Headshot of La Cieca

Cher Public

  • Buster: Thanks for the recommendation, Evenhanded. Will definitely listen to it:. http://www.voix... 12:45 AM
  • Krunoslav: “Valente was better than Cotrubas?” As Ilia, much. For one thing, she had a purer... 12:26 AM
  • alejandro: http://www.nytimes .com/2015/01/30/ny region/as-diva-is- cheered-protester- climbs-onto-sta... 12:21 AM
  • uwsinnyc: I was there too and enjoyed the evening. I thought the Iolanta production was inoffensive but the... 12:20 AM
  • alejandro: ^thank you. I think my confusion is more over the production. I think it was directed in heavy... 12:18 AM
  • Batty Masetto: Alejandro, if you want a better sense of Bluebeard you couldn’t do much better than the... 12:14 AM
  • alejandro: A friend told me they were protesting Ukraine and not the gay rights thing. My bad. 12:02 AM
  • alejandro: I was there. IOLANTA was marvelous. I am not a Beczala fan but this was amazing singing tonight.... 11:50 PM
  • Constantine A. Papas: JML, Thanks for correcting my misspelling. 11:45 PM
  • bluecabochon: I wouldn’t wait too long. Symphony Space only has seats upstairs, in the front rows,... 11:02 PM

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.”

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 and pushed him back on the stage, where he resumed his role.

Ah! Franchigia a Floria Tosca