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Cher Public

  • Feldmarschallin: http://www.hamburg ballett.de/form/vo rschau_14_15.pdf Some interesting casting…... 5:02 AM
  • Cocky Kurwenal: I saw John Osborn sign Arnold in the 5,000 seat Royal Albert Hall very convincingly, so while... 4:48 AM
  • Feldmarschallin: Almost all reviews were positive from the Met including La Cieca. I have Yoncheva tomorrow... 4:38 AM
  • Regina delle fate: Oh – I forgot his Wexford appearances in Linda di Chamounix, Crispino e la Comare... 4:29 AM
  • Regina delle fate: This reminds me of the comparisons made 40 years ago between two of the leading Rossini... 4:27 AM
  • Regina delle fate: Can anyone remind me how Damrau’s Violetta was received at the Met? Her Covent... 4:10 AM
  • Regina delle fate: A likely story. 4:04 AM
  • Regina delle fate: Hehe Armerj! Good one! 4:03 AM
  • Cicciabella: I heard Ms Wagner in the house. I think her main virtues are a beautiful, silvery sound and the... 3:59 AM
  • m. croche: FWIW?the BLS indicates that about sixty percent of the American male workforce gets paid sick... 3:50 AM

Zu verhüllen oder zu enthüllen

La Cieca hopes you, the cher public, will reveal (rather than conceal) your opinions on off-topic and general interest subjects this week. But it’s up to you!

454 comments

  • ilpenedelmiocor says:

    Finally got a chance to hear Latonia Moore assay Aida live last night — God what a voice. Every time she opened her mouth it almost made you forget the rest of the mostly pretty ragged singing on display (seems that most of the money went into the admittedly very fun Zandra Rhodes co-production with HGO, SFO and ENO).

    The tenor was Walter Fraccaro, who infamously replaced Alagna when he walked out on the La Scala production. Opera Chic’s take on his performance is as true today as it was back then:

    “Oh Fraccaro, how you held the opera together with your bland but adequate stage-presence, singing Radames in your practiced Verdi tenor. I just don’t find Fraccaro all that exciting. He sang well. …Last night, Celeste Aida did not get booed, but this Opera Chic was beyond tempted to start mooing her dissaproval, and almost had to clamp her hands over her mouth to quell the urge! …(The tomb where Fraccaro is doomed to join the company of adequate tenors)”

    In short, he can sign the role (and hit the required notes). Loudly. And more loudly. That’s about the extent of the dynamic range. Jill Grove got better as the evening wore on, but has that mildly annoying habit of ending her phrases by going up on her tippy toes.