Sapphic European Opera Soprano Gets Lobotomy In "Ratched"

Harriet Sansom Harris plays the chain-smoking diva.

Ryan Murphy's latest exploration for Netflix is Ratched. Described as "an American psychological thriller drama web television series about the character of the same name from Ken Kesey's 1962 novel One Flew Over the Cuckoo's Nest. Created by Evan Romansky and developed by Ryan Murphy, the series stars Sarah Paulson in the title role and serves as a prequel to the novel. It premiered on Netflix on September 18, 2020." Netflix adds: "Ratched is a suspenseful drama series that tells the origin story of asylum nurse Mildred Ratched. In 1947, Mildred arrives in Northern California to seek employment at a leading psychiatric hospital where new and unsettling experiments have begun on the human mind. On a clandestine mission, Mildred presents herself as the perfect image of what a dedicated nurse should be, but the wheels are always turning and as she begins

Barbaric Practice: If opera didn't do Ingrid in, this surgery might!

to infiltrate the mental health care system and those within it, Mildred's stylish exterior belies a growing darkness that has long been smoldering within, revealing that true monsters are made, not born." One character, a faded opera singer named Ingrid, appears in two episodes. She is equal parts Zinka Milanov and Eva Marton. When describing her repertoire, she says "I sang all the major dramatic roles from Brünnhilde to Turandot." Finding herself lost now that her career is over, she has arrived at the asylum for  new revolutionary procedure, which turns out to be a lobotomy. Things get a bit more complicated when it's revealed she is also a lesbian, something the hospital is trying to "cure" as well. In the second appearance of Ingrid, the scene opens with Puccini's aria "Tu che di gel sei cinta" from Turandot. Although Ingrid herself would have sung the title role of the opera, this from the character of Liù resonates with several themes within the show. The rest of the Ratched cast includes Sharon Stone, Sarah Paulsen, Judy Davis, Cynthia Nixon, Finn Wittrock, Jon Jon Briones, and Charlie Carver. See more stills of Ingrid from Ratched, and see videos of the above aria as well as others that Ingrid would have performed, after the jump. [Source, Source]

Naughty Nurse: Sarah Paulsen plays Mildred Ratched.

Christopher Macchio Slaughters Puccini In Political Propaganda Night

Opera suffered a major blow in the America's capital. Donald Trump ended the fourth evening of the Republican National Convention on the lawn of the White House in Washington, D.C., with singer Christopher Macchio attempting to interpret Puccini's well-known "Nessun Dorma" from the portico balcony. Struggling through music that is beyond his faculties, even with a microphone, he followed the aria with Leonard Cohen's "Hallelujah," Schubert's "Ave Maria," Irving Berlin's "God Bless America," and ended with Katharine Lee Bates's "America the Beautiful." The entire spectacle was reminiscent of autocratic regimes in the world that flaunt crowds and wealth as political power. Remember in the context of the opera Turandot, from which the aria derives, the title character has threatened "This night, none shall sleep in Peking! The penalty for all will be death if the Prince's name is not discovered by morning." It's not clear whether the administration knew this in advance or perhaps that is why is was selected. 

According to various biographies, the entertainer attended the Manhattan School of Music in New York. Macchio came to the attention of Donald Trump after he performed at a New Year's Eve Party thrown at Mar-a-Lago in Palm Beach, Florida. Read more about his achievements here. "His exploits can be followed online though his website, www.christphermacchio.com, through social media, and experienced on his debut album, DocliMomenti, which showcases a stylistic range that can delicately draw an audience in, and
then build to a virtuoso climax that leaves
goosebumps on the arms and tears in the eyes."

Reviews have been less than favorable of the performance. Watch it here. A professional version of the famous aria can be found after the jump.

[Source]

Leontyne Price Live MET Performances Get 2-CD Release

"Celebrate one of opera's greatest artists with Leontyne Price at the Met. This new release features excerpts from the beloved American soprano's Met performances of Aida, Tosca, Il Trovatore, Antony and Cleopatra, and much more." Pirate recordings of the American soprano have previously been available to the public, but now the Metropolitan Opera attempts to get the highlights of the most famous moments that Leontyne Price sang at the house in this new compilation. Pre-order your copy here.

