Cher Public

  • Feldmarschallin: When the tickets were sold it was originally 19.30 then Bachler changed the time to 20.30. I got rid of my ticket after... 7:37 AM
  • armerjacquino: You do hear people say it though, that’s the scary bit. 7:07 AM
  • manou: It seems obvious that DeepSouthSenior has a DeepTongueInCheek. 6:51 AM
  • armerjacquino: What a smashing programme. I wonder what else was performed? There must have been more, surely, otherwise it would have... 6:49 AM
  • armerjacquino: Unless you were joking, in which case… scarily accurate. 6:14 AM
  • armerjacquino: Firstly: how do you expect all these people working for free to be able to eat? Secondly: I don’t see what’s so... 6:02 AM
  • ML: Seems like it could awaken the lawyers, if Universal chose to get nasty. 3:47 AM
  • ML: Interesting comparison. 3:43 AM

Chest voice

bubble_shirtLa Cieca is delighted to announce the latest addition to the parterre collection at La Cieca’s Boutique: the Bubble Graph Tee. Wear your diva quantification with pride in 100% cotton, and as you walk away, they’ll know you’re a fan of parterre box. (Which is probably the best time to let that sort of information slip out anyway.) A closeup of the front design after the jump. Read more »

The Quantification of the Diva: Upon Reflection

Photo: Ken Howard/Metropolitan Opera“Mirror, mirror on the wall, who are the greatest divas (Classic and Contemporary) of them all?”

And the mirror replied, “I’ll tell you right after the jump!” Read more »

The Quantification of the Diva: Part the Fourth

Photo: © Clive Barda/Royal OperaAs we launch into the fourth and final movement of our étude, La Cieca asks the musical question, “Can a Contemporary Diva achieve Grandezza, or, for that matter, Drag Imitability?” Let’s see what the numbers tell us.  Read more »

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The Quantification of the Diva: Part the Third

And now, cher public, let’s put today’s singers, the Contemporary Divas, under the microscope. How do they stack up?

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The Quantification of the Diva: Part the Second

La Cieca continues to apply the Kang Method to the dozen divas of the Classic mode. This time, our five criteria for diva status offer fewer total points, but the difficulty level remains the same. Especially for Renata Scotto.

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The Quantification of the Diva: Part the First

We begin our Kang Method statistical analysis of That Which is Called Diva with a dozen Classic Divas:  Hildegard Behrens, Montserrat Caballé, Régine Crespin, Mirella Freni, Marilyn Horne, Christa Ludwig, Jessye Norman, Leontyne Price, Leonie Rysanek, Renata Scotto, Joan Sutherland and Tatiana Troyanos, henceforth called by first name or nickname as applicable. Our first report will examine the five “major” qualities of diva.

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Prelude to the Quantification of the Diva

La Cieca is delighted to announce a week-long series of investigative reports deciding once and for all the question “Who is the greatest opera diva of our generation?”

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