This week on Sirius/XM Radio: from the Metropolitan Opera

Conductor, James Levine

Monday, Jan. 25:  Sirius/XM Broadcast of Simon Boccanegra (8pm)

ConductorJames Levine
AmeliaAdrianne Pieczonka
GabrieleMarcello Giordani
SimonPlácido Domingo
FiescoJames Morris

Production: Giancarlo del Monaco
Set & Costume Designer: Michael Scott

Thursday, Jan. 28:  Sirius/XM/Listen Live Broadcast of Turandot (8pm)

Conductor: Julien Salemkour

TurandotLise Lindstrom
LiùGrazia Doronzio
CalafFrank Porretta
TimurHao Jiang Tian

Production: Franco Zeffirelli
Set Designer: Franco Zeffirelli
Costume Designers: Dada Saligeri, Anna Anni

Lighting Designer: Gil Wechsler ,Choreographer: Chiang Ching

Saturday, Jan. 30:  Sirius/XM Radio Broadcast of Stiffelio (1pm)

ConductorPlácido Domingo
LinaSondra Radvanovsky
StiffelioJosé Cura
StankarAndrzej Dobber
JorgPhillip Ens

Production: Giancarlo del Monaco

Set & Costume Designer: Michael Scott
Lighting Designer: Gil Wechsler

This week at the Metropolitan Opera

What’s playing this week:

Turandot (Jan 4, 8pm)

Carmen (Jan 5, 8pm)

Der Rosenkavalier (Jan 6, 7:30pm):  Sirius/XM Radio Broadcast/Live Met Radio

Turandot (Jan 7, 8pm): Sirius/XM Radio Broadcast

Carmen (Jan 8, 8pm)

Der Rosenkavalier (Jan 9, 1pm): Sirius/XM Radio broadcast/LIVE in HD Telecast

Turandot (Jan 9, 8:30pm)

Renee Fleming and Susan Graham in Strauss’ Der Rosenkavalier

Published in: on January 3, 2010 at 8:34 pm  Leave a Comment  
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Would the real “Turandot” please stand up?

Well, according to the poll, 75% feel that neither Lindstrom nor Guleghina were authentic enough in their portrayal of Puccini’s Principessa di Gelo.  So, what do I mean by authenticity?  When a composer creates a character, it is not solely their dramatis personae that is taken into account.  In fact, most operatic characters are defined by their singing, by the style of their music, and thus a number of elements come into play that go above and beyond fach.  To be authentic, language, aesthetic understanding, musicality, and emotional impetus are mandatory.

The role of Turandot is usually sung by a dramatic spinto, but don’t let this confuse you.  There are many moments where lyric qualities are absolutely necessary.  Actually, Turandot’s style and her mannerisms shift as her persona goes through a series of emotional shifts.  As such, the singer portraying her must possess all of these capabilities.  The role was originally sung by Puccini’s favourite soprano, Maria Jeritza.  The other great, and my personal favourite, was Birgit Nilsson.  Unfortunately, neither Lindstrom or Guleghina came close…should we expect them to?  ABSOLUTELY!  Just because we are hedging on 2010 doesn’t mean that we should consider that the great era of singers has come to an end.  Obviously, this notion affects the young generation of singers and how they are being instructed (but that’s another issue altogether).

Lindstrom’s debut was exciting, to say the least, and the voice has the type of laser quality that is absolutely necessary of Turandot.  Lacking in this quality deems Turandot’s persona to be warmer than she should be.  The upper tessitura requires that kind of silver shimmer that lingers in the theater long after the note has ended.  Unfortunately, Ms. Lindstrom’s middle and lower voice were uneven in relationship to her upper voice.  This is a technical issue and not the result of the role itself.  Interestingly, singers of this fach need to use chest resonance in the middle and lower voices because the top is so heavy.  Pushing the head voice down too far isn’t condusive.

Guleghina, on the other hand, has a much darker tone and is, in my opinion, not as much a spinto as she is a Dramatic Soprano.  She is more comfortable in the middle and lower range than the top and unfortunately many of her upper notes left much to be desired.  She infused portamenti into those phrases where the higher notes are meant to be held, lingering, spinning, and laser-like, in order to save herself.  There is no question that the voice is important in the genre, but unfortunately, she didn’t impress more than Lindstrom.

Perhaps we should make a clone by combining the two of them:  Lindstrom’s top with Guleghina’s middle and bottom would be ideal….but still, never Nilsson.

Nilsson as TurandotBirgit Nilsson, the quintessential Turandot