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Cher Public

  • stevey: Hi Camille! :-) By all means, go with the Sills. Elisabetta is the one role which Sills herself said... 2:23 AM
  • guy pacifica: To me, Sills is the ultimate Elizabeth in Roberto Devereaux. But surely you know this, so this... 1:40 AM
  • Sempre liberal: I love the name Fritzi. Reminds me of Anna Kendrick’s character in Camp called Fritzi.... 12:42 AM
  • Guestoria Unpopularenka: Chere Camille, here’s something more unorthodox – Pendatchanska.... 12:36 AM
  • Quanto Painy Fakor: Finally, a better print of Pacific Overtures: httpv://www.youtub e.com/watch?v=M... 12:31 AM
  • Buster: Annette, das bezaubernde Fräulein, is how she is known in operettaland, Camille. 12:30 AM
  • Buster: Thanks for this interesting review Grimaldo! Enzo Bordello saw Dasch in this, I believe, and liked... 12:28 AM
  • louannd: I recently saw JDD in recital up in Santa Fe, and, she was, indeed, very chatty. The crowd ate it... 11:48 PM
  • Camille: Roberto Devereux recommendations, anyone? Thinking about Opera Rara’s version with Nelly... 11:41 PM
  • Camille: Sounds like something right up Buster’s alley! Maîtresse-en-titre is a wonderful phrase.... 11:10 PM

The Met: What is to be done?

Coming as Peter Gelb did from the music industry, opera lovers hoped that he would display a more distinctive knack for casting and an improved talent pipeline than Joe Volpe offered during the waning years of his tenure.   Read more »

Spring breakers

Alan Gordon has mass emailed AGMA again (this time, principal artists), and La Cieca’s got a copy of the missive. Read more »

The Met: Can it be saved?

Short answer: yes. But let’s begin by dismissing a blatant canard. One thing that the Metropolitan Opera does not need to do is to scale back the number of performances in a season.

The greater New York Metropolitan area has 20 million people. 54.3 million tourists visited New York City in 2013. Many millions of people attend theater performances in New York City each year. Those numbers suggest to me that with an astute artistic approach, enhancements to the experience of attending the Met, outreach, marketing, ticket pricing, and a more sensible budget, the Metropolitan Opera should be able to thrive while producing 200 or more performances per season.

So what, specifically, will bring an audience to the Met for all those performances? Read more »

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The Met: what’s really wrong?

The Met’s financial challenges are not meteorological, demographic, or cyclical; they are structural.

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Comprimarios begin at Calais

Fog lifts over channel

“When you read, and credit, the more feverish musings of the internet chatterati, there is some kind of British invasion storming the bastions of American opera.”

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Transparency

Opera Teen (pictured, second from left) is not kidding us: he had an interview with Peter Gelb.

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Encouraging young things to grow

La Cieca has reviewed the parterre circulation numbers and she is delighted and not a little perplexed to note that the day of the Great Opera News Kerfuffle provided our site with the highest number of pageviews in history.

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ENO is enough

The repertory for the upcoming season of the English National Opera (also known as “Peter Gelb‘s shopping list”) boasts the world premiere of a new opera by Philip Glass, The Perfect American, which imagines the last days of Walt Disney.

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Teaching moment

“After putting off for a week trying to make some sense of the horrific mess that is the Met’s new Faust, I’m finally just going to give up. There are some disasters that bear writing about as what you might call teaching opportunities: this season’s Don Giovanni, for example, as a cautionary tale about the perils of timid conservatism. But there’s nothing to be learned from this Faust besides, perhaps, ‘never hire Des McAnuff to direct another opera under any circumstances’.” [Musical America]

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