While the book claims to be a “guide to the grand art of opera for both new and longtime fans”, it is clearly aimed at those new to opera or those with an early budding interest. It is these groups that will find pleasure in Levine’s work; however, those with lots of opera experience will find few new insights here. Read more »
This just in: Lyric Opera of Chicago and the American Guild of Musical Artists (AGMA) have reached a tentative contract agreement for the coming season. All performances will proceed as planned.
With their quick rise to fame, the cast of MTV reality show “Jersey Shore” has cashed in on a number of endorsement deals, including weight loss supplements, alcohol and bronzer. But here’s a first. Manhattan culture retailer The Metropolitan Opera is offering to pay Michael “The Situation” Sorrentino not to attend its performances. Read more »
Revealed: James Levine has had two back surgeries since the spring, but is described (by Tom Levine) as “very, very positive and very, very optimistic.” [NYT]
Handel’s Orlando is one of three operas Handel based on episodes from Ariosto’s best-selling sixteenth-century epic, Orlando Furioso. The story was, in 1733, well known throughout the Mediterranean world, and everyone set it to music—Vivaldi’s and Haydn’s settings have enjoyed recent revivals, and the libretto Handel set had originally been devised for Domenico Scarlatti. Intricate character description was not required: Everyone knew Orlando and Angelica as well as today’s audiences know Batman from Spider-Man.
The controversy over the demise of Brad Wilber‘s Met Futures site goes mainstream, thanks to (who else?) Zachary Woolfe.
La Cieca was cced the following letter sent by a “long-time patron of NYCO” in response to “the recently received Subscription Renewal Brochure.” She has withheld the patron’s name by request.
La Cieca invites the cher public to comment, speculate, complain and natter on any and all off-topic subjects during the week of August 15.
Cher Public