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Things unseen

Which artist who’s no longer in denial about waning abilities is about to withdraw (or be withdrawn) from the next (and probably last) Met project? La Cieca hears the company is already reeling in a replacement.


  • m. p. arazza says:

    Denial — Daniel

    But which one? What if it’s Caesar not Cleopatra?

    the mind “reels”…
    Cesare is washed ashore after a shipwreck.
    shoal = Scholl

    • shoegirl says:

      Not sure he’s quite a dying swan just yet, but its a good interpretation for sure!

      Don’t think its anybody from Cesare if not Dessay:

      Cleopatra: Natalie Dessay -- ???
      Coote/Bardon/Daniels -- doubt it, all 3 in Paris in last week, heard Coote myself (La Favorite) and still very much in vocal prime, the other two doing Radamisto concert tour and no word of complaint about either
      Christophe Dumaux -- only in his early 30s, so hardly
      Guido Loconsolo -- barely out of a young artists programme so unlikely

      I doubt its anybody from that production, unless somebody is feeling a bit under the weather.

      Speaking of good ole Cleo, you still can’t beat Larson’s mad hair (dreadlocks and 80s spikes with tail) and striptease to a gold lamé bikini from 1990.

      • DonCarloFanatic says:

        That was amazing.

        • shoegirl says:

          This one had better hair (dreadlocks!) though, and you can’t really beat singing from a dangling moon with matching Cleopatras accompanying you on stage . . .

  • m. p. arazza says:

    Then again (these items provide a field day for socially acceptable paranoia) this could simply be about JL and the projected concert. (“Artist” … he said he’d been dabbling in watercolors during his convalescence.) Are they reeling in Asher Fisch?

  • jrance says:

    If in fact Dessay is out, it might be recalled that Lisette Oropesa recently sang Cleopatra opposite David Daniels in Detroit. Of course, Gelb would prefer a ‘star’ like Danielle DeNiese to a fine young artist like Ms. Oropesa.

    • Nerva Nelli says:

      Not many of my posts will include this phrase, but *in fairness to Danielle de Niese*, she is not even 4 years older than Lisette Oropesa!

      I’ve heard them both as Cleopatra, and Orpoesa is the better singer.

      Daniels’ range may have changed a bit but he’s in *much* better form than Scholl, who sounded miniscule as Bertarido last year. Daniels is about to sing RADAMISTO at Carnegie and was just announced in the THEODORA Harry Bicket is leading there next year.

  • Bill says:

    No one has mentioned James Levine who has some
    performances scheduled for next season and has
    had waning abilities due to illness.

    • EdgardoNYC says:

      It would seem that Levine would be the most obvious choice, given his latest and protracted absence from the podium. The Met can and will survive without him when the time comes. Imho, Maestro Luisi is a far better conductor, as the recent Les Troyens performances showed. Luisi’s Ring cycle performance last year were fabulous also.
      The Met orchestra sounds wonderful these days, and musically speaking, they have played beautifully in Levine’s absence.
      I am looking forward to Friday’s opening night of Parsifal under Maestro Gatti, another fine conductor.
      We’ll see, and it will be interesting to see the details of the Met’s next season, which should be announced very shortly.

    • A. Poggia Turra says:

      With Asher Fisch as the replacement?

    • shoegirl says:

      Excellent point!!

      Bought a cheap seat for Dancing Danni in Dublin, I’ll be drunk after a rugby match, so in perfect form for it.

  • derschatzgabber says:

    Speaking of recognizing waning abilities, without any fanfare the casting for Hoffman in June of 2013 has changed on the SFO website. Dessay is now only billed as Antonia. Three other singers have been given the remaining three loves of Hoffman. The worst part of the change (that I am aware of) is that a mezzo has been cast as Giulietta. I assume that means we will not get the coloratura seduction aria that Offenbach wrote for Giulietta.

    • oedipe says:

      The change was posted quite a while ago.

      • derschatzgabber says:

        See, I told you there was no fanfare. I only checked after she backed out of all 4 ladies in Barcelona. I had assumed when the casting was announced that it was only a matter of time before the casting change went up.

        • derschatzgabber says:

          P.S. I bet 10 or 15 years ago, Dessay would have been very impressive as all four ladies. Especially if the production used the authentic coloratura aria for Giulietta.

    • Quanto Painy Fakor says:

      Whoever decided to cast a mezzo soprano (and someone with relatively little experience singing minor roles like Siebel) as Giulietta has absolutely no idea of what Offenbach composed. It is very unfortunate indeed. But the Giulietta Act in Pelly’s production is totally insignifcant and distorted by Pelly’s dramaturg.

      • Indiana Loiterer III says:

        Of course, I would say the same of Giulietta as the role stands in the traditional (mezzo) posthumous version; it always struck me as a pretty thankless role, which requires all the charisma of a diva with none of the follow-through.

      • derschatzgabber says:

        Caro QPF, what is the Giulietta Act like in Pelly’s Barcelona production. I have tickets for the SFO run in June. I want to know what I should brace myself for. How much echt Offenbach has been included? How much is forged?

        • derschatzgabber says:

          P.S. Where oh where is Amoebaguy. I rely on Amoebaguy and QPF for reliable information on Hoffman productions. They both know and love this opera even more than I do.

        • Quanto Painy Fakor says:

          You can see it on Medici TV soon live and free -- after which I can better answer your question.

        • Quanto Painy Fakor says:

          I hate it when a dramaturg claims authorship for something s/he did not do, and that’s what Pelly’s dramaturg has done with this piece since 2005. It’s so misleading. Most of here work is just simple cuts in the dialogue, until she gets to Giulietta Act, which, fankly, she decimates

          • derschatzgabber says:

            Carissima QPF, thanks for the warning.

          • MontyNostry says:

            Does Pelly have a dramaturg? He doesn’t seem to be all that bothered with drama, as far as I can tell from what I’ve seen of his work. (Love of Three Oranges/Cendrillon/Ravel operas/Robert le Diable). My impression is that what he mainly all Pelly does is shove people on stage with pretty sets and pretty costumes, give them one idea and then leave them to their own devices. Maybe he’d be better off at the Lido de Paris -- avec plumes!

          • MontyNostry says:

            Whoops. That should read:

            Does Pelly have a dramaturg? He doesn’t seem to be all that bothered with drama, judging by what I’ve seen of his work. (Love of Three Oranges/Cendrillon/Ravel operas/Robert le Diable). My impression is that what he mainly does is shove people on stage with pretty sets and pretty costumes, give them one idea and then leave them to their own devices. Maybe he’d be better off at the Lido de Paris – avec plumes!