Headshot of La Cieca

Cher Public

  • mozartFreak: From this thread alone, I quote: “As I said in an earlier thread, this proposal is the... 1:19 AM
  • steveac10: Blue Cabochon. That’s a heaping helping of unsubstantiated wrongdoing. Firstly – No... 1:06 AM
  • whome: La Cieca, having never been an active poster, i have been following Parterre Box closely for a number... 1:02 AM
  • bluecabochon: I don’t understand your stance on this, LaC. I have met you many times in person and... 12:57 AM
  • Sempre liberal: Maria Guleghina (I seem to recall her being referred to as the ‘battleship& #8217; by... 12:57 AM
  • Sempre liberal: Count me in for a new Luisa Miller. Don’t shoot me, but I also wouldn’t mind a... 12:50 AM
  • DellaCasaFan: Agresta is terrific here. Many thanks for the clip. It’s a taxing role, I recall reading... 12:42 AM
  • Flora del Rio Grande: Archae, from that clip I think she may be 90 y.o., and from the sound, more... 12:42 AM
  • La Cieca: See, here’s the thing: I keep hearing “rancor̶ 1; and “puppet master”... 12:34 AM
  • Flora del Rio Grande: And that Leonora was . . . (:) 12:34 AM

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 »