“Riveting!”
“Seductively handsome!”
“Chiseled physique!”
“Exuding charisma!”
“Unabashedly narcissistic!”
“A stage animal!”
“Opera houses everywhere will soon be clamoring for him!”
“Exposing his muscled chest!”
“Shirtless, dripping with perspiration and looking crazed!”
“An image I’ll take home with me from London!”
Surrounding the second act of D’Albert’s opera Tiefland on the current episode of Unnatural Acts of Opera is a veritable plethora of special features. First, La Cieca takes a telephone call from an icon of stage, screen and recordings (hint: she was the surprise star of Broadway’s Hit the Sky). Then our old, old, old friend Tallulah Bankhead drops by the studio along with none other than legendary, lovely Marlene Dietrich for a Sapphic singalong. After the act, your doyenne introduces the latest installment of The Enigmas of La Cieca, and, yes, it’s another vocal identification. Take the quiz and determine your Norma-Q! Unnatural Acts of Opera.
“This writer approached the new off-Broadway play The Second Tosca with more than a bit of trepidation, worried that it might amount to no more than second-rate Terrance McNally or, even worse, unfunny inanity like Lend Me a Tenor. What a relief, then, it is to report that The Second Tosca is a delightful, campy, and sincere show, bitingly accurate in its take on opera and the crazy people who create it.” Our publisher JJ moonlights as a drama critic in Gay City News.
Rachel deBenedet and Vivian Reed in The Second Tosca. (Photograph by Neilson Barnard.)
La Cieca is delighted to announce the return of the online opera chat, this Thursday June 14 on the subject of Il trittico, as telecast on Channel 13 here in New York. The chat room will open at 7:45 for the 8:00 beginning of the telecast.
A glimpse of beloved soprano Gabriella Benackova in an unusual role: Emilia Marty in Vec Makropulos. Tete-de-peau tenor Roman Sadnik is Gregor.
(a-p?th’?-?’s?s) n. pl. a·poth·e·o·ses (-s?z’) Exaltation to divine rank or stature; deification. Elevation to a preeminent or transcendent position; glorification: Many observers have tried to attribute Warhol’s current apotheosis to the subversive power of artistic vision” (Michiko Kakutani) An exalted or glorified example: Their leader was the apotheosis of courage. Tony Tommasini reviews Death in Venice twice.
Just a few quick words about the magnificent soprano Antonietta Stella, the “tie-breaker” in our recent quiz. She is perhaps not quite so familiar to some of La Cieca’s readers as the more celebrated divas also heard on the track such as Tebaldi and Price. La Cieca will quote her dear colleague Enzo Bordello, who wrote eloquently about this singer in 1998: “. . . her 1957 broadcast performance [of Tosca] with Tucker and Warren is sensational. The voice is confidently produced, with plenty of healthy, glowing tone. She tosses off the role’s many high B’s and C’s like they [...]
Who, La Cieca asks, could disagree with this sentiment? Particularly when it is expressed so, well, expressively by the divine Jacqueline van Quaille in Tintin, the Musical (Kuifje de musical). The scene opens as Bianca Castafiore, the Milanese Nightingale, prepares to go onstage for a performance of Faust. She pauses a moment to read a telegram from Captain Haddock informing her of his adventures with Tintin and Snowy as they search for the Temple of the Sun. La van Quaille may be heard elsewhere on YouTube singing Isolde in 1970!
Cher Public