Headshot of La Cieca

Cher Public

  • La Cieca: One small correction. Caballé, born April 12, 1933, was 34 years old at the time of this Traviata.... 3:54 AM
  • Jungfer Marianne Leitmetzerin: I must apologize: the tracks of the last act of the 1967 “Traviata... 3:22 AM
  • Jungfer Marianne Leitmetzerin: ailsamegan: Thank you very much for your support of my suggestions. I feared... 3:19 AM
  • Feldmarschallin: For many years Röschmann was a superb Susanna. And I agree that Seefried was one of the best... 3:05 AM
  • ailsamegan: Well said Junger – half the time I don’t know what these 3 are talkng about. I used... 2:54 AM
  • Jungfer Marianne Leitmetzerin: I am behind on my thanks! I apologize! Kashania (PDP) – take your time! Listen... 2:28 AM
  • laddie: I remember hearing Bonney’s Susanna on the Met Saturday broadcast many years ago. It was jaw... 2:02 AM
  • laddie: writhing, damn you spell check! 1:58 AM
  • laddie: Do you mean to say you didn’t admire those bare-chested, writing supers worshiping turquoise... 1:58 AM
  • marshiemarkII: Vallyta you were there and didn’t look for your gurlfriend here :-) ? Very short because... 1:20 AM

Speer pressure

One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience. The French-Canadian director set the looming devastation of Montsalvat in a bleak, desiccated landscape populated by characters in modern dress who emerged from behind a mirrored curtain that reflected the auditorium. Stylized gestures and dramatic lighting evoked an abstract reality that heightened one’s awareness of the way nature and society work.   Read more »

Bomb squad

Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies. When the exiled composer returned from Hollywood after World War 2 to mount a comeback, he was dismissed as a has-been who all too eagerly cast off high art for the commercialism of the silver screen.

Korngold, it must be said, led with his chin by bringing for the occasion Die stumme Serenade (The Silent Serenade), an hybrid opera-Cabaret that mixes elements of golden age film music with high fructose arias, skittering orchestral accompaniments and other démodé effects as comforting as a serving of Mohr im Hemd. A city by then eager to turn the page and dabble in modernism sneered at the confection, sending Korngold sulking back to California, where he spent his final years miserable and in poor health. Read more »

Hothouse flower

To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago and confirmed the creeping influence of film and television values on the opera world. Read more »

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Blinded item

His 75-minute setting of Oedipus in Kolonos, heard in a live 2009 performance on MDR Klassik, illustrates how Mendelssohn tried to link ancient forms with Romantic-era sensibilities by fashioning harmonically adventurous chorales and believable characters instead of abstract musical representations of mythical figures.

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Low-fat Schoenberg

With orchestral and choral forces that could outnumber a small European village, Arnold Schoenberg’s Gurre-Lieder is a composition designed to overwhelm.

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Sex please: we’re British

The finer performances of Tristan und Isolde have a way of sounding like a four-hour improvisation, the fruit of a single moment of inspiration that makes one forget how emotionally manipulative and painstakingly crafted the music really is.

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Brass ring

Marek Janowski’s survey of Wagner operas on PentaTone so convincingly captures the pulse and dramatic flow of many of the works that the music-making at times sounds almost effortless.

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Meadow festival

Beneath the pageantry, the paeans to German art and the self-referential allusions to the creative process, Die Meistersinger is a story about a community and human qualities like love, friendship, envy and hatred.

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Semi: Colon

The abrupt withdrawal of Katharina Wagner from an abridged seven-hour Ring cycle she was to direct at the Teatro Colon last year prompted no shortage of scorn and Schadenfreude.

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The music lovers

The curious things about accepted wisdom is that sometimes it’s correct.

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