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Cher Public

  • "I agree this opera is a masterpiece. I’ve watched this opera five times, both..." - danpatter
  • "For those curious about the opera, the complete performance can..." - Jungfer Marianne Leitmetzerin
  • "I heard Di Giacomo as the soprano soloist in Beethoven IX. at..." - Jungfer Marianne Leitmetzerin
  • "You forgot to mention our problematic immigration policy and then you forgot to..." - laddie
  • "I first heard DiGiacomo in 2006 as an excellent Fiordiligi at NYCOpera and the..." - Hippolyte
  • "Even if someone did write you an opera about the US’ shocking infant mortality..." - ianw2
  • "Wagner also sang Ariadne several years ago at the COC when Adrienne Pieczonka was..." - kashania
  • "Donna Anna: Yes, please do report. Di Giacomo came on my radar a few years ago and..." - kashania

“Give me Kitty Carlisle any day!”

“On The Academy Awards [Lady Gaga] was a travesty. It was ridiculous, as it would be from any singer who treats that music in semi-operatic style.” So says Stephen Sondheim, who did not go on to offer opinions about Stephanie Blythe and Bryn Terfel in Sweeney Todd. [broadwayworld.com]

Sticks and stones

Here’s a story in which practically nobody in authority comes off well. Daniel Harding conducts a concert at La Scala that includes a selection from Tristan und Isolde, about which the Corriere della Sera‘s venerable critic Paolo Isotta snipes “Harding’s conducting was so soft it made you think he wanted to back the unfounded theory that Wagner was homosexual.” So then La Scala’s GM Stéphane Lissner kicks Isotta off the press list for the company: he can still review Scala events but will have to pay for his own ticket. [The Telegraph]

She said, he said

So Placido Domingo was all like, “Oh, that Anne Midgette is just a mean girl and she is SO JELLUS,” and then Anne was like, “Actually, nuh-uh, maestro, I’m so not.”

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or as we used to call it, “tuesday”

From Franco Corelli: Prince of Tenors: The battle between tenor and conductor reached a climax when Cillario denied Franco his ovation at the end of “E lucevan le stelle.” An infuriated Corelli flipped his overlong thumb to his teeth in disgust and ran offstage. The audience was left stunned, the orchestra still playing the ascending scale leading to Tosca’s entrance, and Tosca herself bursting on stage to find it empty and the audience buzzing around in a mini uproar. Backstage, Chapin saw Corelli screaming at Charlie Riecker, teeth clenched, eyes bulging. There was no time for discussion. Chapin grabbed Corelli [...]

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