Comments for COMMANDOpera

Comment on Opera Front and Center 360 by GianCarlo

GianCarlo — Tue, 09 Mar 2010 12:49:40 +0000

Onegin65 and Coloraturafan have my two favourite channels on YouTube.

Comment on Rigoletto in Dusseldorf by CrewMantle

CrewMantle — Sun, 07 Mar 2010 00:25:20 +0000

Thanks for taking a moment to write this highly amusing and illustrative note!

Comment on Rigoletto in Dusseldorf by John and Anna

John and Anna — Sat, 06 Mar 2010 18:53:31 +0000

Yesterday we were fortunate enough to see the première of “Rigoletto” in Düsseldorf.
From the beginning, the minimalistic scenographic style which is very prevalent on the German stages was evident.
The plainly odd set design featured numerous mannequins that littered the set and we had no idea what they were getting at.
However, the pièce de resistance was Andrej Dunaev singing the signature aria “la donna è mobile” while floating on a undulating platform more suitable to 1960’s science fiction film.
The music, as always at the Operhaus Düsseldorf was DIVINE, however the odd scenography managed to distract from Mr Debus excellent conducting.

Comment on Jory takes on the ENO Website by G

Wed, 03 Mar 2010 13:48:00 +0000

This is a great idea of an article and I don’t think I read something like that before.
And, may I say, reading your blog is a daily “must”- it goes along perfectly with my morning coffee!

Comment on Opera Front and Center 360 by LaMaria1937

LaMaria1937 — Sun, 28 Feb 2010 17:52:12 +0000

Good afternoon

I am A Spanish opera’s fan. I would be agree to know if you have any video enregistered in the Liceu of Barcelona. My husband has song during 25 years in this Teatre (in a small rôle) and we havent any visual documentation ,when de Liceu burned the enregistrement disapear. I beg your pardon if I have made mistakes, but there very years ago that I don’t explain myself in English. Thanyou very much por your attention. Maria

Comment on Mr. Filianoti in Lucrezia Borgia by adballet

adballet — Sun, 28 Feb 2010 13:07:23 +0000

I was there. Mariella Devia went from magnificent to glorious.

Comment on DALLAS OPERA 2010 2011 by Cornelia Moisuk

Cornelia Moisuk — Sat, 27 Feb 2010 18:35:54 +0000

Beautiful photography and writeups

Comment on Opera Front and Center 360 by John S

John S — Sat, 27 Feb 2010 10:30:33 +0000

Coloraturafan is one of the best youtubers out there–I am deeply grateful for his consistent uploads and the vast range of singers and arias he posts.

Comment on Mr. Filianoti in Lucrezia Borgia by coloraturafan

coloraturafan — Sat, 27 Feb 2010 02:35:13 +0000

These videos are taken from the performance on Friday 19.02.2010. It was a wonderful evening, a huge success for Mariella Devia, especially her final aria “era desso.”

Comment on The World of Onegin 65 by GianCarlo

GianCarlo — Mon, 22 Feb 2010 00:23:11 +0000

What a delight to read this interview, and glimpse albeit briefly into wolrd of Onegin 65. His contributions to YouTube, as many opera lovers know, are immesurable. In addition to his astonishing knowledge and collection, he is a true gentleman in a cyberworld full of ill mannered fanatics. I cannot wait for his new uploads, as they always delight, educate, and expand our knowledge of the vocal arts. YouTube and the government of his native Spain should bestow upon him the recognition he deserves, for his contributions to the world of music. I am his greatest fan and admirer.

Respectfully,

GianCarlo

Comment on Olympics Intermission by CrewMantle

CrewMantle — Fri, 19 Feb 2010 14:08:38 +0000

There are rare occassions where one is obliged to use the power accrued to observe and bring to light such which demands onerous words. COMMANDOpera does not partake often or lightly: only when the subject fully merits the righteous displeasure of this venue. At the end of the day, somebody has to stand up and do the right thing come what may.

Comment on Olympics Intermission by ariel

ariel — Fri, 19 Feb 2010 13:54:01 +0000

Boy , do you sound like a lover scorned .

