Headshot of La Cieca

Cher Public

  • 98rsd: Does Rebeka color her voice or inflect? She didn’t as Donna Anna. Singing at different volumes... 2:44 PM
  • Quanto Painy Fakor: Maybe someday he will even sound like a tenor! 2:22 PM
  • Ilka Saro: Who put the bug up Tommasini’s butt? A couple times in my life I have taken ill quite... 2:13 PM
  • Milady DeWinter: I agree that it looks more like not enough rehearsal. As with Vargas, she looks at the... 2:04 PM
  • kashania: Thanks for the review, Ivy. Re: Germont. I think his coldness can be mostly attributed to Decker... 2:01 PM
  • operaassport: I don’t believe you can have a compelling or remarkable performance of an opera when the... 1:02 PM
  • kashania: His voice is quite exciting to experience in person. But even from this video, I hear an... 12:58 PM
  • kashania: One of the best things about reviews from parterrians (and blog reviews in general) is that we... 12:49 PM
  • turings: Still not sure it’s her fault if he can’t hold the stage during Che gelida manina.... 12:43 PM
  • m. croche: A day late and, at last count, approximately 62 rubles short, but … SHCHEDRINSHCHI... 12:36 PM

Flame war

The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation. When two world-class singers premiere roles on the same night an operatic apoplexy is not unknown amongst the devoted. The theater’s infirmary stockpiles tranquilizers and the bar enjoys a brisk trade in all manner of festive libations. Now, gently fold into this mix one of the world’s greatest conductors who hitherto hasn’t shown much love to the Italian wing and then a stage director with a touch for the deranged and all bets are off.   Read more »

Panning for gold

Giacomo Puccini’s horse-opera version of “Snow White and the Seven Dwarfs,”  La Fanciulla del West, based on David Belasco’s play, The Girl of the Golden West, enjoyed the status of a curate’s egg for quite a while. Its popularity dwindled after its initial, and wildly successful, premiere at the Metropolitan in 1910 starring Enrico Caruso, Emmy Destinn, and Pasquale Amato and conducted by Arturo Toscanini. Since it was the first new opera commissioned by the Met it generated a lot of excitement in the media and with the public. Critics mostly fell over themselves for the glories of the music, mise en scène (real horses on stage!), the singing and conducting.   Read more »

West coast story

I have been a lifelong fan of West Side Story in spite, or because, of the fact that my first real introduction to its wonders was the bloated and bourgeois recording made by Leonard Bernstein and produced by Deutsche Grammophon in 1985. I can’t really be blamed since I was very young and impressionable and it was the first time I’d ever heard the musical numbers in full, like the balcony scene with the dialogue lead-in and the underscoring, as well as the dance music complete. It was, my friends, magic—even if Lenny, in a titanic display of nepotism, hired his own children to speak said love scenes to each other. (Ick.) Read more »

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Past perfect

With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public.

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The lion in stereo

A great man has passed and our consolation is that so much of his art has been preserved for us on recordings.

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Fairy tale

“Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened?

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Gelt trip

With the help of our friends at ArtHaus Musik, the Deutsche Oper Berlin have really been emptying out their archives and that’s certainly all for the good.

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Als wären Sie die Statue auf Ihrer eigenen Gruft

I am certain that we Parterrians are a very literate, even literary, group.

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Stairway to heaven

Once again, beloveds, we approach the Milanese shrine that simultaneously attempted to  cultivate and destroy the career of Maria Meneghini Callas.

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No business like snow business

Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.

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