. I saw her in Tosca at the Met in December, and she was divine. She has a precedent of incredible performances and absolutely superb singing. I've seen some people say that recordings don't capture her voice well. I've only seen her once, so I can't say that with certainty, but I believe it. She probably sounded at least slightly better than this in person.
> 
> Also, like you said, she's aging. She's 53. There have been few sopranos who still sound amazing at that age. Even Callas (famously) didn't. When I think of sopranos who sounded truly exquisite at that age, only two come to mind: Leontyne Price and Joan Sutherland.


I don't think she sounds even close to good here, but then again I certainly wouldn't say Price and Sutherland sounded divine at 53. Price was hooty and Sutherland beginning to wobble in the middle. But, really, how many do sound divine at 53? Flagstad and Melchior maybe, Simionato was still going strong. Although records from the first 30 years of the 20th century suggest it wasn't that uncommon for singers to sound wonderful into their 50s and 60s back then.


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> There's a complete (?) Farrell performance on YT:
> 
> 
> 
> ...


What was the actual date? If this is an American issue then it would have been August. If it's British then it's November. Callas was recording in Milan throughout August. In fact sessions for *Aida *started on August 10th. If it's November she was singing Leonora in *Il Trovatore *on the 8th in Chicago. In other words, not possible.


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## Op.123 (Mar 25, 2013)

Tsaraslondon said:


> What was the actual date? If this is an American issue then it would have been August. If it's British then it's November. Callas was recording in Milan throughout August. In fact sessions for *Aida *started on August 10th. If it's November she was singing Leonora in *Il Trovatore *on the 8th in Chicago. In other words, not possible.


It’s November


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## Tsaraslondon (Nov 7, 2013)

Op.123 said:


> It’s November


Either way, Callas couldn't have been there.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> Either way, Callas couldn't have been there.


I wonder when Callas heard Farrell. I doubt she would have praised her had she not actually heard her.


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## nina foresti (Mar 11, 2014)

Woodduck said:


> I wonder when Callas heard Farrell. I doubt she would have praised her had she not actually heard her.


It turns out that Callas was definitely a champion of Farrell. 
One time was when Callas, Tebaldi and Milanov all saw her in a blockbuster performance of Oxenburg's American Opera Society in NY Town Hall of "Medea".
"People were leaning over the balcony, screaming and cheering. The press went nuts too. " (Winthrop Sargeant's review in the 1958 New Yorker who gave reasons why Farrell's performance was better than all 3 of the divas mentioned above). (pp. 146-7 Farrell's "Can't Help Singing".)
In 1959 when Bing and Callas' famous brouhaha made headlines, "A reporter asked Callas about the whole flap with Bing and she answered, 'Who needs the Met? They don't have any big names. They haven't got Farrell, have they?'" 
(p. 152 Farrell's "Can't Help Singing")
By 1960 Bing was on the phone and engaaged Farrell for "Alceste."
That same summer of 1959 Farrell was having lunch at the Savoy while performing with Schippers at the Albert Hall when she noticed that Callas, who was appearing in "Medea" at the same time, was sitting at a table near her. She approached Callas' table and introduced herself -- to which Callas enthusiastically jumped up, embraced her and told her that "of all my colleagues, you have been the nicest to me." (p. 131 Farrell's "Can't Help Singing)


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## Francasacchi (7 mo ago)

Woodduck said:


> Is she singing the same edition Callas sang - in Italian, with recitatives by Lachner?


Yes. There are snippets on youtube.


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## Woodduck (Mar 17, 2014)

Francasacchi said:


> Yes. There are snippets on youtube.


Thanks, I've heard them. See post #35.


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## MAS (Apr 15, 2015)

Francasacchi said:


> Yes. There are snippets on youtube.


The whole performance is on YouTube. Unfortunately, most of the cast is unsuited to their roles, Radvanovsky most of all. Listen for yourselves.


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## Woodduck (Mar 17, 2014)

MAS said:


> The whole performance is on YouTube. Unfortunately, most of the cast is unsuited to their roles, Radvanovsky most of all. Listen for yourselves.


The snippets were enough for me.


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## damianjb1 (Jan 1, 2016)

Seattleoperafan said:


> Radvanovsky and Goerke are the only two sopranos today I would get excited to hear. I did hear Goerke as Norma years ago but before her voice really got big. Her high D in the trio was jaw dropping, though. You would have to pay ME to hear Netrebko today, although she was delight 25 years ago.


I'd give my right arm to hear Lise Davidsen.


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## ALT (Mar 1, 2021)

damianjb1 said:


> I'd give my right arm to hear Lise Davidsen.


Why? In the recent broadcast of Tannhäuser from this summer’s Bayreuth Fest, which was utterly dreadful, to put it mildly, her Elisabeth was not that much better than the worst in the cast.


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## damianjb1 (Jan 1, 2016)

ALT said:


> Why? In the recent broadcast of Tannhäuser from this summer’s Bayreuth Fest, which was utterly dreadful, to put it mildly, her Elisabeth was not that much better than the worst in the cast.


