Headshot of La Cieca

Cher Public

  • perfidia: I have been thinking, after hearing Peters’ recording of Zerbinetta, that she was probably... 9:46 AM
  • Krunoslav: I had indeed forgotten- quite awful, with Hvorostovsky– ; was it his first studio set?–... 9:43 AM
  • Buster: The piano version, in this case, works well – more intimate, more exposed: httpv://www.you... 9:35 AM
  • Gualtier M: Just a note here: Metropolitan Opera accumulated a $22 million dollar deficit last year,... 9:35 AM
  • kennedet: I hope not, Salome. Is she trying to reinvent herself or just having fun? If it’s the... 9:20 AM
  • Buster: There is a also a Jessye Cavalleria Rusticana – best forgotten. 9:08 AM
  • Often admonished: She sang both soprano and mezzo parts for Abbado. At two separate performances, fortunately. 8:41 AM
  • Feldmarschallin: Ja danke. Klar, Freitag habe ich den Türken. :) 8:16 AM
  • Lohengrin: Zur Info: 27. November ist Donneestag. 8:08 AM
  • Feldmarschallin: OK dann am Freitag. Danke und viel Spaß. 8:03 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.

Kaufmänner

“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 »