# Angela Gheorghiu-Should opera houses continue to book her



## jflatter (Mar 31, 2010)

Following Angela Gheorghiu's now notorious withdrawal from last Thursday's performance of Adriana Lecouvruer. See link below.

Do you think that the tide has turned and that there now maybe a change of thinking behind the major houses booking her.

http://intermezzo.typepad.com/intermezzo/2010/11/angela-gheorghiu-is-unwell.html


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## jflatter (Mar 31, 2010)

apologies for the glaring typo but I can't seem to edit it. Moderators can you do your magic?


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## sospiro (Apr 3, 2010)

jflatter said:


> apologies for the glaring typo but I can't seem to edit it. Moderators can you do your magic?


I think they ought to leave it as 'ooozes'


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## Almaviva (Aug 13, 2010)

jflatter said:


> apologies for the glaring typo but I can't seem to edit it. Moderators can you do your magic?


Hey, opera ouses sounds cute, no need to edit it, LOL.
I think many opera house managers have been enraged with Angela's antics for a while already, like Volpe says in his book. But she still has lots of star power and can fill those seats, so people will continue to hire her until the *public* gets tired of her. Maybe they'll be more careful with the contract, establishing fines and the such if she fails to show up for reasons other than verifiable illness, etc.


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## jhar26 (Jul 6, 2008)

jflatter said:


> apologies for the glaring typo but I can't seem to edit it. Moderators can you do your magic?


No problem.

Yes, they should continue to book her. "Will she or won't she be there" is part of the excitement when it comes to Angela.


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## sospiro (Apr 3, 2010)

Another first hand account.

It's really sad when this happens.

She's scheduled to appear in the Tosca I want to see next year & in a way I hope she's replaced before the event so the will she/won't cancel debate isn't a factor.


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## danslenoir (Nov 24, 2010)

Hmmm. I wonder how much the opera houses really care when they sell tickets for her performances at a premium and then get away with paying for a substantially cheaper understudy. 

Her antics really are a turn off for me; and that's why I don't ever intend booking tickets for one of her performances. 

If only she could be as down to earth as the likes of Reneé Fleming...


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## jflatter (Mar 31, 2010)

The problem is that she was appearing in a piece that has not been played at Covent Garden in over a century. Although there was a very strong supporting cast, a lot of people came to see the soprano. I too would love to see her in Tosca with Kaufmann and Terfel in the summer and they are only doing two dates but even then there is a risk that she may no show. It would perhaps be a gesture of goodwill if she put out a statement on her website explaining the situation. I think because this situation has been widely reported may change houses thinking as it may open the flood gates.


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## Almaviva (Aug 13, 2010)

jflatter said:


> The problem is that she was appearing in a piece that has not been played at Covent Garden in over a century. Although there was a very strong supporting cast, a lot of people came to see the soprano. I too would love to see her in Tosca with Kaufmann and Terfel in the summer and they are only doing two dates but even then there is a risk that she may no show. It would perhaps be a gesture of goodwill if she put out a statement on her website explaining the situation. I think because this situation has been widely reported may change houses thinking as it may open the flood gates.


That's why I love Anna Netrebko and Renée Fleming and I don't care much for Angela Gheorghiu. The former have likable personalities and are reliable professionals. Angela is a fine singer but is also histrionic and over narcissistic. Her Prima Donna affectation gets in my nerves, and not even on DVD I like her. While I don't hesitate to purchase air tickets and expensive seats to see Anna Netrebko (like I did recently), I would never do the same to see Angela; not in a small way because I wouldn't even be able to be sure that she'd show up. It's a disgrace. While cancellations are always a risk because singers are human beings who get sick, in Angela's case it is hard to believe that she was really incapacitated, given the alarming frequency of her behavior. She was once expelled from the Lyric Opera of Chicago for lack of professionalism, not to mention her famous blonde wig episode with Volpe. These things would never happen to Anna or Renée.


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## scytheavatar (Aug 27, 2009)

When Kathleen Battle tried to pull of Prima Donna behavior wasn't she reduced to singing scat in bars? So why do opera companies even put up with Gheorghiu in the first place? The wig incident happened in 1996, just 2 years after her debut in the Covent Garden La Traviata.


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## jhar26 (Jul 6, 2008)

*"On occasion, Gheorghiu has had difficult relationships with opera house managements and directors. Some, but not all, of them have stemmed from her opposition to directors who, as she put it in an interview with ABC "want to express their own fantasies, forgetting about the characters. At times, she says, what they put on stage goes against both the story and the music."*

Yeah, I can dig that. 

http://romaniansuperlatives.blogspot.com/2010_01_01_archive.html


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## scytheavatar (Aug 27, 2009)

jhar26 said:


> *"On occasion, Gheorghiu has had difficult relationships with opera house managements and directors. Some, but not all, of them have stemmed from her opposition to directors who, as she put it in an interview with ABC "want to express their own fantasies, forgetting about the characters. At times, she says, what they put on stage goes against both the story and the music."*
> 
> Yeah, I can dig that.
> 
> http://romaniansuperlatives.blogspot.com/2010_01_01_archive.html


Surely you can't dig the part where she says that missing a few rehearsals wouldn't be a tragedy because she has sing the part hundreds of times? How unprofessional can one get?


