Headshot of La Cieca

Cher Public

  • Quanto Painy Fakor: Everyone gets a standing ovation because the audience is happy to be able to get up and... 11:17 PM
  • Quanto Painy Fakor: YIKES! Video from the world premiere and some audio from Gertrude!!! httpv://www.you... 11:10 PM
  • PokeyGascon: Try this? httpv://www.youtub e.com/watch?v=2PBt GDbeobg&featur e=youtu.be 10:06 PM
  • PokeyGascon: I saw a different part. httpsv://www.youtu be.com/watch?v=2PB tGDbeobg&featu re=youtu.be 10:05 PM
  • antikitschychick: Aww this is sad :-(. I think she should have allower herself to sing at least some... 10:03 PM
  • antikitschychick: But could she trill? :-P. 9:55 PM
  • javier: I like Mosuc. I saw her years ago on youtube singing Queen of the Night and didn’t think much... 9:42 PM
  • willym: I would have thought that would be Der Fledermaus in most houses????? 8:44 PM
  • DellaCasaFan: Another Rimsky-Korsakov opera “Snegourchka ” could be an interesting choice,... 8:08 PM
  • LittleMasterMiles: Thanks for that clip from Four Saints in Three Acts, which really needs a DVD release,... 7:54 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