Headshot of La Cieca

Cher Public

  • PCally: Moore was excellent and had a super high c. But I think Harteros has the more distinct voice and... 11:21 AM
  • Archaeopteryx: Don’t know about his Radames, but Kunde was an excellent Manrico at the Fenice last... 11:19 AM
  • aulus agerius: I don’t hear Margaret or Leontyne in there. But there do seem to be a lot of dead... 11:17 AM
  • perfidia: Price? 10:50 AM
  • aulus agerius: I don’t ‘know’ any of them except Caballe. My favorites are 17 (Milanov?)... 10:41 AM
  • Poison Ivy: So here you go. httpv://www.youtub e.com/watch?v=rs5n -U7t61I 10:38 AM
  • aulus agerius: I did not hear Harteros’ as that bad – certainly not like a cat with it’s... 10:23 AM
  • Krunoslav: Any selection omitting Hammond and Rutter is not worth one’s time. 10:18 AM
  • pavel: Listening to all those clips just makes me wonder: is there anyone who does not come off the rails a... 10:17 AM
  • m. croche: Happy Birthday to Alexander Goedicke. Natasha’s Romance from “At the CrossroadsR... 10:16 AM

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