Cher Public

  • Krunoslav: ““She represents a new style of performer,” she said. “Which is the total performer. ” Just without a high-quality... 9:57 AM
  • marshiemarkII: Tommasini: http://www.nytimes .com/2016/02/15/ar ts/music/manon-les caut-roberto-alagn a-kristine-opolais .html?_r=0 9:54 AM
  • NPW-Paris: Bad news for all eels : “… every mountain an’ eel made low”. 9:52 AM
  • marshiemarkII: And darling Milady, how did the Sei tu che piangi sound on the radio? In the rehearsal it was simply stunning, but... 9:47 AM
  • marshiemarkII: Very interesting article on Opolais, does anyone know what that “dark past” is?!?!?!?!?!!? https://www.was... 9:42 AM
  • marshiemarkII: Oh Milady, how was the applause on the radio, was it considered a triumph, or was it just a meh applause? 9:39 AM
  • marshiemarkII: Brava my darlingest Milady, we continue never disagreeing, 10 out of 10 so far :-) Sometimes I really wonder if some Qs... 9:38 AM
  • aulus agerius: Christopher Bolduc was a fantastic Belcore in the FW Elisir, and very good-looking to boot. I cannot understand why he... 9:29 AM

Mavra, don’t ask!

And then she was all like, “Nuh-uh! Igor was so not gay,” and I was all like… [New York Times]

Boys to men

You have only until Sunday to catch the most heart-breaking moments seen on New York City operatic stages this season when the title characters of Marc-Antoine Charpentier’s David et Jonathas—which opened at the Brooklyn Academy of Music on Wednesday night—bid one another a final farewell. Frantically embracing the crumpled body of his dying friend, a destroyed David (played with searing intensity by Pascal Charbonneau) laments the tragic circumstances that have cost him everything he loves while a crowd proclaims him as their victorious new king in one of opera’s most wrenchingly unhappy “happy endings.”   Read more »

Dream team

Director Daniel Moshel (not pictured) who created the YouTube sensation MeTube, sat down recently—and virtually—to chat with La Cieca (also not pictured.) Read more »

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Notte e giorno faticar

At last, the quintessential targeted reader of parterre.com has been identified.

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A boozy short leave

After 23 years, the Queen of Carthage has finally made it to Manhattan.

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Closet drama

I have a confession to make about Britten’s opera Billy Budd: I don’t like it very much.”

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Abs of a Soldier

La Cieca has obtained this photo of Thomas Hampson headlining Camouflage Night at Powerhouse, uh, rehearsing for Heart of a Soldier at the San Francisco Opera. You can tell the scene is Northern Rhodesia in 1962, because that is where the British military first started offering complimentary personal training packages to their troops.

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You will, David, you will

La Cieca hears that parterre fave David Daniels will get all eponymous and stuff for a world premiere opera entitled Oscar, based on the life of Oscar Wilde, for Santa Fe Opera in 2013, with Opera Company of Philadelphia to follow.  The work is to boast music by Theodore Morrison and a libretto and stage direction by John Cox.

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Hall of shame

“What I find bizarre is the insistence that no one—not the school, not Opera North, not the local education authority—is being homophobic. Instead, we have the strange position that, because the children are of primary-school age, these lines are too difficult and confusing for them.” The lines in question are “Of course I’m queer/That’s why I left here/So if you infer/That I prefer/A lad to a lass/ And I’m working class/ I’d have to concur.” [The Guardian]

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World weary

You only thought the “Brokeback” Eugene Onegin was the gayest possible take on the Tchaikovsky “lyric scenes.” Now, along comes La Cieca’s fave director Stefan Herheim‘s extravagant, transgressive, high-camp symbolist (and about a dozen other adjectives) approach to the work, “gay” in the very best sense of gay sensibility. Video after the jump!

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