Headshot of La Cieca

Cher Public

  • Feldmarschallin: Radiant is the perfect word for her in this Buster. She is only seen briefly but that is... 4:47 AM
  • Krunoslav: Siffleuse , at least on Monday and she was VERY audible, and PD rarely moved more than 20 feet... 2:38 AM
  • danpatter: Oh sure, I had one, and a copy of the record, too. I was seven. I did not drive my parents insane... 2:32 AM
  • m. croche: Almost forgot: “Thank you, Mr. Boulez.” httpv://www.youtub e.com/watch?v=NW30 g2tPmDA 1:09 AM
  • parpignol: I love Ernani, totally crazy masterpiece, and the presence of Carlo Quinto even suggests an... 12:05 AM
  • DeepSouthSenior: The subsequent careers of competition winners and losers is similar to academic... 12:01 AM
  • DeepSouthSenior: I’ve always loved much of the 20th-century musical avant-garde, including Boulez.... 11:41 PM
  • DeepSouthSenior: Black leather (or something leather-like), a short skirt, and boots cover a multitude of... 11:25 PM
  • m. croche: httpv://www.youtub e.com/watch?v=sFFp zip-SZk 11:10 PM
  • DeepSouthSenior: Singers who conduct (some of them, anyway) remind me of the old joke about the question... 11:04 PM

Past perfect

With much laying-on of fanfares and gift boxes our friends at Decca Classics have unleashed Luciano Pavarotti Edition 1: The First Decade on a weary and satiated public. This is the inaugural offering of a planned troika of box sets commemorating the business dealings of the Modenese tenor to that British label. There was no holier alliance in all of classical recording (save Karajan and whatever label he deemed worthy) since, unlike the vast majority of classical artists, Luciano Pavarotti sold enough records to not only underwrite the projects he participated in but to keep Decca flush from the ensuing tsunami of coin his fans generated. Which is why, dear friends, they’re celebrating, not his birth or memorial but… the date of his contract signing.   Read more »

Fairy tale

In his memoirs Richard Strauss had the foresight to put down what he called his “10 Golden Rules for Young Conductors.” It’s a fairly comprehensive list in spite of being so short with pithy comments like, “Never look encouragingly at the brass.” Number three has always been the one that’s fascinated me most: “Conduct Salome and Elektra as if they were by Mendelssohn: Fairy music.” Seriously, how often has that happened? The average performance of Strauss’ Elektra reaches a decibel level akin to the landing deck of a fully functional aircraft carrier. I’ve even heard rumors that the John Culshaw produced ‘sonic-stage’ spectacular Decca recording with Georg Solti conducting and Birgit Nilsson’s all-out assault on the title role can be heard from space. Read more »

Bomb squad

Vienna never really forgave Erich Wolfgang Korngold for going to work in the movies. When the exiled composer returned from Hollywood after World War 2 to mount a comeback, he was dismissed as a has-been who all too eagerly cast off high art for the commercialism of the silver screen.

Korngold, it must be said, led with his chin by bringing for the occasion Die stumme Serenade (The Silent Serenade), an hybrid opera-Cabaret that mixes elements of golden age film music with high fructose arias, skittering orchestral accompaniments and other démodé effects as comforting as a serving of Mohr im Hemd. A city by then eager to turn the page and dabble in modernism sneered at the confection, sending Korngold sulking back to California, where he spent his final years miserable and in poor health. Read more »

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New faces of 2014

Once upon a time, a man and a woman met. He could sing, she could sing. They fell in love, got married, and became a power couple to rival Billary.

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Hothouse flower

To some, Anne Schwanewilms will always be the soprano in the slinky black dress who replaced Deborah Voigt at Covent Garden a decade ago.

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Blinded item

His 75-minute setting of Oedipus in Kolonos, heard in a live 2009 performance on MDR Klassik, illustrates how Mendelssohn tried to link ancient forms with Romantic-era sensibilities by fashioning harmonically adventurous chorales and believable characters instead of abstract musical representations of mythical figures.

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Stairway to heaven

Once again, beloveds, we approach the Milanese shrine that simultaneously attempted to  cultivate and destroy the career of Maria Meneghini Callas.

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Call me Madame

“To play La Pompadour—what a delightful task! To be La Pompadour—what a gruesome fate!”

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State of grace

Lawrence Brownlee’s new album Virtuoso Rossini Arias demonstrate both how far the tenore di grazia has  come in the operatic world.

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Low-fat Schoenberg

With orchestral and choral forces that could outnumber a small European village, Arnold Schoenberg’s Gurre-Lieder is a composition designed to overwhelm.

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