Bad Night @ La Scala: Nucci Gets Sick, Urmana Gets Booed

As we reported last night, Leo Nucci got sick in the middle of Macbeth and had to be replaced by his understudy; Violeta Urmana had a bad night as Lady Macbeth; she made several mistakes, and she was quite roundly booed at the end of the night.

The problem is, la Scala had already done Graham Vick's Macbeth a few years ago, with Riccardo Muti on the podium (now it's Kazushi Ono) and a healthy Leo Nucci as Macbeth. Maybe some productions are better left un-recycled.

(Not to mention if it's true that la Scala is seriously grooming Urmana to do la Scala's first Norma in a generation next year, we might be in a lot of trouble)

Comments

[NHB]

I saw the production when it first came out with Bruson and Guleghina and what a marvellous production it is. I have seen Urmana's Lady Macbeth at Covent Garden and even then there were mistakes, but the main problem with her in this role is that she left me feeling that she should have stayed with the dramatic mezzo repertoire (I remember a wonderful Azucena). I just don't think she is right for soprano roles. I can't immagine the disgrace her Norma would be!

N.

[GtelloZ]

What about her Aida? i found her good at it. I have to listen to her in this role to make my opinion.

In youtube, there's a concert of the seocnd act of Tristan und Isolde, sung by Urmana and Treleaven. Old Abbado conducts, and, i don't know, she's not that bad for me as the critics say about her.

[CrewMantle]

It has been the fashion of recent years for houses to utilise mezzo voices for what are clearly soprano territory, be it dramatic, spinto, et al. The silly thinking being with Lady for example is that the rich middle register of a mezzo will compensate for the 'dark, stifled' voice required by Verdi.

It doesn't work. Period. Although there may be the RARE singer who owns not only this rich middle voice, but also in correspondance with a reed like demonstrative top. Miss Cossotto is one who comes to mind. Miss Verrett, or Miss Bumbry conversely were both inadequate in thier adventures as Lady Macbeth.

There have been mezzo's who aspired above their station to attempt Norma. Again Miss Bumbry with questionable success. There have also been soprano's who are thrilling in dramtic repertoire, but disappointing as Norma. Miss Dimitrova stands out here.

Opera over the years has been littered with singers that simply do not want to respect the capabilites, and limitations of their voice. And to make matters worse, the houses who really don't care a dime about bastardising the musical intent of the composers.

[Marshie]

Violetta Urmana as Norma is a bad joke and must be something related to April Fool's. Her Aida had nothing going for it. But long before the Norma fiasco-to-be in Milan, New Yorkers will get a Schadenfreude-fest of their own with her scheduled Odabella in Verdi's Attila, also with Muti (what is he thinking?). Until they can find a soprano to do the role justice (as Cheryl Studer did so memorably in the 90s, also with Muti at La Scala - no one has surpassed her since), they should shelf the project. Alas, currently there is no soprano who can do it well and beyond well. Urmana simply lacks the required coloratura technique for these fiendishly difficult roles.

[Bill Philin-Ploplis]

One can only imagine the sacrificial bonfire awaiting her outside of Scala after her debut in Callas' role. Violetta, doan go der, gurl!

[Les Mitchell]

I find it amazing that opera houses can even THINK about putting on a Norma today, since there really is no current soprano even remotely capable of undertaking it. Urmana is a competent singer, but the idea of Norma is astonishing. That she was booed as Lady Macbeth should be warning enough. The ghost of Callas hovers like a bird of prey, almost DARING another to take her place!

[Bill Philin-Ploplis]

I think Sondra Radvanovsky is about the only singer today who could manage a creditable reading of Norma, but she shouldn't wait until she is much older. She needs the lungs of a young woman and a super-intelligent maestro to help her through the first performances.

[Pier Luigi Itsybitsy]

If I'm not wrong, La Scala's last "Norma" was around 1977, with Caballé.
Btw, I remember seeing Mara Zampieri as Lady Macbeth (with Bruson as Macbeth) in Berlin and Vienna, and I liked her a lot. A great performer! Bruson and Zampieri made a very convincing couple. She was also a fine Odabella in Vienna (with Ghiaurov, Cappuccilli, and Sinopoli conducting). I cannot but recommend the recording.

[Les Mitchell]

The previous poster is correct. The last Norma at La Scala is Montserrat Caballe, and before her, it was Maria Callas. Now that I think about it, Sondra Radvanovsky might very well be able to pull off a Norma, as a previous poster stated. I really can't see Fleming doing it. Her performances of "Pirata" at the Met, while very exciting, obviously were very difficult for her, and I don't think she's gone near it since.

[Bill Philin-Ploplis]

Ms. Fleming might be a remarkable Adalgisa. A role not beneath Mme. Caballe.

[Tautietis]

Ms Urmana (or Urmanaviciute, as it says on her passport) attempting Norma? Too bad von Karajan isn't around. Even he, who was notorious for his "here, honey, sing this soprano part, it'll do miracles for your voice" attitude towards mezzos, would find this quite amusing