Cher Public

  • redbear: Operas next season in Lyon: L’Ange de feu, L’Enfant et les sortilèges, Ermine, en version concert, Une Nuit à Venise, Jeanne au... 2:22 AM
  • antikitschychick: Oh my goodness, I have a 30 pg. paper due tomorrow so I’m swamped atm and I’ve been trying to catch up with... 1:27 AM
  • PCally: Well I honestly can’t remember the singing all that much, it’s not really that kind of role. 11:17 PM
  • Krunoslav: Nope. We have bad/spoiled voices here too. Roz P started out with a rich sound and much promise but never got the top... 10:56 PM
  • Camille: I’m sold. Especially after looking at the programs to be featured this summer–all Puccini and other veristi, all the... 8:23 PM
  • FragendeFrau82: Thank you so much! Will listen to this on the drive to DC on Saturday. Nice photo too–includes the gray. New to me,... 8:07 PM
  • Camille: Bluebeard–I fear you may have hit the bullseye here, based on many of the already established actualities re Ms LH... 8:01 PM
  • Camille: Yes, and similarly, I had so looked forward to the double bill of Iolanta/Bluebeard& #8217;s Castle at the MET, and ended up not... 7:42 PM

A desert breeze whispering a lullaby

The studio opera recording is a rare beast these days and its arrival always a cause for celebration. Its rarity also raises the stakes and invites scorn when the casting is dubious. Few things strike greater fear in the heart of an opera lover than the dreaded Andrea Bocelli announcement as part of a recording project. (What’s the point of getting Fleming, Borodina, and D’Arcangelo into the recording studio, putting up with Gergiev’s body odour, only to have the whole project doomed from the start?)   Read more »

Rome invasion

Given that Jonas Kaufmann just canceled half his Met season and Anja Harteros is, well, Anja Harteros, La Cieca thought it would be interesting for us hinterlanders to hear what this duo sounds like when both show up to sing. Read more »

Auto-da-fair

The Salzburg Festival has long had the image of this place where for a little over a month, the very best singers are brought together with the very best conductors and the very best directors to create the very best productions the opera world has to offer. Tickets are notoriously expensive and hard to get. Expectations are thus always extremely high for any Salzburg Festival performance and production. A performance can’t simply be “nice.” It has to be out of this world. A production can’t simply be a solid repertory utility production. It has to be for the ages, such a great production that opera houses all over the world will clamor for that production. In recent years, the Willy Decker Traviata started at Salzburg Festival 2005 and traveled to New York and now is a Met staple. Last year’s big hit was the Herheim Meistersinger.    Read more »

wozzeck

Bean counter

Another season opens this weekend, the much-admired series of livestreams from the Bayerische Staatsoper.

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harteros

That is what fiction means

A bio in need of perhaps a little minor retouching.

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carlos

“Schau sie an, ein Gefangener der Gosse”

In a starling last-minute change of programming, the Salzburg Festival has canceled all further performances of the critically-reviled Peter Stein production of Don Carlos. Weltstars Anja Harteros and Jonas Kaufmann will instead perform My Fair Lady (pictured).

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trovatore_harteros

Nacht und Träume

We waited eagerly to hear the Munich-born Jonas Kaufmann make his role debut as Manrico at the Bavarian State Opera as well the German-Greek soprano Anja Harteros take on Leonora’s bravura difficult arias.

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harteros_nozze

It might as well be Einspring

Kate Royal withdrew as Mozart’s Contessa the other night (May 3) in Munich and we were forced to accept as substitute—gosh!—Anja Harteros

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More o’ Leonora

Since you so adroitly identified the voice of the mystery Leonora as Anja Harteros, La Cieca thought you might like to hear the soprano in the complete Act 4, Scene 1 of Il trovatore. 

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