Cher Public

  • Dabrowski: Co-signing this. They are both much better in the hall than on recording, but I find that especially so with Becza?a. 7:19 AM
  • armerjacquino: Twenty years from now? Aged 67? 5:09 AM
  • armerjacquino: I have no dog in this fight, but you can’t say ‘just pointing out facts’ about a post which started... 5:08 AM
  • YigeLi: The complete quotation is: Netrebko: I’m doing ‘Lohengrin’ in St. Petersburg, but after that I don’t know. I think I would love... 4:53 AM
  • guy pacifica: That’s fantastic singing — thank you for including it. 12:40 AM
  • stevey: +1 10:49 PM
  • la vociaccia: She also has her worst tuning problems when she has to sing high notes that aren’t approached stepwise. Her soprano 2... 10:44 PM
  • JackJack: I strongly disagree about the Immolation Scene. I thought it was clearly the best part of the night. Her voice had warmed up... 8:16 PM

The chat with nine lives

Thanks for your feedback, cher public. La Cieca has implemented the new chat software with your suggestions at La Casa della Cieca, which will officially relaunch Thursday, January 17, at 7:25 PM for Le Comte Ory from the Met. And don’t forget Saturday, January 18 at 12;30 PM, the premiere of Operavore (featuring a certain little-known doyenne) followed by Maria Stuarda!


  • 1
    Camille says:

    What is that green thingey with a pink tongue up above?
    Me so scared. EEEEEKK!!!!! Mamma Cieca, protect me!!!!

  • 2
    Quanto Painy Fakor says:

    It crashed my browser and diacriticals don’t work in the chat
    Théâtre -- they work here.

  • 3
    A. Poggia Turra says:

    Apologies if this has already been posted, but Arte LiveWeb is streaming a Cav and Pag from l’Opera Royal de Wallonie in Liege (filmed on January 3rd) with Jose Cura:

    • 3.1
      rossifigaro says:

      quite a good interesting production, don’t you think?
      was the sound enhanced? -- i’m curious about those little microphone like “buds” close to the performers ears. i’ve seen these things in other productions and i have never been sure of their purpose. and as presented on arte there was seemingly no interval between the operas -- i wonder if this is the way it was indeed done in liege. the characterizations very interesting and loved the carry over from cav to pag. its always interesting to hear who is going to sing the final phase but who would have thought??? very effective.
      wondering if all the wallonie productions will be on arte? do so miss the live presentations.

      • 3.1.1
        A. Poggia Turra says:

        rossifigaro -- AFAIK the mini-mics are strictly there for the video sound feed. It’s always interesting on DVDs to see where they place the mic -- sometimes if the singer has an elaborate wig they place it on the forehead, on the hairline. Other times it’s further from the singer’s face, I remember on the Salzburg Fledermaus, Jerry hadley has it attached to his calf (on the La Scala Lohengrin, during the bows I thought I spotted a mic on the back of Jonas’ neck, but I could be wrong about that one).

        As for enhancement, my guess is that the size of most houses in Belgium probably makes enhancing unnecessary, but one never knows!

        I know that ORW has done live internet feeds in the past; I watched their Barbierie with Sumi Jo live on the ‘Net a while back. La Monnaie/Die Munt streams all of their season’s productions, but on a delayed basis (I thionk they make the stream available just after the last performance, for one month. Last month’s Andrea Breth ‘Traviata’ was shown live, but on Arte LiveWeb (it’s still viewable over at ALW).

          shoegirl says:

          You’re right on La Monnaie -- they make streams available for 3 weeks after the performance, but I think the initial stream isn’t *quite* the final stream -- they might record from different nights? Not sure.

          They’d a really good Lulu last Oct/Nov and a sort of interesting Traviata in a brothel at Christmas, if I remember correctly. They do it quite nicely too.

      • 3.1.2
        bluecabochon says:

        I just finished watching it and enjoyed it very much. Good ideas all around, well filmed, and lots of wonderful directorial details. Good acting from the cast, supporting the verismo style perfectly. Thanks for the heads up!!!

  • 4
    Quanto Painy Fakor says:

    Sick of reading about Angela Meade !

    • 4.1
    • 4.2
      bassoprofundo says:

      Quanto Painy, I’m not understanding what you mean--perhaps you could attach a completely irrelevant YouTube video to express more eloquently your dissatisfaction.

    • 4.3
      shoegirl says:

      They are still raving about her here after Wexford. Any number of singers could come and be ignored (indeed one did, last November, due to picking a bad date and clash with a Cosi opening), but she’d fill 3 or 4 National Concert Halls twice over.

  • 5
    Feldmarschallin says:

    ok now I got into this chat and it was through mozilla firefox. Internet Explorer would not let me get in. Trying if I can post something.

