Headshot of La Cieca

Cher Public

  • WindyCityOperaman: Just got it. LMFAO! 3:22 PM
  • m. croche: The Japanese Arthur Farwell! 3:07 PM
  • kashania: AJ: I think that was one of the best tracks of his French & Italian Arias album. He’s... 3:02 PM
  • FaustinaBordoni: Camerana’s timbre is “sweeterR 21; than Owens’s̵ 1;softer around... 2:59 PM
  • kashania: ROBERTO DEVEREUX update For those interested, here are Radvanovsky and Capalbo in the final two... 2:50 PM
  • Olivero is my Drug of Choice: I find Camarena has a much “sweeterR 21; sounding voice than... 2:39 PM
  • actfive: Jeanette’s Italian could use some work. 2:34 PM
  • armerjacquino: I’m guessing that this was part of a trilogy of films with ‘The Coffee Cup’... 2:25 PM
  • Gualtier M: Jeanette MacDonald sang a cut and somewhat unsubstantial “Liebestod&# 8221; in this... 2:21 PM
  • Cicciabella: I think De Nationale Opera makes the most of its state subsidies and corporate sponsorship... 2:17 PM

Goodness had everything to do with it

Although Rossini and his librettist Ferretti endeavored to cleanse their Cinderella of all things supernatural—no fairy godmother, no pumpkin transformed into a coach, no glass slipper, the Met stage was still filled with considerable magic Monday night when its dizzily effervescent revival of La Cenerentola starring Joyce DiDonato and Javier Camarena stirred a bewitched audience to some of the most ecstatic ovations heard this season.   Read more »

Platée du jour

What must have raced through the mind of the none-too-comely Spanish Infanta when she learned that the opera to be performed during the celebrations for her 1745 wedding to the French Dauphin revolved around the comeuppance of an ugly yet vain water nymph tricked into believing Jupiter was her ardent suitor? I suspect the poor Infanta, who died a year later after childbirth at just 20 years old, was not amused. But, as part of Rameau 2014—a worldwide commemoration of the 250th anniversary of the composer’s death—the celebrated French group Les Arts Florissants brought its surprisingly full-bore version of this sui generis comédie-lyrique–Platée ou Junon Jalouse–to Alice Tully Hall Wednesday evening for us to judge for ourselves.   Read more »

Lyrists’ club

For one week every two years since 1981 the eyes—and ears—of those interested in period performance turn to the Boston Early Music Festival, particularly to its opera centerpiece, but that organization doesn’t rest on its laurels in between festivals. Read more »

mcgegan

Partial eclipse

We must be doubly grateful that The English Concert’s recent Theodora was so quickly followed by the American Classical Orchestra’s fine Samson on Tuesday evening at Alice Tully Hall.

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jaroussky

Farinelli from heaven

My impossible wish would be to hear one of the great castrati who dominated opera for most of the 18th century.

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roschmann

Theodora goes wild

Joined by the Choir of Trinity Wall Street, The English Concert concluded the US leg of its current tour at Carnegie Hall Sunday with a complete performance of the darkly moving Theodora, Handel’s penultimate oratorio.

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vengees

Disguise and dolls

While many performing arts organizations have been reducing their schedules or even closing, Opera Lafayette, a Washington DC-based group dedicated primarily to 17th and 18th century opera, has proven remarkably prosperous.

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poppea ottone

Stage mother

The internecine machinations of those who ruled—or sought to rule—the Roman Empire have long provided rich material for writers and composers, and on Thursday evening operamission continued its ambitious plan to stage in chronological order all of Handel’s operas by presenting one of the most delicious of those Roman-based works, Agrippina which premiered in Venice in 1709.

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morris

Get happy

Lincoln Center hosted two milestones this week.

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era_la_notte

Appearing nightly

I suspect most New York City opera-lovers had long since given up hope that the fascinating soprano Anna Caterina Antonacci would ever return to their city.

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