Headshot of La Cieca

Cher Public

  • messa di voce: Thank you, La Cieca. I stand by my contention that Gelb, though he has had his bombs, has also... 7:59 AM
  • Often admonished: Yes. There are some large voices where one’s immediate reaction is WOA and you want... 7:55 AM
  • imhere: Union labor, as a percentage of expenditures, is actually lower under Peter than it was under Joe... 7:55 AM
  • jrance: Stoyanova sounded gorgeous ten years ago but the Met Desdemona (2013) showed an unpleasant widening... 7:55 AM
  • oedipe: According to a French opera forum, Die Welt gave the following info about the 2017 Bayreuth... 7:55 AM
  • Feldmarschallin: I believe Groissböck who is about 38 now will be the Sachs. She will be singing her first... 7:43 AM
  • PetertheModest: Why did Zeffirelli refuse to direct Meier ? She was not that awful as Carmen, though she was... 7:38 AM
  • Cocky Kurwenal: Herlitzius has a large voice by any standard. 7:16 AM
  • WindyCityOperaman: Born on this day in 1906 bass Gottlob Frick httpv://www.youtub e.com/watch?v=1pzn PP19LPY... 6:50 AM
  • sdika: Stoyanova was amazing in Un Ballo in San Diego with great stage presence. Was surprised how good of an... 6:45 AM

Feline AIDS continues unabated

“[J]udging singers in their 20s is truly difficult, especially with so much at stake for the finalists, including a $15,000 cash prize for each winner. Comparably gifted pianists in their 20s are much more likely to be technically assured and finished performers. Operatic voices, though, need long nurturing. Most young singers are still working out elements of their technique. Inevitably, the judges for these auditions are assessing the potential of the finalists as much as their actual performances. Moreover, as was made clear by the documentary film ‘The Audition,’ which followed the last round of the 2007 competition, performing in this concert could not be more high-pressure.” [Need You Ask?]

Oh my God, Opera, you look amazing!

Lady Jane Grey“A cover article this weekend about choosing the Top 10 classical composers misstates, at one point, the length of time that opera had existed as of 1750, when Bach died. As the article correctly conveys in other references, opera had been around for roughly 150 years then, not ‘a half-century’.” La Cieca is sure the article’s author, Anthony Tommasini, 162, regrets the error. [NYT]

La marguerite a fermé sa corolle

alagna_keenlyside“…whenever he was joined by the baritone Simon Keenlyside, who sang Rodrigo, the Marquis of Posa and Carlo’s devoted friend, Mr. Alagna opened up in every way.”

Well, wouldn’t you? [NYT]

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In the beginning

“Enrolled at the Manhattan School of Music, Mr. Jovanovich also began taking paying jobs around town. His first mention in The New York Times came in a 1996 review of the New York Gilbert and Sullivan Players in The Gondoliers at Symphony Space. Anthony Tommasini noted Mr. Jovanovich’s bright voice and strapping physique…” [NYT]

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What happens in San Francisco stays in San Francisco

“It is in the Wagner repertory that Ms. Brewer has truly frustrated her fans. She has sung Isolde magnificently, though so far only in the Los Angeles Philharmonic’s ‘Tristan Project,’ which used Bill Viola’s videos, while Ms. Brewer and the other lead singers performed as in a concert, with music stands and vocal scores.” [NYT]

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Together wherever we go

La Cieca must say that, for a chick, Katharina Wagner sure doesn’t talk much. But perhaps her reticence is something of a blessing, since it prevents her from spouting such facile generalizations as “…’Die Meistersinger,’ Hitler’s favorite Wagner opera.”  

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Spinning chorus

“Her gal-pal friends play with what look like the tails of exotic serpents and keep huge spiders as pets. I was not exactly sure what this all meant. Still, the kids squealed with delight.” No more delighted than La Cieca was when she realized that Katharina Wagner has finally caught up to Mary Zimmerman in the use of oversized arachnidae in operatic Regie! [NY Times]

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Hingegeben war ich stumm

“A tousle-haired and radiant young man called Ein Gast… appears” [NY Times]

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Who criticizes the critics?

See, La Cieca thinks Brian Kellow is asking for trouble when, in the second paragraph of his analysis of last March’s Slatkinshchina, he admits, “I did not attend the March 29 opening-night performance of La Traviata, nor did I listen to it on Sirius Radio.”  

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Need you ask? Need you tell?

“Exciting! Indomitable! Alluring! Rigid! Enormous! Pulsing! Penetrating! Riveting! The public shame of being flogged! Aching tenderness!” [NYT]

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