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## jhar26 (Jul 6, 2008)

scytheavatar said:


> Surely you can't dig the part where she says that missing a few rehearsals wouldn't be a tragedy because she has sing the part hundreds of times?


No, but someone's gotta play the devil's advocate.


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## elgar's ghost (Aug 8, 2010)

Let's face facts - she's totally up herself and has scant respect for her admiring public who always forgive her for the tantrums and no-shows. Anyway, she's probably surrounded by an entourage of puppets who are paid to pander to Madame's every whim and cocoon her from life's little travails that only ever seem to affect us mere mortals. Mwah, dahling...


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## jflatter (Mar 31, 2010)

elgars ghost said:


> Let's face facts - she's totally up herself and has scant respect for her admiring public who always forgive her for the tantrums and no-shows. Anyway, she's probably surrounded by an entourage of puppets who are paid to pander to Madame's every whim and cocoon her from life's little travails that only ever seem to affect us mere mortals. Mwah, dahling...


The thing is now is that the public is starting to lose its patience.


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## DarkAngel (Aug 11, 2010)

elgars ghost said:


> Let's face facts - she's totally up herself and has scant respect for her admiring public who always forgive her for the tantrums and no-shows.
> 
> Anyway, she's probably *surrounded by an entourage of puppets* who are paid to pander to Madame's every whim and cocoon her from life's little travails that only ever seem to affect us mere mortals. Mwah, dahling...


This gave me a chuckle.......the puppetmaster :lol:

Perhaps Angela should lighten up her schedule and give herself more "flex time" to handle personal events or health matters

Wonder what per cent of total bookings she has actually cancelled? 
Is it really only a small number but gets big press each time it happens...........how does it compare to other top opera singers


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## elgar's ghost (Aug 8, 2010)

jflatter;124265 said:


> The thing is now is that the public is starting to lose its patience.


I'm pleased to hear it - if the rumblings of discontent from a previously forgiving public eventually serves as a wake-up call for her to grow up then all the better.


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## Chi_townPhilly (Apr 21, 2007)

The break with Lyric Opera of Chicago came in the wake of non-attendance at rehearsals of _La Bohème_. *That* occasion was the first time I was exposed to her "I don't need to rehearse- I've sung this so often" attitude.

Also, in the prominent break between she and Roberto Alagna, it was the latter that appeared to go "high-road," and his better work ethic and team spirit may lead to his being the more durable star, in spite of the fact that he's objectively less talented.

It is, if nothing else, an interesting time in Ms. Gheorghiu's career- the options are in front of her, and there's little doubt as to the destinations of whatever path she chooses to take.

The current arc doesn't look promising, though. I hope we don't wind up saying about her what Baseball maven Bill James said about an underachieving good-but-not-great player...
"was good- could have been much better-- but ultimately, none of us are judged by what we _could_ have been..."


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## Delicious Manager (Jul 16, 2008)

While I have no patience at all with musicians who arbitrarily cancel performances (as a manager I am the one who is left with the problem of finding a replacement at short notice!), I do have a little insight into it. Most artists don't want to cancel (there are exceptions - perhaps AG is one of them - I have never worked with her). Singers are in an invidious position. If a violinist or cellist is feeling unwell, or has a sore throat, he/she can take a few pills and get through a performance. Even many wind players can often get through a performance with some medical help. Singers, however, cannot sing if congested, have any kind of respiratory problems or have a sore throat (they can't risk damaging the only instrument they have!).

If they have fallen ill and are undergoing treatment, a singer will be hoping they will be well enough to perform (they don't get paid if they don't, after all!). So, how long to leave it before cancelling? A tricky one! If there is an understudy, as in Gheorghiu's case, this means a singer can wait until almost the last minute to decide if they are well enough to go on that night.

I'm not making excuses for Gheorghiu (there is a British soprano I stopped booking after her THIRD separate cancellation!), but jst wanted to point out that the situation might not always be as straightforward as it seems.


