Cher Public

She is a diamond

“La Cieca cannot imagine it is much fun to sing ‘Dove sono’ when you’re suffering a fresh case of the Reno jumpy-wumps.”

In the December 1998 issue of parterre box, your doyenne muses on Renée Fleming and Aprile Millo; Our Own JJ reviews a recording of the Callas master classes; Enzo Bordello, Dawn Fatale and Nakamura Akira chime in from three continents; Roy Wood gushes over Kathleen Battle; and Dr. Repertoire dissects Cinderella and Company. [Download Issue #34]

  • armerjacquino

    ‘Sondra Radvanovsky’s firmly voiced, creamy toned utterances as the Priestess…’

    Good spot!

    • armerjacquino

      ‘Danielle de Niese as a lovely Barbarina…’

      • Krunoslav

        She was, too, without light effects or break dancing or a microphone.

        That was then.

  • Can’t wait to read every word. This has quickly become my favourite new regular feature on parterre.

  • rysanekfreak

    Did we ever get a reveal for the blind item?—the NYCO guy who was pimping out go-go boys?

  • Porgy Amor

    “…much to the annoyance of producer Franco Zeffirelli, who wanted to offer the role to an attractive protégée of his (a girl, I mean).” Gold.

    For anyone did not know or has forgotten, Jurgen Flimm and Erich Wonder were the then-unnamed director and designer (respectively) whose proposed Traviata was nixed in favor of the ’98 Zeffirelli. Maybe theirs would have been better. Both men debuted with other operas a few years later. Flimm’s Met Fidelio and Salome were fixtures over the next decade; Wonder’s only Met work has been Doktor Faust, which had six performances in 2001.

    • armerjacquino

      Who was Zeff’s Violetta of choice? Anyone know?

  • Feldmarschallin

    ‘Besides he’s fat as a pig’. Perhaps the poster who complained about what I said about Botha will keep his mouth shut now. I see I am in the best of company and Hadley isn’t nearly as fat and ugly as Botha. If someone is offended they needn’t read what I write.

    • Porgy Amor

      You mean “wasn’t,” of course. RIP.

      Speaking of Botha, he turns up several pages later, badly reviewed for a Chicago Gioconda: “Johan Botha’s leathery voice droned on and on at dynamic levels of mezza-forte or higher; it would be hard to imagine a more clueless approach to Enzo’s gratifying music.” He sounds to have been the same bore then that he is now.

      • Clita del Toro

        You said it, Porgy.

  • antikitschychick

    “timbre is the surface of singing, the equivalent of infatuation, not love”. Absolutely brilliant analogy. Love reading your opera zine magazines Cieca! Thanks for providing these :-D.

    Hope everyone had a lovely Christmas/holiday :-D.

  • Greg Baker made a strong impression as Amonasro, his dark, resonant baritone savoring the words and music to maximum dramatic effect. He should reconsider that final solo bow: going down on both knees and embracing himself was a bit girly for Amonasro.

    • Porgy Amor

      A sampling of Gregg Baker’s excellent Crown from the Nunn/Rattle Porgy and Bess. Okay, the hair is a bit Coming to America or Cosby Show but even the meticulously in-period production is unavoidably of its own time.

  • Grrrr, I don’t like Dr. Repetoire. Saying Bartoli’s singing is amateurish and she is no singer at all! No, no, no, no, no….