Cher Public

  • Camille: Beautiful voice, technique, intonation, musicality, and singing. Thank you for introducing me to this particular piece as I am... 10:09 PM
  • Batty Masetto: Oy, but some of those farkakte shmattes they put on the ladies these days! 9:58 PM
  • Camille: Alagna will be singing Éléazar in Feldmarschallin 217;s backyard, in München next June. I remember noting that it will be... 9:46 PM
  • Camille: Thank you again so kindly and now I shall make a point of it. His terrible suicide becomes a bit more clear as, for a writer, the... 9:28 PM
  • Camille: So relieved to hear you are home safely and are not still levitating over Josie Robertson Plaza in extasi! You don’t know... 9:22 PM
  • LT: Tomorrow(Sunday)th e traditional Advenskonzert from Dresden will take place with Sonya Yoncheva and Luca Pisaroni. It will be... 8:52 PM
  • antikitschychick: Just got back from the matinee of Tosca and omfg I died. I.AM.DEAD. Morta I tell you! It was riveting. When Tosca jumped... 8:52 PM
  • Rowna: We were ungepotchked as well. And I am so glad to see Yiddish on Parterre. Sometimes the sets of opera productions have too many... 8:39 PM

Intermission feature

La Cieca invites the cher public (pictured) to discuss general interest and off-topic subjects during the week of June 24.


  • Quanto Painy Fakor says:

    John Marcus Bindle

    Wonder why he doesn’t just pack up and move to Germany

  • Quanto Painy Fakor says:

    Could someone please repost the YouTube of Gwenyth Jones as Herodias in SALOME? I have not been able to find it.

  • Feldmarschallin says:

    Yesterday I was at the Götterdämmerung GP. Stemme was excellent. Huge B’s, H’s and a massive high C at the end of the duet with Siegfried. The voice is stunning and sehr breite Mittellage with great low notes as well. Very moving how she just stood still listening to Waltraute. She did drop out for several measures twice at the end of the first act and towards the end of the Starke Scheite with had a stunning H on Lohe. Along with Herlitzius she is the reigning Brünnhilde IMO. Something must be in the water in Sweden since this is our second stunning Brünnhilde in a row. While Nagelstad isnt a Hochdrammatische like Stemme she still sang a beautiful Siegfrieds Brünnhilde. But then again Dalayman is horrible so we had two out of three great ones. Schuster great as Waltraute who was portrayed as being a bit mad. Gould great as Siegfried and König und Koch excellent as Hagen und Alberich. Must run now but very excited about this production which could top the stunning Siegfried. A triump will be had on Saturday.

    • armerjacquino says:

      ‘Something must be in the water in Sweden since this our second stunning Brünnhilde in a row’

      Well, in Sweden and in San José, California, which is where Naglestad is from.

    • Cocky Kurwenal says:

      I’m well used to a soprano dropping out for a few bars before some cadential high note in Italian opera, but I have NEVER heard of any such thing in Wagner -- I’d have thought a truly stunning Brunnhilde would sing *all* the notes. The stamina required is part of what makes it such a challenge, and what sets apart the truly great interpreters.

      I’m not saying this invalidates Stemme’s entire Brunnhilde or anything like that -- she’s a singer who I admire a great deal and LOVED as Isolde. I do think it’s something that shouldn’t pass without criticism though.

      • Enzo Bordello says:

        To be fair, the comments on Stemme were made after a dress rehearsal, not a performance.

        • Cocky Kurwenal says:

          In which case that is different, thanks for clarifying Enzo Bordello.

        • Feldmarschallin says:

          Bachler made an announcement before the opera saying that it is a rehearsal and that there might be times when they will stop which they didnt and that some of the singers might not sing out all the time which happened but only very little. Gould also didnt sing the two high Cs but we shall see how they all sing on Saturday which will be very very hot around 35.

    • grimoaldo says:

      “Dalayman is horrible”

      Presses “like” button.

      • Feldmarschallin says:

        Well she was horrible in Walküre. Maybe that word is too harsch but there was nothing to admire unlike much to admire in the two following Brünnhildes. Dalayman has an unreliable top and no tonal beauty which is the opposite of Nagelstad and Stemme but with great and easy tops and tonal beauty. Now if Dalalman had great insights or a stunning and beautiful Mittellage it might be different but she was rather boring onstage and from what I hear a real bitch backstage.

        • grimoaldo says:

          Yes I was expressing my total agreement for your assessment by pretending to press a “like” button.

  • lorenzo.venezia says:

    Nadja Michael haters beware: she is Poppea in the brand new Madrid Poppea e Nerone, Warlikowski’s version of Monteverdi’s L’incoronazione to Poppea. The video at the bottom of the page below looks amazing…

    • Feldmarschallin says:

      unfortunately I have her as Medea on Sunday. Vargas will sweeten the pie.

    • louannd says:

      I don’t know who is singing the final duet in this video, but I am pretty sure Cavalli, Monteverdi, et. al. are turning over in their respective graves.

  • Cocky Kurwenal says:

    I’ve just booked for the ROH Otello. Haretros’s cancellation should be announced in the next few hours.

    • manou says:

      Well -- Alexandra Deshorties is the cover, so buck up!

      (Are you getting hitched soon, Cocky?)