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## Almaviva (Aug 13, 2010)

Delicious Manager said:


> While I have no patience at all with musicians who arbitrarily cancel performances (as a manager I am the one who is left with the problem of finding a replacement at short notice!), I do have a little insight into it. Most artists don't want to cancel (there are exceptions - perhaps AG is one of them - I have never worked with her). Singers are in an invidious position. If a violinist or cellist is feeling unwell, or has a sore throat, he/she can take a few pills and get through a performance. Even many wind players can often get through a performance with some medical help. Singers, however, cannot sing if congested, have any kind of respiratory problems or have a sore throat (they can't risk damaging the only instrument they have!).
> 
> If they have fallen ill and are undergoing treatment, a singer will be hoping they will be well enough to perform (they don't get paid if they don't, after all!). So, how long to leave it before cancelling? A tricky one! If there is an understudy, as in Gheorghiu's case, this means a singer can wait until almost the last minute to decide if they are well enough to go on that night.
> 
> I'm not making excuses for Gheorghiu (there is a British soprano I stopped booking after her THIRD separate cancellation!), but jst wanted to point out that the situation might not always be as straightforward as it seems.


Wow, you're an actual opera manager! Nice! I hope you have some juicy anecdotes to tell us!:tiphat:

While what you are saying makes sense, being expelled from the Lyric Opera of Chicago for failing to rehearse properly is utterly unprofessional behavior and there are no excuses for it. She didn't even claim a health issue, she just wanted to be in New York City instead.


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## Delicious Manager (Jul 16, 2008)

Almaviva said:


> Wow, you're an actual opera manager!


Actually, not opera, but (until three-and-a-half years ago) a manager of orchestras and now chamber ensembles (so almost no singers now!)


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## jflatter (Mar 31, 2010)

Delicious Manager said:


> While I have no patience at all with musicians who arbitrarily cancel performances (as a manager I am the one who is left with the problem of finding a replacement at short notice!), I do have a little insight into it. Most artists don't want to cancel (there are exceptions - perhaps AG is one of them - I have never worked with her). Singers are in an invidious position. If a violinist or cellist is feeling unwell, or has a sore throat, he/she can take a few pills and get through a performance. Even many wind players can often get through a performance with some medical help. Singers, however, cannot sing if congested, have any kind of respiratory problems or have a sore throat (they can't risk damaging the only instrument they have!).
> 
> If they have fallen ill and are undergoing treatment, a singer will be hoping they will be well enough to perform (they don't get paid if they don't, after all!). So, how long to leave it before cancelling? A tricky one! If there is an understudy, as in Gheorghiu's case, this means a singer can wait until almost the last minute to decide if they are well enough to go on that night.
> 
> I'm not making excuses for Gheorghiu (there is a British soprano I stopped booking after her THIRD separate cancellation!), but jst wanted to point out that the situation might not always be as straightforward as it seems.


Pray tell, who is the British Soprano? Its not someone who lives in Wonderland????


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## karenpat (Jan 16, 2009)

scytheavatar said:


> Surely you can't dig the part where she says that missing a few rehearsals wouldn't be a tragedy because she has sing the part hundreds of times? How unprofessional can one get?


I read an interview with Anna Netrebko in occasion of her visit to Norway some months ago and the background story mentioned the same thing about Anna...about not showing up for rehearsals because she already knows the part. They also quoted her on some important charity work that she had been asked to do but she didn't know what it was about at all, just said yes because she was asked. The interview made her look like a serious prima donna....so I don't really see the likable factor. But both Anna and Angela have good voices though.


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## sospiro (Apr 3, 2010)

Robert Alagna has been getting some fabulous reviews for his Don Carlo currently at the Met. Maybe he has more confidence now he's no longer part of the double act.

_... I promised myself after tonight's performance that I will not call Roberto Alagna "the smurf" again. This was the first time I truly was able to enjoy the real Alagna. He was a marvel in the title role from the first note to the last. I only wonder what he could do in the original French version, since he has the best French diction since Kraus. The voice sounded rounder and bigger, and most importantly effortless and with easy projection. He was exceptional in the second duet with Elisabetta (a.k.a. "call me Liz, no no, call me mom" duet.) He really surpassed my expectations and got the biggest applause ..._

Parterre Box

_... I worried for Roberto Alagna's Carlo during the first act, but whether it was an issue of nerves or warming up, things soon improved and I could relax. It sounds like a relatively heavy role for him, but he delivered it with passion; he does have a beautiful timbre, and his nervy, anguished Carlo was sung with unflagging energy. "Io vengo a domandar grazia alla mia regina," and the subsequent scene, was a highlight ... _

Opera Obsession


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## Almaviva (Aug 13, 2010)

karenpat said:


> I read an interview with Anna Netrebko in occasion of her visit to Norway some months ago and the background story mentioned the same thing about Anna...about not showing up for rehearsals because she already knows the part. They also quoted her on some important charity work that she had been asked to do but she didn't know what it was about at all, just said yes because she was asked. The interview made her look like a serious prima donna....so I don't really see the likable factor. But both Anna and Angela have good voices though.


