Headshot of La Cieca

Cher Public

  • Bill: PCally – as far as I understood it Zefferelli sometimes concentrated more on the extras (young... 11:08 AM
  • RosinaLeckermaul: I saw a TOSCA at the Deutsche Oper in Berlin a few weeks ago that was as traditional as... 11:05 AM
  • Porgy Amor: The Schenk Rusalka has had its last showing at the Met, though, hasn’t it? I had read... 11:04 AM
  • La Cieca: I would say it’s more a matter of the colors of the set fading, eventually to a sort of... 10:40 AM
  • turings: Sure – I just think any revival needs a good director and reasonable rehearsal time. There’s... 10:38 AM
  • DeepSouthSenior: After a few days absent from Parterre, I’m glad that I visited this discussion first.... 10:37 AM
  • PCally: Your comment only highlights the problem with classic productions. La Cieca say that “the... 10:14 AM
  • PCally: Your first statement was that Tosca was not “very 1980s au contraire, it replicates the Rome of June... 10:09 AM
  • Ilka Saro: I agree with Hans Lick here. But to me, the point isn’t about audibility, but about scale.... 9:45 AM
  • Bill: Hippolyte – I agree with you. I never have had trouble hearing any singer in the new Met no... 8:18 AM

The ladies who liaise

stritch_armfeltOur own JJ (not pictured) revisits A Little Night Music, and who should be inhabiting that chateau extravagantly overstaffed but Elaine Stritch? [Capital New York]

Cold cassia files

Ken Howard / Metropolitan Opera“Carmen, opera’s favorite bad girl, is sexy, unpredictable and fascinating — everything the Met’s new production of Bizet’s Carmen is not.” [NYP]

Amuse-bouche

Philip Langridge as the Witch in "Hansel and Gretel". Photo:  Ken Howard/Metropolitan Opera“It’s no spoiler to reveal that, at the end of Hansel and Gretel, the kids defeat the witch. In the Met’s production of Humperdinck’s fairy-tale opera, the singers of the title roles steal the show, as well.” [NY POST] Read more »

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Last soprano standing

“As for Elektra — one of the most strenuous of opera roles — the Met seemed to have settled for a singer who could survive the ordeal.”  [NY Post]

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Wanting magic

“As the Met chorus raised their voices at the climax of Les Contes d’Hoffmann Thursday night, the tavern setting opened up, revealing … a gray wall. It was a sadly appropriate visual symbol for a glamour-deprived dud of a new production.” [NY Post]

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And I am telling you I am not belting

“Since the 1918 premiere of Puccini’s Il Trittico, only two divas at the Met dared to sing the leading roles in all three of its one-act operas: Renata Scotto, a supreme vocal stylist, and Teresa Stratas, a magnetic singing actress. On Friday, Patricia Racette, who is not quite either of these things, took the plunge.” [NY Post]

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Perfection

Our JJ writes his rave of raves: “If such a thing as perfection in opera is possible, in this House of the Dead, the Met achieves it.” [NY Post]

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From the House of the Gelb

Our Own JJ interviews the Met’s general manager Peter Gelb in today’s New York Post.

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Breakfast

“Beefcake and hamantaschen may seem an odd menu, but in the New York City Opera’s first season in two years, they somehow make a balanced meal.” [NY Post]

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Smokey and the Pundit

Our publisher JJ will grace the airwaves of WNYC this afternoon at 2:00 PM for an appearance on Soundcheck.  The topic is that one on everyone’s mind right now, the renascent New York City Opera.

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