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  • armerjacquino: Actually, that’s not true about Vickers- I have the Solti AIDA somewhere. 10:14 AM
  • armerjacquino: I don’t have any Crespin (just an accident) or any Vickers (who I consciously avoid). 10:13 AM
  • Clita del Toro: Dumb, off-topic topic: Singers whose recordings you have never, ever bought. Mine are: Domingo,... 9:07 AM
  • Cocky Kurwenal: They did it in Seattle after Vancouver and before the recording, so it looks like they’ve... 8:50 AM
  • Cocky Kurwenal: Quite surprised the Vicar hasn’t chimed in with your enthusiasm for Carolyn Sampson. Come... 8:42 AM
  • phoenix: On this inaugural festive weekend: very best wishes to Bobensane (and all parterrianensane comrades) for... 8:18 AM
  • rysanekfreak: In addition to our regular features at Parterre (Guess the Regie and Intermission and Criticize the... 7:43 AM
  • Feldmarschallin: sz first I thought this was a joke until I went on the website and saw it myself. She is also... 7:25 AM

Decrease your word power

La Cieca is starting a new series of Words Critics Need to Stop Using. The word of the day is “shambolic,” much beloved of British critics, and more or less meaningless, as in “[Les Contes d'Hoffmann] is an extraordinary and rather shambolic work based on three stories by the 19th century German writer of fantasies ETA Hoffmann, who is also the main character in the opera.” (The fact that the writer uses the more mundane and precise word “muddled” later in his review demonstrates that “shambolic” is just so much posing.)

All things Brit and beautiful

“Time and tide wait for no one” pontificates Myrtle the barmaid, setting the tone for André Previn’s opera about fleeting romance but enduring love:  Brief Encounter.  Loosely based on the play Still Life by Noël Coward and the screenplay for the film Brief Encounter by Coward and David Lean, this opera (now on CD) tells a similar story to all of its operatic predecessors:  longing, love and loss.  Read more »

Brittania rule the lake

Houston Grand Opera’s Brit-in-Chief Anthony Freud will take an early departure of his post (recently extended to 2015) to move into the power vacuum created by the departure of William Mason from Lyric Opera of Chicago in 2012, says Culturemap Houston.

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Today in corrections

“A profile of Richard Eyre – ‘All good actors are quick-witted’, 27 November, page 12, Review – mentioned the theatre director’s recollection of having played one of the Three Little Maids in a school production of The Pirates of Penzance. Clarification has since come from the interviewee that in Pirates he played Kate, one of four maids, the daughters of Major-General Stanley (the Three Little Maids, for their part, belong to The Mikado).” [The Guardian]

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The return of Glimmertrash

Given the choice, I’ll take Hans Neuenfels.

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Greasy poll

Next time you feel like rolling your eyes at one of La Cieca’s informal for-entertainment-only polls, put then back in your head and gaze on this silliness.

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White man’s burden

Impresarios from Cornwall to Caithness are delighted to hear today that another traditionally Albion-adminstered opera company has begun the succession process with the search for a new heir-presumptive. Or, in other words, Glimmerglass General and Artistic Director Michael MacLeod is out the door at the end of the 2010 season, and now we just have to wait to see which Brit will get the job next. [Opera News]

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Vicar’s delight

“To Kettles Yard in Cambridge for the premiere of a new song cycle by Richard Baker, performed by baritone Christopher Purves and pianist Andrew West. Having started off in Harvey and the Wallbangers, Purves is now a rising British operatic star: he will sing Beckmesser at Welsh National Opera alongside Bryn Terfel in Die Meistersinger this summer and, he told me, will make his La Scala debut in Peter Grimes in a couple of years. One day this man will make a wonderful Wotan.” [The Guardian]

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