Headshot of La Cieca

Cher Public

  • Batty Masetto: Italian Wikipedia: Gioacchino è un nome proprio di persona italiano maschile. Varianti:... 9:16 AM
  • Cocky Kurwenal: I think it’s due to pregnancy, rather than where San Francisco is situated. 8:59 AM
  • Feldmarschallin: Yes and especially that is off the beaten track. I remember when I lived there it took... 8:55 AM
  • Hippolyte: This won’t be the last performance of Violetta that Yoncheva cancels this year–the... 8:51 AM
  • WindyCityOperaman: Born on this day in 1706 composer Giovanni Battista Martini httpv://www.you... 8:46 AM
  • oedipe: P.S. The spelling with 2Cs may have something to do with French pronunciation: Gioachino spelled with... 8:38 AM
  • phoenix: Thanks for the report, Cicci – more often than not I don’t agree with critics – I... 8:37 AM
  • Feldmarschallin: n der Vorstellung von La traviata am 25. April 2014 wird Aurelia Florian die Partie der... 8:30 AM
  • oedipe: Here’s what French Wiki says: Gioachino Rossini — Gioacchino Rossini pour certains auteurs... 8:25 AM
  • DellaCasaFan: Good clues! There is only one C in Rossini’s signature. Here’s his short letter... 8:11 AM

A multiplicity of mezzos

Wonder no more! Says the Met press office, “Elina Garanca has withdrawn from her 2013-14 Met engagements because she is pregnant with her second child, who is due this winter. Garanca was originally scheduled to sing Octavian in three performances of Strauss’s Der Rosenkavalier and Charlotte in a new production of Massenet’s Werther. Two star mezzo-sopranos will replace her in these performances: Alice Coote in Der Rosenkavalier and Sophie Koch, making her Met debut, in Werther.Read more »

Ces soupçons, ces soupçons

UPDATE: An email from Ernesto Palacio, manager to Elina Garanca, states, “Elina Garanca is waiting for a second baby. Would arrive on December. She would cancel Rosenkavalier at the Met, Carmen in London and MAYBE Werther at the Met.”   Read more »

A series of ones and zeroes

“’I’m analytical, not wild,’ [Elina] Garanca told an interviewer in 2009. ‘When I’m onstage my brain is running like a computer.’ If that is no way to be a singer, it is also no way to direct an opera.” [New York Times]

chauvet

Two pairs of pants

“French mezzo-soprano Géraldine Chauvet will make her Met debut as Sesto in this evening’s performance of Mozart’s La Clemenza di Tito, replacing Elina Garanca, who is ill.”

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new_puritans

Our retrospection will now be all to the future

La Cieca predicts you won’t be seeing any puritans at the Met next season, except of course for the ones who slouch around during intermission hissing, “You call that a trill?”

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odorama

Scent of mystery

La Cieca has been sniffing around her generally reliable (and fragrant) sources, and she thinks she has pieced together a list of the dozen operas to be featured in the 2013-2014 season of “The Met: Live in HD.”

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garanca_klein

49 shades of grey

A singer who was monochromatic long before she started appearing in “Obsession by Calvin Klein” circa 1986-styled music videos, Elina Garanca 

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“It ain’t got that swing” defined

La Cieca doesn’t know what to say here, which is absolutely okay in this case because the YouTube after the jump makes all, all clear.

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Pastia shrugged

The interpretation of Carmen by Latvian mezzo-soprano Elina Garanca has been much debated, many finding her cold and remote, others admiring her subtly smoldering quality.  A new Deutsche Grammophon DVD documenting the Met’s January 16, 2010 performances offers us an opportunity to examine the gypsy in close-up.  This is certainly not the lusty, passionate, mercurial Carmen of many interpreters.  There is no overt hip-swinging sexuality here.  It strikes me that this is a Carmen for the head, and not the gut—the most intellectual Carmen of my experience.  Rather than following her whims and desires, this Carmen acts with a glorification of [...]

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A tale of two Alagnas

In 1890 Cavalleria rusticana had taken the whole world by storm and in the next decade or so, hordes of composers, willing or unwillingly, jumped on the Verismo bandwagon.  La navarraise (1894) is generally considered Jules Massenet’s homage to the genre, and for a long time the two works were often performed together.   Emma Calvé, the creator of the title role in Massenet’s opera, and one of the most illustrious champions of the Verismo movement, frequently appeared in the two operas in the same evening.  

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