Nina Stemme

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Nina Stemme – Domingo’s Isolde on February 1, 2008

Well… I heard Nina Stemme with Domingo.

Speechless… How come Barenboim doesn’t know this name, when she was the first winner of Domingo Competition?

It is a studio recording… so it was also her problem along with… and then… how on earth Mr. Domingo kept practicing Meier’s Wagner Diction after his recording with this diva? This sonnavabich sounds real cheap whenever he imagines Waltraud Meier.

I really want to save this voice.

Just in case,

WOW! I need more time to read everything here… need to organize all the comments.

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Part of Wagner Diction on 20071207
Nina Stemme

JIWON: I was surprised at the comments in this thread. All of them sound terrific and should be read. Have you ever seen this kind of from any of Meier Fan-club? It is not only academic, sophisticated, but also very intuitive. I believe Ms. Stemme herself should read all the comments and take them seriously, if she truly wants to be a Wagnerian heroine. Wagner – Tristan und Isolde – Liebestod
JIWON: 4 comments to remember. Nina Stemme sings Strauss / Antonio Pappano
JIWON: 2 interesting comments. Nina Stemme Final of Der Hollander
JIWON: 5 comments should be heard. Real loud. Mild und Leise – Nina Stemme
JIWON: 2 interesting comments. Placido Domingo and Nina Stemme sing Otello
JIWON: One exquisite comment to study. Well… here Domingo again. It was du Pre’s book, in which I read about Barenboim’s friendship with Domingo. But then, Domingo’s Barenboim is very different from Barenboim’s Domingo. Whenever I find talented voice, I also find their partnership with Domingo, yet I never heard him recommend these voices to his maestro Barenboim, who is also his friend. Unlike Maestro Abbado, who was enjoying Barenboim’s failing by casting Meier in his farewell concert in Barenboim’s Berlin, perhaps to make fun of me or my Furtwangler writing to his BPO, it seems that Domingo treats Meier as Barenboim’s mistress, so he comes to Barenboim’s territory to play with his buddy’s girl and then returns to his territory to “sing” with his favorite divas. By The Way, Domingo Owes Me. How much is he going to pay me? Had he forgotten how he made a dramatic recovery after reading my analysis of “Hopeless” Domingo with Meier’s Delilah? But then, how he had behaved? Had he tried to save Barenboim’s failing? Nina Stemme in Der Koenig Kandaules
JIWON: 1 impressive and 2 interesting comments. Rosenkavalier – Hab’ mir’s gelobt (R. Strauss)
JIWON: 3 terrific and 1 interesting comments.

JIWON: To sum up, Nina Stemme is born a diva, whose singing is off the balance, and it is getting worse. This means, her dramatic singing will collect more opponents as much as earning more supporters. Though she is doing a very fine job, difficult as well, her minor characteristics will offer Meier fans good excuses for insulting whatsoever achievement of Meier’s rival. Fans usually want to act and think like their idol. I hope Ms. Stemme to read all the comments here and think about WHY. Reviewers compare this voice with Jessye Norman, Leonie Rysanek, or Birgit Nillson. It is very true, however I think… Instead of sticking around Flagstad, she’d better listen to Nilsson and study her. There are things to learn from her (written) interview, in which she mentioned how she learned to fix her own vocal problem. If she understands Nilsson’s REASON, she can make a huge improvement. I may be wrong, but once she makes it, she will be one step closer to Flagstad, if she really wanted to sing like her. I believe that she’d better not open her mouth to speak during the training period.

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