“At a time of life when most opera singers can barely remember their glory days, 70-year-old Placido Domingo is still giving performances singers half his age could be proud of.” Our Own JJ‘s latest review is a love letter to the Met’s revival of Iphigénie en Tauride. [New York Post]
It was while attending a performance of Fédora in Naples in 1885 that eighteen year-old Umberto Giordano fell in love with Sardou’s then immensely popular play; the protagonist was none other than Sarah Bernhardt, the creator of the title role.
He immediately asked the French dramatist to sell him the rights, a request Sardou did not even take into consideration. After the composer scored modest successes with Marina, Mala vita and Regina Diaz, Sardou seemed almost persuaded to relent, although the publisher Sonzogno considered the author’s financial demands too excessive. Only after the triumph of Andrea Chénier did Sardou and Sonzogno come to an agreement, and Giordano was finally able to devote himself to his long-awaited project. Read more »
“’Voice’ is a feminine noun is Spanish, and therefore, must be treated with love and attention, like a woman. This is where the secret lies.” [PanArmenian.net]
“This company premiere features an outstanding cast led by soprano Patricia Racette, ‘the consummate singing actress’ (Chicago Tribune).” [Washington National Opera]
La Cieca hears that Placido (“Simon Boccanegra is the only baritone role I’m interested in singing”) Domingo is going to expand his repertoire yet again, to Athanaël in Thaïs, sometime in 2012. The role after that, La Cieca hears, will be eponymous, but as of now the title is known to only a few chosen people.
Placido Domingo will not renew his Washington National Opera contract when it expires in June 2011. Anne Midgette has the story! [Washington Post]
Now, don’t you go thinking that Peter Gelb doesn’t listen to his public, which intersects quite steeply, of course, with the cher public. For instance, just the other day La Cieca and a couple of others were lamenting that opera has lost some of it mad silly gay folie lately. Lo and behold, today it appears that Met is putting together what looks to be the mad silly gay camp highlight of the 2011-2012 season, a baroque pastiche called The Enchanted Island.
It looks like the Washington National Opera is going to be absorbed by the John F. Kennedy Center for the Performing Arts. [Wall Street Journal]