La Cieca is delighted to begin a new series on parterre.com dedicated to the fretting, brooding and dithering of the Wazier of the Worriers, Anthony Tommasini. Our first examples (of many) follow the jump. Read more »
“It is easy to understand why Mr. Muti admires Mr. Abdrazakov, his young, imposing Attila.” [NYT]
“Maybe this bold staging was a little overwrought. But when you have Ms. Garanca as Carmen, why not?” Anthony Tommasini offers an object lesson in the art of Criticism as Starfucking.
Enjoy your mockery while you can, cher public. The New York Times has decided they are going to start charging for content “in early 2011.” So, in a year or so, you won’t have Tony Tommasini to kick around any more.
“And the news of this revival of Franco Zeffirelli’s opulent production continues to be the exciting work of the young Latvian conductor Andris Nelsons, who searches out the modernist touches in Puccini’s final work.” [NYT]
“I will have more to say on this question later.” So, three weeks ago, Anthony Tommasini left open the subject of how “[n]one of the versions of [Les Contes d'Hoffmann] that have appeared over the years, some of them corrupted, can be said to be authentic.” The Times scribe has at last broken his silence, though La Cieca will leave it up to the reader to decide whether he actually has “more to say.” [NYT]
“…Mr. Sher may have done too much analysis of the work’s psychological subtexts.” [NYT]
The amazing acute hearing of Anthony Tommasini detects an improvement in the acoustic of that place they used to call the New York State Theater, in fact, he’s willing to commit that the sound is “considerably better than it used to be.” Which is pretty fucking impressive, considering that the last time TT heard an “unenhanced” opera performance in that space was more than 10 years ago.
Cher public, if you plan to see the Met’s production of From the House of the Dead (and you might as well know that she expects you move heaven and earth to do so!), La Cieca urges and entreats that you avoid reading Anthony Tommasini‘s review of the production in tomorrow’s New York Times.