    • Feldmarschallin says:

      In May she said she would sing the Desdemonas in London. Is she in London already?

      • Cocky Kurwenal says:

        I wouldn’t know -- it opens 2 weeks today though, so I would certainly hope so.

        • Feldmarschallin says:

          Well if it doesn’t open for another two weeks she still has time to come if she isnt there yet. She has sung many Desdeomonas and unless a complex new production I doubt that the staging is so difficult that she needs two weeks. As I recall they wanted two weeks for the Boheme and she told them one week. They said no and the rest of the story we know.

          • Cocky Kurwenal says:

            Yes, and I think we discussed this at the time -- most artists would expect to rehearse for more than 1 week for a production in which they have never appeared. It isn’t a concert with costumes. The fact that she knows the role already makes no difference -- it’s the minimum one would expect for any professional going into rehearsals.

          • Enzo Bordello says:

            Well, that’s assuming the artist has some control in these situations. There are performances of revivals in major European houses (Wien, for example) that I can guarantee you receive no more than 2-3 days of rehearsals--if that. I know at least one artist appearing at a major operatic capital who arrived several weeks before opening night and was told she wouldn’t be needed for rehearsals until shortly before the prima! The important thing is to get these things worked out in advance so both parties are clear about expectations.

          • Cocky Kurwenal says:

            I think everybody is well aware of that, Enzo, but it isn’t how things tend to get done at the ROH, which is why we haven’t actually managed to get Harteros back since her debut in Boccanegra several seasons ago. It very much depends if either the ROH or Harteros will compromise. I’d like to think though that with less than 2 weeks to go, if there had been a similar disagreement this time we’d know about it by now.

          • Arianna a Nasso says:

            Good point CK about rehearsing more than a week. If a production gets a piano and orchestra stage rehearsals as well as piano and orchestra dress rehearsals, as probably happens at Covent Garden, that’s a week there. They need the artist to rehearse before they hit the stage.

            And yes, Enzo, houses in Central Europe often put on a production in 2-3 days -- and it usually shows, e.g., poor stage/pit coordination. I imagine Covent Garden aims higher.

            Theaters like Covent Garden have been dealing with star singers for decades. I would be surprised that they are making unreasonable demands on an artist like Harteros. Otherwise, we’d be hearing about this issue with lots of other artists there.

          • armerjacquino says:

            I was surprised by this discussion before and it surprises me still. Maybe standards are higher in the theatre but two weeks of rehearsal would be viewed as a scandalously short amount of time; it’s barely enough time to get secure with the blocking. For people to say ‘Oh, she cancelled because they expected her to rehearse for two weeks’ about a production that is charging £100 a ticket just astonishes me.

          • Cocky Kurwenal says:

            2 weeks would be very scant for an opera also, Armerj, at least as far as my own experience goes and those of friends, in this country. About a month or 6 weeks is more usual, and longer if it’s a new production or something particularly complex -- that’s a month with everybody together with all music calls out of the way. The new Billy Budd at ENO for instance went into full company production rehearsals on 11 May and the first performance was on 18 June. That was after music calls spread over the preceding month, and some cast members may have been in rehearsals prior to the 11 May.

          • FragendeFrau82 says:

            She is there and has been rehearsing according to ROH tweets.

  • WindyCityOperaman says:

    Born on this day in 1902 composer Richard Rodgers

    Happy 57th birthday baritone Thomas Hampson

  • Feldmarschallin says:

    Catching up on my Opernglas I saw in the May issue a gala concert in Baden Baden with Dessay, Villazon and Hampson for New Years Eve. Somehow this line up doesnt do it for me especially not in the current vocal state. Dessay with the remants of her voice and Villazon with what is left of his and then Hampson who is no spring chicken either and really doesnt fit with the two crazies.

  • zinka says:

    Gorgeous and nostalgic evening at ABT tonight as the great Angel Corella made his farewell in Swan Lake…17 yrs.with the company…..The level of dance is so much higher than opera..Nobody CRACKS!!!!

  • zinka says:

    After one of the greatest Traviatas I ever saw, Diana informed me she had brochitis and high fever…How do they do it?????????????????

    See why I love her so much?The LAST LAST LAST of the verismo divas…..

  • WindyCityOperaman says:

    Born on this day in 1893 composer Aarre Merikanto

    Born on this day in 1901 baritone and actor Nelson Eddy

    Born on this day in 1910 composer Frank Losser

    Born on this day in 1911 composer Bernard Herrmann

    Born on this day in 1948 conductor Emil Tchakarov

    Born on this day in 1954 conductor Marcello Viotti

    Happy 73rd birthday soprano Lilian Sukis

  • Andie Musique says:

    For Parterrians in the Washington area,the Don Giovanni opening at Wolf Trap tonight(and also on 7/1,5 and 7 is a terrific production (director Tomer Zvulun of the Met staff). Three young singers, Donna Anna, Zerlina and Don Octavio,particularly good. I saw the dress on Wed.

  • WindyCityOperaman says:

    Born on this day in 1685 composer John Gay

    Happy 54th birthday conductor Esa-Pekka Salonen

    Happy 52nd birthday baritone Andreas Schmidt

  • efrayer says:

    What on earth is going on at the Met?!?! One woman’s journey through the red tape and ineptitude of the Metropolitan Opera.