Headshot of La Cieca

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  • Ilka Saro: For those who wonder where the expression “overcadenze rized” came from… 10:07 PM
  • Sanford: I went to a Bat Mitzvah in Hollywood many years ago and because my cousin and her husband were in... 9:44 PM
  • Jungfer Marianne Leitmetzerin: I mean I WOULD be surprised if he stays away from the stage! 9:26 PM
  • Jungfer Marianne Leitmetzerin: During the endless post-performance presentations (what drug was Jürgen Flimm... 9:25 PM
  • gustave of montreal: “favourite opera” Mahagonny ? Although we love this great work I don’t... 9:13 PM
  • Jungfer Marianne Leitmetzerin: scifisci: I heard three of Stemme’s Elektras: the 1st, 3rd, and 5th... 9:09 PM
  • Jungfer Marianne Leitmetzerin: Sorry to contradict you, but the byline on all of my “Montag mit... 7:31 PM
  • manou: No big deal – in fact the byline has changed from “La Cieca” to “WindyCit... 6:34 PM
  • Jungfer Marianne Leitmetzerin: My fault, my dear. And the upload is from me (“Montag mit... 6:24 PM
  • manou: Christopher Ventris is not only a star, but also a British star – and he needs his... 5:36 PM

Dessa!

UPDATE: It’s official. The Met press office just announced, “American soprano Latonia Moore will make her Met debut as the title character in Verdi’s Aida in the March 3 matinee performance, replacing Violeta Urmana, who is ill.”

EARLIER: La Cieca hears that soprano Latonia Moore will make her Metropolitan Opera debut this Saturday afternoon. What might she sound like?

Here’s a sneak preview of Ms. Moore’s Aïda.

156 comments

  • Clita del Toro says:

    BTW, I am listening again to yesterday’s Aida, broadcast form Alaska (YUCH!). I will never like that place again after learning too much about S.P.

  • grimoaldo says:

    “That even major artists have vocal imperfections was demonstrated by Marcello Giordani’s performance as Radamès. His big top notes rang out excitingly. But his lower range was sometimes weak and leathery. And he resorted to falsetto singing, it seemed, in high pianissimo phrases.”

    “major artists”, ha, he is not an artist at all, major or minor, judging from the one time (quite enough) I saw him live and the broadcasts I have heard from him, more of a sort of circus trick performer who would give much better value if they just hired him to come out onstage, sing a couple of b-flats and then go home rather than degrading one operatic masterpiece after the other. This is the only good thing even his supporters say about him, he has loud high notes. It is a barbaric attitude, the antithesis of “opera as drama” or anything but the coarsest cheap thrills, artistically valueless.

    • Clita del Toro says:

      I love the way people forgive shitty singing and strangulated, dry tones or toneless singing for a few ringing Bb’s.

  • Clita del Toro says:

    TT’s review of Latonia.
    http://www.nytimes.com/2012/03/05/arts/music/latonia-moore-steps-in-to-aida-at-the-metropolitan-opera.html

    Yes, Blythe’s Amneris is a “force of nature” without a single flaw!

    • kashania says:

      TT didn’t say that Blythe was flawless. And I think his description of her as a “force of nature” is quite accurate, whether one agrees with her blunt approach or not.