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  • Feldmarschallin: People need to lighten up a bit here. Everything gets taken so seriously. Kruno has a... 1:43 PM
  • moi: 1:37 PM
  • Buster: Haitink conducts the Four Last Songs. He conducted so many singers in this (Janowitz, Söderström,... 1:04 PM
  • messa di voce: Agree about A-L. Every technical challenge is met, but the basic sound of the voice is just... 12:57 PM
  • antikitschychick: Yay looking forward to your report Lohengrin :-). Fidelia: I will! Probably after I finish... 12:50 PM
  • Fidelia: P.S. To Lohengrin, greetings to the charming older lady with the white hair whom we also met on... 12:43 PM
  • Fidelia: Lohengrin, I just sent you an SMS with my e-mail address. Let me know here if you don’t get... 12:42 PM
  • kennedet: Sorry, but this is a combination of ingratitude and arrogance, Krunoslav. Should Cieca have... 12:41 PM
  • luvtennis: I have heard the following live performances of the aria by Price: 1957 – San Francisco... 12:37 PM
  • Lohengrin: Fidelia, could it be possible to contact You outside parterre.com? 12:32 PM

Von Kopf bis Fuss

fussbudgetLa 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 »

The Player from Aquileia

Ildar Abdrazakov_attila“It is easy to understand why Mr. Muti admires Mr. Abdrazakov, his young, imposing Attila.” [NYT]

Le Mot du Jour, extramural edition

oh_snapOrdinarily La Cieca bestows the Wildean accolade upon a local cher pube. This time, though, she cannot resist praising one of the commentariat at Unpop!, Daniel Stephen Johnson‘s new project over at the New Haven Advocate. Read more »

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“L’etoile fait tout”

“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.

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Laughter to be short-lived

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.

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Man loves mullet

“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]

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Thus spake Tommasini

“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]

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Oh, I hate it when that happens

“…Mr. Sher may have done too much analysis of the work’s psychological subtexts.” [NYT]

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The Man with the Golden Ear

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. 

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Spoiler alert

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. 

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