Our own Ercole Farnese (not pictured) has alerted La Cieca to a breaking story in Il Secolo XIX: Dessì diserta Genova per amore. It’s molto juicy, but for those of you who can’t keep up with the Italian, Ercole has provided a precis after the jump. Read more »
Soprano Mirella Freni is under investigation by the Bologna District Attorney’s office of Bologna for money laundering and exportation of money abroad in connection with the BER bank. The artist from Modena, 76, will be heard by the magistrates in the next few days to clarify her position, now that the DA Antonella Scandellari has sent her a notice of the closing of the investigations. The singer has so far denied any wrongdoing. (Thanks to Our Own Ercole Farnese for the tip!) [Corriere della Sera]
Graham Vick’s production of Macbeth at the Teatro alla Scala in the 1997/98 season had become famous, or infamous, for centering its spirit and energies on a big cube dominating both sets and singers. David Pountney exploited the same idea of a “cubic” Macbeth in his production of the Verdi masterpiece for the Opernhaus Zürich in 2001 (staged a few years later also in San Francisco), now re-released on DVD
La Cieca is simply overjoyed to announce a handy and fascinating innovation at parterre.com: The Author Archive Page. Each of your doyenne’s stable of scribes will be assigned his and/or her own unique page where every story under that byline will be easily accessible—as, for example, the many and wondrous reviews of Ercole Farnese. Look for the link to the archive on the author’s name in the byline of the story (immediately beneath the headline) and may this new feature bring you hours of reading enjoyment, cher public!
“Le pene d’amore non uccisero la Callas” reads the rather sensational headline: “The pains of love did not kill Callas.” The actual story in La Stampa is more sober, telling of an investigative study into the causes of the diva’s vocal decline and eventual death.
Our Own Ercole Farnese discovered and translated this interview in La Stampa with Jonas Kaufmann, in which the tenor discusses his “his idolatrous success with ladies and gay men, four fifths of the opera-goers.”
There is no peace for Verdi in Parma. As a second production of its Verdi Festival the Teatro Regio presented I vespri siciliani on October 10, starring Giacomo Prestia as Procida, Leo Nucci as Monforte, and the lovebirds Daniela Dessì and Fabio Armiliato as Elena and Arrigo.
1817 was a fertile and diverse time for 26 year old Gioachino Rossini. It opened with his last true opera buffa, La Cenerentola, continued with his most important semiseria, La gazza ladra, and ended with two operas, which, although both nominally belonging to the seria genre, could not be more different from each other.
Cher Public