Cher Public

  • Krunoslav: Guleghina in her debut performances that first season with Leonie was, however really good. Better vocally and linguistically... 3:52 PM
  • Krunoslav: Wow, Poor used Coates! 3:46 PM
  • PCally: Lucky you to have seen Mattila in that role during her prime. It’s ludicrous to me that the met decided to telecast the 1999... 3:45 PM
  • Krunoslav: I thought Susan Chilcott excellent on recordings and as Helena at the Met. Hard to imagine disposing of the weight for Liza,... 3:23 PM
  • Patrick Mack: Apparently she’ll be recording Tup-Tim’s Act I aria from King and I? 3:03 PM
  • JohninSeattle: I would like to express how AWESONE that Rondine flashmob clip was. That was great. If we keep art and artistic expression... 2:46 PM
  • m. croche: Wile E. Coyote, Batman costume, cliff wall. That’s all I got. 2:39 PM
  • Cocky Kurwenal: I have been lucky with my Lisas: Orla Boylan, Susan Chilcott (both prime Kruno-bait ripe for ridicule, but both genuinely... 2:18 PM

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.   Read more »

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. Read more »

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.

Read more »

“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]

Read more »

Read more »

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!

Read more »

Read more »

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.  

Read more »

Read more »

Mano a mano

I attend the opera intent on enjoying myself. If the music is not my favorite, there is always something to like, be it a colleague’s individual performance, the discovery of a newcomer, nifty stagecraft or costumes, observing the movement skills of the various singers, or in worst-case scenarios, observing the audience’s boredom, carefully notating the point-of-no-more-patience. My critical eye and ear are well-known, so I try not to be cynical as I silence my smartphone and smile at the sextagenarians who own the subscription seats next to me. 

Read more »

Read more »

There ought to be a new word for camp

“Tyler Perry‘s… For Colored Girls does feel like a ghoulish joke, a dated horror show bordering on parody. It’s both operatic and tone deaf, with explosions of hysteria that include a drunken Macy Gray performing a back-alley abortion and the conversion of a poem spoken by [Ntozake] Shange‘s Lady in Purple into an actual opera by Perry’s regular composer Aaron Zigman (called La Donna In Viola). During the opera, the film cuts back and forth between a doomed couple silently watching the performance (the husband is on the down low, unbeknownst to the wife) and another character being savagely date-raped.” […]

Read more »

Read more »

The road to Manderley

From time to time the younger queens ask La Cieca, “Why does all the camp date back decades? Did something happen to camp? Why is there no new camp? Where should we look to find our own 21st century camp? Now La Cieca has an answer for you young queens. Look no further! Camp, with a capital C, is coming to a Broadway theater near you—soon! Or, uh, anyway—eventually!

Read more »

Read more »

Elina Garatsnest

We may have a contender in the category of Most Overdone Camp Diva Crossover Hair Extension.

Read more »