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Cher Public

  • mercadante: Actually sounds like an extremely positive review of cast grand production allowing for eventual... 12:13 PM
  • MontyNostry: The Puccini album Pieczonka made a few years ago certainly sounded like Ariadne auf the wrong... 12:00 PM
  • armerjacquino: It’s also to do with government support, both financially and in the sale of arms. Yes,... 11:53 AM
  • kashania: I think the answer to this is quite simple. The Met is the largest and most high-profile... 11:51 AM
  • kashania: I was in London a few weeks ago and in Paris two years ago. From neither trip did I return to with... 11:43 AM
  • Daniel: “Arafat — one of the worst murderers in history.” As usual, you go for effect over... 11:30 AM
  • kashania: And Pieczonka has steadily improved in the Italian rep. She used to be one of those... 11:08 AM
  • manou: Teatro alla Scala ?@teatroallascala Matthew Polenzani sostituisce @TenorKaufmann nel Requiem di Verdi... 11:02 AM
  • kashania: Thanks, Peter! 10:55 AM
  • peter: I was referring to her Ariadne. 10:54 AM

Barber on the verge of a nervous breakdown

It’s a romance but it’s not all about love. It’s a comedy but not everyone’s laughing. It’s a place where the one thing you can expect is the unexpected. The place is… Philadelphia?   Read more »

The lady’s a star

I just arrived back from Stella di Napoli’s. No, not an Italian bistro in the suburbs, but rather the title given to celebrated mezzo-soprano Joyce DiDonato’s recital programme of rare bel canto gems.   Read more »

When I have sung my songs

Soprano Renée Fleming is certainly making the role of the Countess in Richard Strauss’s final opera Capriccio the focus of her late-career years.  After her Met run in 2010, she has made various stops in the role, including this 2013 Wiener Staatsoper production, released by Unitel Classica and directed for video by Brian Large, and she will bring her Countess to Chicago and Dresden in the coming months.  The role certainly suits her natural elegance and charm, and sits well in her current vocal estate.  Read more »

alcina

About last night

For those who like their Handel loud, with no forfeit of baroque finesse, one promising solution is to make the hall smaller.

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Norma San Francisco

Running, jumping, or burning Gaul

Far be it from me to join the Schadenfreudian chorus of “Bye, Bye, Berti!” you may have been hearing in certain quarters, but the first thing I am duty-bound to report about San Francisco Opera’s Norma (of which three performances remain) is that they’ve hit the jackpot, coverwise.

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Ermonla Jaho

Three nights in Paris

“Oh to be young and going to Paris for the first time,” exclaimed an elderly gentleman who donned his best sweatervest for a concert at the Ottawa International Chamber Music Festival this past August.

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giovanni_macerata

Juan and two

I always think of Don Giovanni as half of the greatest opera ever written. Or, actually, about 2/3 of the greatest opera ever written.

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rusalka_amazon

The dark side of the moon

After viewing Stefan Herheim’s production of Rusalka, I’ve got a new category: “regie slick.”

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tote_stadt

In Bruges

They say that Boston, despite many cultural distinctions, ain’t no opera town, and for some decades—generations?—this has been true. But tides of change will break, even on the shores of the Hub.

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parsifal_amazon

Speer pressure

One of the things that made François Girard’s 2013 production of Parsifal at the Met so compelling was the way he tried to make the tale of suffering and temptation relevant to a contemporary audience.

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