Headshot of La Cieca

Cher Public

  • Camille: Haha! That “BRAVO” ; was so clearly a fully intentioned, well-focused and expertly... 7:18 PM
  • Avantialouie: I have no doubt that the three absences from “Cenerentola ,” during which Florez... 6:52 PM
  • semira mide: Clearly the sleeves are a pre-emptive measure by the Met to assuage possible censorship. After... 6:45 PM
  • shoegirl: I absolutely adored Larmore at her peak. From what I remember she sang a fabulous Rosina also. I... 6:38 PM
  • Camille: The Joyceter has FAB arms! Go look at her album covers! Where is bluecabachon when we need her?... 6:37 PM
  • CwbyLA: i was wondering the same thing. I don’t think JDD has tattoos on her arms. 6:31 PM
  • shoegirl: Good answer! These are actually rather popular with ladies of a certain. Mary Portas does a range... 6:26 PM
  • Salome Where She Danced: Track marks? 6:25 PM
  • norma54: Who would want to hear Matthew Polenzani in a horribly high and difficult Rossini role? Pray that... 6:21 PM
  • phoenix: Did anyone see or hear (today on broadcast) the Nationale (Nederlandse) Opera Arabella? If so, could... 6:13 PM

Once in half a lifetime

Then and now: the “Dio ti giocondi, o sposo” duet from Otello, as telecast 34 years apart: September 25, 1978 and October 27, 2012.

89 comments

  • This is for Marshie. Excepts from that Angelica with Riciarelli available on YouTube:

    Confrontation scene, from Il Principe Gualtiero:

    Senza Mamma:

    Final scene:

    For whatever it is worth.

    Amer, send me an email…..

    • marshiemarkII says:

      Wow Unbelievable Lindoro! Thank you so much for troubling to find that. It sure did send me rocketing back to the Boston of my youth, where I bought the LPs. Many thanks again! another treasure of parterre

  • I saw the Met telecast. I liked Botha because he tried something different, a lyrical Otello. Therefore, the act 1 duetto was very good, really tender and full of love. He was completely different from the usual heroic war robot. In fact, his Moore looked like a warrior who is completely afraid about the whole story that might be happening in his bedroom.
    Otherwise, his ‘Esultate’ was loud and triumphant enough for our days.
    Indeed, some other parts were not impressive, but I rather preffer a tenor who’s playing a chicken character rather than a tenor who is afraid to sing this role. Why Kaufmann isn’t taking this role? Because he’s afraid of it. The same for the rest of all these Beczala, Villazon, Calleja with nice voices but playing only The Duke of Mantua and once in a while some Rodolfos and Marios.
    About Botha’s physical appearance… What about Pavarotti? He was just as fat and also a lyrical Otello.

  • Ha. Here’s a singing actress.

  • manou says:

    And here is an unexpected Desdemona: