Cher Public

  • WindyCityOperaman: RIP singer Lynn Anderson httpvh://www.youtu be.com/watch?v=2g0 f3_Gke84 8:59 PM
  • aulus agerius: Why do the WRITTEN ON SKIN ads feature tats? It’s not about that is it? I decided not to go, BTW, affer viewing the... 7:46 PM
  • Bill: I liked Ludmila Dvorakova a great deal – she had a Flagstad like warmth to her voice – very rich in the middle. She sang... 6:37 PM
  • luvtennis: I would have a hard time suspending my disbelief too. How can you kill nuns to music that’s this much FUN!... 5:49 PM
  • zinka: https://www.youtub e.com/results?sear ch_query=+ludmila+ dvorakova Sad..Died at 92 in a fire..VERY exciting singer!!!!! 5:26 PM
  • Batty Masetto: Doch, das gibt’s: http://www.duden.d e/rechtschreibung/ fisteln 5:24 PM
  • Greg.Freed: Fully off topic in any thread: years ago I had I guess a radio broadcast of the Elektra cast I heard in Houston in 1993:... 4:47 PM
  • Kassandra: I confess I am not a Puccini or a verismo fan, but they deserved better than this staging, costumes (unflattering), even acting... 4:41 PM

The devil is in the details

Certain operas are better in theory than practice. Boito’s Mefistofele has some undoubtedly fine tunes, and is perhaps neck-and-neck with Boris Godunov as a top bass star vehicle. But as an opera, it only works in fits and starts. For one, the fidelity to Goethe’s Faust gives the libretto a rather episodic, detached feel.

Gounod’s Faust might be a lot cheesier but it’s also more tightly focused and thus better theater. Boito’s opera has some some stunning choral work in the Prologue and Epilogue, a famous tune in Margherita’s lament “La altra notte” and an extremely enjoyable “Walpurgis Nacht” act but also a lot of filler. It’s not a long opera but it feels endless.   Read more »

The diva wears Prada

“Oubliez le XVIIIè siècle. A l’Opéra Comique, Platée s’installe sur les podiums d’une fashion week parisienne!” Unfortunately, the video of this performance is not available in the US: La Cieca will keep you updated. Meanwhile, take a look at DeCaffarrelli’s review of last night’s concert performance.

Nymph errant

“German fashion designer Karl Lagerfeld is a household name; 18th-century French composer Jean-Philippe Rameau isn’t.” [amNewYork]

Sir John and the horse

Come to the unstable

How, then, to explain the perplexing performance last Friday night of Falstaff, Mr. Levine’s first new production since his return?

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rigoletto

The rise of the clowns

What better way to spend a lazy Friday afternoon in midsummer than watching a webcast of Rigoletto?

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Behind the red curtain

It was indeed a curious sensation  making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in an auditiorium half- full of retirees to see a live performance of Don Giovanni from La Scala. That it worked as a Mozart experience I think can be chalked up to two factors: Robert Carsen‘s production and the constantly improving (if still imperfect) HD technology. 

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Mirror, mirror

La Cieca is just back from the HD of Don Giovanni from La Scala: excellent singing through the whole cast, strong conducting (if tending to the slow side) by Daniel Barenboim, and a smart, chic production from Robert Carsen that frankly makes Michael Grandage look like an utter bumpkin. The presentation will repeat here in New York (and elsewhere) in coming days.

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