That day we all knew eventually would come did come, in the winter of 2001, when the final issue of parterre box, the queer opera zine was mailed out to the cher public, such as they were at the time. La Cieca is happy to recall that we went out in gala fashion, though, with an in-depth interview with James McCourt, parting rants from stalwarts Enzo Bordello and Dawn Fatale, an imaginary farewell concert and a mediocre Sondheim parody. As dear William Shakespeare once remarked, “Nothing in his life became him like the leaving it,” and so, your doyenne hopes, the late zine will leave you with a fond memory or two. [Download Issue #48]
The very first words in this issue are “Renata Scotto will return to the American operatic stage in the 2001 season!” And if just gets more exciting from there! Casting and repertoire gossip from all over the place; the Top 50 Excuses for Jane Eaglen‘s Isolde; reviews by Dawn Fatale, Qual Cor, Enzo Bordello, Doug Peck, Richard and Peter, Flora Bervoix and The Loge Lizard; Leila de Lakmé pays tribute to Leonie Rysanek, and that notorious “artist’s conception” of Renée Fleming with the nekkid guys in Alcina. [Download Issue #39]
The celebrated “lost” issue of parterre box, the queer opera zine (now found, thanks to the avid cataloging of Indiana Loiterer III) features a blow-by-blow account of La Cieca and Dawn Fatale‘s Italian sojourn, including reviews from Firenze, Roma, Torino and Bologna; the debut of John Yohalem with the thought-provoking essay “Effeminato Amante;” the “Name That Diva!” quiz; a report from Enzo Bordello; and an analysis of the trouble status of La Scala by Mario Cavaradossi. Plus: parterre’s first and only erratum slip! [Download Issue #37]
“La Cieca cannot imagine it is much fun to sing ‘Dove sono’ when you’re suffering a fresh case of the Reno jumpy-wumps.”
In Vintage Issue #32: How that opening night of Lohengrin might have gone; La Cieca on La Gran Scena…
When handing out the goodies, the gods weren’t stingy with Shirley Verrett. Few opera singers were as prodigiously gifted as Verrett: the perfect amalgam of Kunst and Stimm housed in a frame of voluptuous allure. In addition to an instrument of stunning natural beauty and easy range, Verrett displayed superior musicianship, dramatic intelligence and searing interpretative commitment.
A long-awaited DVD from the Met documents one of the great “42nd Street” episodes in operatic history: on December 20, 1980, a largely unknown Julia Migenes (or Migenes-Johnson, as she was called in those days) stepped in on a few hours’ notice for an ailing Teresa Stratas as the anti-heroine of Berg’s Lulu. A prodigiously gifted and multifaceted artist, Migenes had already graced Broadway and German television prior to making her Met debut in 1979 as Jenny in Rise and Fall of the City of Mahagonny.
Better loosen up those typing fingers, cher public, because La Cieca is bringing you another of her notorious online chats. On Monday, September 22 beginning at 6:30 PM EDT, La Cieca will present Opening Night in Exile, a chat celebrating the the broadcast of the Met’s 2008 opening night starring RenÃ©e Fleming, the diva and the fragrance. Since La Cieca herself will be observing the festivities al fresco on the Met’s big screen, your host for the evening will be her old, old, old friend Enzo Bordello. Â Wifi permitting, your doyenne will check in from time to time, though she […]