Headshot of La Cieca

Cher Public

  • Olivero is my Drug of Choice: I didn’t know she had recorded these. Netrebko/Barenboim in Four Last... 5:37 AM
  • SF Guy: SFO has done Tosca so often lately, there are now four clipfest previews on YouTube; Jagde has been... 5:33 AM
  • Lohengrin: There is another clip: https://www.youtub e.com/watch?v=N3o6 yCtflzk 5:29 AM
  • Lohengrin: See Haroutounian as Elisabetta from London on YT (poor acting – JK tries to act arround her,... 5:27 AM
  • Jungfer Marianne Leitmetzerin: I think we petty much established that the Radamès is Giovanni Martinelli most... 3:57 AM
  • Guestoria Unpopularenka: Only 1 night. Why? I have no clue. 3:34 AM
  • La Cieca: Selecting video clips for the “On this day” feature is difficult: how, for example, is... 3:17 AM
  • Cicciabella: Finally! Soneone who likes Haroutounian for herself and not because she comes to the aid of an... 2:41 AM
  • Angelo Saccosta: Me too, Quanto. It all started for me on March 31, 1956, Manon Lescaut with Licia and Jussi. 2:08 AM
  • basso profundo: He has a decent voice but, having met him, I’m not sure if “good-lookin g”... 1:14 AM

Seligsten Paar

Maestro Christian Thielemann has made his choice for Lohengrin casting in Dresden and, later, Bayreuth: “Anna Netrebko als Elsa und Piotr Beczala in der Titelpartie.” [Kurier]

Rough trade and regie

Meet Tobias Kratzer (left) who is scheduled to direct Tannhäuser for Bayreuth in 2019. Die Welt has details on Festspiele through 2020. Read more »

“I felt the hand of Death”

Oddly enough, Eva Marton‘s interpretation of the Kostelnicka (pictured) goes unmentioned in Issue #38, perhaps because this time around, parterre box the queer opera zine is stuffed to the gills with some of the edgiest content in its history. After leading off with a completely inaccurate gossip item about Sam Ramey, your doyenne discusses Glimmerglass Opera; Gertie Dammerung travels to Munich and Bayreuth; Dr. Repertoire muses on Marta Eggerth, MTV and Carlo Bergonzi; Leila de Lakmé appreciates Leyla Gencer; and, bestest of all, Opera Snooze! [Download Issue #38]

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In Ring und Reih’ die Hall’ erfüllen die Helden

Our Own JJ has been thinking about Bayreuth some more, this time in the pages of Musical America.

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No one who speaks German could be an evil man

If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.

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Into the wild green yonder

Mark your calendars and set your alarm clocks, cher public, for 13 October 2013 at 18:00 CEST (that is, 2:00 PM in New York City) when individual tickets for the 2014 Bayreuth Festival will go on sale online.

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Ring? What ring?

All right, I admit it; I finally broke down and read the program notes for the Ring in the Bayreuth program book.

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The Platz thickens

I’m told that the public were, if hardly enthusiastic, at least ambivalent toward the Frank Castorf Ring up until the first performance of Siegfried, at which point things got really ugly and the booing started in earnest.

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Flame off

First things first: working from the limited evidence of half or less than half of Frank Castorf’s production of the Ring, I don’t see any evidence of contempt for the audience or whatever you want to call it.

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First impressions

There are some productions that “introduce” themselves quite clearly early on: for example, the Patrice Chereau Ring puts it cards on the table very frankly with the image of the hydroelectric dam populated by grisette Rhinedaughters.

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