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Cher Public

  • ML: But Bayreuth was never meant to be about the biggest established stars. Immersion and dedication was the... 3:26 AM
  • Feldmarschallin: Yes Bayreuth has Catherine Foster as Brünnhilde and München and Wien have Stemme and... 3:18 AM
  • KennethC: You’re half right. 3:05 AM
  • imhere: The problem is that even if Peter, Kevin and Ann decided at the last minute to not lock the door... 8:25 PM
  • stignanispawn: I’m in Crested Butte, CO at the Music Festival to see a performance of Rigoletto... 8:16 PM
  • imhere: The problem is that even if Peter, Kevin and Ann decided at the last minute to not lock the door... 8:14 PM
  • stignanispawn: I’m in Crested Butte, CO at the Music Festival to see a performance of Rigoletto... 8:14 PM
  • KennethC: You’re half right. 8:13 PM
  • stignanispawn: I’m in Crested Butte, CO for the Music Festival to see a performance of Rigoletto... 8:12 PM
  • stignanispawn: I’m in Crested Butte, CO for the Music Festival to see a performance of Rigoletto... 8:11 PM

A bridge not quite far enough

album-rainbow-connectionThe fact: the rainbow bridge worked tonight in Rheingold at the Met, and the effect was “spectacular.” (All right, that last part was an opinion. But, moving on.)

The rumor: “everyone” at the Met knew “well in advance” that the rainbow bridge would not be attempted at Monday night’s opening performance.

Twinkle, twinkle, little Tsar

GettyIs it really true—the rumor La Cieca just now invented out of whole cloth—that René Pape will play Boris Godunov as an eccentric Chanel couturier? Cher public, you’ll have the chance to find out even before opening night of the Met’s new production of the Mussorgsky epic, since the company is making available making 2,000 free tickets to the October 8 dress rehearsal. Tickets to the quasi-preview, which begins at 11:00 a.m., will be available through an online ticket drawing only. Entries may be made on October 5 through the Met’s website www.metopera.org. Your doyenne is sure her spies know what to do.

Immer ist Undank Fartnoses Lohn!

lokiLa Cieca’s newest and nicest trickster god Fartnose McGoo (pictured) attended a lecture at the Met tonight introducing the new production of Das Rheingold. After the jump, some of his observations. Read more »

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Taupe of the morning

[La Cieca welcomes the newest and most lissome member of the parterre espionage force, Mlle. La Taupe, who just last night invaded the first performance of San Francisco Opera's La fanciulla del West.] UPDATE: The last act!

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Incredible, ma vero, confirms NYT

La Cieca’s faithful spies once again have done their jobs well! What you learned here a week and a half ago about refitting to the Met stage to accommodate the ginormous weight of the Lepage Ring set has finally made its way into the New York Times. Also (love him or hate him) you have to give props to Peter Gelb for chutzpah: the reinforced stage, he says, now can support so much weight that  “We can add elephants to Zeffirelli productions.” [NYT]

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…the Boulder Dam look like an egg cup!

La Cieca has just heard from one of her habitually infallible moles that the refitting of the Met’s stages for the Robert Lepage Ring began today.

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Once on that island

Our Own Gualtier Maldè (right) escaped today’s Armida dress rehearsal at the Met with his wits intact. He reports:

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Trapped in the closet

La Cieca is informed that tomorrow’s final dress rehearsal of Hamlet is as closed as closed can be: covers, Met staff and a few handpicked guests of Peter Gelb are the only humans to be allowed in the auditorium as the Thomas is teched. It’s natural enough, since — as we all know — the opening night Ophélie, Marlis Petersen, will not be present for this last runthrough, busy as she is singing Medea in Vienna gleichzeitzig.  This veil of secrecy is like catnip to La Cieca, of course, so should you, cher pube, be one of the chosen few [...]

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Hun more for the road

La Cieca has the first top-secret highly classified eyes-only report from inside the hermetically sealed Attila dress rehearsal at the Met.  Our spy  (possibly pictured above) speaks out –  after the jump, naturally. 

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Gualtier tells “Tales”

So, I was asking my friends with Met Opera insider connections about the new Hoffmann production directed by Bartlett Sher. Seemingly conceived under an unlucky star, this production first lost two of its four heroines when Anna Netrebko decided not sing Olympia and Giulietta but kept Antonia and also Stella, leaving the dramaturgy somewhat lopsided.

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