Headshot of La Cieca

Cher Public

  • Poison Ivy: Here’s the ovations on youtube. It does sound like there was some small but persistent... 7:51 PM
  • jd: I was there and I loved it! Damrau was especially good as was Christian Gerhaher, the baritone. Big... 7:43 PM
  • Rackon: Wish I had been there – it *is* one of my favorite requiems, both to sing and to hear. 7:40 PM
  • Milady DeWinter: Sweetie, from your mouth to God’s ear : Anna, come save AIda! I totally agree that she... 6:21 PM
  • calaf47: Yes…a very exciting evening in every way…with the “second̶ 1; cast and... 6:18 PM
  • Lindoro Almaviva: While I am at it, why not Larmore or Sonia Ganassi? They are moving to heavier Rep with... 6:05 PM
  • Lindoro Almaviva: I think Vesselina Kassarova used to do the role and she sounded pretty ferocious in it.... 5:58 PM
  • Uncle Kvetch: I saw it 10 days later, on Halloween. The Pamina that night was Miah Persson, and Toby Spence... 5:27 PM
  • antikitschychick: best of luck to you on your business travails Sanford :-). 5:11 PM
  • antikitschychick: yes Aida does require a lot of stamina…only singers with great technique can get... 5:09 PM

“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]