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Cher Public

  • stevey: Zinka! I have long wanted to ask you about someone, as I value and respect your thoughts and... 11:01 PM
  • ducadiposa: Nothing truer was ever said! Odd, as I just commented on another blog about much the same thing... 10:35 PM
  • Krunoslav: To ne Manz’s narration is as hard to endure as the long-running NYC radio commercial... 10:31 PM
  • DonCarloFanatic: On the other hand, experiencing opera the way prior generations might have, the more... 10:21 PM
  • Quanto Painy Fakor: with sound httpvh://www.youtu be.com/watch?v=5Z9 kAJUTWUA 10:19 PM
  • Quanto Painy Fakor: Regular: httpv://www.youtub e.com/watch?v=MW78 ihWwwYg 10:16 PM
  • Quanto Painy Fakor: Wide screen test httpvh://www.youtu be.com/watch?v=PPu J3W-qUuc 10:15 PM
  • WindyCityOperaman: httpvh://www.youtu be.com/watch?v=_SA GJWTIXiQ 10:10 PM
  • m. croche: ” Productions reflect the zeitgeist, but times and tastes change (not always for the... 9:53 PM
  • Bluebeard: I absolutely agree. I’ve loved Hytner’s work before, including the first run of this... 9:50 PM

Henry, sweet Henry

Although she began her career nearly 25 years ago recording and performing lots of baroque music, I was surprised to see German soprano Dorothea Röschmann promoted as the star attraction of an all-Purcell concert Sunday at Carnegie Hall by Les Violons du Roy and La Chappelle de Québec. Read more »

Sometimes just pretzels and beer

“Nobody wants to spend three or four hours of their life sitting through a mediocre opera performance, especially when you consider what tickets cost these days. But mediocre means ‘average,’ so, statistically speaking, if you go to the opera a lot, it means you’re going to be confronted with middling performances more often than not. You have to kiss a lot of frogs, right?” Our Own JJ crunches the numbers at the Met and LoftOpera in the New York Observer. (Photo: Ken Howard/Metropolitan Opera)

A monster, without being a myth

Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry.  After several hearings, I’m still not convinced that there is an operatic version of Earnest.  Barry has created what I would call a narrative set to a series of sound effects.  Now many of these effects are clever, occasionally amusing, and purposely bizarre, but they rarely seem to fit the brilliant verbal wit of Wilde’s original.  I kept thinking that, if Lulu was a comedy, it would sound a lot like this.   Read more »

Fanciulla

Berlin im Licht

Coming from placid, luxurious Geneva, where I am currently living, Berlin felt even more jarring than usual.

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Spackled

Oh, de’ verdi anni miei

“The Met’s revival of Verdi’s Ernani Friday night was every inch a tragic opera, though without being grand in any way. Its grisliest calamity was not the one the composer devised but rather one the production’s star, Plácido Domingo, brought on himself.”

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palestrina_amazon

Between two worlds

If works like Salome and Erwartung defined modernism in the first decades of the 20th century, Die Tote Stadt and Palestrina represented the regressive avant garde.

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Carmen_amazon

Mais nous voyons à nouveau La Carmencita

The opening night of the Metropolitan Opera of September 1972 was supposed to be the dawn of a new era.

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Norma

Text appeal

What makes Norma such a high-profile role in the soprano repertory?

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Manon

The kids are not all right

“’They’re young… they’re in love… and they kill people’ goes the tagline for the 1968 film Bonnie and Clyde, but the slogan could apply almost as well to the outlaw pair at the center of the Metropolitan Opera’s white-hot revival of Massenet’s Manon.”

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Volle

Plain and simple

“Michael Volle is not into bling,” begins an article in ACT-O, the glossy magazine of the Grand Théâtre de Genève.

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