Headshot of La Cieca

Cher Public

  • Quanto Painy Fakor: At this stage of Pape's career he doesn't need to work with ...
  • mia apulia: Thank you Arianna; I am truly dotty with the late hour and a...
  • Arianna a Nasso: Caballe's studio Duchess is Anna Reynolds. Verrett recorded...
  • mia apulia: I heard this production in the 60s and have very happy memor...
  • louannd: Here is a good quote for you, from "Frontal Cortex" blog: ...
  • Indiana Loiterer III: I might also note that Lambton shows a lot less knowledge of...
  • Indiana Loiterer III: My problem with attitudes like Douglas's and Taruskin's is t...
  • The Wistful Pelleastrian: Hi Kennedet,Thanks for quoting a very interesting and...
  • A. Poggia Turra: For some reason, I always find myself rooting for the Duches...
  • Henry Holland: and how many would say “L’Amour De Loin?”Me, my f...

blog advertising is good for you

In questa regia

Catherine Malfitano just doesn’t slow down. In recent seasons she’s expanded her repertoire to include a bewildering variety of roles: Kundry, Minnie, Carmen, Blitzstein’s Regina, Herodias, the Kostelnicka, Elle in La Voix Humaine (that’s her in the picture). She’s taught master classes. She’s performed a cabaret at Joe’s Pub here in New York. And now she’s directing her first opera, Madama Butterfly at the Central City Opera House — incidentally the site of her professional debut as an opera singer back in 1972 (Nannetta in Falstaff). The Butterfly production, featuring Maria Kanyova in the title role, opens tomorrow night. Cathy, as usual not at a loss for words, talks about her new role as regisseuse in The Rocky Mountain News. The season at Central City also includes Emily Pulley‘s first Vanessa, starting July 2.

Comments are closed.