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Cher Public

  • armerjacquino: Funny how voices take people in different ways. Last time I saw Netrebko live, in the RAH... 8:43 AM
  • armerjacquino: ‘They would look at me and know in Bora Bora- I’m a woman’ The show that... 8:41 AM
  • oedipe: Cassandre Berthon will sing Octavie, alongside Tézier as Marc-Antoine, in a nicely cast concert... 8:41 AM
  • Cocky Kurwenal: Ok found it – Frankfurt. I’ll give him the benefit of the doubt until I hear it.... 8:32 AM
  • DellaCasaFan: Feldmarschallin says: “His wife then also spoke with us…” His wife, Cassandre... 8:24 AM
  • Cocky Kurwenal: Where is Maltman doing Boccanegra? 8:18 AM
  • WindyCityOperaman: Born on this day in 1887 composer Sigmund Romberg httpv://www.youtub e.com/watch?v=R... 8:18 AM
  • Cocky Kurwenal: What specifically about this role ‘highlights her intonation problems’? What... 8:13 AM
  • DellaCasaFan: Oops, somehow this disappeared from my post: “I did it again after getting... 8:01 AM
  • DellaCasaFan: I also got Partenope. Funny that, as adorable as the baby otter is, the only change I made was... 7:51 AM

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]

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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Here in Bayreuth

Our Own JJ (right) reports he is ready and relatively un-jetlagged for Das Rheingold tonight at Bayreuth. He'll have comments afterward.

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