Headshot of La Cieca

Cher Public

  • Camille: O.Mein. Gott!!!! S. O. S.—– Opera Teen!!! Get out that résumé and get yourself in line... 8:15 PM
  • Camille: Yes, let’s ask Mozart!! He’ll tell us a passel of his Arsch jokes! Come to think of it,... 8:07 PM
  • Camille: Why spasibo, Mr. Krunoslav! That sounds like an excellent cast to me. Had there not been Leonie,... 7:38 PM
  • manou: Well – interestingly Google recognizes both “Popoli di Tessaglia” and ”Popolo di... 7:26 PM
  • Quanto Painy Fakor: Calling OPERA TEEN - The following job announcement has been poted to the OperaAmerica... 7:20 PM
  • Camille: The cover dress Netrebko is in absolutely wonderful. All you bitches can fling all the egg foo young... 7:20 PM
  • Krunoslav: I am not in a position to remember, but I happen to know: in the Busoni, Ingrid Bjoner was the... 7:16 PM
  • sl: Live, Soffel’s top notes were impressive, if a little edgy and scary; Stemme had greater bloom and... 7:13 PM
  • Camille: Yes it has a lot to do with opera since there a ton of food fights around here. Egg foo young in the... 7:07 PM
  • Camille: Honey, I’m busy and can’t keep up with all those back and forth. It is a good question.... 6:58 PM

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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