Headshot of La Cieca

Cher Public

  • "It will be on CultureBox on June 2: http://culturebox. francetvinfo.fr/" - NPW-Paris
  • "For the musical side. So far, I’ve only seen reviews that loved the singing..." - NPW-Paris
  • "that was a lovely and informative report kashania; thank you :-). I went on..." - antikitschychick
  • "…and speaking of Halevy, this week’s “World of Opera”..." - operablogger
  • "Albanese and Milanov were MET regulars, especially during WW2 when the supply of..." - isoldit
  • "Sadly, I don’t think that career choice is even an option any more except..." - steveac10
  • "Amara, very much like Hong, chose to have a MET career instead of an international..." - isoldit
  • "No, for his high school newspaper. I missed this famous Brit-cast but was given my..." - Krunoslav

The case of the missing Amelia

“In the space of a few words, the leading role in a major new production had been reassigned. But why?” Zachary Woolfe explores “the byzantine world of opera casting.” [New York Times]

76 comments

  • arepo says:

    Vergin Vezzosa:
    I have to tell you that reading your post actually gave me goosebumps.
    I saw an earlier production of MC and there was no kissing the ground at curtain call time forcing me to strongly agree with your supposition.
    I am more than convinced that the Nazi remark to G was the beginning of her Met doom, but of course none of us know for sure. Eventually the truth will out but till then, you’ll have to prove it to me to be otherwise.
    Mattila’s “Salome” and “Fidelio” were the highlights of her Met career for me with a miscasted “Manon Lescaut” and an inferior “Tosca” performance (only IMO, of course). But I must say that I truly was happy for a comeback performance that seemed to fit her well in the “Makropolos Case”.
    Life isn’t always fair.