Because people who have heard her live say she's amazing. Her recording of Fidelio is wonderful. Here aria CD is pretty good as is the Grieg CD. By all accounts it's an extraordinary voice.


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## Tsaraslondon (Nov 7, 2013)

damianjb1 said:


> Because people who have heard her live say she's amazing. Her recording of Fidelio is wonderful. Here aria CD is pretty good as is the Grieg CD. By all accounts it's an extraordinary voice.


I almost got to hear her as Leonore, but COVID got in the way and the performances were cancelled. 

The jury's still out for me. I don't like her recording of Strauss's _Vier letzte Lieder _at all, and I wasn't that impressed with the Beethoven, Wagner, Verdi album either.


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## ALT (Mar 1, 2021)

damianjb1 said:


> Because people who have heard her live say she's amazing.


The “because people say” thing means very little, particularly today when there is so much despair in the ever-declining business of opera, not to mention opera singing which is on a steep nosedive. For instance, if you were to go by “it” and didn’t bother digging in a bit deeper on your own, you’d be forgiven for thinking that Radvanovsky’s Medea is the finest thing since sliced bread. It isn’t.


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## Op.123 (Mar 25, 2013)

damianjb1 said:


> Because people who have heard her live say she's amazing. Her recording of Fidelio is wonderful. Here aria CD is pretty good as is the Grieg CD. By all accounts it's an extraordinary voice.


I've heard her live a couple of times. Firstly, I think the size of the voice is exaggerated since there are so few large voices about nowadays. Yes, it's big, but it's not produced freely enough to rival Flagstad, Tebaldi, Ponselle, Milanov, Sutherland, Callas in their primes in terms of sheer volume. The voice lacks support in quieter music and is only really big at the top of, and above the stave. The middle, mainly the lower middle, and bottom, is fairly opaque and doesn't project half as well. Her vibrato is far from a wobble but it is a little too prominent for my liking. She has an occasional habit of starting notes straight and then adding vibrato which interrupts the musical line and she often shakes her jaw, a sign of unneeded tension. She is musically capable but I also can't imagine her having any remarkable depth of characterisation to make up for any vocal failings. I imagine she has her reputation as many have never, or not for many years, heard a large voice with an attractive, if not exceptionally beautiful timbre. If you're used to Netrebko, Stemme, Voigt etc. I'd urge you to hear her as you'd probably find much to enjoy but if you're someone who prefers Flagstad, Tebaldi, Callas, Muzio etc. I wouldn't say there's much of a chance she'd make the impression you are hoping for.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> The jury's still out for me. I don't like her recording of Strauss's _Vier letzte Lieder _at all, and I wasn't that impressed with the Beethoven, Wagner, Verdi album either.


Me too, so far. We've come to the point where a large, clear, steady soprano voice used without strain or wobble is celebrated. It's sad that she has to be burdened with the fond hopes of so many greatness-deprived listeners, but in the present drought, I wish her all the best while hoping for little.


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> I've heard her live a couple of times. Firstly, I think the size of the voice is exaggerated since there are so few large voices about nowadays. Yes, it's big, but it's not produced freely enough to rival Flagstad, Tebaldi, Ponselle, Milanov, Sutherland, Callas in their primes in terms of sheer volume. The voice lacks support in quieter music and is only really big at the top of, and above the stave. The middle, mainly the lower middle, and bottom, is fairly opaque and doesn't project half as well. Her vibrato is far from a wobble but it is a little too prominent for my liking. She has an occasional habit of starting notes straight and then adding vibrato which interrupts the musical line and she often shakes her jaw, a sign of unneeded tension. She is musically capable but I also can't imagine her having any remarkable depth of characterisation to make up for any vocal failings. I imagine she has her reputation as many have never, or not for many years, heard a large voice with an attractive, if not exceptionally beautiful timbre. If you're used to Netrebko, Stemme, Voigt etc. I'd urge you to hear her as you'd probably find much to enjoy but if you're someone who prefers Flagstad, Tebaldi, Callas, Muzio etc. I wouldn't say there's much of a chance she'd make the impression you are hoping for.


Great, knowledgeable first hand reporting!!!! Bless you.


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## damianjb1 (Jan 1, 2016)

Op.123 said:


> I've heard her live a couple of times. Firstly, I think the size of the voice is exaggerated since there are so few large voices about nowadays. Yes, it's big, but it's not produced freely enough to rival Flagstad, Tebaldi, Ponselle, Milanov, Sutherland, Callas in their primes in terms of sheer volume. The voice lacks support in quieter music and is only really big at the top of, and above the stave. The middle, mainly the lower middle, and bottom, is fairly opaque and doesn't project half as well. Her vibrato is far from a wobble but it is a little too prominent for my liking. She has an occasional habit of starting notes straight and then adding vibrato which interrupts the musical line and she often shakes her jaw, a sign of unneeded tension. She is musically capable but I also can't imagine her having any remarkable depth of characterisation to make up for any vocal failings. I imagine she has her reputation as many have never, or not for many years, heard a large voice with an attractive, if not exceptionally beautiful timbre. If you're used to Netrebko, Stemme, Voigt etc. I'd urge you to hear her as you'd probably find much to enjoy but if you're someone who prefers Flagstad, Tebaldi, Callas, Muzio etc. I wouldn't say there's much of a chance she'd make the impression you are hoping for.


