Headshot of La Cieca

Cher Public

  • stevey: Hi Camille! :-) By all means, go with the Sills. Elisabetta is the one role which Sills herself said... 2:23 AM
  • guy pacifica: To me, Sills is the ultimate Elizabeth in Roberto Devereaux. But surely you know this, so this... 1:40 AM
  • Sempre liberal: I love the name Fritzi. Reminds me of Anna Kendrick’s character in Camp called Fritzi.... 12:42 AM
  • Guestoria Unpopularenka: Chere Camille, here’s something more unorthodox – Pendatchanska.... 12:36 AM
  • Quanto Painy Fakor: Finally, a better print of Pacific Overtures: httpv://www.youtub e.com/watch?v=M... 12:31 AM
  • Buster: Annette, das bezaubernde Fräulein, is how she is known in operettaland, Camille. 12:30 AM
  • Buster: Thanks for this interesting review Grimaldo! Enzo Bordello saw Dasch in this, I believe, and liked... 12:28 AM
  • louannd: I recently saw JDD in recital up in Santa Fe, and, she was, indeed, very chatty. The crowd ate it... 11:48 PM
  • Camille: Roberto Devereux recommendations, anyone? Thinking about Opera Rara’s version with Nelly... 11:41 PM
  • Camille: Sounds like something right up Buster’s alley! Maîtresse-en-titre is a wonderful phrase.... 11:10 PM

A dude? Am I a dude? Madame Flora, a dude?

It’s just not true that Gian Carlo Menotti composed The Medium as an opera only because he couldn’t get Joan Crawford to do it when his libretto was originally a screenplay. But you can see how these rumors get started. I know what I’m talking about here, because I started that one myself.   Read more »

L’infelice Aragonese

Camille Saint-Saëns was such a brilliant, facile musician that pals like Wagner and Liszt felt a distinct schadenfreude when he suffered composer’s block. Still, in a career of some eighty years’ length, he completed a dozen operas (not to mention symphonies and concertos and, as Leon Botstein explained and demonstrated at Bard, the world’s first full-length film score)—but you are unlikely to have heard more than one of the operas.  Read more »

Thirds and music

Richard Wagner told Cosima he first got the idea of composing an opera about Tristan and Isolde while he was conducting Bellini’s I Capuleti e i Montecchi starring his muse, Wilhelmine Schröder-Devrient, in the trouser role of Romeo.

Wagner said lots of stuff. Whether this bit was true or not, it was Wagner’s high opinion of Bellini (especially Norma, of course) that kept the man in the repertory outside of Italy through the dark years of verismo and Gesamtkünstwerk. Happily, the two men never met; Wagner would have tried to borrow money and you know how that would have turned out.  Read more »