Watch a video of Leontyne Price's farewell performance at the Metropolitan Opera in the title of Verdi's Aida.

Maria Luigia Borsi Interviewed During "La Bohème" At Atlanta Opera

A portrait of Maria Luigia Borsi by Brad Repp

"The masterpiece by Puccini introduces us to Mimì and Rodolfo, young lovers living in Paris in the nineteenth century. Their group of bohemians (poets, painters, philosophers) traverses the emotional landscapes of love, poverty and ultimately, loss. This production by General & Artistic Director Tomer Zvulun will bring a grand cinematic approach to one of the greatest operas of all time. Italian soprano Maria Luigia Borsi portrays Mimì. Tenor (and fellow Italy native) Gianluca Terranova plays her lover, Rodolfo. American soprano Leah Partridge sings the role of Musetta and baritone Trevor Scheunemann will portray Marcello. Theo Hoffman sings the role of Shaunard. Arthur Fagen, Carl & Sally Gable Music Director of the Atlanta Opera, will conduct." [Source] For ticket information, visit the Atlanta Opera website. Listen to the interview with Maria Luigia Borsi by clicking here. Hear the soprano sing "Donde lieta usci," from Act III of La Bohème, after the jump.

Opera Through Excited Young Eyes: Iain Reviews Turandot

First Listen: Christine Goerke As Turandot At The Metropolitan Opera

Christine Goerke as Turandot with Marcelo Álvarez as Calaf in the Franco Zeffirelli production of Turandot.

Puccini's Turandot opens this evening with soprano Christine Goerke making her role debut at the Metropolitan Opera. Watch a video of her singing an excerpt from "In questa reggia," after the jump.

"Mission: Impossible" Gets The (Vienna State) Opera Treatment

Soprano Lise Lindstrom has sung the title role of Puccini's Turandot at the Metropolitan Opera, Teatro alla Scala, Royal Opera House Covent Garden, Les Choregies d'Orange, and many other opera companies around the world. (Photo: Lisa-Marie Mazzucco)

Critic Alex Ross brilliantly covers the classical music-infused sequences of the new Tom Cruise thriller Mission: Impossible - Rogue Nation. From opening scenes featuring Mozart's Le Nozze di Figaro overture to extended excerpts of Puccini's Turandot. Although actors portray the opera roles of Turandot (America Olivo) and Caláf (Jesus Alvarez), the parts are sung here by Lise Lindstrom and Gregory Kunde under conductor Philippe Auguin (played by Nicholas Lupu in the film). Most of the action takes place at the Vienna State Opera. There's even a splash of Beethoven's Eroica Symphony thrown in for classical good measure. And it is probably no coincidence that the femme fatale of the film, played by Rebecca Ferguson, is named Ilsa Faust. Hélas, no Gounod is found in the film. Read the entire review by clicking here. Watch a clip of Lise Lindstrom singing the role of Turandot, after the jump.

Tom Cruise as the indestructible Ethan Hunt in Mission: Impossible - Rogue Nation.

Angela Gheorghiu Makes "House Of Cards" Debut In Opera Scene

Heard But Not Seen: Angela Gheorghiu's voice
makes an appearance in House of Cards.
(Photo: Gabriel Hennessey/EMI)

The Netflix series House of Cards could be an opera without music. The leading couple, Claire (Robin Wright) and Francis "Frank" Underwood (Kevin Spacey), have been described as Lady Macbeth and Iago. For three seasons, this duo has made drama fly around a fictionalized version of Washington, D.C., on the streaming hit show. But it was in Season 2, Chapter 26, "Hail to the Chief," that we got an operatic injection. We see Frank attending a concert version of Madama Butterfly. Filmed at Patricia and Arthur Modell Performing Arts Center at The Lyric in Baltimore, the scene captures a soprano (played by soprano Annie Gill) in profile singing "Un bel dì vedremo" from Act 2 of the Puccini opera. The track playing is the voice of Angela Gheorghiu. Next we see feuding villains Frank and Raymond Tusk (Gerald McRaney) have a face-to-face meeting in the basement of the opera house. During their conversation the love duet "Bimba dagli occhi pieni di malìa" from Act 1 can be heard faintly in the background (decidedly NOT Gheorghiu this time). As the two are wrapping up their non-productive negotiations, Tusk says, "When they put you in that box, barely bigger than a coffin, remember how beautiful the music was tonight." Frank shoots back, "Puccini's such a downer. I prefer something more optimistic." In Puccini's masterpiece, Cio-Cio San asks Pinkerton if it's true that in America they catch butterflies and pin them to boards. He says yes, so they don't fly away. The U.S. Navy Lieutenant has complete dominance over the 15-year old Japanese girl.  Is it possible that Raymond feels "pinned" and helpless under the power of Frank during this episode, knowing he must submit to his destiny? Read more about the episode here. Watch a music video of Angela Gheorghiu singing "Un bel dì vedremo," as well as three other classical bits of music used in the three seasons of House of Cards, after the jump. [Source, Source]

