The temperamental Bulgarian says she won’t sing Tatiana in Eugene Onegin again, cancelling Paris in June.
A few weeks ago, she missed Manon at Monte Carlo with back pain. Last summer she skipped Salzburg and the Munich Festival.
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The prolific international conductor Michael Tilson Thomas, diagnosed…
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She was terrific in Norma at Covent Garden, a few months ago.
BTW, Angela Gheorghiou was indisposed for the Friends’ Rehearsal of Adriana Lecouvreur at ROH, last Friday. The announcement produced some ironic “aaghs” and some laughter. She’s due to sing at First Night, this evening.
Covent Garden used a corrupt edition Bellini would never have recognized.
The famous company should invest in the right music …
https://www.baerenreiter.com/en/shop/product/details/BA7641-72/
… before spending a penny on dumb crucifixes.
What is the evidence that she is temperamental? I would guess that she is like many young singers being forced into increasingly heavy repertoire for which they are not even remotely vocally prepared. They break down both vocally and emotionally.
This industry needs to have a good hard look at itself.
Yes, I’m sure she’s not even remotely vocally prepared to tackle the heavy Tatiana, even though she already sang it back in December.
She was booked at La Scala for Boheme at the same time and I guess she picked that engagement considering it would be her debut with that company.
1) The voice is an organic instrument, not an algorithm.
2) Singing Tatiana in the small, ringing DOB is not equivalent to singing it at the much large OdP.
3) The Russian language pulls the soft palate down. It is, therefore, a much harder role to sing technically well, and in a way that protects the voice, than much Italian repertoire.
4) Both productions are double-cast. Do not presume that the theatres did not know if this double-booking and had not previously made arrangements.
5) If they did not know, this is the duty of her agent, not the artist.
6) I listened to parts of the Norma. I feel she was not remotely well-enough prepared to sing the role. It is monstrously difficult and has got the better of some of the greatest sopranos in living memory. It’s the reason why it is performed so little.
7) None of this shows evidence that the artist is temperamental.
But then, we live in an era of fake news, so perhaps you should just write whatever you like, eh?
Having already sung Iolanta (a certainly more dramatic role) at the Bastille in addition to other Italian roles, I’m sure Tatiana wouldn’t be much of a stretch.
In your wonderfully detailed, objective, and benevolent account you forgot to mention that the temperamental singer is also prone to monthly indispositions.