Yeah, I saw the charity work thing... it was hilarious. She misunderstood what was being asked of her - to be the ambassador of some cause or something, I forget the details, said yes, then when the reporter asked about it, she said - oh, that's what I signed for? And had this face of "damn!" It reminded me of the famous Seinfeld episode of the Puffy Shirt.:lol:

Not showing up for rehearsals? I don't know, maybe some isolated fact? Every report I have read on Anna's professionalism has included the utmost praise. I've read many interviews from colleagues who have worked with her, conductors, etc, and they all say - "working with Anna Netrebko is a pleasure, she is humble, simple, no tantrums, always shows up on time for rehearsals, works hard, is very helpful to colleagues, convivial, easy to deal with, etc."

I think she has a very good reputation among her colleagues.

And... and... [Alma thinks]... she is gorgeous. So she can do no wrong.


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## Almaviva (Aug 13, 2010)

sospiro said:


> Robert Alagna has been getting some fabulous reviews for his Don Carlo currently at the Met. Maybe he has more confidence now he's no longer part of the double act.
> 
> _... I promised myself after tonight's performance that I will not call Roberto Alagna "the smurf" again. This was the first time I truly was able to enjoy the real Alagna. He was a marvel in the title role from the first note to the last. I only wonder what he could do in the original French version, since he has the best French diction since Kraus. The voice sounded rounder and bigger, and most importantly effortless and with easy projection. He was exceptional in the second duet with Elisabetta (a.k.a. "call me Liz, no no, call me mom" duet.) He really surpassed my expectations and got the biggest applause ..._
> 
> ...


Well, no wonder Roberto Alagna has great French diction, he is French.

I don't know, Annie, I was never very convinced. Last time I saw him was in Romeo et Juliette, and I thought he was OK but not great. Same with the Carmen with Elina. A very weak Nemorino on DVD with his ex-wife (but maybe it's what you said, he was more inhibited around her). So maybe he *is* improving, I hope so for his sake.

That videoclip that Natalie showed of him cooking pasta and singing a Neapolitan song does indicate that he's been more relaxed and enjoying himself.


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## Delicious Manager (Jul 16, 2008)

jflatter said:


> Pray tell, who is the British Soprano? Its not someone who lives in Wonderland????


Oh, my lips have to remain sealed on her identity. She's a very fine soprano fluent in Russian (that might be a clue to those 'in the know'). I must make it clear that I have only the utmost admiration for her artistry (otherwise I wouldn't have booked her three times), but the final straw was when she pulled out before the rehearsal of one of the BBC Proms, leaving us flailing around to find someone free at the last minute who knew the music (a 20th-century British piece which, although not altogether obscure, is not excactly in EVERY soprano's repertoire). In the event, the replacement arrived 30 minutes before the performance, just time to 'talk through' the piece with the conductor (no, no rehearsal!) and go on. It was brilliant! PHEW!

Wonderland? I can only assume you're asking if her name was Alice. No, not Alice.


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## sospiro (Apr 3, 2010)

If this news is correct, the chances of her appearing in Tosca at ROH seem to be slim.


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## Almaviva (Aug 13, 2010)

Lately I can't stand Draculette any longer. She has a beautiful voice, but her mannerisms, prima donna behavior, and other antics turn me off so badly that I just can't get myself to see or hear anything featuring her. Such a waste of a good voice!


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## mamascarlatti (Sep 23, 2009)

Dreadful woman. According to parterre's box's inside goss, she has sealed her chances of ever singing at the Met again (see the end of the post). How anyone would seriously think of employing her now beats me.


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## Almaviva (Aug 13, 2010)

Gee, I'm most impressed with the Ring's disaster in the making. I was half anticipating something like this... It looks like the Met Ring will turn into a fiasco, almost of LA Opera proportions.


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## mamascarlatti (Sep 23, 2009)

I didn't notice that Voigt was that terrible as the Golden Girl, in fact I thought she was fine, but she was definitely panned by the critics. Of course she had to lose the weight for her health, but it sounds as though it was severely detrimental for her voice. It's sad because I like her.


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## MAuer (Feb 6, 2011)

Almaviva said:


> Lately I can't stand Draculette any longer. She has a beautiful voice, but her mannerisms, prima donna behavior, and other antics turn me off so badly that I just can't get myself to see or hear anything featuring her. Such a waste of a good voice!


What is it with fine singers who seem determined to self-destruct? Kathleen Battle is another who comes to mind: a nice girl from the Midwest, with a beautiful voice and loads of talent, who turned into the Diva From Hell. Her behavior became so outrageous that even the head of the Met's "Cincinnati Mafia" himself, Jimmy Levine, couldn't shield her from the consequences.


