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  • Poison Ivy: And I ask this because when I saw the POB (they came to NYC two years ago) the casting was... 7:58 PM
  • Poison Ivy: While we’re at it does the POB attract a similar young crowd? Or does ballet/dance attract... 7:54 PM
  • oedipe: BTW, the ONP has just published its 2013 accounts. It seems that the average age of the audience last... 7:47 PM
  • steveac10: Unless you’re a once in a generatio artist, is it really possible to get more than a golf... 7:39 PM
  • oedipe: Not the prettiest high notes, but they were there and well projected. Unfortunately, she didn’t... 7:37 PM
  • fletcher: Thanks for the info, oedipe. As for the audience being young, I think you’re right to credit... 7:35 PM
  • -Ed.: See? Better to wear an emerald necklace, like I do. Emeralds do not countenance vulgar clutching. At... 7:31 PM
  • Poison Ivy: How was Urmana’s top in Isolde? Last time I heard her she definitely had problematic high... 7:22 PM
  • Clita del Toro: I heard only parts of Puritani last night: additionally, the clip from the Met and several... 7:17 PM
  • Flora del Rio Grande: jacquino: I always make a point to review Ms. Racette’s bosom when I cover her... 7:04 PM

En proie à la maladie

Pretty Yende will make her Met debut as Countess Adèle in this season’s performances of Rossini’s Le Comte Ory, replacing Nino Machaidze, who is ill. (This from the Met’s press office.)

41 comments

  • Bianca Castafiore says:

    Is it me or she sort of looks like Barbara Hendricks?

    • semira mide says:

      It is NOT just you -- she really does look like Barbara Hendricks. Not so much in the video, but the photo shows an amazing likeness.

  • parpignol says:

    Dwayne Croft was announced as singing through a cold this evening, but for his dull Chorebe it hardly mattered, and still less for partnering Voigt who is singing like a mouse; no volume, no color, no tonal beauty, she’s peeping out the notes; we’ve asked it before, but we have to ask it again: is she really going to sing Brunnhilde at the end of the season? I love the ‘Fall of Troy’ acts, so I really hate to say this: but if you’re going to see Les Troyens this season, go at a civilized hour after the first intermission, because it gets a whole lot better when you get to Carthage, Voigt disappears, and Susan Graham begins to sing; she’s giving the performance of her career, even up against very powerful memories of LHL in this production; Giordani was good enough in acts 3 and 4 in the ensembles and love duet, but does not, at least at this stage, have the goods and the artistry to bring off the big aria in the last act; Appleby very fine in the sailor’s aria at the beginning of the last act. . . the production is uneven; Luisi not very interesting conducting Berlioz. . . it could have been Alan Gilbert. . .