Cher Public

  • Angelo Saccosta: Very well said, Chris, as always. Thank you. Mascagni’s connection and friendship with Puccini become more and more... 6:42 AM
  • La Cieca: Surely the custom of little or no applause after the first act had at least some basis in the way the act ends, i.e., very... 6:03 AM
  • 98rsd: LT…i don’t know how old you are, but the Publicans have been drumming up fake Clinton scandals for decades, from... 5:38 AM
  • 98rsd: What a surprise…a Trump voter who, first, injects race into the topic–and then thinks slavery is no big deal! 5:28 AM
  • LT: This years’ Operalia final took place Sunday. It seems that it was a very inconspicuous edition since no one is talking about... 12:37 AM
  • Krunoslav: Favorite Kundry on records? Martha Moedl. I also greatly liked four that I have seen onstage: Christa Ludwig, Tatiana... 11:42 PM
  • Krunoslav: My first Met PARSIFAL in 1977 had practically no applause after Act One, and as a “knowingR 17; student I thought... 11:37 PM
  • PCally: Out of curiosity, who is your favorite Kundry? 11:08 PM

Zips up the back and no bones

La Cieca invites the cher public (pictured) to discuss off-topic and general interest subjects.

329 comments

  • 61
    Quanto Painy Fakor says:

    Cluj 2008 -- what a hack staging for the opening chorus

  • 62
    florezrocks says:

    pretty gorgeous trill from Dmitri Hvorostovsky in “Per me giunto” just now….

  • 63
    Camille says:

    Were any of youse guys at Carnegie Hall tonight to hear Jean-Yves Thibaudet and Nezet-Seguin? The Ravel piano was just out of this world wonderful. I’ve never heard it played like this or as well and never expect to hear it done so beautifully again.

    • 63.1
      Bianca Castafiore says:

      Funny you should mention this, I tried to get tickets but it was all sold out!!!! HOw lucky of you to be there…

      • 63.1.1
        Camille says:

        I’m married to The TicketMaster. Easy peasey.

        La vochacha—, you are in for a treat. I had never imagined this piece could have been so exquisite and have sounded so beautifully. Le Sacré, however, is best served by a sweaty beast on the podium. This was sacrifice à la légère. The boom didn’t entirely arrive.

    • 63.2
      la vociaccia says:

      I’m seeing it in Philly on Sunday. Can’t wait!

  • 64
    zinka says:

    MET FOR NEXT SEASON:I WENT NUTS:

    Kristine Opolais in Mme.Butterfly, Jamie Barton in Norma, Rolando Villazon in Onegin,

    THESE ARE SURPRISES!!!!!!!!!

  • 65
    WindyCityOperaman says:

    Born on this day in 1685 composer George Frideric Handel

    Born on this day in 1901 tenor André D’Arkor

    Born on this day in 1914 tenor Ronald Dowd

    Born on this day in 1922 soprano Ilse Hollweg

    Born on this day in 1927 soprano Régine Crespin

  • 66
    zinka says:

    As we celebrate the 70th birthday of Renata Scotto on Feb.24, I think back to the period when so many people (including yours truly) spent so much energy trashing her, largely owing to her essays into heavier repertory, and the extremely flawed top voice. Yes,indeed, like my beloved Martha Moedl, she was a “flawed Kunst diva,” but when we stop and take note of the body of work that Scotto produced, and realize that,along with Diana Soviero, she has been the very last of the kind of “verismo sopranos” whose emotional intensity recalls the now-forgotten era of Muzio,Favero,Zeani,etc.
    There is so much more in singing than just “voice,” and we can point out many artists who might be deemed “unlistenable” to those who do not delve more deeply into their over-all contribution to music. Callas would be a prime example, as would be Leyla Gencer, Gwyneth Jones,Conchita Supervia, Magda Olivero,Raina Kabaiwanska,and others who were not simply “producers of gorgeous vocal tones,” but who bring so much deep emotion to singing…the phrasing, the importance of even a single syllable, the love of the vocal line, the unforgettable “golden moments” that we may remember so well, even despite some rather “strange” sounds,like Leyla’s scoops, Jones’ taking three hours to get on the correct pitch of a note, Moedl’s not knowing what will come out, Supervia’s “goat-like’ vibrato,etc.
    So we wish Mme.Scotto a very happy birthday and those of us who can shed some of the “baggage of the 1980’s” must revere what she has meant to opera;sadly, there do not seem to be any singers today who can bring us the kind of depth of feeling that,for example, Muzio singing “O del mio amato ben” or just Moedl standing there as Brunnhilde without even uttering a single note, can offer.
    Thanks to you,Mme.Scotto, and I humbly apologize for some of my rants!!! Sincerely, Charlie