  • 6
    armerjacquino says:

    Works fine for me! Thank you, la cieca.

    • 6.1
      armerjacquino says:

      And, in fact, unlike the old chat window it remains open when the page is refreshed, so it’s possible to comment in the comments thread from the same window as the chat. Brava.

  • 7
    lucy brown says:

    Won’t it let us log on the usual way?

  • 8
    Rowna says:

    I just tried it and I like it. Although it said “5 viewers” no one commented on my content. And here I thought I was so clever with my choice of words. Hope this works. Was very easy

  • 9
    Ilka Saro says:

    I saw Maria Stuarda last night (1/12). I loved it.

    I know a lot of people don’t care for Elza van den Heever’s singing, but I thought she sang quite well. There was a lot of comment on how she moved, though. It took a little adjusting to accept her physical presence, but for me it didn’t detract from a very interesting musical performance. Among the many odd physical traits, she limped, she leaned on furniture, and she spent a lot of time with her left hand on her lower back, as though she were in pain. I just dug a little bit around the internet, and someone said that her limping was actually on direction from David McVicar. True?

  • 10
    DonCarloFanatic says:

    Is my comment above about the open ID nature of this chat correct, or does this mean that once signed into Parterre, using my Parterre name signs me into the chat?

    This is too much to ask my head on a Sunday morning.

    • 10.1
      armerjacquino says:

      You could log into the old Casa della Cieca under any name you wanted, too.

    • 10.2
      La Cieca says:

      When you click on “Click here to join the conversation,” you are given a choice of login methods. “Guest” is the equivalent of the login for the old version of the chat; that is, you choose your own screen name but no other information about you is visible. It is also possible to log in using your Facebook or Twitter accounts, but obviously there your real name and other information will be publicly available to others who are chatting.

      The icons across the top, in order, are:

      “Pause/scroll window” — that is, you can choose to have the messages scroll up each time a new message is posted, or else you can stay on the same message. I would think this is most applicable when there’s a long message or a media clip posted and you want to take a long look at it. In general, you could leave this on “scroll.”

      “Clear conversation window” -- this clears your window of conversations, but does not erase the chat for anyone else.

      “Pop out chat” -- opens a new window with a larger version of the chat interface. This window floats over whatever else is on your desktop; so it would be handy if you were doing other work or watching a streaming video, for example. (Also, the popout window has no scrollling ads so it may be less visually distracting.)

      “Sound effects on/off” You will most likely want this “off” since the default is to make a little popping sound each time a new message is posted.

      “QR Code” -- This displays a QR symbol that you can scan with your mobile device, starting a display of the chat in your phone or tablet. (If you’re planning on doing this, let me know and I’ll point you toward more complete instructions.)

      “Logout” logs you out and lets the rest of the people in the room know you are no longer present.

  • 11
    Batty Masetto says:

    It looks like the sign-on for the chat is separate from the Parterre login, DCF.

    La Cieca, just so you know -- I have it directly from a professional chat room programmer that JavaScript and Java are two entirely different things. JavaScript is the wave of the future, and is expected (relatively) soon to have HTML5 chat applications that will run on all kinds of things, including iPads etc. that have never been able to run Java. Security will be strong because JavaScript is so essential to operating the Web nowadays. So don’t throw a promising baby out with the nasty bathwater.

  • 12
    DonCarloFanatic says:

    As noted above in the chat window, which anyone can erase at any time so I am noting it in stone here, I was able to log in to the chat without being logged into Parterre. I also changed names a couple of times, which, depending on whether I logged out of Parterre or not, either changed my name ID, or didn’t. Then I erased everything that had been posted.

    This chat engine does not seem good to me.

    • 12.1
      armerjacquino says:

      “I was able to log in to the chat without being logged into Parterre. I also changed names a couple of times

      As I mentioned above, both these things applied to the old chatroom. The sky did not fall.

      • 12.1.1
        DonCarloFanatic says:

        aj, I did not know this. Hmm…don’t know what to think now.

          LittleMasterMiles says:

          Yes, some people logged into the old chatrooms under any number of names—hence the endless fun of “Who is Betsy This Time?”

  • 13
    Clita del Toro says:

    I am computer illiterate, but the new chat seems acceptable. A few of of have to chat to see how it work.

  • 14
    LittleMasterMiles says:

    The log-in protocol is exactly the same as the old chat room, so I wouldn’t worry about that. I would definitely worry about DCF’s concern about anyone being able to erase the entire chat; I interpreted that icon as meaning that I could erase what appeared in my *own* window, not that it would erase what appeared in everyone else’s (and indeed, everything posted since 10:27am today is still visible to me).

