Headshot of La Cieca

Cher Public

  • Poison Ivy: Another review from last night: http://www.gbopera .it/2014/12/new-yo rk-metropolitan... 12:38 AM
  • Orion: Act II “Nuit divine…” http://www.youtube .com/attribution_l ink?a=c_WJx-wnvq8& amp;u=%2Fwatch%... 12:01 AM
  • Poison Ivy: Here’s Marina Rebeka in Tell: httpv://www.youtub e.com/watch?v=x8cv LMhnnEU 11:58 PM
  • Orion: Last Tuesday in MADRID, a dream-trio was on the stage of the Teatro Real to sing « Romeo et Juliette... 11:56 PM
  • Porgy Amor: One of my favorite moments in the Carsen is when Alfredo throws the money at Violetta. We are... 10:46 PM
  • zinka: httpv://www.youtub e.com/watch?v=j-tW EKDYdvI OK..CONFESS!!!! Which queen on Parterre is this? She... 10:39 PM
  • Poison Ivy: I too love the Carsen production. I feel like it’s more emotionally engaging than the... 10:18 PM
  • alejandro: ^Haven’t seen that. 9:40 PM
  • Porgy Amor: Interesting, Will; I think that the view of him as cold is not entirely supported either. Once he... 9:24 PM
  • Porgy Amor: didn’t care for it . . . despite adoring everything else I’ve seen by him. The Bregenz Trovatore... 9:08 PM

Flame war

The role debut of a world-class singer is always a time of great anticipation, hopefully to be followed by celebration, if not unbridled jubilation. When two world-class singers premiere roles on the same night an operatic apoplexy is not unknown amongst the devoted. The theater’s infirmary stockpiles tranquilizers and the bar enjoys a brisk trade in all manner of festive libations. Now, gently fold into this mix one of the world’s greatest conductors who hitherto hasn’t shown much love to the Italian wing and then a stage director with a touch for the deranged and all bets are off.   Read more »

When I have sung my songs

Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.  After her Met run in 2010, she has made various stops in the role, including this 2013 Wiener Staatsoper production, released by Unitel Classica and directed for video by Brian Large, and she will bring her Countess to Chicago and Dresden in the coming months.  The role certainly suits her natural elegance and charm, and sits well in her current vocal estate.  Read more »

Juan and two

I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written. The first act is a masterpiece of the operatic canon. There’s sex, there’s danger, there’s suspense, there’s humor, and there’s absolutely great music. And there’s also a wonderful sense of ambiguity—for instance, what exactly is Don Giovanni doing in Donna Anna’s bedroom? is it a rape, or something else? Is Zerlina really just a naive young thing? “Batti batti bel Masetto” has such an artificial, coy feel to it that you have your doubts. All of these events converge in the suspenseful Act One finale.   Read more »

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The dark side of the moon

After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”

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Speer pressure

One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.

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Bomb scare

The appeal of Ariadne auf Naxos (for me anyway) is the acknowledgment that underneath it all, opera (and all other forms of “high art”) is really show business.

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Final chapter

None of my previous Elektra experiences prepared me for this stunning, overwhelming performance from the Festival d’Aix-en-Provence.

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Rich man’s frug

A good performance of a Rossini opera buffa usually bubbles along merrily.

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Shopping season

After a long summer drought, suddenly new Blu-ray and DVD releases are falling, as it were, from the sky.

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Lost in space

It’s rare to encounter a video of an opera that has zero redeeming qualities, but I think I might have found it: the latest Arena di Verona La Traviata.

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