loving it, especially the Strauss! image does not belong to me - saw it on facebook, as credited in the source :)

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JVL

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Kiana Khansmith
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@operschatz
loving it, especially the Strauss! image does not belong to me - saw it on facebook, as credited in the source :)
Mary Rose Go, a Filipina-American soprano, says she’s “always felt extremely uncomfortable” about productions of Madame Butterfly and Turandot—two Puccini operas that often involve gong-banging pageantry similar to The Mikado. And that’s even as opera producers are nowadays keen to cast someone who “looks the part.” Go says she opted out of the chorus section of a Madame Butterfly production in order to avoid “a space where an Asian American’s worst Halloween nightmare can happen nightly in rehearsal,” as she put it.
“Madame Butterfly isn’t my voice type but, unless they re-imagined the production and got rid of the kimonos,” says Go, “I prefer not to be part of those productions.”
----- a great article to open up a real conversation. when we ask the difficult questions, opera proves itself to be vividly, gloriously relevant.
Dr. Joyce DiDonato!!!!! :') Really, really really love her. She is a huge inspiration: 1. 'There will always be more freedom to acquire and more truth to uncover. As an artist you will never arrive at a final destination and this is the glory and the reward of striving to master your craft, and embarking on the path of curiosity and imagination while being tireless in your pursuit of something greater than yourself.' 2. 'The work - sorry, I hate to say it - the work will never end.' 3. 'When things become overwhelming - again, they will become overwhelming repeatedly - whether its via unexpected rapid success or in heartwrenching devastating failure - the way back to your centre is always to return to the work. Oftentimes it will be the only thing that makes sense to you. And it is there that you will find solace and truth. At the keyboard, at the bar... always return to your homebase and trust that you will find your way again via the music...be patient and know that it will always be there for you, even if in some moments you lack the will to be there for it.' 4. '...this is freeing and this is empowering. You may not realise it yet but you have not signed up for a life of glory and adulation...for glory will always be transitory and will surely disappear as fleetingly and arbitrarily as it appeared. The truth is, you've signed up for a life of service. A life of service is what going into the arts is. The life-altering results of that service in other peoples' lives will never disappear as fame unquestionably will. You are here to serve the words, the director, the melody, the author, the chord progression, the choreographer. But above all, and with every breath... you're here to serve humanity...you're now servants to the ear that needs quiet solace...servants to the mind that needs desperate repose or pointed inquiry...' 5. 'You're a servant to the eager, naive, optimistic ones, who will come behind you with wide eyes and wild dreams, reminding you of yourself as you teach and shape and mould them, even though you might be plagued with haunting doubts yourself, just as your teachers likely were. And you will reach out to them and generously invite them to soar and to thrive because we are called to share this thing called art.' ----- Her outlook is exactly what Dweck means when she writes: 'Do people with this mindset believe that anyone can be anything, that anyone with proper motivation or education can become Einstein or Beethoven? No, but they believe that a person’s true potential is unknown (and unknowable); that it’s impossible to foresee what can be accomplished with years of passion, toil, and training.'
Kate Lindsey is my new favourite mezzo-soprano! (Nicklausse's aria 'Voyez-la sous son eventail' from Offenbach's Les contes d'Hoffmann)
In recent days, ADA (a management company for professional opera singers) received an unsolicited email from America’s Got Talent. It was an impersonal, wide-sweep style email that in no way recognized the specific talent and quality of the artists that we...
dysfunctional-harmony: The genius of Sondheim is his recognition of the intense loneliness in every artist’s heart: how, once they have started working, not with inspiration, but by the sweat of their brow, they shut themselves off, and must keep working, no matter what anybody else thinks of them. It is that disconnect, that “the show must go on” attitude, that separates them. And it is that, that devotion, and that irreconcilable sadness, that makes them who they are.
Joyce DiDonato as Cherubino, Le Nozze di Figaro, Metropolitan Opera 2005
Joyce DiDonato on trills
"OH, I had to work on mine"
THAT GIF THO
that music of the night moment at 57:30 ;)
The text is essentially our instrument. That's what makes us musicians. Musiciansss ;)
Joyce DiDonato
What we're doing, it's a metaphor for life. These are things we don't conquer. You never get it. You get more of it, which means you get less of it. Which is weird. But then you find simplicity, you find trust. But you never arrive. But that's what's beautiful about what we do.
Joyce DiDonato
Mozart: 'Parto, parto', La Clemenza di Tito (Cecilia Bartoli)
Puccini: 'Sola, perduta, abbandonata!', Manon Lescaut (Renée Fleming)
- Ai piedi suoi mi getterò divisi ei più non ne vorrà, sarem felici, sarem felici, perchè tu m'ami, tu m'ami, Alfredo, tu m'ami non è vero? tu m'ami? Alfredo, tu m'ami, Alfredo, non è vero? - Oh quanto! perchè piangi? - Di lagrime avea d'uopo / or son tranquilla, lo vedi? ti sorrido, lo vedi? or son tranquilla, ti sorrido. (Scene 'Amami Alfredo' from the 1994 DVD of Verdi's La Traviata; Gheorghiu, Lopardo, Nucci, Solti, Covent Garden) ----- ultimate realism/ my favourite bit out of the whole of traviata ! where violetta is, more than talking to alfredo, talking herself out of tears - 'look at me, see, i'm smiling, i'm not crying' - while her heart is shattering into a million pieces within. ouch.
can't wait for carmen at ROH this december!!!!!!! :D
Elina Garanca singing Andronico in Vivaldi’s Bajazet. I have a weak spot for Vivaldi’s operas, and while Garanca isn’t necessarily crossdressing in the clip (though I am a fan of the waistcoat), this clip shows her finesse and talent. “:D
So precious.
those eyes.
Joan Sutherland & Marilyn Horne in interview with Will Crutchfield on the importance of sheer hard work in learning coloratura & trills.