  • 15
    FragendeFrau82 says:

    I’m seeing the chat without being logged in and it is making an annoying pop sound every time someone comments. Is there a setting to turn this off just for the chat? Don’t want to disable any music (or opera!) playing at the same time.

    Perhaps the pop will go away if I log in. Aesthetically I think it’s ugly. (well you ASKED for our thoughts ;-)

    • 15.1
      adina says:

      I was annoyed by the chat, also. Then some very nice people pointed me to the icons on the upper right of the chat window. One of them turns off the sound for the chat popping, but not for whatever music you want to listen to.

  • 16
    ipomoea says:

    At upper right above the chat window, there are six icons — click on the 4th from the left (the speaker) and the pops will go.

  • 17
    Lady Abbado says:

    Can someone tell me what counts as a small versus large soprano repertoire? How many roles is one supposed to perform on stage to avoid the criticism that one’s repertoire is too small? (I gather that studio-recorded roles don’t count for much -- there’s a premium on doing the whole thing on stage)

    • 17.1
      aronocity says:

      A small repertoire is when you see a singer listed for a performance and say “Again?” Also the reason there’s a premium is that it’s relatively easy to piece together a performance in a studio. It’s much harder to do all of it in a row, in a costume, with hot lights, and thousands of people expecting the best of the best.

      • 17.1.1
        Poison Ivy says:

        As much as I admire her I’d say Dolora Zajick is the definition of a small-repertoire singer.

          uwsinnyc says:

          Hmm on this one I would have to disagree with you, Poison Ivy.
          For her voice type, I think she has a reasonable repertoire. In addition to the standard Verdi mezzo roles, all of which she has pretty much ruled over the last 2 decades, she has branched out fairly widely- think Bellini, Dvorak, Mussorgsky, Donizetti, I think she’s tried Ortrud too, if I recall?

          Leontyne Price is one singer I have heard others call a singer with a small repertoire, but even that I would not really agree with.

          • armerjacquino says:

            Not to mention Picker.

          • Lady Abbado says:

            Can someone estimate the likely size of the repertoire for Callas, Tebaldi, Sutherland, and Caballe (only full roles performed on stage; recordings excluded)?

            I noticed that biographical websites tend to be more careful with counting the number of recordings than with live performances.

            The wikipidia says of Virginia Zeani that she sang 69 major roles (since she has a minuscule discography, I assume that all those are live performances).

          • Sempre liberal says:

            Dolora has also sung a superb Djamileh about 10 years ago in NY with a small opera company (I forget their name).

            Will Zajick ever sing Fricka? Does she have a Kundry in her?

          • oedipe says:

            Zajick also sang Principessa di Bouillon (last year)

          • stevey says:

            I was piqued by this conversation of large repertoire sopranos, so I did a little digging!

            Sopranos who could definitely be said to have large repertoires:

            Nelly Miricioiu (about 50 full opera roles)

            Mara Zampieri (a little over 50 (21 by Verdi!))

            Julia Varady (over 60 complete opera roles)

            Virginia Zeani (exactly 69 (she also only ever cancelled 2 individual performances in her ENTIRE career!)

            Leyla Gencer (over 70)

            but I think the largest repertoire would have to be…

            Montserrat Caballe (106!!! (though I may be off one or two either way…))

      • 17.1.2
        peter says:

        I would have thought Milanov would have been considered a singer with a small repertoire, at least in the latter part of her career. I would have thought Aida, Trovatore and Forza being the 3 most often performed roles but looking at the Met’s archives, I also see a lot of performances of Boccanegra, Otello, Andrea Chenier, Gioconda and Cavalleria.

      • 17.1.3
        messa di voce says:

        Small repertoire: Schwarzkopf, Te Kanawa, Gheorghiu

      • 17.1.4
        shoegirl says:

        You’re right -- it is much more of a challenge to sing, stage and act -- yet so many really good artists now (especially in UK and Germany) are extremely under-recorded, some to the point of barely recorded at all.

  • 18
    Sempre liberal says:

    I still can’t get in via Internet Explorer, but I can get in via Chrome. Seems fine.

    Did something bad happen with Java Chat? I never had a problem with the old one.

  • 19
    louannd says:

    I would like the QR instructions at some point. I am at work now and this thing keeps making my IE freeze up (which is all I have a work for now).

  • 20
    adina says:

    So caught up in the new chat, lovely, by the way -- that I forgot -- Happy Birthday Juan Diego Florez -- 40th! I’m computer illiterate at posting videos, so if anyone can help…..

    • 20.1
      oedipe says:

      I hope you approve of my choice:

    • 20.2
      Poison Ivy says:

      Happy birthday Juan Diego indeed. Here he is in the best performance I ever saw him give: Nemorino last year at the Met. I went twice and thought of the joy and fun he brought to the whole opera when I saw the Met’s dour revival this year: