Headshot of La Cieca

Cher Public

  • operaassport: Occupied Palestine? Oh lord, has it come to that level of nonsense? Abe Foxman can be a... 12:01 PM
  • kashania: But did they have the mezzo voice category in Bellini’s time? Wasn’t it just sopranos... 11:55 AM
  • Poison Ivy: Great review! Sounds like they put on a great performance despite the last minute cast changes. 11:51 AM
  • irontongue: As for Adalgisa being a mezzo, no she is not. The score calls for a soprano. Same deal with... 11:50 AM
  • arepo: I loved this. Thoroughly enjoyable and informative. 11:49 AM
  • irontongue: Barton had an engagement in London that she withdrew from. Here is the link to that concert,... 11:48 AM
  • Poison Ivy: I heard you the first time? 11:39 AM
  • kashania: I’d never heard of this film. I must look out for it on TCM. 11:25 AM
  • kashania: For me, Flute becomes tedious the moment they arrive at the temple. Though the music is divine,... 11:22 AM
  • Krunoslav: “the parallel drawn in the Director’s Note between Norma’s self-immolation and Burning Man... 11:12 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 »