Headshot of La Cieca

Cher Public

  • WindyCityOperaman: If it wasn’t for the Sullivan show, a lot of short-lived musicals would have never... 10:32 AM
  • la vociaccia: I don’t know what’s more depressing; the fact that you don’t realize how... 10:30 AM
  • messa di voce: “Pia Zadora screwing up the choreography” ; As opposed to screwing the producer? 9:49 AM
  • armerjacquino: It’s surprising that Bob Merrill is only really remembered as a lyricist now- he really... 6:58 AM
  • Constantine A. Papas: She meant to say that she was the only “pompousR 21; Afro-American soprano to... 2:49 AM
  • davenport: Not really what I would call a thrashing – but then this is what most people were hoping... 2:41 AM
  • La Cieca: This is one of my all-time favorite Broadway moments, and Alice Playten DEFINES star quality.... 12:39 AM
  • mia apulia: it is inspiring bronzino, that there are no “minority artists” for you–or... 12:39 AM
  • Krunoslav: Brava Alice Playten. As Alice Plotkin, she created the role of the child in the Met’s first... 12:39 AM
  • mia apulia: sh, phoenix, I remember Ella Lee very well from a wonderful recital, but I never got to hear her... 12:36 AM

Breaking dawn

When Giuseppe Filianoti isn’t busy being one of the world’s more versatile tenors (as he will be next season at the Met, headlining La rondine and La clemenza di Tito), he plays detective. The latest target of his crafty Calabrian grey cells is the score to Francesco Cilèa’s L’Arlesiana, which he will perform in concert next week at Theater Freiburg, and in typically tenorial fashion, his discovery involves a “lost” aria for his character of Federico. Read more »