Cher Public

  • Batty Masetto: L’armerjacqu ino si è traviato nelle oscurità della lingua italiana, ma per fortuna ha ritrovato il senso giusto.... 9:55 PM
  • Evenhanded: Well. +1! 7:52 PM
  • Poison Ivy: For those who like Oropesa, she has her own youtube channel. This is her latest newsletter: httpv://www.youtub 7:51 PM
  • armerjacquino: WAIT: I’m talking second-degree nonsense about ‘trivial one’. It’s just struck me that... 7:19 PM
  • armerjacquino: The title is kind of untranslatable- it means ‘the trivial one’ or something similar, so it suggests that... 7:16 PM
  • Rowna: I am very happy that Mr. Innaurato penned such a detailed account of Ms. Oropesa’s Violetta.So often when others write about... 6:53 PM
  • laddie: +1 6:40 PM
  • Signor Bruschino: I’m still curious if this great La Cieca blind item from 2014 is about Oropesa??? http://parterre... 6:17 PM

Richard is better

The Tucker Foundation will be the subject of a special event on Wednesday, June 27 at 7 pm, when WQXR’s Naomi Lewin (not pictured) will host an exclusive concert of arias and duets performed by sopranos Ailyn Pérez and Angela Meade and tenor Stephen Costello in The Jerome L. Greene Performance Space at WQXR.

As if that’s not exciting enough, the evening  “will include an intimate conversation with soprano Aprile Millo, winner of the 1985 Richard Tucker Award,” and what’s more, you, member of the cher public, might be there too! 

Your doyenne has been asked to bestow a pair of tickets upon a parterrian who will attend the event while the rest of us listen in.  If you’d like to win these tickets, you can enter the competition by leaving a comment below this posting discussing a favorite performance by a  Richard Tucker Award Winner.

The most entertaining comment (as judged by La Cieca’s blue-ribbon panel) left before noon on Monday, June 25 will win its author these coveted tickets. All decisions, as usual, are subject to La Cieca’s iron whim.


  • Camille says:

    Back onto topic: Richard Tucker Award winning Scoopy.
    Her finest, or rather, most sincere hour:

    • rapt says:

      Heartbreaking in more than one sense. (Lest I get too maudlin, I’ll admit that her later choices haven’t exactly confined her to oblivion and penury.) Thanks for this reminder, Camille.

  • turandotti says:

    I remember sitting in front of Crespin in the orchestra at the met. we came to hear Tebaldi’s Adrianna with Corelli, Dalis and Colzani and Cleva. We both loved it.

    • phoenix says:

      Ah! If only Crespin herself had tried it, although probably she would have had more success as la Principesse than as Adriana. They could have taken the role of Adriana down a bit for Crespin (as they often did for her in other roles) so we could hear those pianissimos … and the grand fortissimos!
      - She started to have trouble with Tosca & Gioconda in mid-career & that may have been the reason she didn’t take on any too many new verismo roles -- but oh what a Maddalena in Chenier she would have made in her prime.

      • Krunoslav says:

        Remember, Crespin also sang Santuzza, with (at the Met) not very happy results.

        Too bad in late career she never did the Zia Principessa!

  • Camille says:

    phoenix! Adriana is already a really low tessitura for a soprano what with a couple B flats, and sung with the tenor, too, who always bellows them out. Really, the highest note she has alone is an A. Mezzoid territory anyhow.

    Woulda been a contender, though, that’ s for sure.
    I didn’t fully recognise that Crespin was your favourite singer and I must say how very lucky you were to have those performances in S. F., back in the day. I am happy for you.!

  • phoenix says:

    Alright, “Back onto topic” as the prestigious Camille states above.
    I looked at that list of Tucker Award recipients. The singers are all excellent -- some more successful career-wise than others -- but they are (or were in their prime) all competent & qualified. I have to give special mention of Christine Goerke, whom I only saw once -- at Glimmerglass Cooperstown in Gluck’s Iphigénie en Tauride -- no, I was not impressed with the opera Iphigénie en Tauride, but Goerke has more than proven herself as a favorite singer of mine in broadcasts as Madame Lidoine, Foreign Princess, Chrysosthemis, Ortrud, Elektra, Kundry, Ariadne, etc.
    - But since I have to choose a single live performance that I witnessed myself by one of these recipients of the Tucker -- gotta be honest about this -- although I don’t really like the hype she gives & gets nowadays -- it has to be Aprile Millo as Maddalena in Chenier at Canadian Opera Toronto 1989. I went up to Toronto alone, but witnessing her performance was like visiting a very dear old friend. I was overwhelmed by her, the same way I was overwhelmed by Tebaldi as Maddalena in the first peformance I ever saw of Chenier (at San Francisco Opera). I felt that Millo was at the height of her vocal & interpretive powers, one of the greatest living exponents of the verismo tradition in that unforgettable performance.

    • Camille says:

      Word is:
      “incorrigible”, not “prestigious”, phoenix!

      It makes me happy you also saw Aprile in a good performance as Maddalena. In that solo bow of hers about ten years ago at the Met, she was beautifullly and deeply sensitive to the entire proceedings and only marred very slightly by Domingo excusing himself from the fourth act and those treacherously truth revealing high B’s and a last minute shake ‘n bake accounting from Barasorda.

      Lucky, that time, but that Tebaldi picture downstairs at the War Memorial tells a tale I can only imagine. Luckier still, were you that time before.

      I hope your visits in hospital are few and bid you a happy Saturday listen.