Кролик прогорел... си-мажор это, с тремя верхними си.

хм... а я не слышу  019
По мне так, Краус, как Краус.  004

вот почему всем понравился спектакль.
С "отрицательной" рецензией, процитированной Кроликом, я согласна. Спасибо всем за ваш интерес к этому спектаклю. 002

A cheering audience greeted the seasons' first Romeo
et Juliette, one of the great evenings in my opera experience. Led by the
indestructible Placido Domingo, still such a powerful force in the music world,
the brilliant cast roused the audience to erupt in many long ovations, and
deservedly so.
                         I am now racking my delicate brain to try to recall
ANY soprano with a voice more totally radiant  in every register than Anna
Netrebko, who,along with Karita Mattila, appears to operate on a level far above
any other soprano around today, in that there is just nothing less than a
complete brilliance of of flawless tone in all registers. There is no edge, no
excessive vibrato, no strain, no NOTHING...just a totally brilliant voice  with a
luscious middle register, and top tones that cut like a knife (even covering
the big voice of Alagna at times.). This role appears to bring out her very
best qualities, and her two arias caused the audience to erupt in deserved
applause and cheers. Lord...can she sing!!!!!! She is also totally involved as a
fine actress and she created a totally believable Juliette with some cute comic
touches in act one, and great passion in the "Poison Aria" which thankfully
has been restored in the last years.
                       There have been tenors in the "French style" like Rene
Maison, Raoul Jobin, and Cesar Vezzani who were not known necessarily for the
kind of beautiful vocal quality of, say a Pavarotti or a Wunderlich, but
whose singing was no less effective, and Alagna surely rose to the occasion with
his squillante bright and always secure voice, up to a pretty good high C at
the end of act two. He is athletic on stage and the two of them created such a
beautifully romantic stage picture, ending in that heart-wrenching finale.
                         As in previous performances the magnificent Kristinn
Sigmundsson (who told me he does Gurnemanz...that would be superb!) and the
equally remarkable Stephane Degout (wait for his Papageno!) were especially
fine, but there were some new "discoveries" like tenor marc Heller as a
fineTybalt, with brilliant ringing tone ( a tenor who used to sing at the Tacci
restaurant, and I am so happy to see him "advance" to the Met) and a new voice for
me, the Capulet of John Hancock, possessive of one of the finest baritone voices
I have heard.
                  Debutante Isabel Leonard was an adequate Stephano, with a
fine high C, but I did not hear any trace of "mezzo" quality in her voice, even
as a lyric mezzo. Jane bunnell as gertrude follows in the shadow of Thelma
Votipka and Carlotta ordassy and was adequate if not memorable.
                    A truly great  evening and  now we are spoiled for the
rest of the season!!!

                    A further comment on the events that followed the show:
This is now the era of digital cameras, and it is so kind and sweet of the
artists, even after their grueling evening, to pose for so many photos in the
tunnel (that is outside the stage door). I now can boast of being a part of the
famous trio of Alagna, Gheorghiu, and Handelman, not to mention that the other
dude born on Jan.21, Placido, was so very kind to all of us and posed for many
photos.
                     I cannot resist mentioning that I did ask John Hancock
to give me his "John Hancock" on my program. He must have heard this a zillion
times.
                    Also in the audience were Maria Guleghina, Marcello
Giordani, Marilyn Horne, and the soon-to-sing his first Met lead, the lovable
Stephen Costello, who turns a mere 26 on Saturday.
                   So you see, even after a great evening, many of us were so
rewarded to enjoy a more personal contact with these wonderful and patient
people, and this has always been an important part of our opera-going, taking me
back to my olden days at the stage door at the old Met.                      
                     Netrebko RULES!!!!!!!    Charlie

P.S. I wonder why some people choose to trash Netrebko???Maybe they are
jealous they are not that gorgeous??????

Charles Handelman

I thought that overall the Romeo et Juliette from the MET last night was
pretty good. I listened to the broadcast and a few things stuck out. First of
all Anna Netrebko has consistently improved every year and sounds amazing.
Her singing was much more nuanced than Roberto Alagna.

  Roberto Alagna drove me crazy. When he was younger he sang much
cleaner. Now every not is approached from below by more than a whole step.
In some cases I swear he hooked from a fifth below. While that kind of singing
is sometimes passable in Italian music, it sounds so ridiculous in French music.

  I agree that John Hancock was a fantastic Capulet. I wish he sang more
large roles at the MET.

   Somebody made a comment about Alagna's French being pretty good. It
better be, he grew up speaking French and his mother is French.

    One of the things that really upsets me is the lack of quality from top to
bottom at the MET. I think that at a place like the MET you should expect to
hear up and coming young singers in the smaller roles. I definitely thought
Isabel Leonard did a fine job as Stephano, but the Tybalt, Gregorio, and
Benovolio were disappointing.

   Marc Heller is not a good singer. Everything sounded like he was yelling and
it was at the back of his throat. He also had a wobble which seems odd as he
appears to be fairly young. David Won as Gregorio was a mediocre baritone
and the Benvolio was passable at best. When will the MET wise up and follow
in the footsteps of companies like Chicago Lyric and Houston Grand who put
on their young artists in roles like this. I guarantee you that there are better
singers in the MET Lindemann program than the singers they put on stage in
the smaller roles. The Lindemann kids need to get on stage more than they
currently do. When they do, they get the experience they need, and we get
the voices we want.

Joseph Crawford

Bill B. said:  "Pretending that Netrebko always sings like a pig is silly but
pretending that she never makes mistakes and always sings perfectly is
equally as silly."
Gee, Bill, we finally agree on something!  Fancy that!

OTOH you also said:

"But if experience has taught us anything is that her fans -- despite being
presented with recorded evidence -- will still tell us it didn't happen.
Somehow, I find that more disturbing and frightening than the comments of
the "Netrebko" bashers."

Uh oh!  Back to square one again!

You must not have been at the Sunday matinee performance in LA then.  
Though I will admit she had a tough time with one of her highs, she didn't flub
any high notes.  She was as lovely as a Juliette could be in LA and if possible,
what I heard last night was an even more secure Netrebko (but I wasn't there,
so I hesitate to make that judgement).

Idia Legray

xrxr, несовместимы понятия - Краус и крастона  верхнего си

Кроличег, что за сволочи тебя замучили?