A reader sends La Cieca this YouTube video of the lovely Danielle De Niese in Handel’s Giulio Cesare. The intriguing Bollywood-themed production is by David McVicar.
Those of you cher public who frequent the left coast have probably seen the new Los Angeles Opera production of La traviata, the one that bumps the period of the action forward from the epoch of Alexandre Dumas fils to that of F. Scott Fitzgerald. Well, of course the svelte and lovely Elizabeth Futral looks charming in Jazz Age garb — enough so that one would wish to see her in a revival of Harbison’s The Great Gatsby — that is, with different music. But anyway, just like everyone else, La Cieca thought that this new mise-en-scene by Marta Domingo was intended to become the LA Opera’s “standard” Traviata. And, just like very nearly everyone your faithful scribe wondered just how well the modernistic lines of bugle-beaded cocktail dresses would drape over the curves of Renee Fleming, who is skedded to sing Violetta in LA this fall. Well, stop wondering, chickens, because La Cieca has just heard that la Fleming’s contract for the production specifies that she will not do the “Art Deco” staging; rather, she insists on wearing the traditional crinoline. And she is arguing from a position of power, since Decca has also contracted to tape the fall performances for DVD release. Fortunately LA already has a conventional Marta-helmed Traviata in storage, awaiting only the arrival of la Fleming to be demothballed. The “Flapper Traviata?” Junked after only the one season, La Cieca hears.
UPDATE: this story really does need an “evil twin” graphic.
Oh, my! Will Crutchfield is talking to himself!
La Cieca has found a few fragments from last night’s performance of Tosca at the ROH — only about 15 minutes of music, but enough, perhaps, to give a hint of the suitability of Angela Gheorghiu for the title role. La Cieca’s take (based on an in-house mike, remember!) is that the Roman diva is a perfect fit for la Gheorghiu temperamentally, but at least a size too big vocally. She banks a lot on the “Vissi d’arte,” and, yes, it does pay off gloriously — but that’s not the whole role, is it? An idea of relative volume can [...]
Before La Cieca departs on holiday from her podcasting duties, allow her to introduce The Podderdammerung Page. Once again, La Cieca scoops the universe: here on parterre.com you can now listen to (or download) the entire Ring cycle, as featured on this month’s Unnatural Acts of Opera. What sort of Ring will you hear there? So glad you asked! Das Rheingold: Festspielhaus Bayreuth, August 11, 1951. Conductor: Herbert von Karajan. Wotan: Sigurd Björling; Donner: Werner Faulhaber; Froh: Robert Bernauer; Loge: Walter Fritz; Alberich: Heinrich Pflanzl; Mime: Paul Kuen; Fasolt: Ludwig Weber; Fafner: Friedrich Dalberg; Fricka: Ira Malaniuk; Freia: Paula Brivkalne; [...]
By now, cher public, you have all heard about the Skandal in Vienna: Olga Borodina was sacked from L’italiana in Algeri (or did she walk out?) because, well, there were a variety of reasons proffered. Short version, though, is that the Staatsoper press office announced “All contracts between Olga Borodina and the Vienna State Opera have been dissolved by mutual agreement.” (Those “contracts” included a new Boris Godunov production.) A gallant Agnes Baltsa substituted on short notice. La Cieca would say that Baltsa “jumped in,” but, since the veteran diva was announced as having an injured leg, perhaps that phrase [...]
Yes, that’s our own Susan Graham, starring in an operatic version of the hit film Transamerica. Kudos to the hair, makeup and costume people of the Opera national de Paris for making Susie look so convincingly like a pre-op transsexual! Well, no, actually, the opera is Iphigenie en Tauride, and apparently the opening night audience didn’t much care for it either. (La Graham had the wit to cancel the prima.)
Elegantly scarved divas Grace Bumbry and Shirley Verrett (in alphabetical order) “rehearse” scenes from Aida and Norma in preparation for their historic 1983 duo concert.
Well, La Cieca has thought herself a mistress of the sizzling putdown, but she has been severely dethroned by one Andrew Clark of the Financial Times. So, how dull and conservative is Jonathan Kent‘s new staging of Tosca at the Royal Opera? “Kent’s production is the sort you expect at the Metropolitan Opera.” Oh, no he didn’t! La Cieca is already looking forward to a letter to the editor of the FT beginning “Andrew Clark’s mamma is so fat…”
Our left coast correspondent Baritenor reports: I would not call Grendel an opera for the faint-hearted. The libretto is well-written, but the score jumps to both ends of the operatic spectrum, going from lyrical to modernistic to lyrical again in the blink of an eye. Think Benjamin Britten on crack, if you will, only with an electric guitar in the pit. While the use of two languages (Grendel and several other characters sang in English, the majority of his foes sang in Olde Englysshe) worked, less effective was the use of “shadow” Grendels to echo his statements and provide harmony [...]
Cher Public