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## Almaviva (Aug 13, 2010)

MAuer said:


> What is it with fine singers who seem determined to self-destruct? Kathleen Battle is another who comes to mind: a nice girl from the Midwest, with a beautiful voice and loads of talent, who turned into the Diva From Hell. Her behavior became so outrageous that even the head of the Met's "Cincinnati Mafia" himself, Jimmy Levine, couldn't shield her from the consequences.


I suppose these are cases of personality disorders... people who are too narcissistic and when they hit fame, they go berserk. That's why I stick with Anna Netrebko La Bellissima's nice and humble personality!


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## mamascarlatti (Sep 23, 2009)

Sounds as though Draculette's fill-in did just great!

Here she is looking super cute with "Il Meatloaf" in Don Giovanni.


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## Almaviva (Aug 13, 2010)

mamascarlatti said:


> Sounds as though Draculette's fill-in did just great!
> 
> Here she is looking super cute with "Il Meatloaf" in Don Giovanni.


She looks good and sings adequately, but the tempo of this version (not her fault) is so slow!


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## MAuer (Feb 6, 2011)

Almaviva said:


> She looks good and sings adequately, but the tempo of this version (not her fault) is so slow!


Yeah, makes me wonder if Harnoncourt is conducting.:lol:

But love the Wicked Welshman!


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## mamascarlatti (Sep 23, 2009)

MAuer said:


> Yeah, makes me wonder if Harnoncourt is conducting.:lol:
> 
> But love the Wicked Welshman!


I've just listened to a DG with Karajan at the helm with what I thought would be a dream team, Sam Ramey, Ferrucio Furlanetto, Kathleen Battle, etc, but I really didn't enjoy it because of the incredibly ponderous and slow and stodgy conducting.


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## Der Fliegende Amerikaner (Feb 26, 2011)

mamascarlatti said:


> Sounds as though Draculette's fill-in did just great!
> 
> Here she is looking super cute with "Il Meatloaf" in Don Giovanni.


I was listening to the live performance of Romeo et Juliette on Sirius XM on Thursday evening in my car. Hei-Kyung Hong did a fantastic job. Her "Je Veux Vivre" was a bit cool and unvarnished but she really warmed up during the course of the performance (this was opening night after all and she was given notice only 24 hours ago that she was going to take over the entire run). Piotr Beczala was a solid Romeo though I did notice his voice cracked during one of the high notes in Act III or Act IV.


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## scytheavatar (Aug 27, 2009)

Almaviva said:


> Gee, I'm most impressed with the Ring's disaster in the making. I was half anticipating something like this... It looks like the Met Ring will turn into a fiasco, almost of LA Opera proportions.


At least it's not a fiasco the level of that Spiderman musical.... :lol:


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## jhar26 (Jul 6, 2008)

mamascarlatti said:


> Dreadful woman. According to parterre's box's inside goss, she has sealed her chances of ever singing at the Met again (see the end of the post). How anyone would seriously think of employing her now beats me.


She must have psychological problems. It's the only possible explanation for consciously ruining her own career.


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## mamascarlatti (Sep 23, 2009)

jhar26 said:


> She must have psychological problems. It's the only possible explanation for consciously ruining her own career.


I think she has a very rosy view of herself - thinks she can do no wrong and that her mere presence spreads sweetness and light everywhere. And let's face it, she has got away with it up to now. Maybe there is no one in her entourage who dares tell her how it really is; and so she has lost touch with reality.


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## MAuer (Feb 6, 2011)

Almost makes one sympathize with Alagna.


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## Almaviva (Aug 13, 2010)

MAuer said:


> Almost makes one sympathize with Alagna.


Right, since their divorce I've been liking Alagna more and more, not only as a person, but as an artist - I think now that he's not under her shadow he's been performing better. His last Don Carlos was wonderful, much better than I had expected.


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## MAuer (Feb 6, 2011)

According to her, he didn't want the divorce. _According to her _. . . I get the impression she may be one of those people whose version of anything needs to be taken with a big grain of salt.


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## mamascarlatti (Sep 23, 2009)

According to her she found his closeness to his family, particularly his brothers, oppressive. Maybe they were not sufficently worshipful of her wonderfulness.


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## Almaviva (Aug 13, 2010)

MAuer said:


> According to her, he didn't want the divorce. _According to her _. . . I get the impression she may be one of those people whose version of anything needs to be taken with a big grain of salt.


During the divorce he issued elegant, respectful statements about her, while she was nasty when referring publicly to him (and his family), adding to my view that she is classless.


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## jhar26 (Jul 6, 2008)

Almaviva said:


> During the divorce he issued elegant, respectful statements about her, while she was nasty when referring publicly to him (and his family), adding to my view that she is classless.


