Now this I call arts journalism: “Mit brausendem Beifall und Bravorufen gefeiert, präsentiert sich eine strahlende, braun gebrannte Anna Netrebko in spektakulären Roben und wirft immer wieder Kusshände ins Publikum: Das Konzert der Star-Sopranistin am Sonntagabend in der Hamburger Laeiszhalle ist zum triumphalen Fest für Ohren und Augen geraten.”
Mezzo-soprano Joyce DiDonato is first among equals in a spectacular cast when she sings the title role of Ariodante in this season’s installment of Carnegie Hall’s critically acclaimed cycle of Handel’s operas in concert. A brilliantly melodic work, the opera features outstanding arias for each of the principal singers, including Ariodante’s melancholy “Scherza infida” and show-stopping “Doppo note.” Harry Bicket and The English Concert bring authentic Handelian brilliance to this marvelous opera. (Photo: Simon Pauly) Get tickets. Read more »
La Cieca figures she might as well retire from editing, and for that matter, Manuel Brug can put down his critic’s pen, because the above is, bar none, the greatest headline ever written.
Miss Garden smiled. “You probably have never seen a thin Violetta,” she exclaimed. “You’ll find that that will make a difference.”
But the part she seems most excited about is Lady Macbeth in Verdi’s treatment of Shakespeare’s Scottish play.
Adroit, awesome, autononomous Anne Midgette nominates her Top 10 Classical and Opera Releases of 2010 over at Soundcheck, and, La Cieca thinks to herself, why should Anne have all the fun? What are your favorite opera CDs and DVDs of the year, cher public? (Here are a few reviews to jog your memory.)
Martin Bernheimer, who was wise long before most of the rest of us were on solid food, writes what is likely to be remembered as the definitive essay on the Donald Rosenberg/Plain Dealer situation.
Linda Watson and John Treleaven have issued a joint not-apology, blaming “selective and biased representation of these interviews” for giving the impression that anything was less than stellar at the “fantastic history-making project” that is the LA Ring cycle. [Class Act via OperaChic]
“Why can’t a general director with the fame, charm and ability of Domingo roll up his sleeves and work to realize his vision, rather than distancing himself from the results? The answer: because he isn’t actually there, running the company. He’s conducting Stiffelio, or singing Simone Boccanegra, or trying to keep up with his other company, the Los Angeles Opera (with equally dicey results) instead.”