Headshot of La Cieca

Cher Public

  • Poison Ivy: In other words: let’s blame anyone who’s not German. 12:31 PM
  • Lohengrin: Why should I blame one, when lots of blog.writers repeat the meaning without having had the... 12:24 PM
  • manou: semira mide and marshie – you are too kind. I find it useful to remember this: “If evil... 12:19 PM
  • Poison Ivy: Lohengrin, take it up with Feldmarschallin then, who said: “Cicciabella one doesn’t need... 12:14 PM
  • la vociaccia: You make a very good point, Lohengrin. I wonder why then you aren’t directing your... 12:13 PM
  • quibbleglib: Ditto — it positively made my day. What a gorgeous and thrilling recording. 12:13 PM
  • Lohengrin: Why should we presume that Mr. Kaufmann never had the intention to sing those “only... 12:09 PM
  • Krunoslav: Rostropovich and MM II favorite Galina Petrovna brought Petkov (b. 1938) to Carnegie as King René... 12:01 PM
  • Poison Ivy: Lohengrin, you have one member of parterre saying everyone was stupid for even believing Jonas... 11:48 AM
  • la vociaccia: Lohengrin, I am not ‘spreading speculations.̵ 7; I am replying to Feldmarschallin... 11:41 AM

Youth will have its chat

theunmadebedWelcome, cher public, to discussion for this afternoon’s Met broadcast of Der Rosenkavalier. The performance begins at 1:00 PM.

For those of you who have the budding energy and vigor to engage in the quicksilver thrust and parry of real-time chat, your doyenne suggests you visit La Casa della Cieca.


  • paddypig says:

    Stesber also sang all three roles in Rosenkavalier.I don’t know if she did octavian at the MET, but Met puclicity always claimed she did all three roles

    • mrmyster says:

      Paddy, I guess you mean Steber? NO! She did not sing Octavian — her last Sophie was in May 1948; her first Marschallin was opening night, 1949. Her first Sophie had been 7 Dec 1940, house debut. Steber could make all sorts of wild claims — she changed her 1940 debut to Dec 7, 1941 in one conversation I heard, just to associate herself with that historic date, and if she “always” claimed to have “sung all three,” I never heard it. I can tell you for certain she never sang Rofrano; neither her appearance nor her lyric soprano would have accommodated that! :)
      Sophie was one of her very great roles -- the rich lyric voice was quite a luxury in the part and it somewhat fit her personality; the Marschallin was less successful, though in the later 1950s she was used a lot as a sort of utility singer in the role. Of course she was quite commanding in the final scene.

  • javier says:

    This is Strauss…you can be a little flat over that blaring orchestra. It’s okay. I listened to Studer in the trio and she sounds fine.

    • richard says:

      Are you for real??????????????? Flat is flat and is NEVER ok. Do you stay awake making this shit up?

  • faninal says:

    @ well, javier hasn’t been paying attention. To wit (and it is a moment of wit), our own Lindoro had the gall to use words like “towering” and Racette in the same sentence:


    Oh, triumphs!

    • javier says:

      Oh, well, I’m part of the crowd that didn’t care very much for Racette singnig all 3 roles in Il Trittico at the Met this past fall. If Lindoro called her a “towering” success it was only because everyone uses hyperbole when they write reviews. She was actually quite flat as Angelica…some people claimed it was part of her characterization…I don’t know.

      • CruzSF says:

        I’m a fan of Racette’s, based on her work here in SF. but even I must admit that her Met appearances (heard on Sirius) found her with an overtaxed voice.

    • armerjacquino says:

      Thanks for the link to Lindoro’s blog. I am now overdosing on Mary Curtis-Verna, a wonderful singer I’d heard of but never heard.

    • And if you had continued reading (or if your reading comprehention was anything close to normal) you would also have read this Criticism:

      My only quibble is the fact that she allowed herself to get caught up during the Senza mamma. This make for thrilling outward expression (albeit a less successful high A at the end) but it somewhat altered the arch of the opera. With such an outward Senza Mamma, there was nowhere to go in the final scene. The opera had reached its climax with the aria and building on top of that was hard, plus the hysteria seemed misplaced.

      When have we heard you criticise your own favorite based on reality and not on imagination?

  • mrmyster says:

    So, Javier, what’s that about — The Trio From Pringles?
    (except it is a quartette!)
    Have you got that French auto commercial showing the hubby with his boyfriend and the wife with her boyfriend — too much plot for me to go into here, but if you’ve seen it you know what I mean!

  • faninal says:


    Margarethe Siems sings the Marschallin Monologue

    Minnie Nast and Eva von der Osten “Ist ein Traum”

    Eva von der Osten and Minnie Nast “Mir ist die Ehre”

    Margarethe Siems sings the Marschallin Final Trio

    • Bill says:

      These clips are priceless -- the original cast of Rosenkavalier from Dresdan and all 3 sopranos (and all ARE sopranos) have excellent diction -- they are really saying something as they sing -- good pitch and blend well with each other. One would have loved to have acually seen them onstage together. Thanks Faninal -- now if you could find a 1960s Rosenkavalier with Schwarzkopf as Marschallin, Seefried as Octavian and one of the Sophies with whom they sang -- Streich, Gueden, Rothenberger, Grist (and conductors, Boehm, Karajan, Krips, Leitner, Leopold Ludwig among others) !!!

  • faninal says:

    Ochs-Marschallin Act I exchanges. Eric Halfvarson and Cheryl Studer, towering with a capital T: