Which rat-faced former elected official—who has been coasting on (and profiting off) the one good week he had 13 years ago ever since then—is now about to stick his notoriously art-hating snout into Monday night’s anti-Klinghoffer demonstrations?
Which highly respected opera professional has been making a lot of childish scenes lately (even devising a fake identity on parterre.com!) in order to sow discord between two ex-clients?
Pyrotechnics abound when Angela Meade stars in Opera Orchestra of New York’s production of Donizetti’s tragic love story, Parisina d’Este, conducted by OONY founder Eve Queler on May 4, 2016 at the Frederick P. Rose Hall at Jazz at Lincoln Center. OONY last performed this opera in 1974 starring Montserrat Caballé. The remaining cast features a group of young international artists including American tenor Aaron Blake in the role of Ugo, Chinese baritone Yunpeng Wang in the role of Duke Azzo, Serbian bass Sava Vemic in the role of Ernesto, and American Soprano Mia Pafumi in the role of Imelda. Don’t miss this thrilling, rare Donizetti gem.! Remaining tickets are on sale at the Jazz at Lincoln Center box office. Read more »
A little bird from the meadow tells La Cieca that there will be a significant cast change announced soon for one of the Met’s 2014 productions.
Which clean-shaven young tenor must be feeling full of beans to hear he is the winner of this year’s Richard Tucker award?
Which artist who very recently won acclaim at the Met will return to that theater very soon to provide an unexpected “bright” spot in a much-anticpated revival this spring?
Which soprano, whose lovely voice and charming stage presence should make her worth her weight in gold, is not being asked back to an opera company where she’s had great success?
Which age-appropriate role will serve as the vehicle the return of a veteran diva to the New York stage for the first time this century?
If there is truth in this rumor, which New York opera company will attempt a renaissance this summer with a revival of an operatic rarity, though likely without the magnificent cast the conductor assembled for his recent recording of the same work?
Which opera rag has just done away with its new publisher, less than three months after a much-publicized hire?
Which resurgent maestro’s instructions to the musical staff have rung out clear as a bell: “Can’t stand those operas you’ve programmed in my absence, so get them off the future schedule?”