Raymond Tusk receives his invitation to a "Madame" Butterfly from Frank Underwood

Annie Gill lip synching Puccini's "Un bel dì vedremo" from Madama Butterfly

Melodiya Releases "Tosca" Recording With Milashkina and Atlantov

Finalmente: Milashkina & Atlantov onstage in Tosca.

"One of the most popular operas of the world repertoire, Tosca was finished in the last year of the 19th century. It was based on the French playwright Victorien Sardou’s drama written for Sarah Bernhardt. The premiere of the opera that took place in 1900 in Rome was not accepted with much enthusiasm, and only the performance at La Scala under Arturo Toscanini became a true triumph. The story of singer Floria Tosca and her beloved painter Mario Cavaradossi who fell victim to bloody despot Baron Scarpia on the background of the revolutionary events in Italy of the early 19th century is still able to move to the innermost of one’s heart as the heat of dramatic fervour is masterfully captured in the music. Numerous audio and video recordings of the opera featuring the world’s best singers and conductors were made in the previous century. This recording was realized by the USSR Bolshoi Theatre in 1974. The celebrated internationally recognized soloists of the opera company of the 1970s Tamara Milashkina, Vladimir Atlantov, Yuri Mazurok and others perform the opera in the original language under the prominent conductor Mark Ermler." [Source] International release date is July 15, 2015. Pre-order your copy by clicking here. More photos, and some excerpts from the recording, after the jump.

Anna Netrebko Answers The Guardian's Probing Questions

Anna Netrebko wears a Zac Posen gown in this
Dario Acosta portrait from 2013.

While in London for performances of La Bohème and in honor of her upcoming engagement at the Royal Albert Hall in Tchaikovsky's Iolanta, Anna Netrebko answered some musical questions posed by The Guardian in their "Facing the Music" series. Find out what music she listens to when traveling the world; why she recently purchased several Aida recordings; her thoughts on concert etiquette when it comes to applause; why the organ is an intriguing instrument to her; that time she enjoyed Elton John and Lady Gaga; the most recent Broadway musical she's seen (and loved...); whether a collaboration with Justin Bieber is in her future; and what she sings in the shower. Read the full questionnaire here.

Anna Netrebko Ushers Out John Copley "La Bohème" At ROH

Living on Love: Rodolfo (Joseph Calleja) and Mimì (Anna Netrebko) struggle to make ends meet,
but they still have each other until death do them part at Covent Garden.

"So now we bid farewell to another dear old friend, as John Copley’s venerable production of Puccini’s weepie, rich in period detail and devoid of interpretative tricks, is being laid to rest after four decades in service, embracing twenty-six revivals and well over two hundred sold-out performances. To be honest, this loyal carthorse of a show does seem a trifle sclerotic nowadays. I’ve seen stagings recently that feel more youthfully raw and emotionally urgent; aspects of its 'realism' look dated; and the second interval slows the pace down unhelpfully. But the tableaux for the snowy Barrière d’Enfer and bustling Café Momus remain wonderfully atmospheric, and the straightforward characterisations never inhibit the singers. Richard Jones, rumoured to be

Herr Direktor: Read more about 
John Copley by clicking here.

