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Cher Public

  • EarlyRomantic: And who said Tosca has to be a svelte? That’s why makeup artists and costume designers... 12:16 PM
  • DellaCasaFan: Ah, what a lazy (pre-Thanksgiving) morning and a good question can do :-) I’ve just... 12:10 PM
  • EarlyRomantic: Rutherford was also the Mandryka in Hamburg’s recent Arabellas with Camilla Nylund in... 12:09 PM
  • pirelli: You *are* kidding, I hope. 11:46 AM
  • Krunoslav: “I can already picture Schwarzkopf criticizing his inaudible final consonants.” As... 11:27 AM
  • Quanto Painy Fakor: So much of a legend that I never heard of her. 11:12 AM
  • Grane: I grew up with the LP! Which I still have somewhere, though that probably isn’t at its best... 10:39 AM
  • manou: Well – hit and myth. 10:35 AM
  • NPW-Paris: Legends are often myths. 10:00 AM
  • lastregamarzapane: I share that soft spot with you, Grane. Yes, Sills was vocally past her best, but she... 9:52 AM

chi mai?

maiThis month Deutsche Grammophon will scrape the bottom of the barrel and present a new recording of Leoncavallo’s genre-bending “symphonic poem for tenor and orchestra”  La Nuit de Mai, studded with stars Plácido Domingo and Lang Lang.

Dark horse Alberto Veronesi conducts — indeed, the same Muti-maned steed who was recently announced to succeed Eve Queler as music director of the Opera Orchestra of New York in 2011.

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Some day her prince will come

Marty Sohl / Metropolitan OperaI checked back in on the Met’s revival of Ariadne auf Naxos yesterday, after a messy first night one week ago that left much to the imagination. Tenor Lance Ryan had been sick that night, and the cover who took his place was not much healthier, throwing the whole cast into a panic mode that made higher artistic values almost out of the question. Last night’s show was leaps and bounds forward, both musically and theatrically – a win for Strauss aficionados and an excellent save for the company. Read more »

I would like a waffle

La Cieca preens proudly  to present a peerless pair of protégés (left to right) Squirrel and Maury D’Annato. The bromancers attended (or one should say “took in”) last night’s Ariadne auf Naxos at the Met, and as of early this afternoon they were still deconstructing. Read more »

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Cabaret is a life

I was still warming frigid fingers Friday night, when before me unfolded something like a history of the world viewed from a small café: an enchanted journey from the gaslights of Berlin to the crowded alleys of Buenos Aires. 

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NY Times: “Greeks Condemn Opera of Elektra”

“I knew Hofmannsthal… he in fact begged me not to go and see it… telling me he was ashamed of it!”

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i don’t know but i been told

One of the other American critics to cover La Scala’s HD Transmission of Carmen, Sarah Bryan Miller of the St. Louis Post-Dispatch, shared our own squirrel’s view of the production. But she had some help from her friends at the “Associated Press and elsewhere.”  

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La Scala Upper West

Everything I need to know about Bizet I learned at a Judy Chicago exhibit in 1996. Brutality against women is pervasive, and society is culpable by permitting it. Such grievances were aired at the expense of the composer’s chef d’oeuvre Carmen yesterday at La Scala’s Gala opening, viewed dal vivo at Symphony Space on 95th and Broadway.

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Secret Squirrel

La Cieca is happy to note that Our Own Squirrel will be on-site at Symphony Space this afternoon with live breaking coverage of the triumphs and/or scandales associated with the prima of Carmen from La Scala, as seen on HD. Coverage starts here at parterre.com at 11:45 AM.

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The Metropolitan Opera, Live in PG-13

Condescending to opera lovers across America — and cheating both Bartlett Sher and Squirrel out of the simple joys of partial nudity — the Met has decided to censor the December 19th High Def broadcast of Les Contes d’Hoffmann!

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Der Musensohn

Our own Gualtier told tales and named names, in great detail, after Monday’s Les Contes d’Hoffmann dress rehearsal. Squirrel was at the premiere, and had a grand old time. Bartlett Sher‘s production lovingly displays the many dimensions of Offenbach’s inspired and charming opera.  With perfect comedic timing, clarity of action, and real depth of feeling, even its few cheap moments seemed top-shelf.

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