Headshot of La Cieca

Cher Public

  • pasavant: Great review. How can I keep from confusing Michael Fabiano and Stephen Costello? I keep getting... 3:09 PM
  • WindyCityOperaman: You are welcom, my dear Tatiana, but I cannot claim full credit for this. It is La Cieca... 2:56 PM
  • Will: Yes, a review that gives the reader a real sense of the kind of excitement that must have been going on... 2:53 PM
  • MontyNostry: The set for that Trovatore was fabulous, though! 2:52 PM
  • diva2themax: Yeah last week was pretty special at the Met nothing like standard repertoire performed w/... 2:52 PM
  • MontyNostry: I heard an interesting view from a young soprano who has had some success in La traviata and she... 2:51 PM
  • MontyNostry: That was definitely the low-point of the Konwitschny production, which I thought worked pretty... 2:48 PM
  • semira mide: Tiger1, are you from Aarhus, too? It’s my mother’s home town. 2:47 PM
  • MontyNostry: Another terrific review by JJ. 2:44 PM
  • Dabrowski: It is definitely more disturbing than the worst of Calixto Bieito’s excesses. 2:20 PM

Lost and found

I remember when the Willy Decker production of La Traviata was first announced at the Met. There was much pearl-clutching that it would limit casting to sopranos who could fit into the “little red dress” and also how the production was vulgar, cheap, scandalous, and Verdi was turning over in his grave.  Read more »

Étoile

Olga Peretyatko has officially left the chorus. The former member of the children’s choir at the Mariinsky Theatre in St. Petersburg is experiencing a meteoric rise, and for good reason. She has talent in spades and, fortunately, has elected to inject her energies into the bel canto repertoire.   Read more »

Capitol gains

Clemency tends to get a bad rap these days, as polities demand swift action by leaders whose mandates to govern are violently threatened by ”terrorists.” Mozart’s La clemenza di Tito refocuses our attention on clemency as a virtue and a signal of strength and courage. I was fortunate to catch Wednesday’s opening performance of a new production of this opera at the Théâtre des Champs Élysées, directed by Denis Podalydès (Sociétaire de la Comédie-Français).  Read more »

dagger

Daggers are a thane’s best friend

A Birnam Wood of Macbeths and Ladys has come traipsing through New York this year.

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Die Meistersinger

It’s complicated

Die Meistersinger von Nürnberg is a problematic opera—or, rather, it is an opera that has, in the last century or so, become problematic.

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Markheim

American verismo

The Little Opera Theater of New York (LOTNY) is presenting a double-cast run of two of Floyd’s early one-acts, Slow Dusk and Markheim.

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Natalie Dessay

Regni Dessay

Almost exactly twenty years after her auspicious Metropolitan Opera debut as the Fiakermilli in Arabella and a year following what she has claims was her final appearance on the operatic stage, Natalie Dessay returned Sunday afternoon to Lincoln Center—to sing opera.

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Mimi Bouffes

The coast of Bohemia

What would you do if I asked you to take a old, faded version of Puccini’s score for La Bohème and fill in the unreadable parts with a mélange of disco, kabarett, and Alban Berg?

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Elena Mosuc

Oh ciel! Che intendo!

Heaven temporarily relocated to the Théâtre des Champs-Élysées Sunday evening for a concert performance of Rossini’s revered but rarely heard Semiramide.

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Sophie Koch

All mysteries

And though I have the gift of prophecy, and understand all mysteries, and all knowledge; and though I have all faith… I am nothing.”

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