opera
fanatic
"baby, you think it's cold
outside"
General Hospital combined for the past 20 years, yet he still can't figure out what il Trovatore is
about? The Fanatic just goes to Trovatore for the tunes. Obviously, whoever designed the
current Met production couldn't figure out what Trovatore was about either. That the current
Met production is a big fat turkey is common knowledge; to beat that dead horse is too simple.
The best the Fanatic can say is that the Met production has been pared down so much in its
current revival that it is thankfully unobtrusive.
So, how was the singing?
The Fanatic would like to thank Franco Farina for satisfying my intellectual curiosity: I have
always wondered what Gianni Poggi must have sounded like singing Manrico ...and now I know.
I've also always wondered if poor Dolora Zajick would ever get any help in the dramatic mezzo
rep. Pack your bags for a Florida vacation, darling Dolora, the Fanatic thinks Marianne Cornetti
can help you out. Cornetti, who substituted for an ailing Elena Zaremba, had a tri-UMPH as
Azucena: all were impressed by Cornetti's impressive lower register and thrilling upper
extension.
Spanish baritone Carlos Alvarez gave a movingly felt, wonderfully sung Count di Luna. If the
Fanatic can't elaborate more, it's because he was too often distracted by Alvarez' non-vocal
endowment.
Where does the Met find these hunky Latino singers? Which Met Guild tour is that one???
Mexican Roseando Flores was a charismatic Ferrando and quite a looker as well.
Now, to the much-hyped Sondra Radvanovsky as Leonora....
Radvanovsky has the makings of a great artist: a big, agile voice, superb technician, a good
actress, lots of temperment, and a lovely stage presence. If the Fanatic appreciated
Radvanovsky's Leonora more than went bonkers for it, it is merely because the quality of
Radvanovsky's voice is not what the Fanatic wants in Verdi. Radvanovsky's voice lacks any
Italianita or vocal color -- in that respect it reminds the Fanatic of Cheryl Studer's voice. The
Fanatic would love to hear Radvanovsky as Marguerite or Senta but not most of the Verdi
dames. Just personal taste. With that said, there was much too admire in Radvanovsky's
Leonora, just not much for the Fanatic to love.
Frederic Chaslin's conducting was sometimes insightful but mostly too indulgent. The last act
was shamefully slow: the Fanatic was afraid the Leonora would die of old age before her poison
kicked in.
himself out to be one. The Fanatical Views are my thoughts on the performances I attend. I
don't care if you disagree. If you'd like to express your opinions, create your own webpage.
When the NY Times sends me a paycheck for being their opera critic, then I will accept any
& all criticism. Until then...
©2002 Roy J. Wood All Rights Reserved