Cher Public

  • kashania: Good point, AJ. Though I still don’t understand why opera companies spend big bucks on A-list singers for that role. 1:15 PM
  • quoth the maven: I don’t think the Meister’s acolytes do him any favors by asserting that all of the music is equally... 12:49 PM
  • Milady DeWinter: I agree, Sanford – Bonisolli could be provincial, and was a temperamental weirdo, to say the least, but he had... 12:36 PM
  • Sanford: The Pace is really gorgeous. By the way, is anyone else not receiving email notification of responses? I have gotten an email... 12:24 PM
  • auracentral: My comments are about the sound for Live in HD in general, and didn’t hear or see any of the Kentridge Lulu,... 11:27 AM
  • Sanford: Bonisolli isn’t too shabby, either. 11:02 AM
  • PCally: I too had never heard a single recordings of hers, even that first otello telecast with Domingo. I really enjoying her lovely... 10:55 AM
  • Sanford: I must say that I wasn’t familiar with Ms. Cruz-Romo’s voice before listening to this but I’m in love.... 10:33 AM

O Engländer! Seid ihr nicht Toren…

As she herself points out, Zerbinetta is perhaps the first woman besides “the inimitable Heather MacDonald” to write a serious critique of Calixto Bieito‘s production of Die Entführung aus dem Serail.


“Taking the libretto’s description of ‘panther-like’ literally, Bacchus appears in a shiny leopard-print suit (well, close enough) and proceeds to creep up to Ariadne like a shy housecat.”  Veteran blogress Zerbinetta (pictured, left) was right there for the Salzburg Festival’s gala Ariadne auf Naxos and the two-tenor version of La boheme, and reviewed both productions for the website bachtrack.

Separated at UPC

A “Machine” that’s been dished and hung out to dry, and a “Magasin” you hang dishes on to dry. Thanks to Zerbinetta for noticing the striking similaries (not to mention that fact that the object that actually does something costs less than half the one that does nothing; a lesson for us all?) Read more »