Cher Public

  • La Cieca: Particularly inapposite to get all pearl-clutchy about Manon Lescaut, an opera that sort of malingered on the fringes of the... 5:47 PM
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  • La Cieca: I have always thought it best that parterre writers draw a veil of mystery about the facts of their lives. 5:28 PM
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  • laddie: sexagenarian 5:21 PM
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  • armerjacquino: Music has been cut from operas since opera began, continues to be cut, and always will be cut. You’re satirising the... 5:12 PM
  • aulus agerius: Why stop at updating or resetting operas to make them more relevant or interesting to present day audiences? Why should the... 5:10 PM

Just what I wanted!

La Cieca (pictured, left) celebrated her birthday early this year when she unexpectedly received the perfect gift—the following press release:

Tune in to PBS on Friday, April 6, 2012 at 8:00p.m. for Live From Lincoln Center’s telecast of America’s favorite soprano and “the people’s diva” Renée Fleming in a special intimate concert from the Stanley H. Kaplan Penthouse. Featuring the rarely-performed American masterpiece, Knoxville Summer of 1915 by Samuel Barber, the program also marks the first New York concert performance of songs from Ms. Fleming’s acclaimed new pop and indie-rock album, Dark Hope. A favorite of this Emmy Award-winning series as both performer and host, Ms. Fleming will also perform Broadway favorites and duets with popular vocalist Josh Groban.

Relative newcomers to parterre who may be wondering what the hell La Cieca is babbling about are invited to view a snippet of La Scoopenda’s previous Kaplan Penthouse foray, from 1999:


  • Papagano says:

    A truly awful rendition of a really fun song. Is ms Flemming following in the footsteps of Charlot Church? She should be careful…

  • La Valkyrietta says:

    Why does La Scoopenda remind me of La Lupe in this?

  • Donna Anna says:

    The first night of Passover. Well, she can cast a Good Friday spell.

  • SilvestriWoman says:

    Renee, I respect that, as a college student, you worked with the legendary Illinois Jaquet, but it seems that you’ve forgotten nearly everything you absorbed during that period in your life.

    If by any chance you’re trolling this site, and still feel the need to sing jazz, clear out your calendar and study this. No opera singer before or since can touch Eileen Farrell in this (or most) rep, but attention must still be paid!

    • operadunce says:

      Has it really escaped everyone’s notice that this clip is from 1999, thirteen years ago, folks!? It has nothing to do with the announced program coming up in April other than it happened to take place at the same venue.

  • Clita del Toro says:

    Just watched ‘This Can’t Be Love’ clip with Reneigh; that woman is crazy!
    Doesn’t she listen to herself???? But, her best is Over the Rainbow (don’t know from where, I think there are several) that literally has me convulsed with laughter when I hear it.

  • Clita del Toro says:

    Here is one version of Reneigh’s Over the Rainbow. Not the funnier one I heard, but nonetheless pretty awful and entertaining.

    • Clita del Toro says:

      I think that Reneigh’s biggest problem is her taste level (in opera and in song). She has the voice, the technique, intelligence (sometimes I am not so sure about this) and great musical ability, but it’s her lack of taste that gets her into trouble.

      This reminds me of episodes of Project Runway where the judges praise a designer’s technical ability (ability to sew, drape, construction, etc.) and their inventiveness, but feel that their low taste level is a significant drawback.

      • kashania says:

        Exactly so. This is compounded by the fact that Fleming desperately tries to be an “interesting” singer and more than just a pretty voice. So, she constantly emotes and tries to inject personality into her singing, and almost always misfires. She (and we) would be better off if she were the type of singer who is happy just to sing the notes correctly and musically (like early in her career). At least then her music-making would be more honest if not terribly artistic.

        • Clita del Toro says:

          Right, Kashie. My friend Leonora da Pin-Yenta’s theory is that when Reneigh first sings a role it may be relatively free of mannerisms; but, in subsequent performances she adds the “emotes” and other touches to “deepen” her interpretation, but which, unfortunately, often has the opposite effect.

          • Clita del Toro says:

            has= have

          • MontyNostry says:

            So right, Clita and Kashania. As I’ve said on here before, I don’t think she has instincts. When it comes to her interpretation, it’s all nurture and no nature.

        • Porpora says:

          I agree. There are times (most times actually) when singing in the center of the pitch, on and in time, is the way to go. Does Fleming listen to her singing of these pieces? I wonder about that. There is a great difference between what you think you are doing and what is actually happening when singing.