As we launch into the fourth and final movement of our étude, La Cieca asks the musical question, “Can a Contemporary Diva achieve Grandezza, or, for that matter, Drag Imitability?” Let’s see what the numbers tell us. Read more »
La Cieca and Jay Caspian Kang
And now, cher public, let’s put today’s singers, the Contemporary Divas, under the microscope. How do they stack up? Read more »
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
La Cieca continues to apply the Kang Method to the dozen divas of the Classic mode. This time, our five criteria for diva status offer fewer total points, but the difficulty level remains the same. Especially for Renata Scotto. Read more »
We begin our Kang Method statistical analysis of That Which is Called Diva with a dozen Classic Divas: Hildegard Behrens, Montserrat Caballé, Régine Crespin, Mirella Freni, Marilyn Horne, Christa Ludwig, Jessye Norman, Leontyne Price, Leonie Rysanek, Renata Scotto, Joan Sutherland and Tatiana Troyanos, henceforth called by first name or nickname as applicable. Our first report will examine the five “major” qualities of diva.