Opera is like that

If you go to enough performances, you come to accept that singers cancel. Something odd--or perhaps just coincidental--has been going on with the cast of the Paris Opera's current run of Der Rosenkavalier. Casting of the Marschallin and Octavian has been changing frequently. I don't know if either of the contracted principals, Anne Schwanewilms and Vesselina Kasarova, has actually sung yet. (Update: I learned that Schwanewilms sang on opening night.) The other day, I was super excited because the web site listed the superb Elina Garanca as Octavian in Sunday's matinee, for which I already have a ticket. But now Daniela Sindram is scheduled to sing the part.

I am delighted, however, that Angela Denoke will sing the matinee. Last I heard, she was said to be unimpressive in a tasteless production of Salome. But in March 2005, Alex Ross said this about her Marschallin:

The German soprano Angela Denoke is giving a first-rate performance as the Marschallin in Rosenkavalier at the Met. Any New Yorker who loves Strauss' sixteen-ton comedy, or who wants to experience the ultimate artistic meditation on the self-absorbed minitragedies of thirtysomethings, should try to see it. Denoke sings with phenomenal purity of tone, yet she is also an emotionally transparent, actorly performer; there's a welcome lack of expert caution in her delivery, and an expressive dark lining to even her brightest upper notes.

Meanwhile, I have not heard how things went down at Salle Pleyel last night, but part of me (who prefers Wagner to Rome at the turn of the 18th century) regrets my choice. Ah well, it was just one of those nights. I suppose.