Headshot of La Cieca

Cher Public

  • Dabrowski: First of all, I am honored to be addressed as “mon cher,” LV; it feels like I’ve... 4:58 PM
  • Dabrowski: And by filth I mean Bocelli, of course, not Corelli! 4:54 PM
  • Dabrowski: Oh my God. Where was this link during the discussion on filth? 4:53 PM
  • La Valkyrietta: Thank you, zinka. How about the, as a gallic MMII would say, a Seulement Maria Mexico City... 4:11 PM
  • parpignol: PS one weird thing: what was the point of making all men check their backpacks, briefcases, etc... 3:56 PM
  • Vittelio Scarpia: Well, that’s making me more curious to see this Traviata… 3:56 PM
  • manou: Important observations: Pieczonka’s dress has more fanfreluches than the others, Gheorghiu gets... 3:55 PM
  • parpignol: no protesting last night; not even booing; seemed like a good crowd, fairly enthusiastic; and I... 3:53 PM
  • Lurker_del_Cairo: Yes AJ, thanks, I would never have seen it otherwise. 3:42 PM
  • zinka: httpv://www.youtub e.com/watch?v=5fZd gMXd82E& Galvany at 3:33 Who here can do this???????????... 3:38 PM

Martinu, very dry

Gotham Chamber Opera, which began to operate twelve years ago with a double bill of Bohuslav Martinu’s quirky little pieces, opened its 2014-15 season with two more, Alexandre bis (Alexander, twice) and Comedy on the Bridge. Both were composed in the 1930s, when Martinu, like any East European with artistic aspirations, was living in Paris. There, he became acquainted with the neo-classicism of Stravinsky, the modernism of Les Six, with surrealism and le jazz hot. His music is difficult to pigeonhole: quirky, light, individual. When war broke out, he absconded to America, which he enjoyed, but he returned to Europe before his death in 1959.  Read more »

Daily double

Here’s a quick last-minute quiz for you Martinu fans out there: answer the question after the jump and win two tickets to Gotham Chamber Opera’s double bill program of Alexandre bis and Comedy on the Bridge this week. Read more »

Raven review

PHOTO CREDIT – Richard Termine“The NY Phil Biennial, a new music festival that is dedicated to new music, kicked off its first season at a drowsy time on the performing arts calendar, the week after Memorial Day. But a pair of brief musical dramas, each about a fantastical beast, jolted audiences from their early summer doldrums.” [New York Observer]

Photo: Ken Howard/Metropolitan Opera

West side, east side

Recently, opera showed up at both Mets, the Metropolitan Opera and the Metropolitan Museum of Art.

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orphee_thumb

Orpheus goes downtown

Marc-Antoine Charpentier came along at the wrong time for a composer of French opera.

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two_boys

Desk set

“Two Boys demonstrates that Mr. Muhly is capable of very great things indeed, offering extended glimpses of the kind of masterpiece he just missed writing here, and, more happily, of the kind of masterpiece I feel confident he will write in the future.”

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baden_baden_donath

Breaking Baden

Baden-Baden 1927 is the title Gotham Chamber Opera has given to its evening of four brief operas that premiered together at a festival in, yes, Baden-Baden on July 17, 1927.

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Sound please!

Magrets de canard

For our weekly meander through mendacity, we turn to no less than Gotham Chamber Opera’s own Neal Goren, who writes, “People repeat as fact that women ruin their voices, or at least sacrifice their high notes, by singing in chest voice. So untrue!”

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hija_2

Fleur du mal

Nathaniel Hawthorne, the repentant Puritan—that is, he repented that his family had once been Puritans—describes the voice of Rappaccini’s Daughter, Beatrice, as “rich as a tropical sunset, … which made Giovanni, though he knew not why, think of deep hues of purple or crimson and of perfumes heavily delectable.”

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completely_different

Different from the others

Those of you who so readily groan, “Oh, dear god, no, not another Carmen! Give it a bleeding rest!” (and you know who you are) may lose that long face, temporarily at least, when you hear the exotic repertoire promised by Gotham Chamber Opera next season.

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