Cher Public

  • Camille: Thanks for the advance notice. I pray for his wellbeing and safe recovery. He is a treasure. 2:28 PM
  • Camille: MingoSenzaDo. 2:27 PM
  • messa di voce: Agree! 2:16 PM
  • antikitschychick: Also, just wanted to reiterate my continued well wishes for Dima! Hope everything works out well for him, and his family... 1:54 PM
  • antikitschychick: Glad to see he’s still on the roster for September 25th, which is the performance I plan to attend (if I can get... 1:48 PM
  • Ilka Saro: This puts things back in perspective. I didn’t want to come down hard on Jo Yo, who writes so wonderfully and is also an... 1:47 PM
  • m. croche: David Gockley’s Bourgeois Dinner avec Dinner Music Wine coolers – made by the piano-cocktail from Denisov’s... 1:20 PM
  • chicagoing: I am considering treating myself to a first time visit to the San Francisco Opera next June for Don Carlo, an opera I have not... 1:16 PM

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]

14 comments

  • armerjacquino says:

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

    Good spot!

  • kashania says:

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

  • rysanekfreak says:

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

  • Porgy Amor says:

    “…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.

  • Feldmarschallin says:

    ‘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 says:

      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.

  • antikitschychick says:

    “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 .

  • kashania says:

    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 says:

      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.

  • Spen says:

    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….