Headshot of La Cieca

Cher Public

  • overstimmelated: There were comments on the amplification and balance by tancredipasero in another thread... 2:40 PM
  • laddie: Paul Curran has done several productions at Santa Fe Opera, three of which I have seen, the best... 2:39 PM
  • bluecabochon: There are enormous speakers on either side of the Met’s proscenium for all to see, fwiw. 2:23 PM
  • rapt: Wow! Thanks so much for posting this truly illuminating– ;and touching, I think–articl e. 2:12 PM
  • La Valkyrietta: To illustrate the phrase “from the ridiculous to the sublime”. httpv://www.you... 1:41 PM
  • Vittelio Scarpia: Paul Curran, the director who will stage the new “La donna del lago” next year... 1:37 PM
  • La Valkyrietta: Dabrowski, Your question, “Is the Wagner “heavier” and appropriate only for dramatic... 1:32 PM
  • armerjacquino: Not sure ‘crossover&# 8217; is the right word. She performs all kinds of music but her... 1:31 PM
  • Hippolyte: The couple of times I’ve heard Jagde I thought he was monotonously loud and lacking in... 12:22 PM
  • la vociaccia: Correction: That crossover soprano they had playing the British dancer with the halter top... 11:49 AM

“Where was Liam Joshua?”

“Anyone looking for orgiastic obscenity in Calixto Bieito‘s production of Carmen at the London Coliseum, will be bitterly disappointed, writes Rupert Christiansen.” [The Telegraph]

Reader, I shagged him

Deborah Orr (“one of Britain’s leading social and political commentators”) doesn’t know much about opera, but she does know she prefers opera to al fresco gay sex. At least I think that’s what she’s talking about in The Guardian.

Vicar aghast at codswallop

fatherjackto7

“Italian opera has never been more popular. It has also never been in greater need of Italian voices. No matter how good the alternatives, a home-grown voice, properly schooled, transforms the sound of Verdi. It is not just the diction or timbre. It is the tradition . . . . Nicholas Hytner’s staging … remains earthbound. Why is it that successive National Theatre directors, upon entering the Royal Opera House, automatically capitulate to operatic convention?” [Financial Times]