Headshot of La Cieca

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  • Poison Ivy: By the way, I found this. He could barely stand, and his voice sometimes sounds weak and... 10:55 AM
  • tatiana: Ivy, thanks so much for that last paragraph especially–H YSTERICAL! I always enjoy reading... 10:46 AM
  • Clita del Toro: We used to write that word as “çunt.” ; 10:45 AM
  • DeepSouthSenior: I’ve always had a mad crush (theological, that is) on Martin Luther, since, well, all... 10:42 AM
  • manou: I mean “insulting&# 8221;, of course – although “insluting&# 8221; is rather... 10:26 AM
  • DeepSouthSenior: Milady, your “Eva Marie Westbroek was a charmer” gives me an excuse to post a... 10:25 AM
  • Poison Ivy: What’s so frustrating about L.M. is that she has so many vocal gifts that most singers... 10:18 AM
  • Hey Louie: I’ve always preferred to be peed upon by peers. British, of course, since over here I... 10:17 AM
  • Salome Where She Danced: La Cieca is simply talking like a Brit lager lout. 10:15 AM
  • Quanto Painy Fakor: On this day Susan Danis warns of the possible demise of the Florida Grand Opera if they... 10:09 AM

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: