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  • Quanto Painy Fakor: Thanks so much. It’s the sound some people make when they are constipated. 10:57 PM
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  • zinka: Nasty little arrogant man…… 10:05 PM
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  • Quanto Painy Fakor: How does on pronounce the double Y in Bilyy? Is it a matter of duration or a final... 8:03 PM
  • m. croche: Rogers. 6:36 PM
  • kennedet: As the great philosopher “Kenny Rodgers” sings. “You got to know when to hold... 5:48 PM
  • bobsnsane: Yo Cammy & Parterre Peoples ! I saw those ’7 faces’ too… I was too much into... 5:46 PM
  • pirelli: The Beggar Woman is not all that low (it gets up as high as the F# at the top of the staff), nor... 5:38 PM

Chat without tears

Your doyenne invites you to drop by* La Casa della Cieca (pictured) this evening starting at 7:25 PM for the new and improved parterre livechat coinciding with the Met season premiere of Le Comte Ory.

And don’t forget La Cieca’s debut on WQXR’s “Operavore” this Saturday at 12:30, also to be deconstructed at La Casa.

* Reminder: the new chat client is not friendly to Internet Explorer. Please visit La Casa della Cieca using a different browser.


  • Quanto Painy Fakor says:

    Detaching the new chat window is great. I wish there were options to make the font size larger.

  • la vociaccia says:

    Vocal scores for Le Comte Ory


    Unfortunately, the French-language edition is terrible quality, but if you want to tally off every C and D JDF has to hit the Italian score is useful.

  • Quanto Painy Fakor says:

    Here’s hoping JJ, Jackie and Fred tell it like it is! Good luck for the new show.

    • Milady DeWinter says:

      Mais, pas des reportage?
      Mes amis, did anyone listen/attend last night’s prima?
      Personally, I am out of puns for “Pretty”.
      BUT --
      Pretty wonderful.
      Pretty exhilarating.
      Pretty Pretty.
      Je suis amourex, je crois, avec La Belle.
      And despite a semi-pratfall upon her entrance, in a BIG dress, which she worked into the act, not a trace of a le trac or debutitis dans sa voix. Brava, brava. And such agility -- I was reminded of another Belle- as in Silverman.
      Ms. Karine Deshayes’ Isolier also made me pause and hit the “applause” button which I have installed and at the ready on my sound system throughout the chateau. You never know when you’ll need a hand.
      She has a sort of “vocciacchio” -- but possessed of a rather startlingly wide range -- free range-y peut-etre.
      Our divo also seemed in bella voce, (did I detect the very, very, slightest hint of a whirring beat on sustained top fortes, or was it the absinthe?) with good humor and top Cs, C#s, and a D in ready supply.
      Mr. Gunn added his usual injection of vague testosterone to the proceedings, which may explain the heavy heaving and puffing during his Act II bravura waltz -(yes Nathan, that was a waltz, pussycat)and conductor Benini showed that while he may not have his grip firmly on Donizetti’s rumination over dueling-to-the-death queens (who could?), fizzy energy and precision, from both the orchestra and chorus, was the general tone of the evening.
      A delight. Last season I was not much of a fan of this work -- last night, I became a fan.

  • Quanto Painy Fakor says:

    Evidently Pretty fell during her debut. Here’s hoping she di not damage anything.

  • kashania says:

    Since the off-topic thread is now a couple of pages old, I’ll post this here. Stephanie Blythe is ill and is being replaced by Elena Matistina for her next Azucena. We Matistina’s Azucena in Toronto a couple of months ago and she was excellent — a real dramatic mezzo with strong high notes.

    • Clita del Toro says:

      “Ill” ?? I guess she finally realized that Azucena is not for her.

      • Milady DeWinter says:

        Oh dear, I thought Blythe HAD cancelled her Azucena in Wednesday’s Sirius broadcast and that Elaine Stritch had, at long last, made her Met debut as the brassy broad from Biscagna.

      • Gualtier M says:

        Clita, we understand -- you don’t like Stephanie Blythe. However, Blythe sang Azucena in recent years in Chicago and London and received good reviews and enthusiastic audience response in both venues -- neither provincial. Some artists don’t like to cancel and will go onstage in very bad condition -- which is what Blythe did. There is a very bad flu going around and I would not be surprised if Blythe is under the weather. Certainly an inability to sing anything above an F was not evident when she sang Ulrica with great success this past Fall or Amneris last season.

        • Clita del Toro says:

          Okay, Gualtier, I’ll buy that.

          • Gualtier M says:

            However Clita, I do agree with your post on the “Marc” thread about Jordan Fox and growers vs. showers since I also have been surprised many times. So I do trust you on some matters deferring to your greater age and experience! ;)

        • Cocky Kurwenal says:

          To be fair, Ulrica only goes a minor 3rd above an f, to the a-flat!

  • Nerva Nelli says:

    The TIMES’ wisdom on ORY includes these pearls:

    Even more surprising, the denouement throws all three — Adèle, Ory and Isolier — into bed together.

    This sweet and witty production

    The contralto Susanne Resmark was convincing as Adèle’s stentorian companion Ragonde, showing off the bell-like resonance of her low register.

  • MontyNostry says:

    OT, but rather a nice photo placed on Twitter by Alex(andra) Penda(tchanska), currently preparing for Eboli in Oviedo.

  • MontyNostry says:

    I’m not going on the chat today -- but why does every McVicar production seem to have rent-a-crowd rhubarb noises from the chorus? Bloody irritating. Opera is NOT a naturalistic form, Sir Dave.

  • MontyNostry says:

    Talbot “helps Mary get to a good place before she goes to her execution”. Talbot talks psychobabble. Just the kind of statement (from nice, sensible Matthew Rose too) that convinces me we don’t want interval interviews with the singers.