Watch Kathleen Battle’s Met farewell
OperaThe controversial US soprano, 75, went for the high notes in the closing number of her unprompted return yesterday to the Metropolitan Opera.
Link here.
From Tim Page’s review in the WSJ: ‘…Ms. Battle was greeted with an immediate and prolonged standing ovation—the first of many—from her eager audience as she walked onstage in a black dress with a long, turquoise-colored wrap. Purcell’s “Music for a While” dispelled most of any major concerns—yes, she could still sing (and mostly quite beautifully); yes, the beaming high notes were still intact and immediately recognizable as hers alone; and when her pitch sense began to wander a little, she corrected it quickly and effectively….’
I’d listen to her at 75 over Renée Fleming at 65. Both are at the Met right now.
“Swing Low, Sweet Chariot” at the Metropolitan Museum, a cappella, represents ideal singing, one of the most beautiful performances ever.
Video available.
(This recent version is for fans only.)
“It was as much, perhaps more, a celebration of a beloved artist, than a musical experience.
A less sympathetic audience would have undoubtedly bristled at Battle’s quirky behavior.
There were prolonged breaks between songs, excessive rustling of pages as she sorted through music, and the prodding of Kibbey and Pinheiro to either play louder or reposition themselves for reasons unbeknownst to the audience.”
https://newyorkclassicalreview.com/2024/05/battle-returns-to-the-met-with-touching-glimpses-of-past-vocal-glory/
A friend of mine who was there says that the rustling through pages and other seemingly time-wasting actions were clearly excuses to buy her extra resting time between songs.
It’s unfortunate that she didn’t just have Kibbey and Pinheiro prepare pieces to play by themselves while she rested her voice.
I was there. It really wasn’t a big deal.
Her mic wasn’t turned high enough until she left stage and had it adjusted. Audience needs to hear her still glorious sound.
How do you know she was miked?
The mike level was higher after the first 3 pieces. I heard her in 93 at the Met with Pavarotti. Her vouce was not huge then, so it was no surprise for her to be miked at this point in time. Battle is still a great singer, and it was marvelous to hear her again. I last her her at the Met in 2016.
Can’t give a compliment without a dig of some sort? Why?
very nice voice still, in general soubrette sopranos age well because they don’t sing the heavy stuff… if only opera companies would hire her again, but I suspect her temperaments would not jibe with today’s tyrannnical directors.
Thank you for not writing “jive.”
It somehow seems like a different experience watching her perform today as opposed to 30 years ago – I can’t pinpoint exactly the reason…….
Lorin Maazel said in an interview with Norman Lebrecht, “Some people grow old and bitter. I grow old and mellow.” Perhaps she has done the same?
A good friend had to deal with her backstage at her last Met outing with her gospel program. Sadly, she had not changed.
I spoke with her briefly after a performance in 2015. She was very kind and charming. Whatever her health issues were 30+ years ago, she seems to be just fine.
Uses a mic and justifiably so. It wasn’t high enough til second song which is why she left the stage.
Kathleen Battle left the Met years ago when she was fired. Beautiful voice but unbelievably difficult to work with!
It makes me wonder about singers like Ba Bonney, and what their voices might yield today?Ah…..speculation
Oh dear, La Battle ain’t what she used to be.
Im sure you arent what yo u used to be. Kathleen was great
that’s inevitable. She’s still in very fine voice though on evidence of this clip.
No one is. But her mic helps a lot.
Amazing how Kathleen Battle’s timbre has not withered or lost its beauty over all these years. Truly remarkable. The same cannot be said for many similar light opera voices like David Daniels. That one crashed and burned.
Google David Daniels. Sad.
50 years, three singers, Kathleen Battle, Jessye Norman, Luciano Pavarotti. These people could communicate in a way that you would never forget for the rest of your life.
I went to a party. The host put on
Richard Strauss – Ariadne auf Naxos / Levine, Norman, Battle, Troyanos, Metropolitan Opera
This is not what you typically expect when you go to a party. Absolutely captivating, we watched the whole thing. An emotional journey because of what the artists involved put out and she was the star. I don’t believe you will ever hear a Zerbinetta like this. And the recording with Winton, both of them at the height of their powers.
Enough said, love her emotional depth and technical artistry.
La Battaglia è finita!
After a run of Le Fille du Regiment in San Francisco, the backstage crew were wearing the tee shirt “I Survived the Battle”.
I did too.
Classy bunch!
Kathleen Battle in her prime was fabulous, but also difficult, as the stories make clear.
My favorite recording of hers might be Bach’s Wedding Cantata from 1976, from Ravinia led by James Levine and Ray Still’s incredible oboe solos. Early Kathleen Battle, prime-years Ray Still. Doesn’t get better.
As Herbert von Karajan said…”what a voice, but what a b***h !
Beautiful voice but a horrible person. Make no mistake, this is not an opera singer being a “diva.” This is someone who is (was? I’ll give her the benefit of the doubt) incredibly rude, belittling, insulting, demeaning, selfish, and just plain nasty. I have worked with many, many singers going back several decades, and Ms. Battle stands alone.
She was bipolar. It was 30+ years ago. Get over it, and be glad you don’t havecthe same health issue.
The gifts of vocal and operatic performance that Kathleen Battle has given since the mid-1980’s are unmatched. Her crystalline perfect pitch, her passion and grace are unlike any other. My first experience of her in recital was Ambassador Auditorium in Pasadena in around 1986, and I’ve now seen her more than a dozen times in performance into the 2000s – all stellar, although I missed this one. Clearly she has her detractors, but what a wonderful gesture to bring her back (home) to the Met for a recital, and a triumphant one at that. Thank you, Peter Gelb, and brava, Kathy!
Ambassador Auditorium. A fine venue and performer series. Those were the days
She was Jimmy Levine’s school chum. A more insecure artist has likely never been born. Her scene throwing Carol Vannes’ costumes into the hall because she wanted that dressing room, was depraved. She is still the narcissistic shell of a has been who without a mic couldn’t fart a tune across a breakfast table. Good riddance Katie B!!!
Nasty!
We all know what a legend she is, but, the show didn’t end til an after 7, over 2 hrs, she might of “sung” for 40 minutes, short songs, walking off stage, thumbing thru song pages, adjusting her cape, and know your a diva, but could you possibly give a “verbal” communication to the audience , like “thank you”?