La Cieca wonders if the horrific accident during last night’s performance of the Spider-Man musical (which promises to re-open Wednesday night with “additional safety protocols“) reminds you of, well, anything familiar? Read more »
UPDATE: Thanks to the generosity of a member of the cher public who wishes to remain anonymous, a ticket has been obtained for the parterre reviewer! Read more »
La Cieca wishes a festive and safe (if such a combination is possible) holiday season to all the cher public, who in turn are invited to offer each other such greetings in the comments below. Read more »
Long ago, in a galaxy far away – I mean, the era before supertitles became common in opera houses around the world – you could always tell the text-mad opera fan. He was the one who arrived early to the theater and spent the remaining minutes to curtain hunched over his libretto booklet, trying to cram as much of the libretto as he could into his head before the curtain went up, so he could (hopefully) follow along with the words as they were sung. Some text divas even brought pen lights with them so they could follow along with [...]
“Faye Dunaway‘s Master Class Movie: What The Hell Happened?” [Michael Musto]
“The decades-overdue debut of Sir Simon Rattle at the Met Friday night demonstrated brilliantly just what we’ve been missing: His conducting of Pelléas et Mélisande is the musical pinnacle of the season.” [New York Post]
La Cieca is simply overjoyed to announce a handy and fascinating innovation at parterre.com: The Author Archive Page. Each of your doyenne’s stable of scribes will be assigned his and/or her own unique page where every story under that byline will be easily accessible—as, for example, the many and wondrous reviews of Ercole Farnese. Look for the link to the archive on the author’s name in the byline of the story (immediately beneath the headline) and may this new feature bring you hours of reading enjoyment, cher public!
It’s a sad story, really. Debussy and Maeterlinck had what the kids would call Major Drama over who was to sing Melisande (Mary Garden vs. the person you’ve never heard of) and so Maeterlinck didn’t see Pelleas until years after Debussy had died, so he never got to be like “word!” or, I suppose, “mot!”
Cher Public