Cher Public

  • Feldmarschallin: Yoncheva is Bulgarian not Russian. Some of her fellow countrymen are Welitsch, Tomowa-Sintow and Christoff. In her... 7:00 AM
  • NPW-Paris: Would anyone really be drawn to an opera just because there were singers of their own nationality in it? 6:52 AM
  • Rowna: Thank you Batty! I loved the song, and could even understand a bit, with a reference to Tristan in there. Of course this kind of... 6:42 AM
  • manou: Hello Ciccia – many thanks for that. We shall have Netrebko, Tézier and Alvarez. It does look pretty precarious, I must say... 4:27 AM
  • Cicciabella: OT, but manou, this is for you, the DNO Trovatore trailer, by Alex of the Fura, the production you will see in Paris. A... 3:34 AM
  • Timur de Morte: Your statement about Russian singers is quite unfair to, among others, Olga Borodina, Ekaterina Semanchuk, Sonya... 11:57 PM
  • Camille: Oops sorry. I got so excited I sent this twice. Can’t wait to read it! Un bacio ancora! Un’altra!! 11:28 PM
  • LT: Christians do not follow any dietary (or dress, lifestyle, etc)rules as those were “cancelled&# 8221; by Jesus and the New... 11:17 PM

Man of steel

“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement: a performance of Verdi’s 1853 spellbinder to rank with one’s rosiest recollections of past glories, in combination with a poignant human story that left both cast and audience dissolved in tears.” [New York Observer]

Don’t axe me why

Conceived to showcase homegrown star soprano Sondra Radvanovsky, the Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.   Read more »

Everything’s coming up Jamie

Mezzo-of-the-moment Jamie Barton’s future Met assignments include “Jezibaba in a new production of Dvorak’s Rusalka and Fenena in Verdi’s Nabucco . . . [and] a revival of Norma in 2017-18. Perhaps most exciting, for Bartonites and Wagnerians alike, is the news that she will be Fricka when the Ring cycle returns to the Met in 2018-19.” [New York Times]

Jamie Barton

The winner’s tale

In a decision La Cieca doesn’t think anybody is going to dispute, the Richard Tucker Foundation has named mezzo-soprano Jamie Barton their 2015 award winner.

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Anna Bolena

Let’s make it regal

Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.

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Norma San Francisco

Running, jumping, or burning Gaul

Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.

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Roman holiday

Big changes in San Francisco’s Norma.

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El Barto

The virgin Einspring

Jamie Barton will make her San Francisco Opera debut as Adalgisa in Norma for five of the opera’s seven performances on September 5, 10, 14, 27 and 30. Ms. Barton replaces Daveda Karanas, who has withdrawn from the production for personal reasons.

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The Met: What is to be done?

Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.

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You don’t have to be Druids to love it

“The Met’s production, originally directed by John Copley, is still a hideous, confusing mess. But with Ms. Meade and Ms. Barton acting with moving subtlety, singing generously and feeling deeply, it was hard to care.”

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