Cher Public

  • Lurker_del_Cairo: The entire Solti Ring documentary used to be on utube but alas, gone, along with the clip where they surprise Nilsson... 6:54 PM
  • La Cieca: Enjoy your time on moderation, you ridiculous coot. 6:51 PM
  • phoenix: Obviously, the powers that be at parterre.com are enjoying their bank holiday weekend with nimiety distracting enough for them to... 5:44 PM
  • Bluebeard: Totally agree regarding more DVDs from Munich. Their live streams are a treat, and I try to watch them whenever my... 5:37 PM
  • Mountaine: My friend and I were sitting in the upper balcony. Although the orchestra playing was wonderfully LOUD and FULL up there, and... 2:12 PM
  • kashania: PCally: Indeed. Whenever Gelb speaks publicly about Levine, he bows at his altar. 2:07 PM
  • PCally: Not to mention almost literally every interview gelb has given about the subject where he expressed his joy and enthusiasm (more... 1:46 PM
  • kashania: There is no question that the Met as an organization has shown very little ‘Levine’ fan-fare. The HD broadcasts, whether they... 12:01 PM

Roberto Devereux: Tragedy Mirrored

Devereux Leyla GencerBy the time Roberto Devereux saw its premiere at Napoli’s Teatro San Carlo on 29 October, 1837, Gaetano Donizetti had lost, in an 18-month time frame, both his parents, two still-born children, and his beloved wife Virginia. (Ten years later, the unfortunate composer, after a gradual descent into madness, met a grisly end, from complications of syphilis.) The opera was completed a month after his wife’s death. We can scarcely imagine how the composer, in his grief, summoned up the means to create an opera—and one that so often teems with his richest levels of inspiration.  Read more »

“I felt the hand of Death”

Oddly enough, Eva Marton‘s interpretation of the Kostelnicka (pictured) goes unmentioned in Issue #38, perhaps because this time around, parterre box the queer opera zine is stuffed to the gills with some of the edgiest content in its history. After leading off with a completely inaccurate gossip item about Sam Ramey, your doyenne discusses Glimmerglass Opera; Gertie Dammerung travels to Munich and Bayreuth; Dr. Repertoire muses on Marta Eggerth, MTV and Carlo Bergonzi; Leila de Lakmé appreciates Leyla Gencer; and, bestest of all, Opera Snooze! [Download Issue #38]

Normative

La Cieca is sort of out of words trying to describe what makes a great performance of the role of Norma, as opposed to the conscientious traversal of the notes that, curiously, seems to inspire such absurdly hyperbolic statements as “The role has been a magnet for many great sopranos—Ponselle, Milanov, Callas, Sutherland, to name a few—and after last night Radvanovksy can add her name to the list.”

Thus your doyenne now graciously offers an audio example of “greatness,” including ferocity of attack, nobility of fraseggio, crisp rhythm and expressive use of the text… following the jump.   Read more »

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double dip of donizetti

On tonight’s episode of Unnatural Acts of Opera, we hear the second act of Donizetti’s Belisario. But we won’t hear Leyla Gencer during this act, as her character remains offstage for the duration. However, La Cieca has added an extra act of Donizetti (with la Gencer onstage the whole time!) as bonus. Hear it after the jump.

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