Headshot of La Cieca

Cher Public

  • Rowna: I hope Cocky and Mandryka can see this – for some reason I can’t respond to their replies... 3:33 PM
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  • ML: No. He took the position that all, not just some, performances benefit from prompting. What do you... 3:18 PM
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  • Feldmarschallin: Yes and it is an opera which you cannot hear that often. I would also prefer the Bieto... 3:07 PM
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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.