Critics and Their Criticism
Bernard Holland of The New York Times attended(?) Saturday night’s all-Schubert program at Carnegie Hall, featuring Ian Bostridge, Thomas Quasthoff and Dorothea Röschmann accompanied by Julius Drake. Holland’s review ran 468 words, of which barely 100 addressed the performance. Here’s La Cieca’s analysis.
“The presence of the voiceless Rosalind Plowright in the supporting role of Gertrude demonstrates the folly of the Met’s notoriously Britcentric artistic administration. Surely there are dozens of equally over-the-hill American mezzos who could have shrieked the role just as atonally.” Our own JJ reviews the Met’s productions of Hansel and Gretel, Die Walküre and…
“Seattle Opera did more than put an intermission between the two scenes. It restored, or opened, to use opera terminology, customary cuts in the score and invented a dream sequence to open Act 2, using music written by Leoncavallo but not for Pagliacci. Two mimes, Comedy, in white, and Tragedy, in black, open the opera…
“Directed by Francesca Zambello, this Little Mermaid burdens its performers with ungainly guess-what-I-am costumes (by Tatiana Noginova) and a distracting set (by George Tsypin) awash in pastels gone sour and unidentifiable giant tchotchkes that suggest a Luau Lounge whipped up by an acid-head heiress in the 1960s. The whole enterprise is soaked in that sparkly…
“Stephanie Blythe, superlative in both voice and Wagnerian bitchery as the righteous Erda…” (Clive Barnes‘ review of Die Walküre, NY Post) “I wouldn’t pay any attention to that. You know how bitchy Walas can be!”
The newest member of the gaggle of Gay City News opera critic, Eli Jacobson, critiques recent NYC performances by Opera Grattacielo and Collegiate Chorale.
Another review (this one only 340 words) of War and Peace. Martin Bernheimer writing for the Financial Times:
When a monumental 20th century masterpiece is revived at the Met, who better to review it than Anthony Tommasini? Today the Times published TT’s critique of War and Peace, a compact screed of exactly 799 words. And how, you may ask, were those words distributed? Well almost half the review (351 words) was given over…
A helpful reader has pointed La Cieca to an interview in the current Opera News, a publication she picks up all too infrequently, alas. But the chitchat between Brian Kellow and Francesca Zambello is just too delicious to ignore. Ms. Zambello is the director of Disney’s The Little Mermaid, a show that just last week…
“… Netrebko is the larger presence. She has an earthiness and impishness — a daredeviltry — that may prevent her from ever attaining the kind of rarefied, disembodied sainthood that has been awarded, for example, to the American sopranos Renée Fleming and Dawn Upshaw but that also makes her more fun to watch.” Charles McGrath…
“My theory: Composers who ignore significant parts of their being – nationality included – cut their creativity off at the knees. Barber was being derivative in self-defeating ways out of deference to the operatic genre. Bernstein, in comparison, was out to tell important stories using the most effective means possible…” David Patrick Stearns adds his…
“Ye Gods! In all the annals, can there be an opera containing more unmitigated codswallop than Erich Korngold’s Das Wunder der Heliane (‘The Miracle of Heliane’)?” Their Own Rupert Christiansen continues: Dreadfully overheated and over-loud, the prolix first act has a slavering and maudlin sensuality that gave me the creeps …. [T]he rapturous sublimity that…
“Soprano Lauren Flanigan turned her vaunted acting skills to the task of portraying the sophisticated allure of Vanessa, hampered more than a little by a stiff auburn wig and dowdy costumes that left her looking like Nellie Oleson’s mother. Happily, on November 8, Flanigan was in superb voice, sailing fearlessly up to fiery high B’s…
La Cieca was just wondering about something yesterday on opera-l, and doggone if Anne Midgette wasn’t wondering about the same thing today in the New York Times. (That woman haunts my dreams, I tell you. It’s like she’s inside my head. Now, where was I? Oh, yes…) The point that dear Anne and I (among…
Washington Post classical music critic Tim Page ripped DC Councilman and former Mayor Marion Barry in a widely-distributed company email recently, calling Barry a “crack head” and “useless.” The trouble began with an email from Barry’s Communication staff that went out as a “blast” to several dozen reporters and media organizations. Page received a copy…
La Cieca’s spiritual godmother Tessi Tura (or, more accurately, Ms. Tura’s alter ego George Heymont) has finally emerged from a “retirement” of over a decade. George has turned to the blog format to complete a project he’s had on the back burner since 1990 or so, “a murder mystery set at the Metropolitan Opera House.”…
Our Own Little Stevie reflects on the Met’s new Macbeth. I’d like to admit a guilty pleasure of mine: I’ve secretly been waiting with a lot of anticipation for Maria Guleghina to sing in Macbeth and Norma this year. I have not told this to many people because it seems that the common expectation has…
Adept arbiter Anne Midgette has announced her farewell to The New York Times, moving on up to the Washington Post where she will reign as interim chief critic beginning January 1. The WaPo‘s current chief critic, Tim Page, is off to teach a semester at USC and, who knows, may extend his stay in academe…
Tenor Marcelo Alvarez is seen just after reading a Bloomberg News review of his performance in Luisa Miller at the Verdi Festival in Parma. Was it really all that bad? Well, you decide. Critic James Amott had nothing but praise for Alvarez’s singing, rhapsodizing “Alvarez gave everything, from delicate pianissimo moments to dramatic Italianate wailing.…
La Cieca is nothing if she is not open-minded. So can someone please explain (or at least excuse) the following statement from Bernard Holland in today’s NYT? Verdi has a way of testing his singers at the opening curtain. (See also “La Traviata,” Act I, Scene 1.)
“The Metropolitan Opera’s opening week offered two super-starry nights that more than offset a misfired new production across the plaza at the New York City Opera.” After some rather frustrating technical delays, our JJ‘s reviews of the Met’s Roméo and Lucia, plus the NYCO’s Cav/Pag, are at last online at Gay City News. (Perhaps at…
Only rarely can a writer inspire first violent agreement and then equally fervent disbelief in the space of a couple of short paragraphs, but Kyle MacMillan of the Denver Post can now claim credit for La Cieca’s current bipolarity: Renée Fleming just might be the the world’s most undivalike diva. [well, duh!]Much like, say, Audrey…
Stepdaughter Sieglinde summarizes the critical reaction in blog and print to Stephen Costello‘s Met debut. No surprises here for La Cieca, who observed equivalent ecstasy in real time during her Monday night online chat:
La Cieca’s Gal-pal del Golden West, Laura Hope Cruisey, sounds off on Santa Fe, 2007. Can we talk like this? Has Carl Rove turned off the reel-to-reel, before he turned out the lights? Well, since the New York Times seemingly did not cover the Santa Fe Opera Festival 2007, somebody’s got to say what happened…
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
