Headshot of La Cieca

Cher Public

  • Lindoro Almaviva: That’s a simplistic view because I buy Callas records, but i also buy records by... 9:30 AM
  • luvtennis: Marquise: I can think of any number of singers who sang a broader rep. Maria never sang nay modern... 9:19 AM
  • DeepSouthSenior: Yes, I agree, She was pretty good. Maybe, say, one-half as good as the legend, the hype, the... 9:15 AM
  • DeepSouthSenior: Drink to your health! This is fun. Nothing else. Just fun. Four great voices, three of them... 8:52 AM
  • Cocky Kurwenal: Silly typo – ‘not because I just want a record…̵ 7; is what it should... 8:44 AM
  • WindyCityOperaman: httpv://www.youtub e.com/watch?v=QoVK 6osTe7s 8:36 AM
  • DeepSouthSenior: As an unashamed fanboy, I say, “Happy Birthday, Anna! May you go from strength to... 8:17 AM
  • manou: Just a minute… 8:06 AM
  • Cocky Kurwenal: I buy Callas records because I want Callas records, not because I just a record come what... 7:56 AM
  • Krunoslav: “Schwarzkopf [] never commanded the fierce allegiances that Callas did.”... 7:53 AM

Fish are jumping and the dudgeon is high

“Quaint camp, says Rupert Christiansen.”

Queen of the Maybe

I am indebted to a young friend who summed up Francesca da Rimini tonight: “I didn’t think anything could be campier than Adriana. But this is nothing but camp. Adriana at least has tunes.” That’s succinct and, indeed, generous to Riccardo Zandonai’s chirpy score, which has tunes but not memorable ones. The opera has returned to the Met after 26 years. One is entitled to wonder why.   Read more »

The V.I.P.s

That’s you, of course, cher public, whom La Cieca (not pictured) is inviting to join the weekly discussion of off-topic and general interest subjects. Our own Camille suggests as an opening gambit tonight’s Lifetime movie event Liz and Dick. The operatic connection, you ask? Read more »

varla

O Caftan! My Caftan!

Unconcealed by the voluminous folds of this Jessyesqe muumuu is queen-sized talent Jeffery Roberson (also known as Varla Jean Merman.)

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Fair, game

The Monday, 12th December, Weill Hall recital debut of Signora Chiara Taigi, a strikingly good looking Italian soprano, who had made her American operatic debut this past March, starring as Selika in the OONY production of Meyerbeer’s long-neglected L’Africaine, was something Your Own Camille had looked forward to with a high hopes and a faintly wondering glee, for several months now.  

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The recursion of kitsch

Like the double or triple negative (where theoretically pairs of “nots” cancel each other out, but in practice you can’t be so sure) this tidbit of news La Cieca just read has her confused and uncertain. It seems that at a recital in Tulsa last night, Dame Kiri te Kanawa sang as an encore a Jake Heggie setting of Maria Callas‘s final monologue from Terrence McNally‘s Master Class. You know, the one that McNally didn’t actually write but rather collated from some random remarks Callas made in an entirely different emotional context.

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Blonde item

“It’s just that it seems rather perverse to have cast such opulent voices and then given them not much to sing…. the role of Anna Nicole would not stretch Danielle de Niese.” Loyal parterrian Jondrytay (not pictured) looked in on the Royal Opera’s Anna Nicole and shared this thoughts on his blog Not So Wunderbar.

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“You will, Cieca, you will!”

“The L.A. Phil’s new season is up, too, and the big news there is (for me anyway) the premiere of a new sacred oratorio by John Adams, entitled The Gospel According to the Other Mary. Maybe he gave it that title to distinguish it from a forthcoming work by Mark Adamo. “What? No, I meant because Mark Adamo’s writing The Gospel of Mary Magdalene for the San Francisco Opera! Why, what ‘mary’ did YOU think I was referring to?” [Daniel Stephen Johnson]

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Nothing can stop the fan

Commenter emerita Poison Ivy (now a blogress in her own right) takes on the dark side of fandom over at Poison Ivy’s Wall of Text. Find out what the fan did!

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Vergin territory

Incredible, but true, I Puritani had not been performed in Great Britain since 1887 when Glyndebourne decided to stage it in 1960 with the main intention to showcase Joan Sutherland, who had been catapulted to international superstardom one year earlier in the legendary Lucia di Lammermoor at Covent Garden. Furthermore, Vittorio Gui, who had already been introducing the Glyndebourne audiences to Rossini, was eager to add more belcanto works to the repertoire of that opera company. This effort is now documented on the CD just released on the Glyndebourne Enterprise label.  

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