Headshot of La Cieca

Cher Public

  • LT: I’ve heard Favero’s Adriana on YT and no way today you would be raving about her if she sang... 9:09 PM
  • Poison Ivy: La mamma morta was good but this was not. I think it’s rather “pitchy̶ 1;:... 8:57 PM
  • zinka: YOU need to run the MET..La Cieca can be an usher….. you write (like James) so beautifullyR... 6:58 PM
  • zinka: Hi>>I am not saying that singers today cannot be superb..BUT who has the “Muzio... 6:56 PM
  • antikitschychick: Don’t know that she necessarily chose him…perhaps he was the most qualified to... 6:40 PM
  • antikitschychick: How wonderful to hear she was so nice and down to earth :-) thanks for sharing your lovely... 6:35 PM
  • antikitschychick: Ivy you’re probably right about the total devotion thing (as you’ve... 6:30 PM
  • SilvestriWoman: I only met her briefly, but Freni was as down to earth as can be. As I waited for a coaching... 6:24 PM
  • Camille: Gracias, NPW. Very interesting to hear Mo. Biondi had this to say in re Vivaldi and helps me a... 6:19 PM
  • veal seduttore: The Kaufmann Ferrando is astonishing, not only for how good it is, but how unrecognizable his... 6:19 PM

ENO is enough

The repertory for the 2012-2013 season of the English National Opera (also known as “Peter Gelb‘s shopping list”) boasts the premiere of a new opera by Philip Glass, The Perfect American, which imagines the last days of Walt Disney. It’s a co-production with Madrid’s Teatro Real and stars bass Christopher Purves as the legendary filmmaker. The company’s program also features nine new productions, including stagings by Peter Konwitschny, Calixto Bieito, David McVicar and Richard Jones. [the arts desk]