Cher Public

  • armerjacquino: I think, as ever, it depends on the director. In that Salzburg BOHEME she was genuinely remarkable as an actor- maybe the... 6:52 PM
  • Signor Bruschino: I completely agree- dreadful conducting. And when he was conducting South Pacific, during the dialogue scenes, he would... 6:34 PM
  • RosinaLeckermaul: Yes, rewriting classics was typical in the Restoration. Shakespeare was considered a genius, but one who needed editing... 6:07 PM
  • la vociaccia: I thought Sperling’s conducting in THE KING AND I was dreadful; rushed, shallow and completely without sweep or... 5:44 PM
  • JohninSeattle: So, they *added* to a universally known and beloved work? I know that Romeo and Juliet (and even King Lear) were routinely... 5:33 PM
  • phoenix: kash, sorry about the mistaken identity – Baba was talking about Anna but I found his description suited Angela (and Anna)... 5:01 PM
  • mandryka: I noticed that KJ has a gig coming up at the Cafe Carlyle , usually a fairly sophisticated venue. It was the home of Bobby Short... 4:51 PM
  • Lady Abbado: Just noticed…on this day 11 years ago Angie was in great form singing for Queen Beatrix’ Silver Jubilee:... 4:38 PM

Apocalyptic post

“We are all interested in the future, for that is where you and I are going to spend the rest of our lives.” So intoned The Amazing Criswell at the beginning of Plan 9 from Outer Space, and in this, as in so many other things, the celebrated psychic was right. Where will you, the cher public, spend the future? Let us ponder that question after the jump.   Read more »

Return of the king

Fifteen years after his first parterre box interview, that criterion of countertenors David Daniels speaks of Oscar Wilde, Marilyn Horne, marriage and political art. Read more »

“Ecco la luce…”

That day we all knew eventually would come did come, in the winter of 2001, when the final issue of parterre box, the queer opera zine was mailed out to the cher public, such as they were at the time. La Cieca is happy to recall that we went out in gala fashion, though, with an in-depth interview with James McCourt, parting rants from stalwarts Enzo Bordello and Dawn Fatale, an imaginary farewell concert and a mediocre Sondheim parody. As dear William Shakespeare once remarked, “Nothing in his life became him like the leaving it,” and so, your doyenne hopes, the late zine will leave you with a fond memory or two. [Download Issue #48]

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“Senza rancor”

The winds of change sweep across the first post-9/11 issue of parterre box, the queer opera zine.

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Spunk

In issue #46 of parterre box the queer opera zine (“Spunk”), you will find an endorsement by the legendary Astrid Varnay.

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A Life in the Theater

Devotees of Dawn Fatale (and you are legion!) will be delighted to hear that the parterre scribe made an early (2001!) appearance in issue #45 of parterre box, the queer opera zine, ranting about the “squish-squish school of opera direction.”

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Less than Zarah

In a slight detour from the usual all-opera-all-the-time format of parterre box, the queer opera zine, issue #44 centers on Ben Letzler‘s superb appreciation of film and cabaret diva Zarah Leander.

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Marc Two

Issue #43 of parterre box, the queer opera zine is called “Marc Two” in honor of dramatic soprano Alessandra Marc, subject of an interview with Our Own JJ.

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City of dreams

With issue #42a, “City of Dreams,” parterre box the queer opera zine returns at least temporarily to a rational numbering system.

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Recklessly passionate

Before you ask, cher public, there is no Issue #41 of parterre box, the queer opera zine, or, rather, this issue, #42 is the 41st.

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