“Here, finally, is not merely the music on the Internet, but the music of the Internet…”
Zachary Woolfe reacts to Nico Muhly‘s Two Boys in the New York Times.
La Cieca is always delighted but never, never surprised when a parterrian makes good, so permit her to congratulate Miguel Esteban, who has just been named Managing Director of the Orchestre de la Suisse Romande. Cher Miguel is one of your fellow commenters here, but La Cieca will not offer any clues to his secret identity other than to say that his online name here is not “El Zorro Plateado,” as it obviously should be.
You only thought the “Brokeback” Eugene Onegin was the gayest possible take on the Tchaikovsky “lyric scenes.” Now, along comes La Cieca’s fave director Stefan Herheim‘s extravagant, transgressive, high-camp symbolist (and about a dozen other adjectives) approach to the work, “gay” in the very best sense of gay sensibility. Video after the jump! Read more »
Appearances to the contrary, La Cieca can’t be everywhere at once, so she’s relying on you, cher public, to share your impressions (written, not vocal) of the Rufus Wainwright/George Steel extravaganza last night at the World Financial Center. (Extra points for the use of the word “travertine.”)
A trailer for the experimental film The Violinist, promising “strange drama… sex… drugs… and classical music.” And, oh yes, with billing yet, Our Own George Steel.
By popular demand, the return of the Regie quiz. La Cieca will not ask you to identify the above photo because the identity of the opera is so obvious. Instead, use your reasoning powers on the photos after ths jump. As always, cher public, if you actually recognize the production, stay quiet while others guess!
While nursing her sunburn after yesterday’s New York Pride parade (were these things always five hours long?) La Cieca wandered about the web a bit until she found a copy of the text of the 1922 edition of Etiquette in Society, in Business, in Politics and at Home by her fellow doyenne Emily Post.
Danish composer Poul Ruders, having been deeply moved by Lars von Trier’s 2000 film Dancer in the Dark, used his third commission from the Royal Danish Theatre to create a 75-minute opera based on this tragic story of a mother’s sacrifice to save her son from hereditary blindness. The result is a small masterpiece, renamed Selma Jezkova after its heroine. Ruders and librettist Henrik Engelbrecht have pared down the story to five harrowing, concise scenes that refocus the wide palette of the film squarely in the relationship between Selma and her 12-year old son Gene. The opera is wrenching, [...]
Cher Public