Unfortunately I'm not as lucky as you. I'm too young to have heard any of the singers you mentioned live in a theatre.
A serious question - would you rather hear Christine Georke than Lise Davidsen?


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## Op.123 (Mar 25, 2013)

damianjb1 said:


> Unfortunately I'm not as lucky as you. I'm too young to have heard any of the singers you mentioned live in a theatre.
> A serious question - would you rather hear Christine Georke than Lise Davidsen?


Nor am I sadly, but enough can be gleaned from recordings and a good understanding of vocal technique to make valid comparisons. Davidsen over Georke though.


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## Seattleoperafan (Mar 24, 2013)

damianjb1 said:


> Unfortunately I'm not as lucky as you. I'm too young to have heard any of the singers you mentioned live in a theatre.
> A serious question - would you rather hear Christine Georke than Lise Davidsen?


Goerke hands down. I heard her in Norma 20 years ago. Some pitch problems but otherwise pretty wonderful and a HUGE D6- enormous! Almost Sutherland in size, though I never heard her live.
Actually I never heard any of those singers myself except Price late in her career. I know most of my favorite singers from recordings. I envy Mas his extensive history of hearing singers in SF!!!!!!!!!!!!! Nice to have some young people who love opera on board!!!!!!!!!!!
Opera is often about nostalgia for the lost past like baseball.


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## ALT (Mar 1, 2021)

Op.123 said:


> She [Davidsen] has an occasional habit of starting notes straight and then adding vibrato which interrupts the musical line *and she often shakes her jaw*, a sign of unneeded tension.


And not just Davidsen. Take a look at Goerke.


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## damianjb1 (Jan 1, 2016)

Seattleoperafan said:


> Goerke hands down. I heard her in Norma 20 years ago. Some pitch problems but otherwise pretty wonderful and a HUGE D6- enormous! Almost Sutherland in size, though I never heard her live.
> Actually I never heard any of those singers myself except Price late in her career. I know most of my favorite singers from recordings. I envy Mas his extensive history of hearing singers in SF!!!!!!!!!!!!! Nice to have some young people who love opera on board!!!!!!!!!!!
> Opera is often about nostalgia for the lost past like baseball.


Do you think she'll still sound like she did 20 years ago/


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> Goerke hands down. I heard her in Norma 20 years ago.


Talk about nostalgia for a lost past...


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## Seattleoperafan (Mar 24, 2013)

damianjb1 said:


> Do you think she'll still sound like she did 20 years ago/


Well no because her voice almost tripled in size over those years. The basic tone was the same but it sounded like she had a mic in her throat. She probably can't hit D6 still and imagine her flexibility has suffered singing Wagner..


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## sworley (6 mo ago)

Seattleoperafan said:


> Radvanovsky and Goerke are the only two sopranos today I would get excited to hear. I did hear Goerke as Norma years ago but before her voice really got big. Her high D in the trio was jaw dropping, though. You would have to pay ME to hear Netrebko today, although she was delight 25 years ago.


When I heard Netrebko's first Met broadcast (Puritani) I concluded that I had heard a strong, healthy voice but a rather unimaginative, unmemorable singer. I listened to her recordings and broadcasts over later years and never saw any reason to revise my opinion.


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## BBSVK (10 mo ago)

sworley said:


> When I heard Netrebko's first Met broadcast (Puritani) I concluded that I had heard a strong, healthy voice but a rather unimaginative, unmemorable singer. I listened to her recordings and broadcasts over later years and never saw any reason to revise my opinion.


Yes, that is a recording after which I started avoiding her. Elvira in I Puritani is an idiotic role, and it would require a very special acting to make that character convincing. Netrebko didn't have this special superpower. 

But I remember a previous life, when I was very happy with her as Giulietta in I Capuleti e i Montecchi. It was a taped stage rehearsal of her with Joyce Didonato in Paris. They both had the perfect looks for their parts and the singing was pleasing. I am not an expert enough to notice any mistakes in singing, if there were any.


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## Seattleoperafan (Mar 24, 2013)

BBSVK said:


> Yes, that is a recording after which I started avoiding her. Elvira in I Puritani is an idiotic role, and it would require a very special acting to make that character convincing. Netrebko didn't have this special superpower.
> 
> But I remember a previous life, when I was very happy with her as Giulietta in I Capuleti e i Montecchi. It was a taped stage rehearsal of her with Joyce Didonato in Paris. They both had the perfect looks for their parts and the singing was pleasing. I am not an expert enough to notice any mistakes in singing, if there were any.


Unlike 70 years ago this is a video age and a gorgeous singer like Netrebko, especially when she was young and sang better, was a recipe for success today. She has banked on that reputation since.


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