Headshot of La Cieca

Cher Public

  • Feldmarschallin: Congratulations. Two people I know got tickets, one for the premiere and one for the second... 7:50 AM
  • Feldmarschallin: Not to mention the piano G on ‘Rosn’ . 7:47 AM
  • tiger1: The opening phrase of the trio also contains a high B flat and should be very “floating 221;... 7:43 AM
  • Lohengrin: May be in Salzburg he was not as familiar as necassary withe Don Carlo…... 7:29 AM
  • Feldmarschallin: Well I heard Hampson as well live in Salzburg and thought he was horrible. Dry tone the... 7:00 AM
  • Lohengrin: Ich have seen DC livein Sakzburg. TH was in general a convincingly Posa, but his singing was... 6:31 AM
  • Feldmarschallin: Well in that Arabella it is a tie who is worse and it is also a tie who looks older. Not all... 4:26 AM
  • ML: He is past the end of his shelf life. Have you heard the Sony Don Carlo? 4:04 AM
  • m. croche: Also forthcoming. Reviews enclosed. Can you spot the JJ? httpv://www.youtub e.com/watch?v=5... 2:27 AM
  • danpatter: Camille, I believe Beverly Sills’ recording of NORMA has “Casta diva” in G,... 10:47 PM

Heartbreak fridge

Before there was Verdi’s Otello, Rossini’s Otello was considered the master operatic adaptation of Shakespeare’s tragedy. It’s easy to see why Rossini’s Otello was acclaimed at its time, and also why Verdi’s Otello eventually eclipsed the Rossini version.  The main deficiency in Rossini’s version is that the libretto is so much weaker than Boito’s libretto for Verdi’s opera. Boito masterfully condensed Shakespeare’s play into an inexorable, terrifying tragedy. Rossini’s libretto (by Francesco Maria Berio di Salsa) excises a lot of Shakespeare’s dramatic devices and then adds unnecessary filler. Read more »

Count me in

The legions of New York opera buffs who now can’t talk about anything but Javier Camarena will be happy to know that there’s now a DVD release of their new favorite tenor in Rossini’s Le Comte Ory available. The performance was actually filmed in 2011 in Zurich, and will be of immense interest not only to Camareniacs, but to Rossini scholars and to fans of Cecilia Bartoli, who limits her staged operatic performances outside her artistic home in Zurich.  Read more »

Racing with the moon

For better or worse, Decca’s new Norma recording will ultimately be embraced—or dismissed—by those reacting directly to Cecilia Bartoli’s controversial portrayal. After all, few operatic roles prove as irresistible yet as fraught with obstacles to the modern diva as Bellini’s Norma.

Read more »

bartoli_norma

Before her all Rome trembled

A sneak preview of Cecilia Bartoli’s new recording of Norma may be found on the website of The Guardian.

Read more »

barbiere_amazon

Prequel

This cozy video of Il Barbiere di Siviglia was recently re-released and will be of interest to those who are only familiar with Cecilia Bartoli‘s work after she became an international star.

Read more »

pretty_yende

Einspring can really hang you up the most

Winter Met sensation Pretty Yende does another jump-in this weekend, again in Le Comte Ory, but this time at the Theater an der Wien.

Read more »

bartoli_whitsun

The bald mezzo-soprano

She’s been a showgirl, a bubble dancer, a drag king, and of course a maimed statue.

Read more »

bartoli_rocket

Space cadet

Yes, that’s the lovely and talented Cecilia Bartoli peeking out from under those bangs, offering us a glimpse of her first staged Cleopatra.

Read more »

3773B_130212163610

No greater joy

A rare production of Rossini’s Otello, with a perhaps even rarer stage performance by Cecilia Bartoli (in her role debut as Desdemona) should provide an interesting afternoon’s viewing this Thursday.

Read more »

Read more »

Casta divette

What’s the diminuitive of “Normina?” Well, you’d better start coining the word, because Cecilia Bartoli is recording Bellini’s Norma, with John Osborn, Sumi Jo and Michele Pertusi; leading the Orchestra La Scintilla will be, well, Bartoli mostly, but nominally in charge will be Giovanni Antonini.

Read more »