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18 October 2007


huguette maier

Bartoli singt Malibran. Wie kann man so was behaupten? Kein Mensch hat Milibran je gehört, also war es marketingmässig ein wundersamer Einfall, sich mit Maria Malibran zu vergleichen und nicht mit Maria Callas. Und übrigens, Bartoli wäre gut beraten, die Casta Diva von Callas noch viele Male genau anzuhören. Man sollte seine Grenzen kennen!

Artour Parmakian

And how about those Egyptians and their preoccupations with tombs? Last night in the Met Michaela Carosi was up to snuff and complemented Olga Barodina. We thought she really wormed up in her scene with Olga in third act and her O Patria Mia was both strong and subtle. She has the requisite, big voice to nearly fill the Met and we hope that she’ll develop Bartoli-like nuance and shading.

vilaine fille

Flivo, vous êtes bien chanceux là ! Et puis, "impériale", c'est le mot juste.

Zibes, vilaine fille


Waouh ! J'ai suivi la présentation sur France Musique, Ceciliona (!) était impériale.

vilaine fille

Dear -r,

Thanks for your kind words! You might want to consider spending more time with the early Ottocento operas. They're just as perverse and fascinating as anything in the perverse and fascinating genre called "opera."

Zibes, vf


I was enjoying your article on the TONY last night (not realizing it was your article until reading this blog today -- I should pay more attention to authorship!), when I got to the bit about "cradling" the death mask. I thought it might have been a descriptive liberty, but that's what she's doing quite literally. Thanks for posting that picture!

As someone with more affinity for operas that followed the "early Ottocento" by almost 100 years, and in German, I don't feel I have much insight into these works. But even I find Bartoli's rendition, as you say, sublime. Perhaps it's just the fresh air on something so revisited. Her scholarship is definitely admirable.

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