Headshot of La Cieca

Cher Public

  • lastregamarzapane: Janis Martin was also great as the Witch in Hansel and Gretel back in 1988(with Blegen and... 1:57 AM
  • Poison Ivy: Another review from last night: http://www.gbopera .it/2014/12/new-yo rk-metropolitan... 12:38 AM
  • Orion: Act II “Nuit divine…” http://www.youtube .com/attribution_l ink?a=c_WJx-wnvq8& amp;u=%2Fwatch%... 12:01 AM
  • Poison Ivy: Here’s Marina Rebeka in Tell: httpv://www.youtub e.com/watch?v=x8cv LMhnnEU 11:58 PM
  • Orion: Last Tuesday in MADRID, a dream-trio was on the stage of the Teatro Real to sing « Romeo et Juliette... 11:56 PM
  • Porgy Amor: One of my favorite moments in the Carsen is when Alfredo throws the money at Violetta. We are... 10:46 PM
  • zinka: httpv://www.youtub e.com/watch?v=j-tW EKDYdvI OK..CONFESS!!!! Which queen on Parterre is this? She... 10:39 PM
  • Poison Ivy: I too love the Carsen production. I feel like it’s more emotionally engaging than the... 10:18 PM
  • alejandro: ^Haven’t seen that. 9:40 PM
  • Porgy Amor: Interesting, Will; I think that the view of him as cold is not entirely supported either. Once he... 9:24 PM

Lost and found

I remember when the Willy Decker production of La Traviata was first announced at the Met. There was much pearl-clutching that it would limit casting to sopranos who could fit into the “little red dress” and also how the production was vulgar, cheap, scandalous, and Verdi was turning over in his grave.  Read more »

Moon and stars

One of the major complaints about the five year casting system (as well as the shared productions by different companies) is that operatic events are rarely surprises anymore. You thought Diva So-and-So and Divo This-and-That were great in Composer X’s “________”? Well, prepare to see them in that exact same opera and exact same production in London. And New York. And Munich. And Vienna. And so on and so forth.  Read more »

Snow business

Every year I say I’m not going to another La Bohème because I’ve seen this too many times. And every year I end up going to multiple performances. I always find an excuse. “Oh there’s so-and-so singing and I haven’t heard him in anything but Madama Butterfly and that doesn’t even count because the tenor doesn’t sing at all after the first act …” But today after I won the lotto for yet another Bohème I wondered if I go simply because the opera (and production) is comfort food. At this point in my second career as an opera-queen-with-two-X-chromosomes, La Bohème doesn’t require very active, pins-and-needles listening. It’s like watching an old MGM musical.  Read more »

Show Boat

Levee duty

If you are of the belief that Show Boat can stand on its own as a classic score and thus doesn’t need the trappings of musical production, you’ll love the New York Philharmonic’s “semi-staged” production.

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Aida

Side eye and bitch face

At the first intermission at last night’s Met revival of Aida, I turned to my companion and said, “So… what about the Aida? I thought she was supposed to be good.”

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Figaro

Ten thousand bedrooms

The Metropolitan Opera desperately needed a new production of Le nozze di Figaro.

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René Pape

Pape music

There is something so very Don Draper about René Pape .

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giovanni_macerata

Juan and two

I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.

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rusalka_amazon

The dark side of the moon

After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”

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ariadne_amazon

Bomb scare

The appeal of Ariadne auf Naxos (for me anyway) is the acknowledgment that underneath it all, opera (and all other forms of “high art”) is really show business.

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