The annual Richard Tucker gala came and went at Avery Fisher Hall with the usual quota of gaffes, wardrobe malfunctions, no-shows, too-much-shows, substitutions and surprise guests (well, guest). And sandwiched between the routine, the egocentric and the just plain dull were moments of true dementia, the moments that we melomanes live and die for. Most of those moments were due to the antics of a certain well-known Slavic diva (of whom more later). But first, the specs. Read more »
La Cieca is delighted to throw out the first ball or lift her baton or whatever it is one does to launch a discussion, which in this case is on the topic of that most quintessential of all opera novels, Mawrdew Czgowchwz—though she does insist on prefacing anything she says with the caveat that she’s never presided over a book club before, so she asks your indulgence as she continues so as not to disappoint her public. Read more »
Those among the cher public inclined toward philanthropy and/or star-gazing will want to check out the details on a gala fundraising dinner and concert for the Marcello Giordani Foundation on May 7. The evening will feature performances from young singers and a litotic “Lifetime Achievement Award” presented to Magda Olivero (in virtual attendance via videoconferencing from her home in Milano) by parterre fave Aprile Millo. [Marcello Giordani Foundation]
It took the Metropolitan Opera decades to catch up with the rest of the world and finally stage La Cenerentola. Gioachino Rossini’s opera buffa, one of his most beloved and accomplished works, received its belated Met debut in 1997, amidst legitimate suspicions that the new production was less a genuine desire to add a belcanto masterpiece to the company’s repertoire than a concession to Cecilia Bartoli’s demands. Since then the production has been revived several times with galaxy of international mezzo-sopranos such as Jennifer Larmore, Sonia Ganassi, Olga Borodina and, just this past season, superstar Elina Garanca.
Gotham Chamber Opera presented Haydn’s Il Mondo della Luna on Tuesday evening at the Museum of Natural History’s Hayden Planetarium, in a production that took advantage of the museum’s NASA constellations and a multitude of other more economical yet impressive stage and lighting effects. Despite cramped quarters and inhospitable acoustics, the company made a strong case for the viability of this venue.
I was still warming frigid fingers Friday night, when before me unfolded something like a history of the world viewed from a small café: an enchanted journey from the gaslights of Berlin to the crowded alleys of Buenos Aires.
La Cieca received thisÂ letter yesterday. If you have reviews, opinion pieces, appreciations, or (as in this case) a Letter to the Doyenne, please email to firstname.lastname@example.org.Â Saving New York City Opera?
New Kid on the Plaza Drammy writes: April 9, 2009. A traditional Otto Schenk production featuring Diana Damrau as Gilda and who cares but.. Frizza conducting, Viktoria Vizin as Maddalena, Calleja as the Duke, Frontali as Rigoletto, Aceto as Sparafucile. Stellar performances from the entire cast, excepting poor Mr Frontali. The set was phenomenal – this coming from someone who has now seen 3 operas live to dateâ€¦i.e. Iâ€™ve low standards and I can’t stomach Regie – yet. The first set change – from Duke’s court to shady courtyard – took a whopping 5 minutes and people were getting frisky. [...]
Those of you who may be toying with the idea of a trip to the city this fall to check out the New and Improved York City Opera may be interested to hear the performance scheduleÂ for the company’s fall season. Remember these dates are provisional theyÂ should give you anÂ idea of how the repertory sorts out. November 5Â Gala November 7Â EstherÂ November 8Â Don GiovanniÂ November 10Â Don GiovanniÂ November 12Â Don GiovanniÂ November 13Â EstherÂ November 14Â Don GiovanniÂ November 15Â EstherÂ November 19Â EstherÂ November 20Â Don Giovanni November 22Â Don Giovanni
This vastly superior caption replaces La Cieca’s original, “Rebecca Glasscock back on the pipe?” [Danielle de Niese in Acis e and Galatea at The Royal Opera, photo by Bill Cooper.]