Headshot of La Cieca

Cher Public

  • Bill: Grane – Rachel Willis-Sorensen had a pleasant voice – the voice is basically attractive and... 8:54 PM
  • peter: Rachel Willis-Sorensen was one of the bright spot on today’s broadcast. Not only is the voice... 8:27 PM
  • Jungfer Marianne Leitmetzerin: As Dolores Gray sings in “It’s Always Fair Weather,” “Thanks a Lot But No... 8:13 PM
  • Grane: What did you think of the Countess, Bill? I came in on the Thursday radio broadcast at Sull’... 8:07 PM
  • DellaCasaFan: JML, Some voices came across clightly differently on radio. You could hear that Keenlyside... 7:59 PM
  • Jungfer Marianne Leitmetzerin: Satisfied: Entire production in black and white except for Maddalena in a red... 7:33 PM
  • Jungfer Marianne Leitmetzerin: Yes: Morley was totally swamped by all the other singers and the orchestra,... 7:31 PM
  • NPW-Paris: And Greece? 6:24 PM
  • Bill: The Met broadcast of Le Nozze di Figaro today was vocally rather wretched as well – the sextet... 5:58 PM
  • NPW-Paris: I know this isn’t the main point but your remark about Erin Morley was interesting. She was... 5:49 PM

Bows and arias

Whenever opera-lovers are canvassed about what neglected operas they hunger to see revived, the resulting lists inevitably feature a goodly number of grand operas, those once wildly popular monstrosities–particularly by Meyerbeer–written primarily for Paris in the mid-19th century. Yet despite the enthusiasm of their advocates, these works have had a hard time regaining a place in the repertoire in the 21st century. Although a recent revival of Auber’s La Muette de Portici was well received at the Opéra-Comique in Paris, Covent Garden’s splashy new Robert le Diable by Meyerbeer flopped and the Met has never revived its 2003 production of Halévy’s La JuiveRead more »

The curse of drink

Two operas both alike in dignity, set in dimly lit Renaissance towns ruled by seething, conspiratorial courts. Parties blaze, alleyway shadows threaten, half the characters are spies or bravos for the other half, plus a few on spec. Love is in short supply, usually twisted. What these folks need is a competent social worker with a dagger-proof vest and a cast-iron stomach. What they get is melody to live upon and die upon, melody as rich and various as the forms of pasta.   Read more »

You don’t have to be Druids to love it

“The Met’s production, originally directed by John Copley, is still a hideous, confusing mess. But with Ms. Meade and Ms. Barton acting with moving subtlety, singing generously and feeling deeply, it was hard to care.” [New York Times]

captain_future

We’ll settle that tonight!

La Cieca has been wining, dining and otherwise wooing her Met connection (pictured above) and he (or is it she?) has come across with some tidbits about upcoming seasons at Casa Gelb.

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vesper

Les vêpres de Westchester

The big news from Bel Canto at Caramoor’s presentation of Les Vêpres Siciliennes last Saturday is far from unexpected.

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angela_meade

Ed io quest’Angela osava maledir!

Angela Meade will sing the role of Leonora in tomorrow afternoon’s performance of Verdi’s Il Trovatore, replacing Patricia Racette, who is ill.

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ah_paris

New York has neon, Berlin has bars, but ah! Caramoor!

This summer at Caramoor, Will Crutchfield (not pictured) will conduct two Verdi operas written for the Académie Royale de Musique.

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meade_beatrice

Bea in the bonnet

Everyone who revives Bellini’s Beatrice di Tenda, as the Collegiate Chorale did at Carnegie Hall on Wednesday night, calls the piece an “overlooked masterpiece.”

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michael_spyres

The Beatrice generation

Beatrice di Tenda was a problem child, Vincenzo Bellini an alternately protective and disparaging parent.

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Who has more justification to wear a wifebeater?

Half full

Opera Orchestra of New York has announced their 2012-2013 season of only two performances.

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