Headshot of La Cieca

Cher Public

  • Flora del Rio Grande: Well, well; that lovely old song! Whoever played the piano for Katherine Hepburn... 6:06 PM
  • Flora del Rio Grande: Let me recommend a reading of Heidi Waleson’s review of Klinghoffer in... 5:58 PM
  • LittleMasterMiles: Where is the f**king “Like” button on this thing? 5:48 PM
  • MontyNostry: Rather than La clemenza della Cieca, how about La moderazione della Cieca, which makes itself... 5:44 PM
  • Cicciabella: Autocorrect won’t have her any other way. 5:30 PM
  • Guestoria Unpopularenka: Especially Danielle Denise. 5:20 PM
  • tiger1: You are welcome, Lurker. Actually, I do not subscribe to Haaretz but I did register once, maybe that... 5:06 PM
  • Poison Ivy: Thanks Lurker! :) 4:35 PM
  • Lurker_del_Cairo: Ivy – beautifully written, especially your closing. I would like to thank everyone... 4:28 PM
  • Lurker_del_Cairo: Thanks Tiger – this was behind a paywall, glad I could read it. 4:24 PM

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 »