Probably, but it's difficult for outsiders, impossible even, to know for sure who is right or wrong or what went on in their lifes behind closed doors. And the media loves this type of stuff and is likely to exaggerate whenever possible. I'm not saying that they do where Draculette is concerned, but on the other hand I wouldn't be surprised if they did either.


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## Almaviva (Aug 13, 2010)

jhar26 said:


> Probably, but it's difficult for outsiders, impossible even, to know for sure who is right or wrong or what went on in their lifes behind closed doors. And the media loves this type of stuff and is likely to exaggerate whenever possible. I'm not saying that they do where Draculette is concerned, but on the other hand I wouldn't be surprised if they did either.


Sure, but nobody forced her to issue those statements. Dirty laundry is best washed at home.


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## Der Fliegende Amerikaner (Feb 26, 2011)

There's a pile of New York Times piling up on my desk (I'm actually one of the 600 Americans who actually subscribe to the print edition - I don't care if people call me a tree killer).

I flip through the Arts section from this past Monday's edition and when I first glanced at the title of this story, I became momentarily thrilled that Angela Gheorghiu has been fired by the Met for her unprofessional behavior (e.g. 24 hour advance cancellation of the entire run of Roméo et Juliette).

*Gheorghiu Withdraws From 'Faust' at Met*

http://www.nytimes.com/2011/03/08/a...metropolitan-opera.html?scp=1&sq=faust&st=cse

Unfortunately, the Times reports that "Mr. Gelb said there were still "some future plans" at the Met for Ms. Gheorghiu."

I would have much preferred if Mr. Gelb dismissed Angela Gheorghiu the way Joseph Volpe dismissed Kathleen Battle. Quite frankly, I would prefer if Angela Gheorghiu just stay at Covent Garden where they are more willing to indulge her delusions. The Met is a digified house where professionalism is expected from all of its artists.

I wonder if it was Angela Gheorghiu's decision to be dropped from this production or if Peter Gelb decided to terminate the contract.


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## sospiro (Apr 3, 2010)

Der Fliegende Amerikaner said:


> .. Quite frankly, I would prefer if Angela Gheorghiu just stay at Covent Garden where they are more willing to indulge her delusions.


I'd rather she didn't.


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## Elgarian (Jul 30, 2008)

jhar26 said:


> She must have psychological problems. It's the only possible explanation for consciously ruining her own career.


Yes. It seems tragic to me, for someone of such talent to self-destruct like this. There must be a great deal more to it all than meets the eye.


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## Almaviva (Aug 13, 2010)

Artistic differences? She's upset at the update, but only got upset now, when the run is about to open??? Preposterous! She should be fired, period. Mr. Gelb needs to learn a few things from Mr. Volpe.


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> Artistic differences? She's upset at the update, but only got upset now, when the run is about to open??? Preposterous! She should be fired, period. Mr. Gelb needs to learn a few things from Mr. Volpe.


I must admit I respect people like Joyce DiDonato ( in the Geneva Dona del Lago) and Andrew Richards (in two wildly different Regie Parsifals) who are prepared to work through and with whatever is offered to them, despite artistic differences, and grow and learn.


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## jhar26 (Jul 6, 2008)

mamascarlatti said:


> I must admit I respect people like Joyce DiDonato ( in the Geneva Dona del Lago) and Andrew Richards (in two wildly different Regie Parsifals) who are prepared to work through and with whatever is offered to them, despite artistic differences, and grow and learn.


"Artistic differences" is a legitimate reason not to do something in my opinion. I mean, if a singer really believes that a production is so awful that he or she doesn't want to be associated with it than I can respect that. But of course Angela should have thought about that before she agreed to do it.


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## Almaviva (Aug 13, 2010)

jhar26 said:


> "Artistic differences" is a legitimate reason not to do something in my opinion. I mean, if a singer really believes that a production is so awful that he or she doesn't want to be associated with it than I can respect that. But of course Angela should have thought about that before she agreed to do it.


Sure, but my point is, she had participated of the same production for the ENO, and only claimed those "artistic differences" right before the opening of the Met run. That's what I consider preposterous about it. She knew perfectly know what she was getting into, so, why quit at the very last moment?


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## MAuer (Feb 6, 2011)

Almaviva said:


> Artistic differences? She's upset at the update, but only got upset now, when the run is about to open??? Preposterous! She should be fired, period. Mr. Gelb needs to learn a few things from Mr. Volpe.


Unfortunately, I think Draculette will be allowed to get away with more than Kathleen Battle was for a couple of reasons. Battle's light, lyric voice limited the number of roles she could sing, and this, I think, made it easier for opera companies to dispense with her services. Gheorghiu, in contrast, is a much bigger "star" with a larger fan base, and so those in leadership positions at the major opera houses are more reluctant to completely break with her.