commissioned for a replacement, will have his work cut out to provide anything sturdier. Copley, a spry octogenarian, returned to rehearse this final outing and made a lively job of it. Sharp cameos from Ryland Davies (Alcindoro) and Donald Maxwell (Benoit) sprinkled light relief. Marco Vinco’s Colline mourned his pawned coat in style, Lucas Meachem presented an exuberant jock of a Marcello, and Jennifer Rowley was a brassy Musetta, with a touch of Ethel Merman about her gusto....His Mimi was the mercurial Anna Netrebko, in lustrous voice. She is not a subtle artist, and having adjusted her focus to more dramatic repertory, her resinous soprano can’t convey the fragility of the consumptive flower-girl. She also failed to float the rapturous 'ball of light' note at the end of Act I. But she never just phones it in or holds back à la Gheorghiu, and here she gave of herself unstintingly, most notably in an affecting account of the third act - one of Puccini’s most masterly inspirations." [Source]

Andris Nelsons Innaugural Concert With Kaufmann & Opolais To Air

"Andris Nelsons’s first season as music director of the Boston Symphony Orchestra has come and gone — but in case you missed it entirely, you wanted more, or you just wondered what all the buzz was about, you can now catch a glimpse of the new partnership from the comfort of your living room. On Friday at 9 p.m., PBS will broadcast the young Latvian conductor’s inaugural concert with the orchestra, recorded live in Symphony Hall last September....Among the highlights on the night itself were the contributions of the two star vocal soloists, especially tenor Jonas Kaufmann’s outstanding performance of 'In Fernem Land' from Act III of Lohengrin, an account whose intensity and poetry is conveyed here. The Latvian soprano Kristine Opolais, Nelsons’s wife, sings a vivid 'Un Bel Di' from Madama Butterfly as well as a smoldering duet with Kaufmann: 'Tu, Tu, amore? Tu?' from Puccini’s Manon Lescaut, a work this pair is slated to perform together next season in a new Met production directed by Richard Eyre. For an additional opening night souvenir, the two singers also offered as an encore a melting, sweet-toned account of 'O Soave Fanciulla' from the Act I finale of La Bohème." [Source]

(Photo: Chris Lee)

The Santa Fe Opera Announces 2016 Anniversary Season

The Santa Fe Opera has announced the 60th Anniversary Season for the summer of 2016! Operas will include La Fanciulla del West, Don Giovanni, Roméo et Juliette, Capriccio, and Vanessa. See the press release after the jump. (Photo: Paul Horpedahl)

That Time Emmy Rossum Sang Puccini For Pork On "Conan"

Actress Emmy Rossum recanted a story, when visiting Conan O'Brien on his late-night talk show a few years ago, about when she started studying singing at age 7 and would walk by a butcher shop on a regular basis. All she had to do was stop and sing an aria in order to get a free hot dog. Watch the clip for her spontaneous performance of "O mio babbino caro" from Puccini's Gianna Schicchi.

Sonya Yoncheva Heralded As Mimì At MET By New York Times

Ms. Yoncheva in rehearsal (Photo:
Jonathan Tichler/MET Opera)

"In the third act of Puccini’s La Bohème, Mimì, the tubercular seamstress, says goodbye. 'Addio,' she tells Rodolfo, her poet lover, at the end of the aria 'Donde lieta usci,' and then repeats it for emphasis: 'Addio, senza rancor.' Many Mimìs keep this moment simple, singing both iterations of 'addio' roughly the same. But at the Metropolitan Opera on Friday, the Bulgarian soprano Sonya Yoncheva first sang the word in a voice straightforward and resolute, trying desperately to project strength. The second time, she sounded wispy and vulnerable: a poignant revelation of her true feelings. Subtle, thoughtful and heart-rending, the passage seemed like the work of a veteran artist. But astonishingly, this was Ms. Yoncheva’s first staged performance of the role. Her delicate, dreamy, detailed Mimì has arrived more or less fully formed — and, for good measure, with less than two weeks’ notice and just a month after she gave birth to a son....Her voice is not huge, but her precise articulation of the text and the slightest metallic glisten in her warm tone allow it to penetrate. Her first-act aria built to a gently riveting reverie, and she grew in tragic stature as the opera went on, with her soft-grain echo of Rodolfo’s earlier melody a textbook lesson in tender nostalgia near the end. The rest of the performance was not at her level." [Source] Her debut recording, "Paris, Mon Amour," will be released on Sony Classics in January 2015.