Comment on Mr. Bryan Hymel Les Troyens by CrewMantle

CrewMantle — Wed, 17 Feb 2010 23:38:00 +0000

You nailed me…. Truth is, I was thinking Fenice originally, but before I wrote the article, I double checked the Meneghini biography and got so engrossed with the incidents in Verona before and after, thats what I wrote unthinkingly… Mea Culpa.

Comment on Mr. Bryan Hymel Les Troyens by Parsifal

Parsifal — Wed, 17 Feb 2010 23:17:37 +0000

Venice, January 1949, replacing Carosio at La Fenice…

And Bryan will definitely rawk in Les Troyens

Comment on ATTILA at The Metropolitan by CrewMantle

CrewMantle — Thu, 11 Feb 2010 17:27:59 +0000

Contradict with your opinion as much as you wish. Miss Sutherland looks in on COMMANDOpera occasionally, and I hope she misses your note (I actually wasn’t going to publish it just in case). One evening in the 80’s Miss Sutherland gaily asked me what particular works I would like to see her in. I stupidly suggested a few of the earlier Verdi works (Attila included), given their relation to German repertoire which she had already done. Lets just say that was the wrong answer…. as she proceeded to lecture me as to why not. Be it far from myself to suggest otherwise from what this esteemed artist herself had to say on the subject.

Comment on ATTILA at The Metropolitan by Marcus Brighthouse

Marcus Brighthouse — Thu, 11 Feb 2010 16:39:55 +0000

Sorry but, I must contradict you re Sutherland. Having seen her “live” on numerous occasions since the late 1950s, I can assure you that Odabella was a role significantly within her range. Those who have heard Sutherland in the flesh always remark on the extraordinary power she possessed, fielding enormous quantities of pure, molten tone right to the back of the auditorium. It was significantly bigger than both Callas (a slightly heavier lyric at best) and Tebaldi, albeit smaller than Nilsson’s gargantuan instrument (Sutherland had a much bigger top though, both in range and size). Sutherland was an heroic soprano, who happened to possess a ridiculously impressive coloratura technique. One should not confuse repertoire with the individual gifts of the singer. There was indeed talk of her recording Odabella’s role and performing it, but alas it did not happen, not because of vocal limitations. But because Sutherland and Bonynge recognised that when you go down that route, you can forget Lucias etc. It would be a case of learning a new repertoire from scratch, which was not something she wished to do.

Comment on COC Carmen Reviewed by CrewMantle

CrewMantle — Wed, 10 Feb 2010 11:57:14 +0000

I enjoyed meeting both your grandfather and his wife immensely. They spoke highly of your interest in the arts; best wishes to them!

Comment on COC Carmen Reviewed by Nathaniel

Nathaniel — Wed, 10 Feb 2010 03:59:31 +0000

Bryan Hymel has never faltered in anything I’ve witnessed him in. Expressive without a hint of meaningless affectation.

Also, I believe you yourself met my grandfather at this production; he was very impressed by your website when he investigated.

Comment on The Extraordinary Bryan Hymel by Carlos Saldanha

Carlos Saldanha — Mon, 08 Feb 2010 17:39:25 +0000

Dear friends
This is an excellent site from any point of view. I loved your organisation and good taste.
It is more than certain that I shall be coming back to you as often as possible. Concerning the young brilliant tenor Bryan Hymel, I may say that he brougt to me echos of the “voce squillante” of Corelli, but in my modest opinion with a more cultivated sensibility and style. Only hope he will not ruin his wonderful instrument, by bad choices of repertoire or escessive “artistic acceleration” with too heavy roles before time.
Congratulations and best wishes to all of you .
Carlos

Comment on Cosi Fan Tutte in Dallas by Rachel Velarde

Rachel Velarde — Sun, 31 Jan 2010 00:48:52 +0000

I was privileged to be in the chorus and share the stage with Ms. Van den Heever as Donna Anna during Arizona Opera’s production of Don Giovanni last season. She was an amazing colleague, open to a chorister asking her questions, and just a vocal force to be reckoned with. She is a gracious artist and a consummate professional, during a difficult production period. I look forward to her rise in the the world of opera, and I say that if you get a chance, GO listen to this voice and watch this actress!