Headshot of La Cieca

Cher Public

  • kashania: Agreed. Harteros is perhaps more ideally suited to Wagner/Strauss/Moz art (her Elsa in the Jones... 1:44 PM
  • Feldmarschallin: Fidelia and Lohengrin do not waste your time. This creature has been trashing Harteros for... 1:41 PM
  • Camille: o mon dieu! Now I want Confiture Ispahan, aussi!!!! YUM! thank you for introducing me to such... 1:39 PM
  • PCally: Kraneled, even if I shared your opinion (which I don’t) can you name a soprano who currently... 1:36 PM
  • NPW-Paris: Ah yes, roses… My Iranian friends love Pierre Hermé’s Ispahan as well! It turns up at... 1:35 PM
  • Camille: O danke Feldmarschallin und Lohengrin. Jetzt verstehe ich was ist ein “Diwan” ;! 1:35 PM
  • rapt: Heard her live just two years ago–have already raved about it a couple of times here. Her voice... 1:34 PM
  • NPW-Paris: I’m not complaining. The remarkable thing is that the recording is as good as it is. 1:32 PM
  • Buster: Wesseling is excellent too, but I don’t know any of the other singers either. No giants... 1:32 PM
  • Camille: httpv://youtube.co m/watch?v=EmPpDXvn Rr4 A rose from Ispahan along with a lily de la belle France. 1:30 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 »