Headshot of La Cieca

Cher Public

  • Orlando Furioso: How curious that Rose Bampton and Helen Jepson share a birthday. They occupy the same niche... 8:15 AM
  • toitoitoi: Amen, armer and anti. “Sell their gifts”? Are you kidding me? No wonder you call... 8:11 AM
  • Ilka Saro: Title should be “Secret Woid” 7:56 AM
  • Krunoslav: Ingpen had many artistic crimes, but I personally would not place Shirley-Quirk̵ 7;s... 7:20 AM
  • armerjacquino: She’s not the keeper of a sacred flame. She’s a woman with a job. Maybe sometimes... 7:19 AM
  • Feldmarschallin: Well Fleming sounds gross there but better for this kind of venue that suits her personality... 7:14 AM
  • armerjacquino: Operadunce, parterre is a great place to be so long as you remember never to speak in favour... 7:08 AM
  • Feldmarschallin: Anti I am not sure about Yoncheva and those roles. Every soprano is different and some who... 5:44 AM
  • RobNYNY: Joan Ingpen has ruined more evenings at the Met than any cougher in the Tubercular Circle. John... 5:02 AM
  • mia apulia: will someone please explain how this happened? it is so awful it is almost wonderful 12:37 AM

Down in the depths on the ninetieth floor

Teatro Grattacielo is New York’s homegrown organization to rescue Verismo operas from oblivion, one per annum, allowing for the occasional double bill. This year, instead of another resurrection, we had an apparent epiphany: A celebration of the company’s 20 years on the march with excerpts from some of their most successful escapades and a tasting menu of possible upcoming projects.   Read more »

He’ll take Manhattan

“Old Peter Minuit had nothing to lose
When he bought the isle of Manhattan
For twenty-six dollars and a bottle of booze,

And they threw in the Bronx and Staten …
We’ve tried to run the city—but the city’s run away —
And now, Peter Minuit—we can’t continue it…”

Thus Lorenz Hart, in a sly little song called “Give It Back to the Indians” that was un-P.C. even for 1934. He was lamenting the ruin contemporary trends had wrought on the perfections of New York City, and there are those of us who feel the same eighty years later.   Read more »

To the vixen belongs the spa

In 1813, Rossini produced his first two mega-hits, an opera seria, Tancredi, and an opera buffa, L’Italiana in Algeri, which (a friend informed me tonight) premiered the very day Richard Wagner was born in Leipzig. (Unaccountably, newspapers in Venice failed to mention this at the time.) Producers, naturally, were howling for more, and the 21-year-old composer, stumped for a subject (rather like the Poet in the opera he wrote), suffered a bout of sequel-osis. Il Turco in Italia appeared the year after L’Italiana and was not a hit. In 1816, he came up with Il Barbiere di Siviglia. Read more »

Colban Lady

Words to the heat of deeds to Colbran gives

A young friend messaged me to ask if I knew Rossini’s Macbeth.

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Anger’s aweigh

It was a night a-tingle with excitement at the Metropolitan Opera House.

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Martinu, very dry

Gotham Chamber Opera, which began to operate twelve years ago with a double bill of Bohuslav Martinu’s quirky little pieces, opened its 2014-15 season with two more, Alexandre bis (Alexander, twice) and Comedy on the Bridge.

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Anthony Barrese

Sweet prince

The rediscovery of Franco Faccio’s Amleto, a curious score that last week, via Baltimore Concert Opera, received its first performances since 1871, reminds us just how tough an act Giuseppe Verdi was to follow.

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About last night

For those who like their Handel loud, with no forfeit of baroque finesse, one promising solution is to make the hall smaller.

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In Bruges

They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.

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As One is an opera about a boy growing up to discover that he is a girl.

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