Headshot of La Cieca

Cher Public

  • bluecabochon: For every person who booed and yelled, there were audience members nearby who loudly told them... 2:53 AM
  • tancredipasero: As the other commenters have noted, the disruptions were minimal. Whatever inclination... 2:39 AM
  • Feldmarschallin: Well Michael was fine in the role. Only at the end did you hear shrillness on top. Granted... 2:20 AM
  • SF Guy: Ooops! 2:11 AM
  • Guestoria Unpopularenka: Who by the way delivered her baby 2 weeks ago. 2:02 AM
  • Guestoria Unpopularenka: She withdrew from SF saying she had planned procedures following an emergency... 2:00 AM
  • Krunoslav: Um, It is Sonya YONCHEVA, age 32, who is pregnant, not Krassimira STOYANOVA. Granted, both are... 1:59 AM
  • Jungfer Marianne Leitmetzerin: SF Guy: we’re talking about Krassimira Stoyanova, not Sonya Yoncheva. 1:58 AM
  • Guestoria Unpopularenka: That’s a different singer. 1:58 AM
  • Krunoslav: She is 52 years old, as OPERA NEWS mentions in the piece on her in the current issue, so that... 1:57 AM

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.)

[kml_flashembed movie="http://www.youtube.com/v/4ebzoFHR8V8" width="425" height="350" wmode="transparent" /]

43 comments

  • 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.