Questo e Quello
Miss Bobolink will be unable to do the weekly breakdown, as she is having her pique fitted.
Which summer festival is quietly preparing for a season with performances accompanied by two pianos instead of the customary full orchestra?
One of my adolescent pastimes was trolling the classical cut-out bins in record stores searching for overlooked gems or unfamiliar singers.
Which legendary fan will make the switch from opera house to newsprint when she is profiled in the New York Times this weekend?
After all the spectacularly bad publicity the Met garnered last month, Peter Gelb is now in Europe.
Of all the Olympics-related products created to honor the upcoming summer games in London, surely one of the oddest must be a brand new pasticcio just released on a two-CD set
by Naïve—L’Olimpiade.
Jules Massenet’s Don Quichotte was one of a number of commissions from the Monte Carlo Opera that occupied the composer at the end of his life.
Here’s your intermission feature for the week, cher public, home to your off-topic and general interest discussions.
Reflecting my new mantra — “and would have gone on longer, had he not died” – here is The Curate’s Egg edition of the Saturday breakdown.
Russian children’s ombudsman Pavel Astakhov called upon the newly appointed culture minister to check a Russian-British opera production for sex and drug scenes.
For decades New York City Opera was a model of an organization with a clear mission.
ell, La Cieca thought for a while there that last week’s Regie quiz had stumped the entire panel, but then along came floridante2k with the right answer.
Francesco Cavalli’s 1649 opera Il Giasone (Jason) was virtually a model of the many conventions that had come to be expected in Venetian public opera in the seventeenth century.
Here’s an offbeat midweek attraction: a webcast of Vivaldi’s Farnace from Opéra National du Rhin, Strasbourg, featuring Max Emanuel Cencic, Vivica Genaux and Ruxandra Donose in a production by Lucinda Childs, conducted by George Petrou.
La Cieca, having worked her fingers to the bone counting votes, now is ready to reveal to you, the cher public, the winners of the Third Annual Parterre Box Awards.
Sneaking in under the wire during the final week of May were two highpoints of New York’s opera season: the Cleveland Orchestra’s Salome with a stunning Nina Stemme and operamission’s revelatory US stage premiere of a complete edition of Handel’s first opera Almira.
Frustrated, perhaps, by the bulky requirements and dubious future of grand opera—and grand opera commissions—Benjamin Britten created some of his most intriguing and, nowadays, popular pieces for small casts and chamber orchestra.
La Cieca has reviewed the parterre circulation numbers and she is delighted and not a little perplexed to note that the day of the Great Opera News Kerfuffle provided our site with the highest number of pageviews in history.
Once the poor “fell0” has recovered, perhaps he will join in this week’s discussion of off-topic and general interest subjects.
Yes, that’s the lovely and talented Cecilia Bartoli peeking out from under those bangs, offering us a glimpse of her first staged Cleopatra.
Our Own Betsy Ann Bobolink (not pictured) writes: “Well, let’s see. They’ve used sinks, bathtubs, commodes. Except for bathroom scales, that takes care of the primary fixtures in la salle de bain. Boudoirs have been done to death. Clocks, chairs, chandeliers are all hopelessly passe. The only room left for an aspiring director to seek inspiration…
Our most recent Regie quiz provided a rare occasion on which La Cieca can perform her own victory cantata the celebrate the defeat of the nimble minds of the cher public.
You may remember, gentle readers, that last year about this time Peter Gelb decided to enter into an unholy alliance with Target to benefit their mountainous number of opera loving customers by pre-releasing two Met performances exclusively in their fine emporiums.
Tanned, rested and ready to present, La Cieca invites you, the cher public, to vote on the best, worst and most egregious opera performances of the 2012-2013 season.
Tell us: What’s your favorite Verdi performance?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