This, again, is just my own guess -- but I think once one of the major houses finally gets its collective nose full and sends her packing, others will probably soon follow the example.


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## StlukesguildOhio (Dec 25, 2006)

Gheorghiu, in contrast, is a much bigger "star" with a larger fan base...

Is she really? Seriously I can't say I have more than 3 or four recordings by her... and most are older. I have far more by Cecilia Bartoli, Renee Fleming, Magdalena Kozena, Philippe Jaroussky, Anna Netrebko, and any number of others. These singers (and others) seem far more intelligent in their musical choices... willing to take chances... instead of offering the same old expected arias by Puccini, Verdi, Bellini, and Rossini which have already been recorded magnificently by any number of singers... including a good number better than Gheorghiu.


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## Almaviva (Aug 13, 2010)

StlukesguildOhio said:


> Gheorghiu, in contrast, is a much bigger "star" with a larger fan base...
> 
> Is she really? Seriously I can't say I have more than 3 or four recordings by her... and most are older. I have far more by Cecilia Bartoli, Renee Fleming, Magdalena Kozena, Philippe Jaroussky, Anna Netrebko, and any number of others. These singers (and others) seem far more intelligent in their musical choices... willing to take chances... instead of offering the same old expected arias by Puccini, Verdi, Bellini, and Rossini which have already been recorded magnificently by any number of singers... including a good number better than Gheorghiu.


I agree. Gheorghiu has overstayed her welcome. At first I thought she had a gifted voice, comparable to the that of the greats of the past. Now I can't stand her. I wish she'd just go away. These days, I avoid DVDs or YouTube clips that feature her, and wouldn't spend my money for a ticket if she were part of the cast. I've kind of developed a Gheorghiu allergy.


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> I agree. Gheorghiu has overstayed her welcome. At first I thought she had a gifted voice, comparable to the that of the greats of the past. Now I can't stand her. I wish she'd just go away. These days, I avoid DVDs or YouTube clips that feature her, and wouldn't spend my money for a ticket if she were part of the cast. I've kind of developed a Gheorghiu allergy.


Yup, that just about sums my feelings up too.

On the other hand I still listen to my Kathleen Battle albums.

Love this one, combining three of my favourite things: a clear light soprano, trumpets and the baroque repertoire:


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## MAuer (Feb 6, 2011)

StlukesguildOhio said:


> Gheorghiu, in contrast, is a much bigger "star" with a larger fan base...
> 
> Is she really? Seriously I can't say I have more than 3 or four recordings by her... and most are older. I have far more by Cecilia Bartoli, Renee Fleming, Magdalena Kozena, Philippe Jaroussky, Anna Netrebko, and any number of others. These singers (and others) seem far more intelligent in their musical choices... willing to take chances... instead of offering the same old expected arias by Puccini, Verdi, Bellini, and Rossini which have already been recorded magnificently by any number of singers... including a good number better than Gheorghiu.


I have very few Gheorghiu recordings myself, but several with Battle. I just have the impression that Gheorghiu has a higher media profile than Battle -- and media profiles don't necessarily have anything to do with talent. And Draculette appears to have a substantial fan base. Opera house managements know that large fan bases can translate into ticket sales (though admittedly not when a singer cancels months in advance of performances), and I suspect this fact makes them a little more reluctant to take decisive action against some "stars."
If we need any evidence that the prospect of raking in big bucks/euros through ticket/recording sales can trump talent, all we need to do is look at Bocelli. Does anyone seriously believe that anything but the prospect of big sales has prompted Decca to feature him in studio recordings of major operas -- or the likes of the Met or Wiener Staatsoper to allow him on their stages (in concert)?


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## Aksel (Dec 3, 2010)

I just got an e-mail from EMI, because I'm supposedly subscribed to their newsletters, saying that Draculette will be singing with Domingo in the O2 arena in London for "one night only" in the end of July. 
Thoughts? I'm thinking that she actually might show up, but with her recent cancellations, who knows?


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## DarkAngel (Aug 11, 2010)

Aksel said:


> I just got an e-mail from EMI, because I'm supposedly subscribed to their newsletters, saying that Draculette will be singing with Domingo in the *O2 arena in London for "one night only"* in the end of July.
> Thoughts? I'm thinking that she actually might show up, but with her recent cancellations, who knows?


That is best money maker for opera stars.......she will be there for 1 night 

There was an article recently where Alagna revealed what kind of money can be made by top opera stars doing different shows.......a single gala concert pays 5-10x times what an opera performance at ROH pays.

http://intermezzo.typepad.com/intermezzo/2009/10/how-much-is-roberto-alagna-worth.html








http://1.bp.blogspot.com/_78Sovbw2M...kwdr3kfo/s1600-h/ANGELA GHEORGHIU45572862.jpg


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## Almaviva (Aug 13, 2010)

Wow, it's sad to learn that 20,000 discs worldwide is considered to be good sales for a classical music CD. To put these figures in perspective, from another interview with an artist I've learned that Pink Martini, the world music band from Oregon, sold 1,000,000 of their three CDs in France - just one country, and they aren't even that famous.


