Cher Public

  • Henry Holland: Thanks for the heads up, I’ll give it a listen this weekend. 1:57 AM
  • Jungfer Marianne Leitmetzerin: OK – this cements it: I am officially changing the cast and date on my Mixcloud page and removing... 1:44 AM
  • Jungfer Marianne Leitmetzerin: Listen to her Leonore from Wiener Staatsoper in June at my Mixcloud page and judge for yourself.... 1:39 AM
  • Cicciabella: Soffel is not the youngest of singers. Making allowances for that, I liked what she did with the text. No-one was anywhere... 1:11 AM
  • dr.malatempra: Indeed, the finest Verdi baritone singing I have heard since the prime of Cornell Macneil or the young,(Goldovsky Opera... 12:52 AM
  • Rosemont: Thank you for the reports and reviews from Santa Fe! I will be there for the first time first week of August…und freue... 12:25 AM
  • Lohenfal: Sure, but as I said, they (or others) may not be available. These singers are signed up way in advance. One never knows what... 12:11 AM
  • Sanford: She is terrific but the men are pretty awful, especially the tenor. The other voice I liked was Margareta Elkins. 11:34 PM

puppy on a hot tin roof

La Cieca cannot help losing her heart to a stage director who compares Berg’s Lulu to “early Elizabeth Taylor,” particularly when the regisseur in question is puppylicious Paul Curran. (In this video he’s introducing the opera for his new production at Lyric Opera of Chicago opening in November.)

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  • Ruxton says:

    Hi Kashania -- nor did I intend to come across harshly- it was late and I was tired and in a hurry to get to bed.
    Very interesting what you say though because I have always believed that one line is pivotal to everything that has gone before i.e. after all the lust and the mayhem- she suddenly changes completely and just dismisses it all with a trivial line. One might say it is a very strong statement by Wilde on the fickleness of man when it is linked to lust…and it’s not the first time he’s done it- just take a look at his other classic story “The Nightingale & The Rose” and that is exactly what happens in that story as well. “She” asks the student for a red rose but when he gets it (at the cost of the nightingale’s life) she dismisses it completely as it won’t go with her dress etc.

  • Harry says:

    At the end of Salome she had exalted how she ‘could throw his head to the dogs and birds’.Then she muses how kissing the blood from Johannan’s severed head the blood tastes sour. Her line ‘what matters it Johannan…. I have kissed your lips’. It is not just a throwaway dismissive line. It is a strange and finally ‘conquering but disappointed gesture’. To be fickle, requires seasoned exsperience at the same task. Salome I do not think is depicted, as a ‘seasoned sexual performer nor a previous serial killer’. She is a indulged driven power crazed teen, destroyed by what she has ‘set up’ exploiting the poisonous political/religious situation that surrounds the rest of the characters. She has matured into ‘full bloom’ for all to see.

    It is her power trip, gone terribly wrong! Has not Heriodas also helped to ‘set her up’? A mature ‘black widow’ if you like, encouraging and admiring her daughter for showing ‘traits, similiar to her own’? Salome’s mocking attitude to Narraboth is ‘cool’ on the one hand, is also I believe the opposite and ‘mockingly hot’ to Johanann. She drives a ‘hard public bargain’ with drunk Herod, where she can feel sexually ‘safe’ from being physically violated personally. They are just different ways she uses to handle ‘the situation as SHE sees it’.

    Her dream like psychotic state during the Final Scene is the feverish manifestation of ‘orgasmic blood -lust’, not sexual lust. If anything the fickle use of the ‘sexual tease’ with Narraboth. Johanann and Herod is the device, that finally entraps her into revealing her true nature. Unfortunately for Salome, one -Herod- even if drunk, has greater power to stike back for ‘rubbing it in his face’. And that can be taken many ways.

  • Harry says:

    In the case of Lulu, she is a ‘exploited damaged commodity’ that reacts with gathered maturity. In the opening of the best version of Lulu I have seen,,we saw a very young ‘Barbie-like’ child being pushed across the stage, while sitting in a supermarket trolley. Immediately,the director had made a simple but definite statement.