Headshot of La Cieca

Cher Public

  • Regina delle fate: I snatched up the Inge Borkh “Most Wanted” recital, which Decca has just... 4:41 AM
  • Cicciabella: Indeed, Alagna sounds good. Adrianne Pieczonka is a lovely Elisabetta: the voice sounds both... 4:39 AM
  • rofrano: [SNORT!] 4:23 AM
  • MontyNostry: I thought that was a photo of Maria Guleghina until I realised it was Alagna. 4:20 AM
  • Cicciabella: +1 re the Maureen Forrester biography, sfmike. I really enjoyed the down-to-earth tone.... 4:15 AM
  • DeepSouthSenior: Please let it be noted that I did not make the original statements – “redbear&... 3:37 AM
  • Lohengrin: Sorry, he is NOT my cup of tea……& #8230;…. 3:15 AM
  • Guestoria Unpopularenka: One could hardly notice his absence then, he doesn’t have that much to sing +... 2:54 AM
  • La Cieca: Here is the final scene from 28 September. Whatever Alagna’s injury, either he recovered... 2:49 AM
  • Albertine: The interval was after the auto-da-fe scene, and of course Don Carlo does not appear in the... 2:29 AM

He is big

Falstaff, Verdi’s final opera, is exuberantly inventive, bubbling and roiling with ideas the 79-year-old composer was too impatient to develop. It’s a work bursting with miraculously youthful vigor, which the newly invigorated James Levine brought to the Metropolitan Opera on December 6. Levine rightfully reveres Falstaff, and his light, deft touch and detailed musical ear were matched in Robert Carsen’s witty, visually stunning production, where Shakespeare’s Merry Wives live in 1950’s Windsor, leaving their bright kitchens to lunch at smart restaurants.   Read more »

Teen queen

Handel’s first surviving musical composition is Almira, the opera he wrote in a hurry when shake-ups at the Hamburg opera house, where the 19-year-old had been playing in the violin section, left a planned production unfinished. Mixing German and Italian text, stuffed with French dances and pageantry, and with a comic servant character right out of Venetian opera, Almira is as up-to-date as the cosmopolitan city got in 1705.  Read more »

Desert fox

Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective and Evan Rogister handled the shimmering, richly expressionistic orchestral writing with consummate skill. The choral writing is ravishing, especially the ecclesiastical Russian-sounding opening movement that emerges from the stark sounds of bells and gongs.   Read more »

pearl_fishers

The desert song

You Parterrestrials know all about Santa Fe Opera’s amazing mountain setting and open-sided theater affording breathtaking sunsets, weather-related drama and–when the back stage wall is opened–starry backdrops, but it was my first visit, so indulge me a little.

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