Continuing coverage of the Met’s new Alban Berg spectacular includes Our Own JJ‘s extended review, now online at the Observer website, and a critique by Ivan Martinson (aka Hans Lick) in GBOPERA. (Photo: Ken Howard/Metropolitan Opera.)
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.
Pyrotechnics abound when Angela Meade stars in Opera Orchestra of New York’s production of Donizetti’s tragic love story, Parisina d’Este, conducted by OONY founder Eve Queler on May 4, 2016 at the Frederick P. Rose Hall at Jazz at Lincoln Center. OONY last performed this opera in 1974 starring Montserrat Caballé. The remaining cast features a group of young international artists including American tenor Aaron Blake in the role of Ugo, Chinese baritone Yunpeng Wang in the role of Duke Azzo, Serbian bass Sava Vemic in the role of Ernesto, and American Soprano Mia Pafumi in the role of Imelda. Don’t miss this thrilling, rare Donizetti gem.! Remaining tickets are on sale at the Jazz at Lincoln Center box office. Read more »
Miss Garden smiled. “You probably have never seen a thin Violetta,” she exclaimed. “You’ll find that that will make a difference.” Inaugurating a new feature on parterre, dedicated to the wit and wisdom of Mary Garden, as recorded by the journalists of her day.
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.”