Cher Public

  • parpignol: how precise is Poulenc when specify in the score the sound of the guillotine for the final scene? I thought at Caramoor it was... 6:47 PM
  • LT: So this year there won’t be any broadcast at Lincoln center on opening night in order to save money. Only at Times Square 6:37 PM
  • La Cieca: Hard to say. Apparently in the real-life incident, the sisters all sang the “Veni, creator.” Of course in real life... 6:26 PM
  • Lindoro Almaviva: Could be. I had not thought of that. It could be both. Poulenc: “How in hell am I going to be able to set these... 6:12 PM
  • ducadiposa: Likewise a 20% off offer has been sent out for her Toronto recital next Friday. I have my ticket – the last time I heard... 6:08 PM
  • Lindoro Almaviva: I find this comment very interesting because it seems like religion and the existence of a god is the great barrier that... 6:08 PM
  • Poison Ivy: Well I’m sad that this seems to be curtains for Popsy’s career. I always did like her a lot. Very problematic... 5:52 PM
  • Lindoro Almaviva: I agree with you, but can you tell an international level singer (let’s say Christine Opolais) that although she... 5:49 PM

Double digits

“Promiscuous — it’s not a pretty word. But when a matron in black underwear cavorts with two dozen naked hunks, what else can you call her? That’s one of the more striking images director Jay Scheib devised for Thomas Adès’ 1995 Powder Her Face, which this weekend jolted the New York City Opera’s brief spring season to a sizzling start.” [New York Post]

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