Headshot of La Cieca

Cher Public

  • manou: Yes marshie – but before the supine bit there should be a more vertical phase. 7:18 PM
  • Cicciabella: Any singer who appears “freshly engaged”, “majestic 221;, “unsuppor... 7:04 PM
  • Gualtier M: I also heard several performances by Goerke that were disappointing. The Mme. Lidoine at the Met... 6:43 PM
  • DonCarloFanatic: The garbled Google Translate was a poem of sheer beauty. They liked her, they really liked... 6:25 PM
  • danpatter: I’m glad to know about this. Thanks, Phoenix. 6:22 PM
  • danpatter: No, I meant Pape would (I assume) sing the Wanderer in SIEGFRIED. But time will tell, undoubtedly. 6:20 PM
  • Cicciabella: According to this review Netrebko’s diction in the VLL was faultless: http://www.welt... 5:57 PM
  • Lindoro Almaviva: I am planning to be there for Bolenna in December and maybe January. I would love to see... 5:22 PM
  • Flora del Rio Grande: Well done, Gualtier. Thank you. I had forgot about the Goerke-Soviero tuition, and yes... 5:08 PM
  • Maury D: Death in Venice or: the only opera that has ever given me a non-metaphorical headache. 5:01 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