As the delicate Puccini character Mimì in La Bohème, Sonya Yoncheva receives a triumphant review.

Alyson Cambridge Sings At 2014 Soul Train Awards In Las Vegas

Fresh from performances as Musetta in Puccini's La bohème at Washington National Opera, soprano Alyson Cambridge was in Las Vegas last night to sing at the 2014 Soul Train Awards along such luminaries as Chris Brown, Missy Elliot, Lil' Kim, Bobby Brown, and more. The singer announced the news yesterday on Facebook stating: "Trying to duo [sic] the opera world proud! Bringing legit opera to primetime and then fusing it with hip hop too!" Press release "Chris Brown is set to kick off the 2014 Soul Train Awards, The Hollywood Reporter has learned exclusively. The musician, who leads this year's nominees list with seven nods, will take the Orleans Arena stage in Las Vegas on Nov. 7. Also slated to sing at the annual ceremony are Aloe Blacc, Nico & Vinz, Lisa Stansfield, Kem, Jeremih and Liv Warfield. Jodeci are also set to

Alyson Cambridge on the red carpet

reunite for a medley of their hits. Wendy Williams will host the event, airing Nov. 30 at 8 p.m. on Centric and BET networks. The 2014 show will celebrate the history of dance with choreographer Fatima Robinson and her seasoned troupe, as well as producers 1500 or Nothin’ on board as music directors. 'This slate of performances is another example that Soul Train Awards 2014 is the only place where soul music lovers can find the diverse combination of current chart-topping performers and reunions from their favorite hit-making groups,' said Paxton Baker, general manager and executive vp, Centric, in a statement. 'We are pulling out all the stops this year and are thrilled to have Chris Brown and Jodeci lead the big surprises we have in store.' The 2014 Soul Train Awards is directed by Tony McCuin and produced by BET Event Productions and Sunseeker Media. Executive producers include Centric's Baker, Tami Arasli and Derek Lewis; Sunseeker's Bart Phillips; Soul Train Holdings' David Koff and Jerry Letter; Doug E. Fresh and Wendy Williams Productions' Williams and Kevin Hunter." [Source] Read more about the singer on the event's website by clicking here. A photo of Alyson Cambridge in rehearsal for the event is after the jump.

Dirty Man Mike Rowe Breaks Out Puccini For CNN Newsroom

Hard at Work: Dirty Mike Rowe

Back in 2011, we told you the story about Mike Rowe and his opera-singing background. Now you can witness for yourself, as he breaks out in "Vecchia zimarra senti" from Puccini's La Bohème. He visits the anchor room to wake up some unsuspecting workers with his booming voice when asked if he remembers the aria. He came prepared and everyone took notice. Watch the sensational spectacle for yourself in the video posted below:

