La Cieca
James Jorden (who wrote under the names "La Cieca" and "Our Own JJ") was the founder and editor of parterre box. During his 20 year career as an opera critic he wrote for the New York Times, Opera, Gay City News, Opera Now, Musical America and the New York Post. He also raised his voice in punditry on National Public Radio. From time to time he directed opera, including three unsuccessful productions of Don Giovanni. He also contributed a regular column on opera for the New York Observer. James died in October 2023.
A particularly delectable treat from the Mike Richter trove: Wolfgang Sawallisch conducts a 1985 performance of Arabella at the Bayerische Staatsoper, featuring Lucia Popp and Wolfgang Brendel.
With issue #42a, “City of Dreams,” parterre box the queer opera zine returns at least temporarily to a rational numbering system.
La Cieca alerts the cher public to be on the lookout for discounts and downright giveaways for the upcoming Vittorio Grigolo recital at the Met.
As we all agree, Robert Rattray is eminently qualified for his new position as the Met’s assistant general manager for artistic affairs…
“Juliane Banse will make her Met debut as Zdenka in this season’s performances of Strauss’s Arabella, replacing Genia Kühmeier, who has withdrawn for personal reasons.”
“Natalie Dessay de retour dans la Fille du Régiment“
“Robert Rattray, who has long experience in artist management, has been appointed the Met’s next assistant general manager for artistic affairs, replacing Sarah Billinghurst, who will retire at the end of this season after two decades at the Met, the company announced Tuesday.”
“The article was written before Mme. Tetrazzini’s arrival,” continued Miss Garden yesterday.
For your racionative pleasure, cher public, here’s an epistolary quiz in honor of the Met’s new production of Werther: 13 artists share Charlotte’s “Ces lettres! Ces lettres!” scena from Massenet’s opera.
“Unexpected conflicts and complications have occurred in Mr. Hampson’s schedule as he prepares the title role in the Metropolitan Opera’s production of Wozzeck.”
Our Own Jungfer Marianne Leitmetzerin (not pictured) takes us back to the turbulent 1970s at the Met for the spectacular company debut of electrifying Elena Obraztsova as Amneris.
No effort is required, cher public, to enjoy a discussion of off-topic and general interest subjects.
If there is truth in this rumor, which New York opera company will attempt a renaissance this summer with a revival of an operatic rarity, though likely without the magnificent cast the conductor assembled for his recent recording of the same work?
This Clemenza di Tito today is something of a wild card: an offbeat cast, the relative newbie opera director Jan Bosse and the exciting conductor Kirill Petrenko. If you’re intrigued, here’s the webcast starting at 1:00 pm.
More Verdi from the Mike Richter collection, this time from CD-ROM SFO-02, a performance of Simon Boccanegra featuring Ingvar Wixell and Kiri Te Kanawa.
Here you are, cher public, details of the Met’s (to be perfectly frank) not particularly spectacular mid-decade season.
La Cieca’s spy informs her that the Met will announce its 2014-2015 “Wednesday evening.” Watch parterre.com starting at 4:00 pm tomorrow for up-to-the-minute coverage.
Before you ask, cher public, there is no Issue #41 of parterre box, the queer opera zine, or, rather, this issue, #42 is the 41st.
Cher public, I give a photograph of Jonas Kaufmann in a hoodie with a teeny birdie on his shoulder.
“We Americans are not so critical of art as we are of showmanship.”
Even when the opera performed is a masterpiece, a truly superb opera performance is exceedingly rare.
This week, Jungfer Marianne Leitmetzerin has been unusually generous, sharing a performance of Pelléas et Mélisande featuring the dream pairing of Simon Keenlyside and Lorraine Hunt Lieberson.
An opera house is good for other things besides opera performances, cher public, such as (for example) discussion of off-topic and general interest subjects.
Norman Lebrecht, who is now actively trying (and failing) to destroy classical music—and why not: look how cruelly the industry has treated him!—has published a “review” from a “critic” who walked out of a three-act opera after the first act.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
