Cher Public

  • Sempre liberal: Excellent review. I went this weekend to Don Carlo and Jenufa. Mattila was superb, and she dominated Act II like that... 10:06 PM
  • Operngasse: In the Heeresgeschichtlic hes Museum (military history museum) in Vienna there is an exhibit devoted to Sarajevo. Of prime... 10:05 PM
  • Porgy Amor: +1. Fanciulla and the short operas of Il trittico, especially Schicchi, are the best of Puccini to me. 7:44 PM
  • Will: No, not to all of us. There are marvelous things in Fanciulla; many critics and musicologists have commented on its merits and a... 7:39 PM
  • gustave of montreal: « greatest of all Puccini scores » is a surprise to all of us. 7:21 PM
  • Camille: All the Bernard Herrmann one could ever ask for or want: httpv://youtube.co m/watch?v=9uIEIelz _SM About halfway through you may... 6:52 PM
  • Camille: Oh, I just notice Le Mage! That one is a fave of Mr Belfagor and we have had a little discussion at some point in time. I... 5:52 PM
  • Camille: You are not butting at all and your information is more than welcome as I see very clearly I have gotten lazy and relied to... 5:48 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