Cher Public

  • Krunoslav: Guleghina in her debut performances that first season with Leonie was, however really good. Better vocally and linguistically... 3:52 PM
  • Krunoslav: Wow, Poor used Coates! 3:46 PM
  • PCally: Lucky you to have seen Mattila in that role during her prime. It’s ludicrous to me that the met decided to telecast the 1999... 3:45 PM
  • Krunoslav: I thought Susan Chilcott excellent on recordings and as Helena at the Met. Hard to imagine disposing of the weight for Liza,... 3:23 PM
  • Patrick Mack: Apparently she’ll be recording Tup-Tim’s Act I aria from King and I? 3:03 PM
  • JohninSeattle: I would like to express how AWESONE that Rondine flashmob clip was. That was great. If we keep art and artistic expression... 2:46 PM
  • m. croche: Wile E. Coyote, Batman costume, cliff wall. That’s all I got. 2:39 PM
  • Cocky Kurwenal: I have been lucky with my Lisas: Orla Boylan, Susan Chilcott (both prime Kruno-bait ripe for ridicule, but both genuinely... 2:18 PM

Angelina’s ashes

Beloved literary asshole Milan Kundera has a well-developed understanding of kitsch. “Kitsch,” he writes, as if on cue, “causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass!” Kitsch, I would clumsily add, is the second yuk. It says: how nice to be part of the laugh track.   Read more »

Hung up

What other company indeed but the Bayerische Staatsoper would commission David LaChapelle to photograph Diana Damrau for their portrait gallery? (And, not to put too fine a point on it, what’s the deal with the dead naked guy?) [Flaunt]

Fairy-lit

It was dear Oscar Wilde, wasn’t it, who devised that early mot du jour “Good writers borrow; great writers steal,” an aphorism that has since been borrowed by many. La Cieca will leave it up to the reader to decide whether the Handa Opera on Sydney Harbour production of La traviata ranks as a “good” or a “great” example of idea appropriation; meanwhile she will just sit back and marvel at Francesca Zambello‘s idea that setting Verdi’s opera on an comically oversized silver tea tray beneath an even more comically oversized chandelier might be considered “art” anywhere in the civilized world. (So shiny!) Read more »

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falling upward continues

Francesca Zambello (center), universally critically slammed for her production of The Little Mermaid, has been tapped as director of yet another musical, as if Little House on the Prairie and Rebecca are not enough to keep her busy.  She’s helming First Wives’ Club for a July opening at the Old Globe Theatre in Baltimore San Diego, with a Broadway bow contemplated in the fall. The good news is, the more musical theater Cesca directs, the less opera she gets her hands on. So La Cieca won’t complain.

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