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Cher Public

  • Feldmarschallin: BTW I loved Alexandra Reinprecht in Zirkusprinzessin last night. It was fun to see it in the... 8:59 AM
  • Feldmarschallin: Well that is a smart move. She can sing the Liebestod in concert and should leave it at... 8:58 AM
  • Cicciabella: I hope I understand correctly that WindyCityOperaMan& #8217;s unmissable birthday tributes are... 8:39 AM
  • arepo: What a pastiche of deliciousness. Okay, here’s my contribution: https://www.you... 8:20 AM
  • arepo: This was sumptuous. Callas at her best. And those bells! I never heard bells with that haunting a... 8:18 AM
  • Krunoslav: That’s what we love about you, Feldie– infinite pity for the thin, fashionable and... 7:55 AM
  • Buster: Thanks, FM. Interesting interview, especially what she has to say on Hans Sotin, and Wagner & bel... 7:51 AM
  • Feldmarschallin: Yes and let’t also hope she never sings again and her two orphaned children will have... 7:22 AM
  • Feldmarschallin: http://www.br.de/r adio/br-klassik/pr ogrammkalender/sen dung885060.html Zum Nachhören. 6:16 AM
  • Feldmarschallin: Buster I just heard Schwanewilms on the radio and her two wish roles are Capriccio Gräfin... 5:51 AM

The butterfly effect

Midway through the first portion of Wednesday’s New York City recital debut of Mme. Natalie Dessay I became very distracted by the persistent urge to try to characterize the experience of what was happening on stage, for this was, by no means, an ordinary recital and no ordinary debutante.   Read more »

Fair, game

The Monday, 12th December, Weill Hall recital debut of Signora Chiara Taigi, a strikingly good looking Italian soprano, who had made her American operatic debut this past March, starring as Selika in the OONY production of Meyerbeer’s long-neglected L’Africaine, was something Your Own Camille had looked forward to with a high hopes and a faintly wondering glee, for several months now.   Read more »