Ok, now things are exactly as predicted. Whereas my first two Nabucco’s were solid 8s, here was the 6 I was expecting. How any person can go on stage in front of thousands of people not knowing 100% whether they will be able to scream out 3 solid high Cs in a scary scary cabaletta with insane runs that go down, what, two octaves, I don’t know. So power to Guleghina for trying.
After a thunderous high-whatever at end the first scene followed by her best act I aria to date, which had none of her usual pianissimo crystal crap and was actual full-on beautiful singing, the cabaletta from hell began. First, where there should have been chest, there was either silence or grunting. The first high C was a total disaster. I think it was actually sharp, something one wouldn’t expect from often-flat Guleghina. But it was ugly, awful, and short. And she knew it. It was sad, actually, to watch her lose all hope. And then after that, it was like somebody poked too many holes in a hot air balloon. The usual Guleghina, who I feel tries maybe even too hard despite hopeless odds, was nowhere to be found. All singing for the rest of the first act was muted and she was holding back, afraid that she might totally lose control. It was very sad.
I was delighted to return in Act II to the craziest Guleghina I’ve seen to date. Out of control. Demented. Maybe drunk, who knows. But whatever she did backstage made her come back stronger and more determined than ever. She sounded very tired, and a lot of high notes were damned ugly, but they were there, they were strong, and she was great. I’m pretty sure Nabucco flinched on the high E, it probably broke an eardrum. The death scene, again, was the best part. She’s just so crazy with the batsleeves.
So now, the true test will be November 2 – my last Nabucco. Was this just a bad night, or is she slowly losing energy and voice as the run continues on. I’m almost tempted to see the other lady doing this, Cornetti or something, but I’m afraid that might erase demented Guleghina memories, and I fail to understand how someone I recently saw as the mezzo in Trovatore (and liked about 5 times less than Zajick doing same) can sing this role with any of the things that Guleghina brings best (i.e. shrieky high notes and demented acting). We’ll see.
Up next, a Meade Bolena. Listening to some recordings made from her first night, and I’m excited. Knocks the Act I finale out of the park, goes for the high e-flat at the very end, screams out random interpolated notes, and actually trills. I think it will be a thrilling performance. Let’s see if the rest of the audience agrees.
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