What The Deaths Of Magda Olivero & Licia Albanese Mean For Opera

The latin term trado has been translated into a multitude of definitions: to hand over, give up, deliver, transmit, surrender, impart, entrust, confide, leave behind, bequeath, propound, propose, teach, to hand down, narrate, recount. It served as the basis for the word we now know in the English language to be tradition. With the recent passing of Magda Olivero (age 104) and Licia Albanese (age 105), the opera world loses yet another link to the composers of the past. These were the last remaining sopranos that originated the 20th-century's verismo period and served as an essential connection to the past for future opera audiences. Once upon a time, singers worked directly with composers to tweak the characterization and often had music written specifically for their vocal capabilities. There was something almost sacred that was being passed down for safekeeping to the following generation. Looking back over the history of slightly more than 200 years reveals a great deal about the relationship with the soprano and composer.
Wolfgang Amadeus Mozart had soprano Caterina Cavalieri. A singing student of rival composer Antonio Salieri, Mozart wrote the role of Konstanze in his Singspiel Die Entführung aus dem Serail for the soprano which she premiered on July 16, 1782. On May 7, 1788, Cavalieri sang the role of Donna Elvira in the Vienna premiere of Mozart's Don Giovanni. Other works by Mozart written for her are Davide penitente (1785) and the role of Mademoiselle Silberklang in Der Schauspieldirektor (1786). Gioachino Rossini had Isabella Colbran. Born in Madrid, she studied under Girolamo Crescenti in Paris. The dramatic coloratura soprano first met Rossini in Naples where he composed the title role of Elisabetta, regina d'Inghilterra especially for her in 1815. She went on to sing the lead roles in his operas Otello, Armida, Mosè in Egitto, Ricciardo e Zoraided, Ermione, La donna del lago, Maometto II, and Zelmira. He eventually married the soprano in 1822 when they moved to Bologna and she sang the last role composed specifically for her, the title role in Semiramide, before the couple split in 1837. After her death, Rossini continued to credit her as being the greatest interpreter of his music. Gaetano Donizetti had Giuditta Pasta. Italian by birth, Pasta studied in Milan with Giuseppe Scappa, Davide Banderali, Girolamo Crescentini, and Ferdinando Paer, among others. She sang regularly in London, Paris, Milan and Naples between 1824 and 1837. Donizetti wrote two roles specifically for the soprano: the title roles in Anna Bolena and Amina in Bellini's La sonnambula (Vincenzo Bellini even wrote Norma for the soprano). She later taught singing with such notable students as Emma Albertazzi, Marianna Barbieri-Nini, and Adelaide Kemble. Pasta retired at her Lake Como villa and in Milan, where she devoted herself to advanced vocal instructions until her death in 1865. Giuseppe Verdi had several leading ladies to premiere his works, including Marcella Lotti della Santa (Aroldo), Teresa Stolz (La Forza del Destino, Aida), Marie Sasse (Don Carlos), Fanny Salvini-Donatelli* (La Traviata), Antonietta Marini-Rainieri (Oberto, Un giorno di regno), Teresa Ruggeri (I Lombardi), Marianna Barbieri-Nini (I due Foscari, Macbeth, Il corsaro) and Sophie Cruvelli (Les vêpres siciliennes). Many of these women were either his mistresses or, in the case of Giuseppina Strepponi (Nabucco), his wife.  Richard Wagner had Wilhelmine Schröder-Devrient. The German soprano combined a rare quality of tone with dramatic intensity of expression, which was as remarkable on the concert platform as in opera. She created several roles for Wagner Adriano (Rienzi), Senta (Der Fliegende Holländer), and Venus (Tannhäuser). She was to have also done a premiere turn as Elsa (Lohengrin) in 1849, but politics intervened. After her death, a two-volume work entitled Memoiren einer Sängerin was released that were reportedly her erotic memoirs. Then came the verismo composers: Giordano, Alfano, Mascagni and Cilèa. Magda Olivero often had roles created for her by these composers. Thirty-one of the forty-four composers whose operas Olivero sang during her career were still alive when she began to study. Licia Albanese sang the role of Cio-Cio San in Puccini's Madama Butterfly in over 300 performances. One of her early teachers, Giuseppina Baldassare-Tedeschi, was a contemporary of the composer. "In opera, verismo (meaning 'realism', from Italian vero, meaning 'true') was a post-Romantic operatic tradition associated with Italian composers. They sought to bring the naturalism of influential late 19th-century writers such as Émile Zola and Henrik Ibsen into opera. The style began in 1890 with the first performance of Mascagni's Cavalleria rusticana, peaked in the early 1900s, and lingered into the 1920s. The style is distinguished by realistic – sometimes sordid or violent – depictions of everyday life, especially the life of the contemporary lower classes. It by and large rejects the historical or mythical subjects associated with Romanticism. The Italian verismo composers comprised a musicological group known in its day as the giovane scuola ('young school'). The most famous composers who created works in the verismo style were Giacomo Puccini, Pietro Mascagni, Ruggero Leoncavallo, Umberto Giordano and Francesco Cilea. There were, however, many other veristi: Franco Alfano, Alfredo Catalani, Gustave Charpentier (Louise), Eugen d'Albert (Tiefland), Ignatz Waghalter (Der Teufelsweg and Jugend), Alberto Franchetti, Franco Leoni, Jules Massenet (La Navarraise), Licinio Refice, Ermanno Wolf-Ferrari (I gioielli della Madonna), and Riccardo Zandonai." Today we have a singer like Dawn Upshaw who has championed the composers of the late 20th-century and nurtured the type of relationship with them that harkens back centuries. Many of the composers include Osvaldo Golijov, John Harbison, Esa-Pekka Salonen, John Adams, and Kaija Saariaho, Henryk Górecki, and David Bruce. Some have even written works specifically for her throughout the last decade. But what of the Mozart, Puccini, Donizetti, Rossini, and Bizet, works that remain the most performed in United States opera companies today? Who is left among the living, that is the closest connection to these composers, that can pass on the tradition to future opera singers? On December 2, the great Maria Callas would have turned 91. As the younger generation seeks out advice from living sources that either worked with composers or had teachers that were living at the time 19th and 20th century music was written, it's easy to see the list is quite extensive. Imagine Patricia Racette working characterization on Carlisle Floyd's Susannah with the originator of the role Phyllis Curtin; Christine Goerke coaching the title role of Strauss's Elektra with Inge Borkh; Anna Netrebko seeking advice from Leontyne Price who sang the role of Leonora in Il Trovatore around the world; Pumeza Matshikiza having a working session with Mattiwilda Dobbs about her early studies with Pierre Bernac and his work with Reinhold von Warlich; or Kathleen Kim asking about the over 60 roles that coloratura Renée Doria performed during her career. Check out the formidable soprano legends that new singers should be clamoring to work with on music, after the jump. [Source, Source, Source, Source, Source, Source, Source, Source, Source]

