As was perhaps inevitable, Anna Netrebko is on the cusp of the Mildred Pierce phase of her career. The soprano talks about her plans to open a restaurant, her reasons for retiring Violetta from her repertoire, and her distaste for inflated ticket prices in an interview appearing in the German magazine Stern. Read more »
Lincoln Center’s Great Performers presents Diana Damrau on Saturday, December 10th, joined by Xavier de Maistre on harp, performing works by Debussy, Strauss, Fauré, and more. A regular at the Met Opera, Damrau has been called “a soprano of matchless intelligence” (Guardian).
“One of the greatest proponents of the German lied tradition” (New York Times), baritone Christian Gerhaher performs an all-Mahler program on Saturday, December 17th, featuring Gerold Huber on piano. The Telegraph calls him “the most moving singer in the world.”
Both performances are at Lincoln Center’s Alice Tully Hall.
Well, the first thing La Cieca will say about the Met’s 125th Anniversary Gala is that for all its sprawling splendor it doesn’t look quite what you’d call entertaining. Or rather let’s say it looks as if it won’t sound very entertaining. The visual element — you know, computer-animated Marc Chagall murals and Waltraud Meier prancing about in a copy of Rosa Ponselle‘s Carmen drag — will likely achieve a level of instant camp approaching that of Rosie O’Donnell‘s variety show last night. (La Cieca had no room for the phrase in the previous run-on sentence, but, anyway, good old […]
La Cieca has removed the image of the Royal Opera’s Rigoletto production (you know, the one starring Juan Pablo di Pace and his amazing disappearing dick) from parterre.com in response to an email from the copyright owner of that photo, ArenaPAL.
Do any of you out there ever wonder exactly what it is an “Artistic Administrator” does — I mean, besides collecting an annual salary and refusing to hear auditions? Well, finally La Cieca has uncovered at least part of the job description. An Artistic Administrator (for example, Diane Zola of the Houston Grand Opera) is a sort of lackey to the lawyers who run the opera company, assigned to such busywork as writing threatening letters to poor powerless bloggers like La Cieca:
The New York Post‘s Clive Barnes is going to blush beet-red when he hears from the publicists (or the lawyers) who handle Placido Domingo. In a review of the Met’s Rigoletto, Barnes refers to PD as “the 72-year-old tenor.” Domingo admits to 65, though some gossips have long sniped that this figure doesn’t add up with the dates of his earliest documented performances. (La Cieca might as well say right now that there are even a few Placidophobes out there who would add, “and they got the ‘tenor’ part wrong too,” but she’s not even going to go near there.) […]
Vivaldi’s Motezuma, the opera that refuses to die, will grace the boards after all, says an article by Paul Moor at Musicalamerica.com. A court in Duesseldorf has held that the Altstadtherbst Festival in that city may stage the piece, regardless of a previous injunction against performances filed by the “copyright owner,” the Berliner Sing-Akademie. (The court apparently regarded the case as rather urgent, since it took the unusual step of calling an Eilverfahren, a type of expedited hearing, to settle the matter.) This is an interesting legal problem. The Sing-Akademie claims copyright under a German law that an ancient work […]
La Cieca has to say she is just plain appalled at the turn of events in the Opera Barga / Motezuma fracas. Not that she’s any particular fan of Vivaldi opera, but the behavior of the officials at the Berlin Sing-Akademie (who claim copyright ownership of this 270-year-old opera) strikes her as unartistic and just plain nasty. The Sing-Akademie basically stumbled over a manuscript containing something over half the opera. They then published the Motezuma torso online, which under German law apparently grants them a 25-year copyright. Well, the law is the law, even when the law is an ass, […]