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Cher Public

  • Lohengrin: I hope that JK will always sound like JK, with the unique colours of his impressive voice. 4:17 PM
  • tatiana: Absolutely! I also just want say how much I LOVE WindyCityOperaman& #8217;s way of relating these... 4:14 PM
  • Sanford: Some of my favorite evenings at the opera were at LOC. A friend (and I can’t believe that he... 4:10 PM
  • kashania: Agreed on all your points about the Carsen Traviata. Ciofi is very magnetic. I only heard... 4:06 PM
  • steveac10: Yet for awhile in the aughts he was able to get a more than fair number of singers on the fast... 4:04 PM
  • Sanford: I don’t particularly care for Rebeka. There’s a slight tendency toward Deutekomness in... 3:58 PM
  • Nero Wolfe: I would have loved to have been there. That would have been a concert to remember. 3:54 PM
  • quibbleglib: Is Fabiano one of those who have thankfully fled that dark dungeon of unspeakable vocal torment?... 3:50 PM
  • Porgy Amor: It’s one of things I don’t like about this production (which has always struck me as overrated... 3:02 PM
  • 98rsd: Does Rebeka color her voice or inflect? She didn’t as Donna Anna. Singing at different volumes... 2:44 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