Standard fare threatened to dominate the final weekend of February at the Met: a routinely-cast revival of Cav & Pag plus two recent productions by the house’s favorite Eyre-head. But then there were also two extraordinary opportunities to indulge in divadienst of the “An(n)a-in-excelsis” genus—Saturday offered another chance, announced only 24 hours earlier, to sample Ana Maria Martinez’s unexpected Butterfly, then Sunday afternoon brought Anna Netrebko’s exceptional, sold-out sui generis all-Russian recital. Read more »
No need to dress for this week’s intermission feature, cher public: just show up and start discussing off-topic and/or general interest subjects.
“Renée herself seemed as if she’d rather be somewhere else.
“The campy diva lover in me should exult at the credit in the program ‘RenÃ©e Fleming‘s Costumes by Christian Lacroix,’ but in fact the couturier’s frocks were something of a mishmash. Best was a shimmering gold sheath that set off Fleming’s first entrance and trim waistline to perfection; worst was a rumpled ivory silk ballgown that made the dying (or dead?) ThaÃ¯s resemble a Botoxed Miss Havisham.” Our Own JJ reviews the Metropolitan Opera’s production of ThaÃ¯s in Gay City News. In other too-good-to-be-true (and yet it is!) news, the image gallery for this production is now live at the […]
Sopranos Deborah Voigt and Patricia Racette and mezzo-soprano Susan Graham made their drag king debut on Sunday night, and for once the gender confusion has nothing to do with Rufus Wainwright. The trio of songstresses donned tuxes for a spoof of the Three Tenors at a gala honoring Placido Domingo‘s 40th anniversary at the Met. The ladies quickly stripped down to “shimmering gowns in which they delivered the aria ‘Nessun Dorma’ that was a signature piece for The Three Tenors.” Photo by Ken Howard, Metropolitan Opera. [via AP]
Any singer who is known as “The Croatian Yma Sumac” you know already has won a place in La Cieca’s deepest heart of hearts. So the astonishing production values of the theatrical experience that is known as Priinceza na zrnu graÅ¡ka can only add to your doyenne’s abject veneration for the one, the only… Zdenka KovaÄiÄek.Â
Now, never let it be said that La Cieca was in any way opposed to glamour, and you know very well that is a fervent believer in dear Pablo Picasso‘s maxim that “art is a lie that makes us realize truth.” But, on the other hand, there’s this month’s cover of Opera News.
Some of the starry roster for the Rudolf Bing Farewell Gala accept the plaudits cher public. Ah, 1972, when opera and hair were at their respective peaks of style! Introducing the cavalcade of curtain calls is La Cieca’s role model RisÃ« Stevens. [kml_flashembed movie=”http://www.youtube.com/v/2m6M9rPgAbs” width=”425″ height=”350″ wmode=”transparent” /]
Back the photo-only style of Regiequiz, but this production does look awfully chic, doesn’t it? Now if only someone could guess which opera it is!