Headshot of La Cieca

Cher Public

  • zinka: Yes..they were among the worst..along with Mario Ortica and Primo Zambruno..plus Giulio Gari..we had... 8:30 PM
  • Jungfer Marianne Leitmetzerin: No, Regina: Nuotio and Parley sang only Wagner roles at the Met, but... 8:02 PM
  • Milady DeWinter: “A hearty thanks to Coloraturafan̶ 1; for including O’Flynn̵ 7;s Elvira-... 7:55 PM
  • Milady DeWinter: Oh for sure, almavivante – that aria is sort of the “Il balen” of the... 7:52 PM
  • Regina delle fate: Scotto was mercilessly booed as Norma at the Met, I recall….. 6:36 PM
  • Regina delle fate: Didn’t she just have a success at the Met as Musetta, Grim? THat’s what we... 6:35 PM
  • Regina delle fate: Ticho Parly and Pekka Nuotio sang Pinkerton at the Met? 6:33 PM
  • manou: Is this what we are talking about? http://www.gobsqua d.com/projects/my- square-lady 6:32 PM
  • vilbastarda: Yes, started yesterday. After googling a little I found an imperfect solution. Go to: Settings... 6:28 PM
  • Regina delle fate: Grim – we can’t be absolutely sure, but La Cieca’s “worth her... 6:28 PM

Jest the way you are

I’m happy to report that Rigoletto from the 30 DVD Tutto Verdi set from the Teatro Regio di Parma is a blockbuster. (My first two, Alzira and Stiffelio, were duds and I was begining to think this collection was on the level with those $.99 classical music DVD’s you find in bins at the A&P .)

This production features a well known cast (Leo Nucci, Nino Machaidze) giving state of the art performances. The Parma production is attractive, colorful and fairly traditional, occasionally turining quite racy. The opening scene,in the Duke’s chamber, features a king size bed center stage on which our libertine mauls toothsome female supernumeraries (full female frontal nudity! ) throughout the scene. Guests are clad as ancient Greek nymphs and satyrs, adding to the Dionysian effect. Read more »

The new world

Today’s Final Jeopardy Question: Name a Verdi opera, based on a play by Voltaire, described in the immortal words of the composer as “Questo e proprio brutto.” If you guessed Alzira I doff my hat to your expertise. I wish I could report this opus belongs a place in the neglected gems category but unfortunately, it’s a bit of a stinker (Perdonami, Grand Maestro.)

It premiered in 1845 at Teatro San Carlo, where the main attraction for Verdi was the chance to work with Italy’s premiere librettist Salvatore Cammarano, who provided the libretto for Lucia among others. The first performance in Naples was not a success; neither were subsequent stagings in Rome and Milan. For over a century it disappeared into the libraries of Verdi scholars. Read more »

Sachs appeal

Opera’s Scottish enfant terrible David McVicar has applied his considerable skills in this 2011 Glyndebourne production of Die Meistersinger, the result being a refreshing new take on a familiar warhorse. The setting has been updated from medieval Nuremburg to vaguely Victorian, which is, of course, when Wagner would have been, like the character David, in his apprenticeship, and the costumes have a certain “Nicholas Nickleby” feeling.   Read more »

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LA thinks pink

Vocal glamour in abundance highlighted the opening performance of LA Opera’s Il barbiere di Siviglia on November 29 at the Dorothy Chandler Pavillion, with much buzz attendant on the company debuts of Rossini experts Juan Diego Flórez and Joyce DiDonato. Adding excitement was the Figaro of Nathan Gunn, who played with Errol Flynn panache, and a production rich with Sevillian atmosphere. 

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