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## sospiro (Apr 3, 2010)

I wonder what ROH will do about Tosca. Presumably they have an understanding with whoever is filming it, that the 'A' team will be on stage. Will ROH have a suitable 'A' list soprano on stand-by? And given El Guapo's recent health problems, an 'A' list tenor also on stand-by?


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## jhar26 (Jul 6, 2008)

Almaviva said:


> Wow, it's sad to learn that 20,000 discs worldwide is considered to be good sales for a classical music CD.


Not that surprising really. If one million people will buy the four seasons this year and there are 100 different recordings of it available you on average automatically get low-ish sales for each disc.


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> I wonder what ROH will do about Tosca. Presumably they have an understanding with whoever is filming it, that the 'A' team will be on stage. Will ROH have a suitable 'A' list soprano on stand-by? And given El Guapo's recent health problems, an 'A' list tenor also on stand-by?


I'm sure that if it's being filmed Gheorghiu will pitch up. Can't resist the oportunity to see herself on film.


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## MAuer (Feb 6, 2011)

Almaviva said:


> Wow, it's sad to learn that 20,000 discs worldwide is considered to be good sales for a classical music CD. To put these figures in perspective, from another interview with an artist I've learned that Pink Martini, the world music band from Oregon, sold 1,000,000 of their three CDs in France - just one country, and they aren't even that famous.


This no doubt is what's motivating Decca to release opera recordings with il Tenorino Bocelli. It also explains why major recording labels -- particularly before DVDs became popular -- would trot out the same tiny handful of major "stars" whenever they did issue new studio recordings of operas.

I still think the leading opera houses will finally take action against Gheorghiu if and when -- and not until -- they decide that she's more trouble to them than she's worth at the box office.


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## mamascarlatti (Sep 23, 2009)

MAuer said:


> This no doubt is what's motivating Decca to release opera recordings with *il Tenorino *Bocelli.


I think we might have to call him Il Tenorone. -ino endings are small and sweet. -one endings are big and ugly. Bocelli has a dynamic range from very loud to too loud, largely the latter



> It also explains why major recording labels -- particularly before DVDs became popular -- would trot out the same tiny handful of major "stars" whenever they did issue new studio recordings of operas.


Yes, I must admit I thought WTF when I saw the recent issue of Fedora.










I mean, I love Placido, but really is there no-one else with a fresher voice to do this? Note that they've put a very old picture of him on this even though it was recorded in 2008.


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## MAuer (Feb 6, 2011)

mamascarlatti said:


> I think we might have to call him Il Tenorone. -ino endings are small and sweet. -one endings are big and ugly. Bocelli has a dynamic range from very loud to too loud, largely the latter
> 
> I love it! "Il Tenorone" it is, then!:lol:


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## danslenoir (Nov 24, 2010)

La Gheorghiu's, sorry, Il Tenorone's two dates as Tosca at the ROH in July completely sold out within a day of going on sale the other day.

As long as there continues to be this kind of demand, one suspects places will keep booking her.


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## rgz (Mar 6, 2010)

*Are you and (husband, star tenor) Roberto Alagna back together again?*

"Yes, sir. I'm very happy.

"In the history of opera, we are the only couple ever to do such a great amount of music together on the same level, as we did in more than 14 years. We did a huge amount of recordings, performances, movies."

http://www.toronto.com/article/680107


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## Almaviva (Aug 13, 2010)

rgz said:


> *Are you and (husband, star tenor) Roberto Alagna back together again?*
> 
> "Yes, sir. I'm very happy.
> 
> ...


Oh brother. Poor Roberto. And to think that I was almost starting to like him.

By the way, have you all seen how conceited her first answer about the Met was?


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## mamascarlatti (Sep 23, 2009)

Almaviva said:


> By the way, have you all seen how conceited her first answer about the Met was?


Cognitive dissonance.


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## MAuer (Feb 6, 2011)

Almaviva said:


> Oh brother. Poor Roberto. And to think that I was almost starting to like him.
> 
> By the way, have you all seen how conceited her first answer about the Met was?


I'd say there's no love lost between Draculette and Peter Gelb at the moment.


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## Der Fliegende Amerikaner (Feb 26, 2011)

She's "scheduled" to appear in Faust. Will she actually show up?

http://www.roh.org.uk/uploadedFiles...Opera and music 2011 2012 season FINAL(1).pdf


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