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Cher Public

  • Feldmarschallin: http://www.zeit.de /2014/48/puccini-o per-manon-lescaut- hans-neuenfels A rave for Neuenfels... 3:12 AM
  • Feldmarschallin: Laufenberg inszeniert “Parsifal 221; in Bayreuth http://www.merkur- online.de/akt... 3:05 AM
  • Guestoria Unpopularenka: Um, all duets and ensembles are in the same key. I loved the interview and... 1:14 AM
  • steveac10: While I applaud the Met for keeping him visible in New York in the short term, I fear all this... 12:59 AM
  • Flora del Rio Grande: Subline? Tut, Laddie! Are you referring to the Faust? It was very good, which in... 12:45 AM
  • Flora del Rio Grande: Well, Hell, for what it is it is OK! Most in-tune I’ve heard her for decades!... 12:34 AM
  • mia apulia: I saw the thing on Letterman by chance; I was moved by it and I was not predisposed to be moved... 11:56 PM
  • laddie: I just think he is a whole other animal in the French repertoire. i heard him live in Santa Fe as... 11:35 PM
  • Poison Ivy: httpv://www.youtub e.com/watch?v=mnhI Hz6qtIM I don’t get it. He sounds great here. 11:16 PM
  • Jack Jikes: Exactly! 11:04 PM

Desert fox

Karol Szymanowski’s 1926 King Roger was the sleeper hit of SFO’s season, not so much for its weird, mystical theme and feeble libretto but because the music is powerfully effective and Evan Rogister handled the shimmering, richly expressionistic orchestral writing with consummate skill. The choral writing is ravishing, especially the ecclesiastical Russian-sounding opening movement that emerges from the stark sounds of bells and gongs.   Read more »

Le sigh

Prepare to swoon, cher public, as the Bayerische Staatsopera presents yet another of their hunk-o-rama webcasts, Eugene Onegin, starring Simon Keenlyside and Pavol Breslik. Read more »

Behind the red curtain

It was indeed a curious sensation  making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in an auditiorium half- full of retirees to see a live performance of Don Giovanni from La Scala. That it worked as a Mozart experience I think can be chalked up to two factors: Robert Carsen‘s production and the constantly improving (if still imperfect) HD technology.  Read more »

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Stocking stuffer

Randal Turner, pictured above, is but one of 33 barihunks featured in—who ever would have guessed?— “the first Barihunks calendar,” just in time for holiday giving and receiving. All proceeds from the calendar, available at the Barihunks site, will be donated to young artist programs. (Photo by Sarah Wells)

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Bringing Mariusz back

Good news, barihunk lovers! According to a press release from the Met, Mariusz Kwiecien will return to the stage for the title role of Don Giovanni on October 25, in time for the HD telecast October 29 as well as remaining scheduled performances through November 11.

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Who is that masked man?

Peter Mattei will sing the opening night of the Met’s new Don Giovanni Thursday, replacing the injured Mariusz Kwiecien. Subbing for Mattei as Figaro in Il barbiere di Siviglia tomorrow and Friday nights will be Rodion Pogossov.

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Juan down

Barihunk Mariusz Kwiecien injured his handsome back during today’s dress rehearsal of Don Giovanni at the Met and was taken to the hospital, tweets Dan Wakin. As La Cieca writes this, Kwiecien’s cover Dwayne Croft is at the Met rehearsing the opera’s first act swordfight.  

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Northern stars

Winners of the seventh annual F. Paul Driscoll Awards for Outstanding Achievement in the Field of Excellence, or, as they are colloquially known, the Opera News Awards, have been announced. Accepting the coveted “Effies” on Sunday, April 29 at The Plaza in New York City will be sopranos Karita Mattila and Anja Silja, baritones Dmitri Hvorostovsky and Peter Mattei, and director Peter Sellars. (Zany photo of Sellars by Alex Ross.)

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Votre toast

Bass-barihunk Keith Miller has just canceled the remainder of his performances of his role debut as Escamillo in Carmen at the Glimmerglass Festival, citing “health reasons.” His first performance was last Saturday. No replacement casting has yet been announced for the remaining 14 performances through August 23. 

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Avant un rêve

La Cieca usually leaves the barihunks to, well, Barihunks, but thanks to a tip from a very loyal parterriano indeed, meet Edwin Crossley-Mercer, a lyric baritone who really does seem to have it all. (Is it fair, La Cieca asks, that besides everything else, he looks like a young(er) Anderson Cooper?)

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