Headshot of La Cieca

Cher Public

  • thenoctambulist: I played the videos and must say Anna has finally delivered in a bel canto work. All the... 12:33 AM
  • steveac10: “Well, if you are asking me, rather than just restating the topic: I want to see and/or... 12:08 AM
  • Porgy Amor: Well, if you are asking me, rather than just restating the topic: I want to see and/or hear... 11:04 PM
  • bronzino: PA: at the risk of having you think that I am ‘digging in’, I must say that this... 10:20 PM
  • aulus agerius: I remember seeing that DG on tv though. I remember Dame Joan looked like a battleship steaming... 9:58 PM
  • Porgy Amor: Here’s how I feel about this. The theatrical side is very important. Direction, acting,... 9:54 PM
  • bronzino: st10: As an art historian, I can assure you that the frame analogy is a very valid comparison. And... 9:43 PM
  • steveac10: That is far from a valid comparison. The dramatic side of the opera is part and parcel of an... 9:16 PM
  • Don_Dano: I don’t believe that Houston plans to do a full cycle. I think the plan is to do one Ring... 9:10 PM
  • bronzino: And this, olli, is where we differ in spending our entertainment pound: I’m happy to pay to... 8:56 PM

Ogni Cura

“Ogni Cura si doni al diletto / E s’accorra nel magico petto,” the joke went back in the late ’90s. What wags we were! José Cura, cover boy for this vintage issue of parterre box, is not the main focus of the magazine, though. La Cieca muses on the telecast of Previn’s A Streetcar Named Desire, the premiere of the (second) Zeffirelli Traviata at the Met and Christopher Alden‘s take on The Mother of Us All; Indiana Loiterer III covers the first visit of the Duchess of Argyll to BAM; various parterriani dream dreams of recordings; and Dawn Fatale unleashes the seminal rant “The Volpe Era.” [Download Issue #35]

Present prescriptive

Photo: Robert Workman/ENO“Director Christopher Alden destroys everything Strauss’s operetta stands for…. the work’s underbelly may be serious, but on stage ‘bitterness must turn to bliss in sweet forgetfulness’…. Die Fledermaus should be as much an exercise in escapism for us today as it was for its first audience in 1874…. Above all it needs to make us laugh and go out humming its tunes.” [Financial Times]

Plus qu’un peu grise

“To close its season this week, New York City Opera is unleashing hurricane-force gales of laughter…. Périchole isn’t just the jolliest opera in town; for sheer fun, it could hold its own against Broadway’s best.” [New York Post]

yelena_lovejoy

Neuzheli nikto o detiakh ne zabotitsja?!

Russian children’s ombudsman Pavel Astakhov called upon the newly appointed culture minister to check a Russian-British opera production for sex and drug scenes.

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jj_post

Boy meets ghoul

Now New York City Opera has given us a “Così Fan Tutte” starring the undead.

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Two ghosts

The ENO was filled with ghosts last week. Spectral, possibly illusory figures fleetingly materialized in the Internet chatrooms that provide the setting for much of Nico Muhly’s new opera Two Boys, and brutal boarding school memories came back to troubled life in director Christopher Alden’s dark take on Benjamin Britten’s A Midsummer Night’s Dream. 

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