*also sang the following Verdi roles during her career: Mina (Aroldo), Gulnara (Il corsaro), Lucrezia (I due Foscari), Elvira (Ernani), Giovanna (Giovanna d'Arco), Giselda (I Lombardi), Lady Macbeth (Macbeth), Amalia (I masnadieri), Desdemona (Otello), Gilda (Rigoletto), Violetta (La traviata), and Leonora (Il trovatore).

Soprano Claire Rutter Does House Chores And Likes Country Music

Western Girl: Rutter will sing the role of Minnie in
La Fanciulla del West with the Minnesota Opera
next month. Details here.

"For one of the world’s most in-demand opera stars, the image conjured up for me was, well, less than glamorous. The truth is, admitted Winchester’s Claire Rutter, I really enjoy finding the time to do the ironing while listening to country rock music. I pointed out this was hardly the diva-ish image fans might expect of the star who is currently wowing audiences as Violetta in La Traviata being staged at Hampshire’s Park Grange Opera. 'Having children certainly helps to keep you grounded. If we start singing around the house they tell us to shut up quite quickly,' confessed Claire, as we spoke prior to her appearance in a special concert this weekend to help raise funds for St John the Baptist Church in Alresford. And how does she relax when not doing the ironing? What music does an international opera star listen to when off duty? 'Certainly not opera. It’s like any job really. When you sing opera all the time it’s the last thing you want to listen to. In fact, the only time I will listen to opera is when I’m learning a piece or someone has sent me something for an opinion. Otherwise I enjoy country rock and jazz.' At that our telephone interview came to an end. The builders had arrived and a delivery of gravel was threatening to block the family’s drive. A diva’s life indeed." [Source]

Sondra Radvanovsky Not Afraid To Throw Herself Into Tosca Role

The calm before the storm: La Radvanovsky as Puccini's heroine Tosca. (Photo: Catherine Ashmore)

"In the title role, the American soprano Sondra Radvanovsky was quite stunning. Her voice has astounding power with thrilling high notes. Her acting ranged from coquettish and suspicious with Cavaradossi to tragic when submitting to Scarpia, but was convincing throughout....Finally, there is Tosca's leap to her death. All too often, this is a tentative little step across the parapet, giving the impression that the soprano is a bit worried that he might sprain her ankle or chip a fingernail as she plummets to her doom. Claire Rutter showed us how it should be done at ENO a year or two ago, and Radvanovsky followed her lead with a wondrously graceful slow fall backwards. This was not just a good leap, it was a great leap, well worth an extra star on its own." [Source] For more information about the production, please click here. Also, after the jump, a wonderful marketing photo for the production that depicts the jump.